This paper looks at the ethics of opt-in vs. opt-out of organ donation as Scotland has transitioned its systems to promote greater organ availability. We first analyse studies that compare the donation rates in other regions due to such a system switch and find that organ increase is inconclusive and modest at best. This is due to a lack of explicit opt-out choices resulting in greater resistance and family override unless there are infrastructures and greater awareness to support such change. (...) The paper then looks at the difference between informed consent of the opt-in vs. presumed consent in the opt-out approaches. Patient autonomy and dignity are better reflected with informed consent. Eighteen months have passed since the new organ donation policy has come into effect, this paper recommends more research into organ donors’ psychological motivations to help governments and the healthcare profession obtain more organs for transplantation. (shrink)

This article examines two Buddhist explanations of how a conceptual cognition, whose object is a universal, can give rise to activity that leads to a particular. In both theories, that of Dharmottara and that of Ratnakīrti, this activity is due to a kind of error. A detailed investigation of how this error happens shows that there were big differences in the two underlying epistemological models.

This paper is about Christopher Wren’s engravings for Thomas Willis’ The Anatomy of the Brain and Nerves of 1664. It is a study in the intersection of medicine and art in 17th century Britain. Willis, an eminent English physician and anatomist, was a major figure in the development of modern neurology, and The Anatomy of the Brain and Nerves was his most famous and influential book. Wren was Willis’ assistant and medical artist. I discuss the visual strategies employed by Wren (...) to present their research and frame it as genuine knowledge. (shrink)

Robert Knox (1791–1862) is typically remembered as the Edinburgh anatomist to whom the murderers Burke and Hare sold the bodies of their victims. This association brought Knox infamy and damaged his life and career. Before the Burke and Hare scandal, Knox was one of the most famous, original and influential anatomists in Britain. He was also something of a dandy with a sophisticated appreciation of the visual arts. His most significant writings on artistic subjects were his books A Manual of (...) Artistic Anatomy and Great Artists and Great Anatomists: A Biographical and Philosophical Study. Knox's interesting and independently minded opinions on the central artistic questions of his day were taken seriously by his contemporaries. His demotion in the official history of anatomy following his involvement with Burke and Hare, however, also removed him from the history of art theory in 19th century Britain. Knox was such a magnetic and impressive figure, though, that he has to be brought back to his era and his era is not complete without him. This paper discusses how Knox's writings on anatomy and biology shaped his contributions to art theory. It is a first step towards returning Knox, the art theorist, to the cultural life of 19th century Britain. (shrink)

The capability approach constitutes a significant contribution to social theory but its potential is diminished by its insufficient treatment of the social construction of meaning. Social meanings enable people to make value judgements about what they will do and be, and also to evaluate how satisfied they are about what they are able to achieve. From this viewpoint, a person’s state of wellbeing must be understood as being socially and psychologically co-constituted in specific social and cultural contexts. In this light, (...) the telos of ‘living well’ which is at the heart of Sen’s version of the capability approach is inadequate and must be modified to a telos of ‘living well together’ which includes consideration of the social structures and institutions which enable people to pursue individual freedoms in relation to others. The policy significance of the capability approach can be further strengthened by paying greater consideration to the political economy of policy decision-making processes and the ways in which conflicts and distributions of power are institutionalized. (shrink)

Although content related to parenting Autistic children is common in online media, little attention is paid to the experiences of Autistic parents. There is a growing trend of parents receiving autism diagnoses after their children are diagnosed, yet a basic Google search on “parents” and “autism” reveals myriad data on the experiences of parents of Autistic children and little on experiences of Autistic parents. A systematic online search, augmented with a “crowd-sourcing” request to online parent support groups, identified only 15 (...) articles and blogs that discuss Autistic parenting in advocacy, lifestyle, and parenting websites. This article explores the scope and content of Autistic parenting discourse in these online media to consider how the experiences of Autistic parents are conceptualized and situated within broader narratives of neurodiversity, autism and parenting. Media discourse focused on women who had received their autism diagnosis in adulthood, their experiences navigating their diagnoses, minimizing parenting challenges, and pushing back against autism stereotypes, with the majority of content intended for Allistic audiences. Recent increased recognition of autism in women has coincided with a new interest in Autistic parenthood, raising questions about gendered assumptions and disabled mothering. The media narrative includes “defying stereotypes” and “proving” autism is compatible with parenthood, echoing mainstream beliefs. Social justice issues reinscribed in the narrative illustrate how centring the voices of Autistic parents can reconceptualize public perception of autism and bridge the disconnect between parenting Autistic children, and Autistic parenting of children. (shrink)

The rise of mobile communication applications and technologies presents promising therapeutic and accessibility-related interventions for neurodivergent users. However, top-down approaches in human-computer interaction research often prioritize the needs and goals of allistic and neurotypical researchers and secondary stakeholders in media creation. Furthermore, media technologies are created with a one-size-fits-all approach, with the intent of rehabilitating or curing neurodivergent ways of being. This article imagines neuroqueer technoscience as an extension of crip technoscience that amplifies new styles of relationality, self-expression, and communication (...) practices within the development of information and communication technologies. Using an interdisciplinary framework informed by crip technoscience and human-computer interaction research, the author presents three tenets for mediating neuroqueer subjectivities. (shrink)

Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that (...) reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wölfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915 on exhibits in his work ever more Kantian thinking and language.4 But Logos was not an art-historical review or one dedicated to aesthetics but a principal mainstream journal of the philosophy of culture. So ‘On the Problem of Describing and Interpreting Works of the Visual Arts’ has a good claim to be the culmination of Panofsky's philosophical thinking in his German period under the Weimar Republic. · 1. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , p. xv; hereafter abbreviated SI. See Panofsky, ‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst’, Logos 21 : 103–19; trans. Jaś Elsner and Katharina Lorenz under the title ‘On the Problem of Describing and Interpreting Works of the Visual Arts’, Critical Inquiry 38 : 467–82; hereafter abbreviated ‘P’.· 2. See the discussion in Carlo Ginzburg, ‘From Aby Warburg to E. H. Gombrich: A Problem of Method’, Myths, Emblems, Clues, trans. John and Anne C. Tedeschi , pp. 17–59, esp. pp. 36–41.· 3. See Panofsky, ‘Das Problem des Stils in der bildenden Kunst’, Deutschsprachige Aufsätze, ed. Karen Michels and Martin Warnke, 2 vols. , 2:1009–18; ‘Der Begriff des Kunstwollens’,Deutschsprachige Aufsätze, 2:1019–34, trans. Kenneth J. Northcott and Joel Snyder under the title ‘The Concept of Artistic Volition’, Critical Inquiry 8 : 17–33; and ‘Über das Verhältnis der Kunstgeschichte zur Kunsttheorie: Ein Beitrag zu der Erörterung über die Möglichkeit kunstwissenschaftlicher Grundbegriffe’, Deutschsprachige Aufsätze, 2: 1035–63, trans. Lorenz and Elsner under the title ‘On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art’, Critical Inquiry 35 : 43–71.· 4. On neo-Kantianism in pre-Nazi Germany, see Michael Friedman, A Parting of the Ways: Carnap, Cassirer, and Heidegger , pp. 25–37; Éric Dufour and T. Z. R. Créteil, ‘Le Statue du singulier: Kant et le néokantisme de l’École de Marbourg', Kantstudien 93 : 324–50; Edward Skidelsky, Ernst Cassirer: The Last Philosopher of Culture , pp. 22–51; and Peter E. Gordon, Continental Divide: Heidegger, Cassirer, Davos , pp. 52–86. Specifically on the Cassirerian Kantianism of Panofsky, see Michael Podro, The Critical Historians of Art , pp. 181–82; Michael Ann Holly, Panofsky and the Foundations of Art History , pp. 91–92, 147–52; Silvia Ferretti, Cassirer, Panofsky, and Warburg: Symbol, Art, and History, trans. Richard Pierce , pp. 174–77, 182–84; David Summers, ‘Meaning in the Visual Arts as a Humanistic Discipline’, in Meaning in the Visual Arts: Views from the Outside, ed. Irving Lavin , pp. 9–24; Mark A. Cheetham, Kant, Art, and Art History: Moments of Discipline , pp. 68–77; Paul Crowther, The Transhistorical Image: Philosophizing Art and Its History , pp. 70–73; Allister Neher, ‘“The Concept of Kunstwollen”, Neo-Kantianism, and Erwin Panofsky's Early Art Theoretical Essays', Word and Image 20 : 41–51; Georges Didi-Huberman,Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman , pp. 4–6, 90–138; and Lorenz and Elsner, ‘Translators’ Introduction', Critical Inquiry35 : 33–42, esp. pp. 38, 40–42. (shrink)

In his paper "Noneism or Allism" David Lewis argued that Richard Sylvan's rehabilitation of Meinong's theory of objects was not a noneist one but rather an allist, that is, that all objects whatsoever actually exist and thus Meinong and Sylvan are among the greatest "entity-multipliers". But this is exactly what Sylvan tried to show is not the case. I'll argue that Lewis' attack ultimately fails in re-instating an old serious misinterpretation of Meinongian metaphysics. In doing so he deflects attention away (...) from the substance of Sylvan's position and casts him as the defender of something unintelligible. (shrink)