Both early and later forms of Buddhism developed a set of arguments to demonstrate that the self is an illusion. This article begins with a brief review of some of the arguments but then proceeds to show that these arguments are not themselves sufficient to dispel the illusion. It analyzes three ways in which the illusion of self manifests itself – as wish fulfillment, as a cognitive illusion, and as a phenomenal illusion. With respect to this last, the article reviews (...) some recent developments in cognitive neuropsychology and neuroscience to discuss the way in which the phenomenal illusion of self is encoded within our brain processes. This article also considers the way in which the illusion of self is constructed through social interaction, by episodic memory, and by narrative construction. Finally, it focuses on how the illusion of self developed as an evolutionary necessity to make it possible for the human organism to navigate physical and social reality; and that it continues to be useful today. This poses a dilemma for the Buddhist soteriological project of extinguishing the illusion of self. Specifically, while it is possible to develop a non-self perspective though the continued practice of vipassanā, it is not possible to maintain it consistently. The article concludes that even fully enlightened individuals must sometimes oscillate between a non-self perspective and a self-perspective and suggests an analogy between this oscillation and what occurs in the Kanizsa square illusion. (shrink)

Just war theory distinguishes between jus ad bellum (whether the war itself is just) and jus in bello (whether the conduct of the war is just). I argue, against the traditional view, that modern warfare has made it impossible to separate the two in practice. Specifically, I argue that modern war is a techno-cultural system which requires its participants to violate the primary criterion of jus in bello—noncombatant immunity. From this it follows that even a war of self-defense is not (...) a just war. I consider several challenges to my position: the doctrine of double effect and the claim that noncombatant immunity can be suspended on the basis of military necessity or supreme emergency. I argue that neither of these challenges is acceptable and that to suspend the rule of noncombatant immunity is to suspend the moral point of view. Finally, I consider alternatives which would change the techno-cultural system of modern war. (shrink)

Philosophy is a radical inquiry whose task is to interrogate the fundamental assumptions of some given activity, discipline, or set of beliefs. In doing so, philosophical inquiry must attempt to delineate a problem and to develop a method for resolving that problem. However, to be true to its intention, philosophy must be able to examine not only the object of its inquiry but also its own method of interrogation. To accomplish this task, philosophical inquiry must be able to create a (...) distance not only from the assumptions under investigation but also from its own assumptions, which is to say, that it must be able to raise questions about its own method. This self-reflexivity requires that any given philosophical investigation must be examined from an alternative vantage point. Since the assumptions which inform the inquiry are deeply imbedded within a given culture, immanent critique is insufficient. The only way to step outside the boundaries of these cultural presuppositions is to reflect on the given problem from the vantage point of another culture's philosophical tradition. Thus, I argue that philosophical inquiry is unable to go beyond certain limits without being cross-cultural philosophy. I illustrate the way in which cross-cultural philosophy does this with respect to the problem of the self by placing the Western philosophical approach to this problem in dialogue with the Indian Hindu-Buddhist narrative. (shrink)

I shall argue that the solution to the ecological crisis will require a combined political-economic and psychological-spiritual approach. Specifically, I will argue that while there is no way to avoid eco-catastrophe within the framework of capitalism, ecosocialism understood as a political-economic construct focused wholly or even primarily on the survival and flourishing of our species is not a sufficient solution and could, in its anthropocentric and productivist form, exacerbate the problem. What is needed is an understanding of ecosocialism that is (...) both biocentric and ecocentric, an ecosocialism that is sensitive to the suffering and inherent value of the members of other species as well as to the inherent value of whole ecosystems. It will require a new radically different mode of being and a radically new sensibility. I will argue that Buddhism can make a valuable contribution both to the construction of such a society and to the political praxis necessary to achieve it. (shrink)

I consider several related challenges to the idea of democracy as a universal value, among them the “Asian values” argument and the claim that Islam can recognize only God as sovereign. I argue specifically against each of these challenges and attempt to demonstrate that it is possible to find strands within the Confucian tradition and Islam which can be woven into a democratic fabric. I also explore several attempts to argue in favor of democracy as a universal value and then (...) offer a political historical argument that its universality is historically contingent. Finally, I consider whether liberal democracy has a universal value and argue that it does not. My conclusion is that each culture must find a democratic version of itself and that any attempt to impose a historically specific form of democracy on another culture is a denial of the universal significance of democracy. (shrink)

Anand Vaidya, Sean Smith, and Mark Siderits have presented thoughtful comments and provocative challenges to my article “What Kind of an Illusion is the Illusion of Self?” Their challenges raise significant questions about the nature of illusion, whether Buddhism is denying the self in all senses of the term, whether there could be a self that exists for some limited duration of time and has at least some measure of control, whether there is a phenomenal illusion of self, whether the (...) neuropsychological assumptions embedded in Thomas Metzinger’s Phenomenal Self Model is consistent with Buddhist metaphysics, the usefulness of evolutionary psychology in explaining why we have the illusion of self, whether the I-sense is a result of natural selection or cultural selection, vipassanā meditation as a form of verification and its usefulness for extinguishing the I-sense. The discussion here is my response to these criticisms through which I further clarify and develop my arguments and, in some ways, amend my position. (shrink)

It is tempting for socialists to claim that there is no human nature. I argue that we should resist this temptation and that the socialist project needs to take human nature seriously. To make this argument, I put forward a view of human nature derived from Marx, from Kropotkin, and from some recent work in evolutionary psychology. I also argue that while a socialist society is more in accord with the potentials for human flourishing and self-realization, we would do a (...) disservice to the socialist project to simply wish away certain negative tendencies which may be built into the human genome. (shrink)

A comprehensive, self-contained survey of the theory and applications of differential games, one of the most commonly used tools for modelling and analysing economics and management problems which are characterised by both multiperiod and strategic decision making. Although no prior knowledge of game theory is required, a basic knowledge of linear algebra, ordinary differential equations, mathematical programming and probability theory is necessary. Part One presents the theory of differential games, starting with the basic concepts of game theory and going on (...) to cover control theoretic models, Markovian equilibria with simultaneous play, differential games with hierarchical play, trigger strategy equilibria, differential games with special structures, and stochastic differential games. Part Two offers applications to capital accumulation games, industrial organization and oligopoly games, marketing, resources and environmental economics. (shrink)

This is a true cross-cultural anthology which presents philosophers from different cultures in dialogue with one another. The text includes selections from both traditional and contemporary Western and non-Western philosophy: African American, Latin American, and feminist philosophers as well as Asian, African, Native American, and Islamic philosophers. The reader is organized by topic, and highlights the similarities and differences between Western and Non-Western philosophers -- it arranges selections so that authors speak to one another across cultures. Chapter introductions and section (...) introductions within chapters guide students. The second edition includes new sections on non-Western epistemology, the question of life after death, Rawls and criticism, and understanding others' experience and points of view. (shrink)

ObjectivesTo determine to which degree industry partners in randomised clinical trials own the data and can constrain publication rights of academic investigators.MethodsCohort study of trial protocols, publication agreements and other documents obtained through Freedom of Information requests, for a sample of 42 trials with industry involvement approved by ethics committees in Denmark. The main outcome measures used were: proportion of trials where data was owned by the industry partner, where the investigators right to publish were constrained and if this was (...) mentioned in informed consent documents, and where the industry partner could review data while the trial was ongoing and stop the trial early.ResultsThe industry partner owned all data in 20 trials (48%) and in 16 trials (38%) it was unclear. Publication constraints were described for 30 trials (71%) and this was not communicated to trial participants in informed consent documents in any of the trials. In eight trials (19%) the industry partner could review data during the trial, for 20 trials (48%) it was unclear. The industry partner could stop the trial early without any specific reason in 23 trials (55%).ConclusionsPublication constraints are common, and data is often owned by industry partners. This is rarely communicated to trial participants. Such constraints might contribute to problems with selective outcome reporting. Patients should be fully informed about these aspects of trial conduct. (shrink)

A study found that women participating in mammography screening were content with the programme and the paternalistic invitations that directly encourage participation and include a pre-specified time of appointment. We argue that this merely reflects that the information presented to the invited women is seriously biased in favour of participation. Women are not informed about the major harms of screening, and the decision to attend has already been made for them by a public authority. This short-circuits informed decision-making and the (...) legislation on informed consent, and violates the autonomy of the women. Screening invitations must present both benefits and harms in a balanced fashion, and should offer, not encourage, participation. It should be stated clearly that the choice not to participate is as sensible as the choice to do so. To allow this to happen, the responsibility for the screening programmes must be separated from the responsibility for the information material. (shrink)

In the current world of education, politics and public opinion, musical experience is increasingly threatened. It is designated ever more as an expendable luxury. This kind of general trend has hardly left the thinking in the field of music and music education untouched. Inspiration comes from the technical rationality of our time. This rationality affects an oblivion of ontology. In this article we discuss this trend related to Martin Heidegger’s thinking concerning the human existence in the world, artworks and notions (...) like “being” (Sein) and “oblivion-of-being” (Seinsvergessenheit). We think that it is possible to see this “oblivion-of-being” in relation to the trend in cultural and educational politics as well as in music educational thinking to focus on the instrumental usefulness of learning music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Myth, Song, and Music Education:The Case of Tolkien's The Lord of the Rings and Swann's The Road Goes Ever OnEstelle R. Jorgensen (bio)In this article I explore how myth and song intersect in J. R. R. Tolkien's The Lord of the Rings trilogy—The Fellowship of the Ring, The Two Towers, and The Return of the King—and Donald Swann's song cycle setting of Tolkien texts, The Road Goes Ever On.1 (...) In so doing I am drawn back to Tolkien's The Hobbit, the novel from which The Lord of the Rings grew,2 and in the way of myth, I go back to the beginning to see what is there. After sketching some important themes in The Hobbit and The Lord of the Rings, and commenting as I go on Swann's musical setting of Tolkien's poems,3 I note several implications for music education.Why this particular tale? There are several reasons for my interest. Penned as a novel a half century ago, it was reborn at the turn of the twenty-first century in a widely circulated and highly acclaimed film trilogy. Its pagan and northern European roots are likewise intriguing, pointing back to a distant and imagined past. This extended historical tale can be seen as an epic journey in the genre of The Iliad and Beowulf.4 Such stories of other times were often sung as well as spoken, and Albert Lord describes the process whereby the telling and retelling of stories would be accommodated to the needs and interests of listeners, all of whom could be presumed to more or less know the story and identify with its characters.5 In a mass-mediated and technologically driven society in which attention is often focused on the present, evocations of the past fill a human need to know, individually and collectively, the story of how we came to be here. They prompt important philosophical questions such as those regarding the nature of good and [End Page 1] evil, ways to live a happy life, the role of supernatural events in human existence, and our responsibility to technology and the environment. And when studied in the context of a song cycle, we may better understand how myth and song intersect and be able to better reflect on what can be learned from this intersection for music education and its place in general education.Swann's song cycle evokes the cyclical journeys undertaken by Bilbo and Frodo, beginning with a party at home and ending triumphantly at home, although their pilgrimages generate yet others as ends become new beginnings. There is no end to this story; its beginning culminates yet others chronicled in The Hobbit and The Silmarillion, and its end commences another tale yet to be told. The rings in Tolkien's novel are figurative of these cycles: three rings for the elves, seven rings for the dwarves, and nine for mortal men. Bilbo's ring chronicled in The Hobbit is unveiled in The Lord of the Rings as the strategically most powerful one. Numerology, or the ancient study of numbers and their mythic significance, serves as a frame for the dense narrative that follows in Tolkien's texts. Swann sets a song cycle comprised of six songs, offering yet another number (whether intentional or not) in counterpoint to Tolkien's.The HobbitWithin this narrative are to be found various mythic qualities: a pilgrim on a quest, the band of travelers bound together in friendship by a common objective, the climactic but eventually successful journey, the struggle between good and evil, the crucial role of elemental natural forces and the interventions by powerful supernatural persons and forces in shaping events, the blurring of the natural and supernatural worlds, the inevitable tests that must be overcome in order to achieve the journey's objectives, the frailties of character demonstrated by the protagonist and his fellows, and the transformative quality of the journey on all those who undertake it.6 The action is set at a particular time and in a particular place with its own languages and kinds of writing (including runes or archaic angular writing that... (shrink)

BackgroundHealthcare professionals are exposed to advertisements for prescription drugs in medical journals. Such advertisements may increase prescriptions of new drugs at the expense of older treatments even when they have no added benefits, are more harmful, and are more expensive. The publication of medical advertisements therefore raises ethical questions related to editorial integrity.MethodsWe conducted a descriptive cross-sectional study of all medical advertisements published in the Journal of the Danish Medical Association in 2015. Drugs advertised 6 times or more were compared (...) with older comparators: comparative evidence of added benefit; Defined Daily Dose cost; regulatory safety announcements; and completed and ongoing post-marketing studies 3 years after advertising.ResultsWe found 158 medical advertisements for 35 prescription drugs published in 24 issues during 2015, with a median of 7 advertisements per issue. Four drug groups and 5 single drugs were advertised 6 times or more, for a total of 10 indications, and we made 14 comparisons with older treatments. We found: ‘no added benefit’ in 4 of 14 comparisons, ‘uncertain benefits’ in 7, and ‘no evidence’ in 3 comparisons. In no comparison did we find evidence of ‘substantial added benefit’ for the new drug; advertised drugs were 2 to 196 times more expensive per Defined Daily Dose; 11 safety announcements for five advertised drugs were issued compared to one announcement for one comparator drug; 20 post-marketing studies were requested for the advertised drugs versus 10 studies for the comparator drugs, and 7 studies assessed both an advertised and a comparator drug at 3 year follow-up.Conclusions and relevanceIn this cross-sectional study of medical advertisements published in the Journal of the Danish Medical Association during 2015, the most advertised drugs did not have documented substantial added benefits over older treatments, whereas they were substantially more expensive. From January 2021, the Journal of the Danish Medical Association no longer publishes medical advertisements. (shrink)

While researchers are currently studying various forms of social network interaction among teachers for their impact on educational policy implementation and practice, knowledge on how various types of networks are interrelated is limited. The goal of this study is to understand the dimensionality that may underlie various types of social networks in schools. We assessed seven types of social interaction using social network data of 775 educators from 53 Dutch elementary schools. The quadratic assignment procedure, multidimensional scaling and network visualisations (...) were used to discern underlying dimensions that may explain the interrelatedness of these seven types of social networks. Findings suggest small to moderate similarity between the seven forms of social interaction. Results support a distinction between instrumental and expressive networks and suggest a second dimension of mutual in(ter)dependence to explain differences in social interaction among teachers. Implications for practice and research on teacher collaboration are discussed. (shrink)

The content of a work of literature, Walter Benjamin reminds us in “The Author as Producer,” is inextricably bound up with its form. Hence, it is hardly astounding that much critical attention has been focused on the proper generic classification of Harriet E. Wilson’s Our Nig . This task, though, has not been easy. Henry Louis Gates, rediscoverer and earliest critic of Our Nig, for example, goes to great length discussing parallels between Wilson’s work and Nina Baym’s ‘overplot’ of the (...) ‘women’s novel,’ before settling on reading it as a new form of distinctly African-American lit- erature that combines “conventions of the sentimental novel with certain key conventions of the slave narratives” . Elizabeth Ammons, by contrast, places Our Nig squarely in the feminist tradition of the sentimental novel and argues that “the ideal of mother love explicit in Uncle Tom’s Cabin operates implicitly in Our Nig.” 4 2 3 Contesting Ammons’ claim, Eric Gardner asserts that Our Nig is not a ‘novel of abolition’ but “a novel about Northern racial issues, a young black woman’s bildungsroman, and, as such, is far from Uncle Tom’s Cabin.” 5 Echoing some of Gardner’s points, Elizabeth Breau contends that Our Nig “is actually satiric” and therefore gives an overly “bleak picture of northern antebellum society.” Foregrounding neither Bildung nor “ironic inversions” but the “politics of rage at work in Wilson’s tale,” Julia Stern argues that Our Nig “used the sentimental form to mask a gothic message.” 7 Rejecting Gates’ attempt to posit Our Nig as “a significant beginning of an African-American literary mode, a distinctive first in a century of firsts,” John Ernest wants to read Wilson’s work as a traditional “blend of autobiography and fiction,” hoping to ‘re-place’ it “within the racial, gender, and economic matrix of secular history.” R.J. Ellis, while accepting Gates’ assessment that Our Nig “draw[s] on the genres of sentimental fiction and abolitionist slave narrative,” stresses the ways in which the ‘hybrid’ work “fractures generic boundaries” in order to provide a “full retrieval of Frado’s pain, her experience of body politics.” Lastly, offering a reading that links Our Nig to the Puritan tradition, Elizabeth West argues that Our Nig “manipulates well-known trappings of the conversion narrative” by telling “the story of the heroine’s failed initiation into the community of earthly saints.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Myth, and EducationThe Case of The Lord of the Rings Film TrilogyEstelle R. Jorgensen (bio)In probing the interrelationship of myth, meaning, and education, I offer a case in point, notably, Peter Jackson's film adaptations and Howard Shore's musical scores for J. R. R. Tolkien's The Lord of the Rings trilogy—The Fellowship of the Ring, The Two Towers, and The Return of the King.1 Intersecting literature, film, and music (...) allows me to explore various perspectives or ways of meaning making associated with this myth. I then trace some of the implications of the analysis for musical and general education.I am particularly interested in the musical connections with myth evident in societies around the world and well established in the anthropological, ethnomusicological, and philosophical literatures. For example, Steven Feld finds the myth of the muni bird to be foundational to a New Guinea society in shaping musical expression and communal beliefs and practices.2 Likewise, as Lewis Rowell argues, Western music is rooted in and acquires its own mythos of person, power, and musical instruments; Dionysius, Apollo, Lachesis, Clotho, Atropos, Orpheus, Guido of Arezzo, St. Cecilia, and Thomas Mann's Doctor Faustus are among those whose impact on music are legendary, formative, and figurative.3 Associations of particular myths with operatic, orchestral, and choral repertoire in the Western classical tradition also abound, such as Wagner's operatic setting of the Lay of the Nibelung and Sibelius's evocation of the Finnish Vālhālla. Music and myth are interconnected especially in the film music of our time, for example, The Lord of the Rings trilogy, Titanic, and the Star Trek and Star Wars series.In The Lord of the Rings, my present focus, Shore's musical scores help to highlight the mythic character of Tolkien's narrative, bridge the externally perceived phenomenal world and the internal and subjective "inner world," interrelate the experience of time—especially past and present—and evoke a sense of wonder and awe that otherwise may be forgotten in pervasively [End Page 44] materialistic societies. Music's role in kindling reverence goes to the heart of what these films share that make them mythic—transcendence, profundity, ambiguity, narrativity, and an aesthetic and didactic character that arouse awe, mystery, and a heightened sense of the human condition. Here, music is primarily representational,4 serving functional as well as aesthetic/artistic roles in expressing such mythic themes as the contest between good and evil (in which good is often more fragile and the odds sometimes insurmountable) and the inevitability of death, in which human beings are often at the whim of capricious gods, natural forces, and their own weakness. It adds emotional and intellectual feeling to the visual images, pointing particular attention to specific scenes and representing the tensions built or released as the narrative and visual images unfold.Music's role in blurring past and present is particularly interesting since it is an art of time. The Lord of the Rings evokes an earlier time of crisis in Middle-earth, when the survival of humanity was in jeopardy. The soundtrack assists the moviegoer to make connections between times and travel imaginatively through time, thereby bringing alive the past and imagined future in the present moment. Boundaries between past and present become fuzzier, and one is helped in moving from one time to another. Leitmotifs are of particular interest in helping to make the ambiguity of the narrative more easily accessible and comprehensible, even at risk of oversimplifying matters—a quality evocative of music's use in the speech-song performances of the Iliad, among other ancient stories.Tolkien's fairytale is not couched for children, as is his earlier The Hobbit, but written unabashedly for adults.5 The Fellowship of the Ring can be seen as an epic fairytale with "a kind of religious significance."6 In her analysis of "life symbols"—or artistic, ritualistic, and mythic systems that are read "non-discursively," having no assigned connotation and therefore felt and grasped imaginatively and intuitively—Susanne Langer suggests that fairytales are a genre below that of myth in the continuum between dream and myth. For her, "myth has … a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Myth, Song, and Music Education:The Case of Tolkien's The Lord of the Rings and Swann's The Road Goes Ever OnEstelle R. Jorgensen (bio)In this article I explore how myth and song intersect in J. R. R. Tolkien's The Lord of the Rings trilogy—The Fellowship of the Ring, The Two Towers, and The Return of the King—and Donald Swann's song cycle setting of Tolkien texts, The Road Goes Ever On.1 (...) In so doing I am drawn back to Tolkien's The Hobbit, the novel from which The Lord of the Rings grew,2 and in the way of myth, I go back to the beginning to see what is there. After sketching some important themes in The Hobbit and The Lord of the Rings, and commenting as I go on Swann's musical setting of Tolkien's poems,3 I note several implications for music education.Why this particular tale? There are several reasons for my interest. Penned as a novel a half century ago, it was reborn at the turn of the twenty-first century in a widely circulated and highly acclaimed film trilogy. Its pagan and northern European roots are likewise intriguing, pointing back to a distant and imagined past. This extended historical tale can be seen as an epic journey in the genre of The Iliad and Beowulf.4 Such stories of other times were often sung as well as spoken, and Albert Lord describes the process whereby the telling and retelling of stories would be accommodated to the needs and interests of listeners, all of whom could be presumed to more or less know the story and identify with its characters.5 In a mass-mediated and technologically driven society in which attention is often focused on the present, evocations of the past fill a human need to know, individually and collectively, the story of how we came to be here. They prompt important philosophical questions such as those regarding the nature of good and [End Page 1] evil, ways to live a happy life, the role of supernatural events in human existence, and our responsibility to technology and the environment. And when studied in the context of a song cycle, we may better understand how myth and song intersect and be able to better reflect on what can be learned from this intersection for music education and its place in general education.Swann's song cycle evokes the cyclical journeys undertaken by Bilbo and Frodo, beginning with a party at home and ending triumphantly at home, although their pilgrimages generate yet others as ends become new beginnings. There is no end to this story; its beginning culminates yet others chronicled in The Hobbit and The Silmarillion, and its end commences another tale yet to be told. The rings in Tolkien's novel are figurative of these cycles: three rings for the elves, seven rings for the dwarves, and nine for mortal men. Bilbo's ring chronicled in The Hobbit is unveiled in The Lord of the Rings as the strategically most powerful one. Numerology, or the ancient study of numbers and their mythic significance, serves as a frame for the dense narrative that follows in Tolkien's texts. Swann sets a song cycle comprised of six songs, offering yet another number (whether intentional or not) in counterpoint to Tolkien's.The HobbitWithin this narrative are to be found various mythic qualities: a pilgrim on a quest, the band of travelers bound together in friendship by a common objective, the climactic but eventually successful journey, the struggle between good and evil, the crucial role of elemental natural forces and the interventions by powerful supernatural persons and forces in shaping events, the blurring of the natural and supernatural worlds, the inevitable tests that must be overcome in order to achieve the journey's objectives, the frailties of character demonstrated by the protagonist and his fellows, and the transformative quality of the journey on all those who undertake it.6 The action is set at a particular time and in a particular place with its own languages and kinds of writing (including runes or archaic angular writing that... (shrink)

This paper shall give a review of some recently published and some older books, which were published as second or third edition, on Information Ethics and Internet related topics: - Brennan, Linda L. & Victoria E. Johnson : Social, Ethical, and Policy Implications of Information Technology. Hershey, PA: Information Science Publishing, 2004. – 304 pages, paperback, $59.95 - Capurro, Rafael: Ethik im Netz. Wiesbaden: Franz Steiner, 2003. 278 pages, paperback, €26.00 - Cavalier, Robert J. : The impact of the Internet (...) on our moral lives. Albany, NY: State University of New York Press, 2005. – 249 pages, paperback, $26.95 - Johnson, Deborah G.: Computer Ethics. Upper Saddle River, NJ: Prentice Hall, third edition, 2001. – 240 pages, paperback, $40.67 - Kuhlen, Rainer: Informationsethik. Umgang mit Wissen und Informationen in elektronischen Räumen. Konstanz: UVK , 2004. – 444 pages, paperback, €24.95 - Nyíri, Kristóf: Vernetztes Wissen. Philosophie im Zeitalter des Internets. Wien: Passagen Verlag, 2004. – 179 pages, paperback, €19.95 - Spinello, Richard A.: Case Studies in Information Technology Ethics. Upper Saddle River, NJ: Prentice Hall, second edition, 2003. – 252 pages, paperback, $54.67 - Spinello, Richard A. & Herman T. Tavani : Readings in Cyberethics. Sudbury, NJ: Jones and Bartlett Publishers, second edition, 2004. – 697 pages, paperback, $54.95 - Tavani, Herman T.: Ethics & Technology. Ethical Issues in an Age of Information and Communication Technology. Hoboken, NJ: John Wiley and Sons, 2004. 344 pages, paperback, $53.95. (shrink)

Karsten Struhl has offered an intriguing account of what kind of illusion the self is. His account is based on Buddhist philosophy, neuropsychology, and neuroscience. This critical notice examines his arguments, and aims to question whether or not the self is the kind of illusion Struhl argues it to be.

The complexities of Heidegger’s early accounts of nature provide a privileged perspective from which to understand the evolution of his thought into the 1930s and beyond. This movement seems largely driven by his response to what Karsten Harries has called “the antinomy of being”. In Heidegger’s early writings, Natur is associated with the “theoretical” and the “intraworldly.” However, less attested is an “unworlded” and thus intrinsically “incomprehensible” sense of nature, as the abyssal ground of worlding. This thread is traced (...) through key Marburg period texts, into Being and Time, and beyond it into the 1928 “metontology” appendix and its surprising transformation in the 1929 inaugural lecture. Finally, some cursory observations are made about how this trajectory unfolds in later Heideggerian thought, taking the 1936 Artwork essay as an example, showing how both sides of the antinomy of being come to be incorporated within a more comprehensive framing of the Seinsfrage. (shrink)

This is a critical edition of a set of particularly detailed and carefully prepared lecture notes, taken down in 1804 during a course on mathematical and experimental physics given at the University of Tübingen by Christoph Friedrich von Pfleiderer. Since Pfleiderer had been appointed to the chair of mathematics and physics in 1782, and had previously held a similar post at the Warsaw Military Academy, when he delivered these lectures he had been teaching the subject for nearly forty years. Besides (...) providing these public courses on “theoretical physics,” he also held private classes in elementary and advanced mathematics and in experimental physics. The lectures were based on a general textbook, which was supplemented with information from a wide range of other sources. Up until the summer term of 1792, they followed the layout of the first edition of a standard work on the subject, Anfangsgründe der Naturlehre, by Wenceslaus Johann Gustav Karsten, professor of the mathematical sciences at Halle. Pfleiderer’s personal copy of this book, annotated in his own hand, is still preserved in the University Library at Tübingen, and throws a lot of light on the precise manner in which he elaborated on the basic text. From 1792 until 1815 he made use of a similar but more up-to-date work, with the same title, by Georg Simon Klügel, and it is therefore this book which forms the basis of the lecture notes now published. At this stage in his career, however, Pfleiderer had got into a well established routine, and the similarities between these 1804 lectures and the manner in which he annotated Karsten, indicate that the notes also give a pretty accurate account of the way in which “theoretical physics” was being taught at Tübingen a decade or so earlier. Like the whole of Pfleiderer’s private collection of books, the manuscript of the notes is preserved in the University Library at Tübingen, which acquired it in 1879. The note taker was Gottlieb Friedrich Harttmann, who studied at Tübingen from 1799 until 1804, subsequently took holy orders and taught at Maulbronn, and eventually emigrated to America. (shrink)