Data Transfer Service (DTS) is an open-source project that is developing a document-centric message model for describing a bulk data transfer activity, with an accompanying set of loosely coupled and platform-independent components for brokering the transfer of data between a wide range of (potentially incompatible) storage resources as scheduled, fault-tolerant batch jobs. The architecture scales from small embedded deployments on a single computer to large distributed deployments through an expandable ‘worker-node pool’ controlled through message-orientated middleware. Data access and transfer efficiency (...) are maximized through the strategic placement of worker nodes at or between particular data sources/sinks. The design is inherently asynchronous, and, when third-party transfer is not available, it side-steps the bandwidth, concurrency and scalability limitations associated with buffering bytes directly through intermediary client applications. It aims to address geographical–topological deployment concerns by allowing service hosting to be either centralized (as part of a shared service) or confined to a single institution or domain. Established design patterns and open-source components are coupled with a proposal for a document-centric and open-standards-based messaging protocol. As part of the development of the message protocol, a bulk data copy activity document is proposed for the first time. (shrink)

This article explores the seemingly exaggerated emphasis of Lyotard on the importance of hearing the ethical commandment in Levinas, instead of seeing or perceiving it in sensibility. Lyotard wants to read Levinas as a “Jewish thinker,” and his ethics as deeply connected to “Hebraic ethics.” Such a reading contrasts with phenomenological and Christian interpretations of Levinas, like Jean-Luc Marion’s, that focus on incarnation, the face, love, and the concrete relation to the other. Yet Lyotard outbids the rigor of commandment in (...) Levinas, insisting on the radical heterogeneity of hearing and any phenomenological seeing. Ethics is completely outside phenomenology. This article argues that, instead of reading Lyotard as misreading Levinas, his approach can be one of the names for the skeptical phase that suspends or interrupts the Levinasian Said itself, especially when it tends to become excessively Christian. (shrink)

Advancements in novel neurotechnologies, such as brain computer interfaces and neuromodulatory devices such as deep brain stimulators, will have profound implications for society and human rights. While these technologies are improving the diagnosis and treatment of mental and neurological diseases, they can also alter individual agency and estrange those using neurotechnologies from their sense of self, challenging basic notions of what it means to be human. As an international coalition of interdisciplinary scholars and practitioners, we examine these challenges and make (...) recommendations to mitigate negative consequences that could arise from the unregulated development or application of novel neurotechnologies. We explore potential ethical challenges in four key areas: identity and agency, privacy, bias, and enhancement. To address them, we propose democratic and inclusive summits to establish globally-coordinated ethical and societal guidelines for neurotechnology development and application, new measures, including “Neurorights,” for data privacy, security, and consent to empower neurotechnology users’ control over their data, new methods of identifying and preventing bias, and the adoption of public guidelines for safe and equitable distribution of neurotechnological devices. (shrink)

After decades of single issue movements and identity politics on the U.S. left, the series of large demonstrations beginning in 1999 in Seattle have led many to wonder if activist politics can now come together around a common theme of global justice. This book pursues the prospects for progressive political movements in the 21st century with case studies of ten representative movements, including the anti-globalization forces, environmental interest groups, and new takes on the peace movement.

Arthur Norman Prior (1914-69) was a logician and philosopher from New Zealand who contributed crucially to the development of ‘non-standard’ logics, especially of the modal variety. His greatest achievement was the invention of modern temporal logic, worked out in close connection with modal logic. However, his work in logic had a much broader scope. He was also the founder of hybrid logic, and he made important contributions to deontic logic, modal logic, the theory of quantification, the nature of propositions and (...) the history of logic. In addition, he discussed questions of ethics, free will, and general theology. Prior’s philosophical works comprise about 200 titles. His earliest articles center on philosophical theology and historical studies of Scottish Reformed Theology. This led on to the publication of his first influential work on ethics: Logic and The Basis of Ethics (1949). With the invention of tense-logic in the early 1950s, his focus shifted to investigations into the syntax of tempo-modal logic leading to his seminal Time and Modality (1957), a volume derived from his John Locke Lectures in Oxford in 1956. Furthermore Prior, together with the Irish mathematician and logician C.A. Meredith (1904-76), made important early contributions to the semantics of possible worlds. Prior’s tense-logic provided a strong conceptual framework for problems pertaining to the philosophy of time. In Time and Modality, Prior discussed the philosophical implications of Ruth Barcan’s famous formulae for tense-logic, and in the 1960s he worked on the notion of the present. The most persistent problem running through Prior’s work is his study of the questions surrounding human freedom and divine foreknowledge, and more general philosophical problems emerging from this classical theological question. His thorough analysis of this problem, with the conceptual tools of tense-logic, received a crucial impetus from his correspondence with the young Saul Kripke, when the latter suggested the semantic tool of branching time to Prior. Prior’s development of two solutions based on branching time for the problem of future contingency, the Peircean and the Ockham solution, was most thoroughly developed in Past, Present and Future (1967), the most important work published by Prior. Characteristically for Prior’s methodological approach, the development of these two solutions were at the same time a development of two new systems of tense logic, and vice versa. One of Prior’s significant contributions to logic was his work on world propositions and instant propositions. In the course of developing these notions he also made one of the earliest formulations of hybrid logic. In Papers on Time and Tense (1968), he presented this idea in a more detailed manner in the context of his four grades of tense-logical involvement. (shrink)

Since the early 1980s, James Bernat’s scholarship has accompanied and shaped most scientific and policy developments on death determination. In 1981, he, Charles Culver, and Bernard Gert provided a...

El presente artículo recuerda momentos cruciales de una historia del sujeto que va de Jacques Lacan a Alain Badiou. Tras la división y la subversión lacaniana del sujeto, se revisan reacciones que intentan revertirla en varios autores. Estas reacciones se contrastan con la idea badiouana de la escisión del sujeto entre el esplacio y el fuera-de-lugar. La absolutización estructuralista del esplacio estructural se ilustra con la acción de la estructura de Jacques-Alain Miller, se aproxima al argumento de las estructuras que (...) descienden a la calle con el que Lacan defendió la posición estructuralista contra Lucien Goldmann y se explica por la forclusión del sujeto en el estructuralismo, en el sistema capitalista y en la ciencia en general. Con respecto al campo científico, se muestra cómo fue definido primero por la forclusión y luego por la suturación del sujeto en Miller, simultáneamente por la forclusión y la suturación en Lacan, y sólo por la forclusión en Badiou, quien empezará negando y terminará aceptando la existencia de un sujeto de la ciencia, pero diferente del de Lacan y Miller. (shrink)

La cultura contemporánea y el contexto marcado por conflictos en el que residimos actualmente exigen el perdón. Especialmente, porque representa el camino a través del cual el ser humano lucha contra el mal. Sin embargo, el perdón se ha erosionado debido a los malentendidos asociados con su aplicación en la psicología y la vida pública. En este sentido, este artículo busca proporcionar una definición del perdón desde su carácter interpersonal. En otras palabras, en este trabajo afirmamos que es en los (...) encuentros cara a cara donde las personas enfrentan el mal, manifiestan su condición de personas y también la esfera de gratuidad a la que responde su realidad más íntima. Así, comenzaremos con la definición común del perdón y examinaremos cada uno de sus elementos constituyentes para presentar una configuración lo más completa posible de su realidad. Esta configuración servirá como un arquetipo para distinguir el perdón de la aceptación de sí, la liberación de sí y la reconciliación. Estas distinciones proponen la idea de que el perdón surge genuinamente de las relaciones interpersonales, allí donde un individuo pide el don de la liberación del mal cometido y otro lo concede libremente. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

This book stems from an examination of how Western philosophy has accounted for the foundations of law. In this tradition, the character of the “sovereign” or “lawgiver” has provided the solution to this problem. But how does the sovereign acquire the right to found law? As soon as we ask this question we are immediately confronted with a convoluted combination of jurisprudence and theology. The author begins by tracing a lengthy and deeply nuanced exchange between Derrida and Nancy on the (...) question of community and fraternity and then moves on to engage with a diverse set of texts from the Marquis de Sade, Saint Augustine, Kant, Hegel, and Kafka. These texts—which range from the canonical to the apocryphal—all struggle in their own manner with the question of the foundations of law. Each offers a path to the law. If a reader accepts any path as it is and follows without question, the law is set and determined and the possibility of dialogue is closed. The aim of this book is to approach the foundations of law from a series of different angles so that we can begin to see that those foundations are always in question and open to the possibility of dialogue. (shrink)

Wittgenstein often refers to matters of learning, and there have been efforts to extract a social conception of learning from his writings. In the first half of this article, I look at three such efforts, those of Meredith Williams, Christopher Winch, and David Bakhurst, and I say why I think these efforts fail. As I go on to argue, though, there is a fairly trivial sense in which learning is a social rather than a psychological phenomenon: ordinarily, there (...) are public criteria for whether someone has learned something. Yet, in the second half of the article, I point to an exception to this general rule. Taking a cue from Wittgenstein, I call this ‘intransitive learning’, as it refers to learning experiences where we cannot say what we have learned or where there simply isn't anything in particular that we have learned. This is a use that is not easily accommodated by received definitions of learning. It also represents a genuinely psychological use of the word ‘learn’. In contrast to ordinary cases of learning, claims about intransitive learning function like expressions and are marked by first-person authority. (shrink)

Disproportional morbidity and mortality experienced by ethnic minorities in the UK have been highlighted by the COVID-19 pandemic. The ‘Black Lives Matter’ movement has exposed structural racism’s contribution to these health inequities. ‘Cultural Safety’, an antiracist, decolonising and educational innovation originating in New Zealand, has been adopted in Australia. Cultural Safety aims to dismantle barriers faced by colonised Indigenous peoples in mainstream healthcare by addressing systemic racism.This paper explores what it means to be ‘culturally safe’. The ways in which New (...) Zealand and Australia are incorporating Cultural Safety into educating healthcare professionals and in day-to-day practice in medicine are highlighted. We consider the ‘nuts and bolts’ of translating Cultural Safety into the UK to reduce racism within healthcare. Listening to the voices of black, Asian and minority ethnic National Health Service (NHS) consumers, education in reflexivity, both personal and organisational within the NHS are key. By listening to Indigenous colonised peoples, the ex-Empire may find solutions to health inequity. A decolonising feedback loop is required; however, we should take care not to culturally appropriate this valuable reverse innovation. (shrink)

David Wiggins; IV*—Moral Cognitivism, Moral Relativism and Motivating Moral Beliefs, Proceedings of the Aristotelian Society, Volume 91, Issue 1, 1 June 1991, P.

David Wiggins; II*—Deliberation and Practical Reason, Proceedings of the Aristotelian Society, Volume 76, Issue 1, 1 June 1976, Pages 29–52, https://doi.org/10.

David Sobel defends subjectivism about well-being and reasons for action: the idea that normativity flows from what an agent cares about, that something is valuable because it is valued. In these essays Sobel explores the tensions between subjective views of reasons and morality, and concludes that they do not undermine subjectivism.

In this new introduction to a classic philosophical text, David Stern examines Wittgenstein's Philosophical Investigations. He gives particular attention to both the arguments of the Investigations and the way in which the work is written, and especially to the role of dialogue in the book. While he concentrates on helping the reader to arrive at his or her own interpretation of the primary text, he also provides guidance to the unusually wide range of existing interpretations, and to the reasons (...) why the Investigations have inspired such a diversity of readings. Following closely the text of the Investigations and meant to be read alongside it, this survey is accessible to readers with no previous background in philosophy. It is well-suited to university-level courses on Wittgenstein, but can also be read with profit by students in other disciplines. (shrink)

David Wiggins; XV*—Weakness of Will Commensurability, and the Objects of Deliberation and Desire, Proceedings of the Aristotelian Society, Volume 79, Issue 1, 1.

David Wiggins; IV*—Moral Cognitivism, Moral Relativism and Motivating Moral Beliefs, Proceedings of the Aristotelian Society, Volume 91, Issue 1, 1 June 1991, P.

David Webster explores the notion of desire as found in the Buddhist Pali Canon. Beginning by addressing the idea of a 'paradox of desire', whereby we must desire to end desire, the varieties of desire that are articulated in the Pali texts are examined. A range of views of desire, as found in Western thought are presented as well as Hindu and Jain approaches. An exploration of the concept of ditthi (view or opinion) is also provided, exploring the way (...) in which 'holding views' can be seen as analogous to the process of desiring. Other subjects investigated include the mind-body relationship, the range of Pali terms for desire, and desire's positive spiritual value. A comparative exploration of the various approaches completes the work. (shrink)

David Wiggins; XV*—Weakness of Will Commensurability, and the Objects of Deliberation and Desire, Proceedings of the Aristotelian Society, Volume 79, Issue 1, 1.

For this volume David Wiggins has selected and revised eleven of his essays in an area of metaphysics where his work has been particularly influential, and he has added a substantial introduction and one new unpublished essay. Among the subjects treated are substance, identity, persistence, persons, sortals, and artefacts.