This article addresses the question of how policymakers could deliberately influence processes of technology development. Using the development of wind turbines in Denmark as an example, the article describes the frames of meaning guiding the actions of those involved in the three subprocesses of policymaking, the generation of new technologies, and the management of the firms that bring new artifacts to the market. The three types of actors share an interest in one notion: the meaning of a technological artifact. This (...) notion, however, plays a different role in the respective frames of meaning of the actors. For policymakers and managers, it is an instrumental notion. For technologists, it provides guidance to their activities. The shared interest affords the possibility of reaching common action with only congruent meanings. Interactive forms of technology assessment can play a central role in bringing about such congruent meanings and thus in influencing the generation of new technologies. (shrink)

et. peut. le. piéger. que. par. ce. qui. peut. le. favoriser,. et,. dans. le cas de l'autre- en-moi et par moi, de façon torpide, la plus puissante, celle qui vient des profondeurs de l'être et de l'instinct ? L'affirmation de soi, face à autrui, est ...

The Dutch animal production sector faces significant pressure for change. We discuss a project for the design of a sustainable husbandry system for pigs. Named after the Greek hero Hercules, the project aimed for structural changes in both animal and crop production. However, instead of changing the course of the river, the project ended up merely adapting its flow. The Hercules project ran into difficulties typical for projects aiming at reflexive modernization. It relapsed from an effort for reflexive modernization to (...) ecological modernization, by ultimately leaving the structural features of the sociotechnical regime intact. We show how this resulted from the biases and limitations implied by existing institutions, in which the project was unavoidably embedded. We introduce the idea of reflexive design, as “doing” reflexive modernization, which implies working on action and structure at the same time. A number of recommendations are given for reflexive design projects like this. (shrink)

In this contribution, I wish to explore the potential of health technology assessment and ethics for increasing our capacity to pre-empt the shortcomings and undesired consequences of modern health care while maintaining its benefits. Central is the presumption that in case of some health problems this cannot be done unless we explicitly reconsider some features of the modern health care system, especially those related to its strong reliance on scientific rationality and the strong role played by medical professionals.So as to (...) both maintain the benefits of advanced health care and ensure that it produces less reason for concern, we need to reconsider our approach to rationality—and maybe even the way in which we build our health care system around that rationality. That is, we need to introduce an element of reflexivity. Two types of circumstances are being explored in which such reflexivity may prove worthwhile: controversies on side effects, and persistent problems encountered in optimising health care. Drawing on brief discussions of typical cases, we explore the potential of reflexive HTA and its methodical prerequisites.We conclude that ethicists may contribute to reflexive HTA, if they combine a hermeneutic—and often also participative—methodology with a solid understanding of the relation between the health problem under scrutiny and more general critique of the health care system. Insights from the areas of science and technology studies, as well as from social philosophy may be critical items in their tool kit. (shrink)

[1] Ṭohorah, yiḥud, hanhagat ha-bayit --.

A possible explanation for policy implementation failure is that the views of the policy’s target groups are insufficiently taken into account during policy development. It has been argued that involving these groups in an interactive process of policy development could improve this. We analysed a project in which several target populations participated in workshops aimed to optimise the utilisation of an expensive novel drug (interferon beta) for patients with Multiple Sclerosis. All participants seemed to agree on the appropriateness of establishing (...) a central registry of Multiple Sclerosis patients and developing guidelines. Nevertheless, these policy measures were not implemented. Possible explanations include (1) the subject no longer had high priority when the costs appeared lower than expected, (2) the organisers had paid insufficient attention to the perceived problems of parties involved, and (3) changes within the socio-political context. The workshops in which representatives of the policy’s target populations participated did not provide enough interactivity to prevent policy implementation failure. (shrink)

This article examines conceptualisations of violence against women developed in Brazilian feminism, and in legal and institutional measures against violence, from the 1980s to the present. Based on ethnographic studies carried out at the Women’s Police Stations and Special Criminal Courts, and the controversies surrounding the 2006 Brazilian Law on domestic and familial violence, the authors map the meanings of expressions such as ‘violence against women’, ‘marital violence’, ‘domestic violence’, ‘family violence’ and ‘gender violence’. The article reveals that the discourse (...) that transforms violence into crime, in the Brazilian context, leads to semantic and institutional developments that replace an interest in politicising justice for the defence of women with the judicialisation of family relations. (shrink)

This paper considers the issues surrounding women’s bare-breastedness and breastfeeding in public. I argue that women should have equal freedoms with men to bare their breasts in public, but not for the reasons commonly cited Proponents of “the public breast” tend to focus on the similarities between women’s and men’s breasts; I argue that the sameness versus difference debate is unhelpful in resolving this question. As I argue, women’s breasts differ from men’s in significant ways, and by dismissing these differences (...) we dismiss the possibility of women’s authentic breasted experience. Instead, I suggest that women share an equal interest with men in defining their sexuality: When women are denied the right to go topless or breastfeed in public, they are denied their own understandings of their breasts. (shrink)

This paper considers the issues surrounding women’s bare-breastedness and breastfeeding in public. I argue that women should have equal freedoms with men to bare their breasts in public, but not for the reasons commonly cited Proponents of “the public breast” tend to focus on the similarities between women’s and men’s breasts; I argue that the sameness versus difference debate is unhelpful in resolving this question. As I argue, women’s breasts differ from men’s in significant ways, and by dismissing these differences (...) we dismiss the possibility of women’s authentic breasted experience. Instead, I suggest that women share an equal interest with men in defining their sexuality: When women are denied the right to go topless or breastfeed in public, they are denied their own understandings of their breasts. (shrink)

Práce předpokládá určité znalosti marxistické filosofie. Vychází z diskusí o předmětu historického materialismu, které probíhají na našich i zahraničních filosofických pracovištích od roku 1954, a klade si za cíl ujasnit místo aúlohu historického materialismu v systému společenských věd a jeho metodologické otázky.

In lieu of an abstract, here is a brief excerpt of the content:Stiva's Idiotic GrinStewart JustmanIRecall if you will the stunning opening chapter of Anna Karenina. After laying down the principle that "Happy families are all alike; every unhappy family is unhappy in its own way,"1 the narrative introduces us to one of the latter. The Oblonsky household is in turmoil. Having found out that her spouse is philandering with a former governess, Dolly has kept to her room for three (...) days. For the first time since the discovery Stiva, the husband, now sleeps at home—on a leather sofa in the study. Turning "as though he would sink into a long sleep again," he suddenly awakens, sits up, and tries to recover the delights of wine, women, and song that were his in a tantalizing dream. "Yes, Alabin was giving a dinner on glass tables, and the tables sang Il mio tesoro—not Il mio tesoro, though, but something better, and there were some sort of little decanters on the table, and they were women, too." A man who has been playing Don Juan plays in a dream with an aria from Don Giovanni.Incongruously for one whose household is in open revolt and whose wife flees the sight of him, as he recollects his dream Stiva's eyes "twinkled gaily, and he pondered with a smile." Awakening itself seems to be an act of escapism for Stiva. "Cheerfully" he feels about for the slippers embroidered for him by his wife. (It was when his attention was arrested by some beautiful embroidery on his robe and he fell to thinking "about how people get the idea in their heads to invent all these patterns and [End Page 427] ornaments of embroidery" that Tolstoy got the idea for Anna Karenina.)2 Only when he reaches for his dressing gown in the usual place and doesn't find it does Stiva return to reality, and as he does so, the smile disappears from his face. "'Ah, ah, ah! Oo!...' he groaned, recalling everything that had happened. And as he recalled every detail of his quarrel with his wife, he realized the hopelessness of his situation, and, most tormenting thought of all, that it was his own fault." But as if contriving an escape from a situation that permits none, he maintains that even though the crisis in his marriage and his household is undoubtedly his own doing, still he is not to blame. "And the most awful thing about it [he tells himself] is that it's all my fault—all my fault, though I'm not to blame." Like a lawyer producing an argument, Stiva invents a saving distinction between being at fault and being really at fault—in effect claiming that although he does engage in adultery, he can't be condemned for it as his wife has lost her charms and he was just following his nature. As Stiva clings to fantasy and reverie in this scene, so his belief that he isn't really to blame for his own deeds implies a defect in his sense of reality. (In Part Three of the novel we are told that despite Stiva's "efforts to be an attentive father and husband, he never could keep in his mind that he had a wife and children," p. 297.)At this point in his musings Stiva thinks back to the terrible moment when he returned "from the theater" to find his wife brandishing an incriminating letter (whether from him to the governess or the governess to him), and demanding an explanation.And at this recollection, Stepan Arkadyevich, as is so often the case, was not so much annoyed at the fact itself as at the way in which he had reacted to his wife's words.There happened to him at that instant what happens to people when they are unexpectedly caught in something very disgraceful. He did not succeed in assuming an expression suitable to the position in which he was placed by his wife's discovery of his guilt. Instead of acting hurt, denying, defending himself, begging forgiveness, instead of remaining indifferent... his face utterly involuntarily (reflex action of the brain, reflected Stepan Arkadyevich, who was... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Stiva's Idiotic GrinStewart JustmanIRecall if you will the stunning opening chapter of Anna Karenina. After laying down the principle that "Happy families are all alike; every unhappy family is unhappy in its own way,"1 the narrative introduces us to one of the latter. The Oblonsky household is in turmoil. Having found out that her spouse is philandering with a former governess, Dolly has kept to her room for three (...) days. For the first time since the discovery Stiva, the husband, now sleeps at home—on a leather sofa in the study. Turning "as though he would sink into a long sleep again," he suddenly awakens, sits up, and tries to recover the delights of wine, women, and song that were his in a tantalizing dream. "Yes, Alabin was giving a dinner on glass tables, and the tables sang Il mio tesoro—not Il mio tesoro, though, but something better, and there were some sort of little decanters on the table, and they were women, too." A man who has been playing Don Juan plays in a dream with an aria from Don Giovanni.Incongruously for one whose household is in open revolt and whose wife flees the sight of him, as he recollects his dream Stiva's eyes "twinkled gaily, and he pondered with a smile." Awakening itself seems to be an act of escapism for Stiva. "Cheerfully" he feels about for the slippers embroidered for him by his wife. (It was when his attention was arrested by some beautiful embroidery on his robe and he fell to thinking "about how people get the idea in their heads to invent all these patterns and [End Page 427] ornaments of embroidery" that Tolstoy got the idea for Anna Karenina.)2 Only when he reaches for his dressing gown in the usual place and doesn't find it does Stiva return to reality, and as he does so, the smile disappears from his face. "'Ah, ah, ah! Oo!...' he groaned, recalling everything that had happened. And as he recalled every detail of his quarrel with his wife, he realized the hopelessness of his situation, and, most tormenting thought of all, that it was his own fault." But as if contriving an escape from a situation that permits none, he maintains that even though the crisis in his marriage and his household is undoubtedly his own doing, still he is not to blame. "And the most awful thing about it [he tells himself] is that it's all my fault—all my fault, though I'm not to blame." Like a lawyer producing an argument, Stiva invents a saving distinction between being at fault and being really at fault—in effect claiming that although he does engage in adultery, he can't be condemned for it as his wife has lost her charms and he was just following his nature. As Stiva clings to fantasy and reverie in this scene, so his belief that he isn't really to blame for his own deeds implies a defect in his sense of reality. (In Part Three of the novel we are told that despite Stiva's "efforts to be an attentive father and husband, he never could keep in his mind that he had a wife and children," p. 297.)At this point in his musings Stiva thinks back to the terrible moment when he returned "from the theater" to find his wife brandishing an incriminating letter (whether from him to the governess or the governess to him), and demanding an explanation.And at this recollection, Stepan Arkadyevich, as is so often the case, was not so much annoyed at the fact itself as at the way in which he had reacted to his wife's words.There happened to him at that instant what happens to people when they are unexpectedly caught in something very disgraceful. He did not succeed in assuming an expression suitable to the position in which he was placed by his wife's discovery of his guilt. Instead of acting hurt, denying, defending himself, begging forgiveness, instead of remaining indifferent... his face utterly involuntarily (reflex action of the brain, reflected Stepan Arkadyevich, who was... (shrink)

In January 1969, just before his inauguration as president, Richard M. Nixon attended a concert in his honor at Constitution Hall. The program consisted entirely of works by American composers, including Howard Hanson, then the director of the Eastman School of Music at the University of Rochester. Hanson's choral work “Song of Democracy,” a setting of two excerpts from poems by Walt Whitman, was the last number of the evening. Here isNew York Timesmusic critic Harold Schonberg's commentary on the event, (...) which featured the National Symphony Orchestra and the Mormon Tabernacle Choir:“Song of Democracy” is not a very original or strong piece, but it makes a big brave sound in its concluding measures, and the well-trained Mormon Tabernacle Choir had a lusty time with it... Mr. Nixon listened intently, but grinned his way between numbers. At the end of the Hanson work, he was determined to be the first to applaud. He brought his fist down in a great downbeat, anticipating the conductor's by a good half measure.Afterwards, Schonberg reported, Nixon left the presidential box to congratulate Hanson personally. (shrink)