The digital age brings with it novel forms of data flow. As a result, individuals are constantly being monitored while consuming products, services and content. These abilities have given rise to a variety of concerns, which are most often framed using “privacy” and “data protection”-related paradigms. An important, oft-noted yet undertheorized concern is that these dynamics might facilitate the manipulation of subjects; a process in which firms strive to motivate and influence individuals to take specific steps and make particular decisions (...) in a manner considered to be socially unacceptable. That it is important and imperative to battle manipulation carries with it a strong intuitive appeal. Intuition, however, does not always indicate the existence of a sound justification or policy option. For that, a deeper analytic and academic discussion is called for. This Article begins by emphasizing the importance of addressing the manipulation-based argument, which derives from several crucial problems and flaws in the legal and policy setting currently striving to meet the challenges of the digital age. Next, the Article examines whether the manipulation-based concerns are sustainable, or are merely a visceral response to changing technologies which cannot be provided with substantial analytical backing. Here the Article details the reasons for striving to block manipulative conduct and, on the other hand, reasons why legal intervention should be, in the best case, limited. The Article concludes with some general implications of this discussion for the broader themes and future directions of privacy law, while trying to ascertain whether the rise of the manipulation-based discourse will lead to information privacy’s expansion or perhaps its demise. (shrink)

Stem cells are likely to be used as an alternate source of biological material for neural transplantation to treat Parkinson’s disease in the not too distant future. Among the several ethical criteria that must be fulfilled before proceeding with clinical research, a favourable benefit to risk ratio must be obtained. The potential benefits to the participant and to society are evaluated relative to the risks in an attempt to offer the participants a reasonable choice. Through examination of preclinical studies transplanting (...) stem cells in animals and the transplantation of fetal tissue in patients with Parkinson’s disease, a current set of potential benefits and risks for neural transplantation of stem cells in clinical research of Parkinson’s disease are derived. The potential benefits to research participants undergoing stem cell transplantation are relief of parkinsonian symptoms and decreasing doses of parkinsonian drugs. Transplantation of stem cells as a treatment for Parkinson’s disease may benefit society by providing knowledge that can be used to help determine better treatments in the future. The risks to research participants undergoing stem cell transplantation include tumour formation, inappropriate stem cell migration, immune rejection of transplanted stem cells, haemorrhage during neurosurgery and postoperative infection. Although some of these risks are general to neurosurgical transplantation and may not be reduced for participants, the potential risk of tumour formation and inappropriate stem cell migration must be minimised before obtaining a favourable potential benefit to risk calculus and to provide participants with a reasonable choice before they enrol in clinical studies. (shrink)

The authors explore the interfaces between different dimensions of moral cognition, bridging economic, Bayesian and reinforcement learning perspectives. The human aversion to harming others cuts across these different interfaces, influencing decisions, judgments, and inferences about morality.

Исследование - это попытка выявить социокультурные основания, предпосылки и условия превращения человека традиционного восточного общества в современную личность. Для специалистов.

This chapter introduces the edited volume, The Oxford Handbook of Philosophy and Psychiatry. Published in 2013, the centenary of Karl Jaspers' General Psychopathology, the chapter draws lessons from the last hundred years for the coming century. No predictions are made. Instead, five 'conditions for flourishing' are set out: 1) Particular Problems - the importance of focussing on well-defined particular problems rather than general theory building, 2) Product- orientation - remaining always responsibly product oriented in the specific sense that both sides (...) put in the work necessary to 'go deep' with each other's fields, 3) Partnership - working in partnerships of one kind or another, 4) Process - constant reflection on process based on peer review but leaving scope for the occasional rogue voice to cut innovatively against the grain, and 5) Q - a condition of a different kind, Q is an empirically derived measure of the balance between in-group cohesion and out-group openness required to support creativity. Illustrations are given of how these five conditions for flourishing have underpinned the rapid expansion of philosophy and psychiatry in the closing decades of the twentieth century, and, correspondingly, are also reflected in the Handbook as a whole. Overviews and commentaries on individual contributions to the Handbook are given in extended editorial introductions to each of its eight sections. (shrink)

Haḳdamat Mesilat yesharim, śiḥah 1 -- Mesilat yesharim, śiḥah 2 -- Mesilat yesharim, śiḥah 3.

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

Typescripts, essays, and an authoritative edition of Knowing and the known, Dewey's collaborative work with Arthur F. Bentley. In an illuminating Introduction T. Z. Lavine defines the collaboration's three goals-the construction of a new language for behavioral inquiry, a critique of formal logicians, in defense of Dewey's Logic, and a critique of logical positivism. In Dewey's words: Largely due to Bentley, I've finally got the nerve inside of me to do what I should have done years ago. What is it (...) to be a linguistic sign or name? and Values, valuations, and social facts, ' both written in 1945, are published here for the first time. (shrink)

Purpose. Philosophy of culture is an extremely multifaceted field, which includes the anthropological segment as well. In particular, we can talk about the role of man in cultural progress in a particular period of development of the society. To some extent, this problem may also apply to the theory of archetypes, which is rapidly developing today, being used not only in philosophy but also in other fields, deeply penetrated into the methodology of humanities knowledge. Therefore, we used interdisciplinary tools for (...) this study. The purpose of this work is to study the influence of personality on the development of Ukrainian culture in a global, comprehensive dimension, based on the experience and works of famous figures that carried out cultural activities in a certain historical period. In this case, we can appeal to the archetype of the Wise Old Man, which contains a set of permanent features that connect its projections with both the "foretype" and at the same time the "accumulation" of experience. Theoretical basis. Based on the work of famous researchers in the field of philosophy, anthropology, analytical psychology, ethnophilosophy, the authors note the insufficient elaboration of the topic regarding the distinction of anthropological dimensions of different cultural periods of Ukraine in chronological order. Originality. The authors of the article prove that the continuity of the accumulation of anthropocentric features in individuals gives them transcendence, elevate to the archetype of the Wise Old Man, which can be perceived as a universal process against the ethnic development background. Conclusions. As a result of the study, we can say that the role of individual key figures in the development of national culture is quite noticeable. This can be traced both at the local level and at the national level, when we should talk about individuals who in a certain period of development of society and culture were leading and became a kind of embodiment of universal experience accumulated in an individual with a certain identity, which is the "personality" required in "that place" and "that time". For this reason, we turn to the archetype of the Wise Old Man as an "invariant", a "conductor", which reflects the most realized and individualized personality in a particular chronotope. (shrink)

Purpose. Romanticism as a movement developed in Germany, where, becoming the philosophy of time in the 18th-19th centuries, spread to all European countries. The "mobility" of the Romantic doctrine, its diversity, sometimes contradictory views, attitude to man as a free, harmonious, creative person led to the susceptibility of this movement by ethnic groups, different in nature and mentality. Its ideas found a wide response in Ukraine with its "cordocentric" type of culture in the early nineteenth century. Since the peculiarity of (...) "Ukrainian Romanticism" was its "literary-centric" nature, the purpose of this study is to analyse and comprehend the place of man in the national philosophy and literature of this period. Accordingly, the main tasks of the work are as follows: to determine the main features, the nature of Ukrainian Romanticism; to trace the main vectors of comprehension and image of man in the literature of this time. Theoretical basis. The ideas of European Romanticism were creatively rethought and assimilated during the emergence of new Ukrainian literature. It provided samples of highly artistic works, unique names of talented writers – creators and thinkers, who in their works reflected the philosophy of time. Based on the works of F. Schlegel, partly E. Husserl, M. Heidegger, K. Jaspers, Romanticism in the Ukrainian humanities, in terms of philosophy, culturology, as well as at the intersection with literature, was studied by T. Bovsunivska, Y. Hrybkova, S. Efremov, N. Kalenichenko, S. Kozak, T. Komarynets, D. Nalyvayko, Y. Nakhlik, I. Ogorodnyk, V. Ogorodnyk, A. Sinitsyna, D. Chyzhevsky, M. Yatsenko, E. Kyryliuk, M. Biletsky, D. Dontsov, S. Efremov, G. Kostyuk, S. Krymsky, Y. Sherekh and others. Originality. The authors of the article prove that Romanticism in Ukraine, being "literary-centric" inherently, having absorbed the main ideas and features of European Romanticism, has its own features and vectors of formation and development. Man in this kind of movement, thanks to the means of art, appears very clearly as a spiritually rich, sensitive, vulnerable and strong person. For him or her, the highest value is freedom, the ability to make freely independent fateful decisions. Conclusions. Ukrainian writers, reflecting the philosophical ideas of Romanticism, saw in man a harmonious combination of "natural" and "social", through which he indirectly carries out his own national existence. In addition to the objective realities of the external world, in their works, Romantic writers appeal to the subjective, internal, spiritual, "ideal" world of the hero, who interacts with reality through his own system of values. At each level of development of the humanities and methodology of cognition, this allows a new reading of these works. (shrink)

The modern world is multicultural and multilingual, it creates difficulties for the mutual contacts of the nations with different languages. The problem of overcoming the language barrier in a multilingual world is urgent. One of the best ways to solve this problem is bilingualism: possession of two languages, a native and a second one, generally intermediate language. The choice of the intermediate language is determined by socio-political and socio-economic conditions of contacting people. In a multinational state official language of the (...) country serves as an intermediate language. In the multi-ethnic Russian Federation, Russian language chosen as the intermediate language, by which representatives of different nationalities come into contact with each other. National-Russian bilingualism in the Russian Federation has become a mass phenomenon: all non-Russian population in varying degrees is fluent in Russian language. Further improvement of bilingualism at the present stage is solved in the new format - as an active bilingualism. In an active and harmonious bilingualism, languages distribute responsibilities among themselves: native language and intermediate language perform different public functions and the number of functions is usually not equal, one language performs more functions than the other does. It depends on the status of the language: the higher the status of the language, the more reason a speaker has for its extensive use in different areas of communication. Harmonious bilingualism helps to keep the national identity of each language and makes it possible to operate each of them on an equal footing in a multicultural space. Among the many politically and legally equal languages of the Russian Federation, a special place belongs to the Russian language: it performs a consolidating function, combines the languages of the nations of Great Russia into one united family. Multilingual Russia can be compared with a starry firmament. The more bright stars we can see, the more beautiful the starry sky is. The star of the Russian language in the sky shines especially bright. (shrink)

Comparative study of two languages of different structures has both theoretical and practical significance, enables somebody to identify similar and distinctive features, find universals and unique, helps to penetrate deeper into the inner workings of each of the compared languages and understand their national identity. The subject of our comparative study are languages of different structures - Russian and Bashkir languages - the first refers to a group of inflected, the second - to the group of agglutinative languages. Comparative research (...) of languages of different structures can be carried out in two aspects: theoretical and linguistic. In the first case, the analysis of language material is subjected without restriction at all levels of the language system. Data from these studies can be used in the creation of comparative descriptive grammars in lexicographical work and in the translation business. In the second case only microlanguage is matched, which is represented in the lexical and grammatical minimum of studied second language. Materials of such a compressed comparative analysis used in the practice of language teaching, mainly in teaching a second, non-native language. When a comparative study of languages in linguistic aspect is important direction of comparisons - what language is elected as the original one. Since the formation of national-Russian bilingualism is the subject of study of Russian language, as the source, it is desirable to choose Russian language. In this case, the reference point is the absorption of funds Russian as a second language. Materials of comparative study of two languages gives a clear idea of what linguistic phenomena and their symptoms are identical in them, what is only partially overlap, what is completely different. This knowledge will help to consciously manage the impact of native language on the studied non-native Russian language. In the comparative study of Russian and Bashkir languages done very little, but it is a lot of work has already begun. (shrink)

Ordinary thinking about morality and rationality is inconsistent. To arrive at a view of morality that is as faithful to common thought as consistency will allow we must admit that it is not always irrational to knowingly act against the weight of reasons.

Evolution and literature bring us into thinking about literature as an evolutionary adaptation and perception of literature as something that is strongly anchored in the distant history of mankind and even in its evolutionary prehistory.