An area where conflicts of interest can take place in Estonia is in the conduct of clinical trials. The paper lists the main areas where such conflicts of interest can occur. The author also briefly discusses Estonia’s current position with regard to regulating genetic information and the commencement of the Estonian Genome Project.

An area where conflicts of interest can take place in Estonia is in the conduct of clinical trials. The paper lists the main areas where such conflicts of interest can occur. The author also briefly discusses Estonia’s current position with regard to regulating genetic information and the commencement of the Estonian Genome Project.

Può il brusio di una voce essere anche il luogo di una lingua? E vale questa topica anche nel caso in cui la voce sia quella di uno strumento musicale? Queste domande sono alla base della indagine sulla tecnica compositiva della tintinnabulatio, inventata e sperimentata dal musicista estone Arvo Pärt . I tintinnabuli consistono di due elementi apparentemente contraddittori: la sonorità pastosa dello zvod e l’armonia della triade perfetta. Muovendo da un disco ricevuto in dono e dalla interpretazione in (...) parte inedita di un passo di san Paolo, l’autore cerca di individuare il punto di articolazione dei tintinnabuli, quella “grana” dove – come disse una volta Roland Barthes – una lingua incontra una voce. Il problema musicale sottende le interminabili discussioni trinitarie dell’Oriente cristiano – qui per sfortuna solo accennate – e si manifesta nella figura dell’iconografo medievale Andrej Rublëv, cui il regista russo Tarkovskij ha dedicato, nel 1966, un denso e ispiratissimo film. Could the rustling of a voice be also the place of a language? And does it happen all the same, when the voice at issue is that of an instrumental body? Such questions are the basic ones for any inquiry into Arvo Pärt’s tintinnabuli—the technique invented and experienced by the famous Esthonian composer . It consists of two seemingly conflicting elements: the doughy resonance of the zvot ; and the harmony of the perfect triad. The present paper moves from the personal memory of listening Pärt’s elegy Silouans Song. The delicate instrumental piece is said to conceal a prosodical calque of the voice of the famous staretz Silouan the Athonite . Silouan’s song —to use Barthes’ words—is the very place where “a language does meet a voice”. Some interpretive consequences lead off such a meeting: from a misunderstanding of a Pauline passage to the art of sacred Icons; and from the Trinitarian controversies of Byzantine church fathers to the medieval painter St.Andrej Rublëv and his most famous icon: “The Holy Trinity”. A work where—as Andrej Tarkovski has shewed in his celebrated movie of 1966—Abraham’s oak is a like a bell concealing the threefold person of God. (shrink)

El presente artículo resume los fundamentos de la teoría estética formulada por Luigi Pareyson. La materia y la forma constituyen la obra y en ellas se da una unión entre lo espiritual y lo material mostrando la esencia de lo bello-verdadero en la trascendencia. La percepción de los sentidos y la interacción materia-espíritu nos llevará a las fuentes de la experiencia estética en tanto que experiencia del ser. Arvo Pärt lo manifestará así en Berliner Messe y Cantus in memoriam (...) of Benjamin Britten. La forma abre la materia al espíritu y el espíritu abre el arte a la trascendencia. (shrink)

Lääketieteellisten teknologioiden kehitys voi tulevaisuudessa johtaa siihen, että ihmisten elinikä voidaan moninkertaistaa. Eri filosofisista lähtökohdista tällaisen toiminnan toivottavuuteen voidaan suhtautua eri tavoin. Jonathan Glover ja John Harris ovat tervehtineet mahdollisuutta ilolla ja suositelleet pyrkimistä sen toteuttamiseen. Enemmän elämää on heidän mielestään parempi kuin vähemmän, eikä asiaa tarvitse sen kummemmin monimutkaistaa. Leon Kass ja Jürgen Habermas ovat puolestaan torjuneet ajatuksen kauhistuneina. Elämämme arvo ei riipu sen pituudesta, vaan sen annetusta tai lahjana saadusta sisällöstä. Kirjoituksessa teen selkoa näistä kahdesta vastakkaisesta kannasta (...) koskien ”elämän tarkoitusta” ja lisään joukkoon oman tulkintani epikurolaisesta ajattelusta. Viimeksi mainitun mukaan eliniän huomattavasta lisäämisestä ei olisi ihmisille sen paremmin haittaa kuin hyötyäkään. (shrink)

Recently, there’s been a lot of interest in a research program that tries to understand propositional representation in terms of the subject’s performance of sub-propositional mental acts like reference and predication (e. g. Burge 2010, Hanks 2015, Soames 2010, 2015). For example, on one version of the view, for a subject to predicate the property of being a composer of Arvo just is what it is to perform the to the basic propositional act of judging that Arvo is (...) a composer (e. g. Hanks 2015). In this paper I first present my own version of this view and contrast it with alternatives. I then argue that we must clearly separate the thin predication-resultant notion of judging (S(emantic)-judgment) from a much richer notion used in epistemology (E(pistemic)-judgment). The former is just the act of thinking a forceful thought. The latter is the act of making up one’s mind about how things are, a way of concluding theoretical or doxastic deliberation. I argue that these two acts differ in three ways: levels of propositional attitude, objective vs. subjective norms, and the possibility of sub-personal occurrence. (shrink)

Totuus on nykyisellään laaja-alaisen kritiikin kohteena niin akateemisessa, poliittisessa kuin vähemmän formaalissakin kontekstissa. Puolustan filosofisesti kestävää ja selitysvoimaista totuuskäsitettä tältä laaja-alaiselta kritiikiltä argumentoimalla sen arvon ja normatiivisuuden puolesta. Totuus on välineellisesti arvokas käsite, joka mahdollistaa todellisuuden erottamisen kuvitelmasta ja toiveajattelusta. Tämän lisäksi todet uskomukset ovat välineellisesti arvokkaita moninaisten hyötyjen, kuten onnistuneiden ennustusten ja navigoinnin saavuttamisessa. Toisaalta olemme joskus kiinnostuneita totuudesta pelkästään sen itsensä takia. Totuuden normatiivisuudesta kertoo taipumuksemme pitää sitä yleisenä tiedollisten pyrkimysten päämääränä ja yhtenä uskomuksen sekä väitettävyyden oikeellisuuden standardina, (...) johon suhteessa olemme eri mieltä ja jonka puhumista edellytämme luokka- ja oikeussaleissamme sekä parlamenteissamme. Edellisen nojalla totuus ei osoittaudu pelkästään mielenkiintoiseksi teoreettisen tarkastelun kohteeksi, vaan käsitteeksi, jolla on laaja-alaista tieteellistä ja yhteiskunnallista merkittävyyttä. (shrink)

Abstract:This essay reflects on the values of slowness and resistance as fundamental ideas directly opposed to modern culture's ideals of effectiveness and smoothness and discusses how music from the Western classical music tradition can offer such values in music education. At the same time, how we listen to music is highlighted as equally important as what we listen to. Values like slowness and resistance are seen as important critical ideas, not only in the bubble of aesthetics, music, and music education, (...) but also in general discussions of consumeristic modern culture, characterized by unsustainable ideas of constant action and economic growth. Slowness and resistance in musical experience is argued to be important in forming the future of music education for sustainable development. The Korean-born German philosopher of art and cultural theorist Byung-Chul Han's discussion of the concept of beauty, is central for the ongoing reflections in the essay. Martin Heidegger's aesthetics of unveiling, and Hannah Arendt's concept of vita contemplativa, as well as music of the Estonian composer Arvo Pärt and the Icelandic singer Björk, are also involved in the discussion. (shrink)

L'humour en musique n'a pas bonne presse. Labile, déroutant, anecdotique, il a été vilipendé par certains philosophes et compositeurs de la modernité – Schopenhauer, Adorno, Varèse et Boulez en tête – tandis que d'autres – Bergson, Jankélévitch – y voyaient l'expression d'une légèreté sérieuse, l'essence même de l'art. Après une période de déni, consécutive à la Seconde Guerre mondiale, l'humour musical se manifeste depuis les années 1960 chez de multiples compositeurs comme Mauricio Kagel, Gyêrgy Ligeti, Luc Ferrari, Luciano Berio, Bruno (...) Maderna, Arvo Part, Krzysztof Penderecki, Régis Campo, etc. Les quatorze articles réunis dans ce volume tentent tout d'abord d'en éclaircir les principales nuances et de caractériser les cousinages avec le comique, la satire, la parodie, l'ironie. Un deuxième temps est consacré à l'étude du rire musical, ses techniques et sa sémantique. Sans être toujours attaché à l'humour, il engendre des significations secondaires : la peur, la folie, le désespoir. La dernière partie aborde l'esthétique de la satire, qui révèle de riches intertextualités, en particulier à travers le détournement de citations. Y sont également abordés les liens qu'entretiennent l'humour et ses dérivés avec les mutations postmodernes et hypermodernes des sociétés occidentales. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Invisible ChildrenMaureen KelleyИсчезаю в весне,в толпе,в лужах,в синеве.И не ищите.Мне так хорошо...I fade into spring,or into a crowd,or into a puddle,sometimes into the blue.There's no sense in looking for me.I feel fine...—¾"Absentee" by Arvo Mets"You have to go through Lesha to get to Danil," Alexandra told me. Lesha was a small but unmoving dog with matted hair and a fierce growl. The dog was pressed against the (...) little boy, who looked no more than three or four years old. Alexandra later told me he was eight. Danil was wearing a Spider Man shirt that was four sizes too big and came down to his feet and mismatched sandals. He was huddled against his dog not only for security but warmth. His tiny arm circled Lesha's neck and he looked at me with a mix of curiosity and caution. I knelt and put my hand out for Lesha to smell me. Apparently I didn't pass the smell test. The dog didn't budge from his post. We stood like that for a long time, at the base of the steps to the shelter. I tried the few Russian words I had learned while visiting as a volunteer. The dog didn't understand my broken Russian, or pretended not to, but I managed to get a shy smile from Danil.Alexandra, a nurse volunteer at the shelter, eventually mediated the standoff by giving Lesha, the dog, a cookie. I introduced myself to the little boy. And just like that, he leaned up against me and put both arms around my legs. It didn't matter that I was a stranger, and a stranger who spoke terrible Russian. "Spidey" was an affectionate little guy. He gripped my hand while Alexandra led us up the steps and Lesha followed close behind. Inside was a small room, warm and full of color. One wall was covered in kids' drawings. Another had public health posters in Russian, some with instructions for condom use, others on literacy. There were about fifteen kids in the shelter that afternoon. The young ones were drawing pictures at a low table. Two teenage boys were hunched over a small TV playing a video game. There was only one teenage girl, Irina. She was cooing at the little kid's drawings, showing one girl how to draw a princess. Alexandra said quietly to me, "Most of the teenage girls are only here in the morning. The rest are back at work right now." I found out later "back at work" meant on the streets as sex workers. This city was frequented by businessmen and itinerant workers heading to the factories or lumber mills in the North. The best money for homeless girls was in prostitution. Danil unwrapped himself from me and ran over to the two older boys playing video games. One put his controller down long enough to pull Danil into his lap. The three boys stared intently as Super Mario hopped from mushroom to magic cloud, golden coins spinning above his cartoon head.To the right of the main room was a closet-sized office for the shelter director, Anya, a pediatrician who donated her time to running the shelter for homeless and orphaned youth living on the streets. Alexandra and I stood in the doorway waiting for Anya to finish a phone conversation. Her desk was covered in papers. Behind her were photos of the kids who had "graduated" from the streets. There were cards and letters pinned to a cork board. When [End Page E4] she finished, Anya greeted us with bear hugs and showed us to the clinic area. Next to her office was a small bathroom with a shower and tub. She explained that bath days were on Wednesdays. Around back, with a separate entrance was the small clinic space. The outside metal door had a sliding window that you see at some nightclubs. They ran a needle exchange program out of that door. It was funded for street youth, but from time to time they would get adult addicts. Anya was adamant that this side of the clinic remain separate from the central space for the children. In reality the distance... (shrink)

Eriarvoisuuspuheella voidaan viitata moniin eri asioihin. Usein sillä tarkoitetaan hyvien asioiden epätasaista jakautumista. Ei kuitenkaan ole itsessään huono asia, että joillakin menee paremmin kuin toisilla. Silloin kun taloudellinen eriarvoisuus on ongelma, kyse on sen syistä tai seurauksista. On kuitenkin myös itsessään moraalisesti ongelmallinen eriarvoisuuden muoto, jota kutsun erivertaisuudeksi. Siinä on kyse joidenkin herruudesta ja ylivallasta toisiin nähden tai siitä, että joitakin suositaan järjestelmällisesti toisten kustannuksella. Erivertaisuus ei sovi yhteen jokaisen yksilön moraalisen tasa-arvoisuuden kanssa, joten se on itsessään huono asia. Oikeudenmukaisuus (...) vaatii kansalaisten tasavertaisuutta, jota merkittävä taloudellinen eriarvoisuus uhkaa monella tavalla. (shrink)