The purpose of this paper is to discuss Miller’s recent claim that 1) the ideal of value-freedom is implausible because evidence from experimental psychology reveals how scientific reasoning is val...

The rise of AI-based systems has been accompanied by the belief that these systems are impartial and do not suffer from the biases that humans and older technologies express. It becomes evident, however, that gender and racial biases exist in some AI algorithms. The question is where the bias is rooted—in the training dataset or in the algorithm? Is it a linguistic issue or a broader sociological current? Works in feminist philosophy of technology and behavioral economics reveal the gender bias (...) in AI technologies as a multi-faceted phenomenon, and the linguistic explanation as too narrow. The next step moves from the linguistic aspects to the relational ones, with postphenomenology. One of the analytical tools of this theory is the “I-technology-world” formula that models our relations with technologies, and through them—with the world. Realizing that AI technologies give rise to new types of relations in which the technology has an “enhanced technological intentionality”, a new formula is suggested: “I-algorithm-dataset.” In the third part of the article, four types of solutions to the gender bias in AI are reviewed: ignoring any reference to gender, revealing the considerations that led the algorithm to decide, designing algorithms that are not biased, or lastly, involving humans in the process. In order to avoid gender bias, we can recall a feminist basic understanding—visibility matters. Users and developers should be aware of the possibility of gender and racial biases, and try to avoid them, bypass them, or exterminates them altogether. (shrink)

Introduction: making the invisible visible -- The nobility of the material -- Research at war -- The guilded age of research -- The doctor as whistle-blower -- New rules for the laboratory -- Bedside ethics -- The doctor as stranger -- Life through death -- Commissioning ethics -- No one to trust -- New rules for the bedside -- Epilogue: The price of success.

The most recent (Fifth) revision of the Declaration of Helsinki, adopted in October 2000 by the World Medical Association (WMA), reinforces the longstanding prohibition against offering placebo instead of effective therapy. The WMA left no doubt that if a beneficial treatment for a condition has already been recognised, it is unethical to offer placebo in place of such treatment to anyone in a study of the same condition. We have previously drawn attention to the discrepancy between the spirit of the (...) Declaration and the common practice of using placebo controls in randomised trials even if effective treatment exists. Despite the mandates of the Declaration of Helsinki and concern from ethicists and scientists, the US Food and Drug Administration (FDA) continues to demand and defend placebo‐controlled evidence of efficacy and safety for the development of many new pharmaceuticals, even if effective therapy exists. We suggest that the FDA's arguments defending their practice are insufficient to justify medical research that violates the Declaration of Helsinki. (shrink)

Book reviewed in this article: Strangers at the Bedside: A History of How Law and Bioethics Transformed Medical Decision Making. By David J. Rothman.

William Rothman argues that the driving force of Hitchcock's work was his struggle to reconcile the dark vision of his favorite Oscar Wilde quote, "Each man kills the thing he loves," with the quintessentially American philosophy, articulated in Emerson's writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the (...) murderous villain and godlike author, Hitchcock, who pulls the villain's strings -- and ours. Because Hitchcock believed that the camera has a murderous aspect, the question "What if anything justifies killing?," which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock's career, Rothman discerns a progression in the films' meditations on murder and artistic creation. This progression culminates in _Marnie _(1964), Hitchcock's most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted. Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock's way of thinking cinematically and the philosophical way of thinking Emerson's essays exemplify. He finds that the terms in which Emerson thought about reality, about our "flux of moods," about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general. (shrink)

This paper addresses the changing ideology regarding reproduction, an evolving American, and potentially worldwide, value system regarding children and parenthood. Children are increasingly being seen as products, and the new technology of reproduction, including the sale of reproductive material and services and especially prenatal diagnosis and selective abortion, encourage this commodification of the fetus. While the new technology does indeed offer new choices, it also creates new structures and new limitations on choice. In the contemporary American social structure, these choices (...) are inevitably couched in terms of production and commodification, and thus do not offer individuals genuine choice or control. (shrink)