Cognitive enhancement (CE) covers a broad spectrum of methods, including behavioral techniques, nootropic drugs, and neuromodulation interventions. However, research on their use in children has almost exclusively been carried out in high-income countries with limited understanding of how experts working with children view their use in low- and middle- income countries (LMICs). This study examines perceptions on cognitive enhancement, their techniques, neuroethical issues about their use from an LMICs perspective.Seven Indian experts were purposively sampled for their expertise in bioethics, child (...) development and child education. In-depth interviews were conducted using a semi-structured topic guide to examine (1) understanding of CE, (2) which approaches were viewed as cognitive enhancers, (3) attitudes toward different CE techniques and (4) neuroethical issues related to CE use within the Indian context. All interviews were audio recorded and transcribed before thematic analysis.Findings indicate Indian experts view cognitive enhancement as a holistic positive impact on overall functioning and well-being, rather than improvement in specific cognitive abilities. Exogenous agents, and neuromodulation were viewed with skepticism, whereas behavioral approaches were viewed more favorably. Neuroethical concerns included equitable access to CE, limited scientific evidence and over-reliance on technology to address societal problems. This highlights the need for more contextually relevant neuroethics research in LMICs. (shrink)
This paper is an in depth visual and theoretical analysis of Quentin Tarantino’s 2009 film Inglourious Basterds. The central questions with which the essay contends are how Quentin Tarantino represents Nazis within his film, as represented by Colonel Hans Landa and Adolf Hitler and where the film fits within the American tradition of representing Nazis on-screen. Inglourious Basterds creates an argument that the Nazi regime itself was a type of performance; the regime’s politics are explicitly theatrical, and the only weapon (...) capable of taking it down is an equally powerful theatrical machine: Hollywood. (shrink)
"Nothingness lies coiled in the heart of being like a worm."The John Donne of "A Valediction: Of Weeping" prefers the picture to the real. For Donne and for Jean-Paul Sartre, with whom he is aligned in this essay, the preference principally involves issues of control. As Sartre writes, "It's not enough that a certain picture which I have in mind should exist; it is necessary as well that it exist through me."1 While the more conventional predilection for the virtual over (...) the actual assumes the durability of art, Donne's sequential portraits in the poem confirm, as Sartre puts it, that "man's relation with being is that he can modify it". The vanishing... (shrink)
In this article, we investigate the role an ethic of care might play in constructing a normative model of ethical practice for journalism. How would practice be changed if the goal of journalism shifted from the traditional epistemological understanding to an ontological-ethical orientation? What would it mean for journalism to think of itself as an institution committed to aiding in the construction of a community defined by the solidarity of its citizens with one another?
This title sees the re-emergence of the seminal 1970s magazine Curtains edited by Paul Buck. With its early promotion of French writers such as Georges Bataille, Maurice Blanchot, Jacques Derrida, Jean-Pierre Faye and Edmond Jabès, Curtains’ re-appearance in 2016 arrives after an exhibition at Focal Point Gallery in 2012 that was recreated from an earlier 1992 work at Cabinet Gallery around the concept of ‘disappearing’. The invited contributions come from thirteen artists with whom the editor has engaged over the years. (...) In addition, Buck has returned to pull threads from the earlier editions of his magazine to explore ideas with writers encountered in the intervening years, making all appear in a consolidated grouping as a final gesture, one that refuses to disappear. Contributions include those by: Kathy Acker, Anne-Marie Albiach, Mireille Andres, Stephen Barber, David Barton, Diane Bataille, Georges Bataille, Mathieu Bénézet, Jean-Pierre Bobillot, Joë Bousquet, Michael Camus, Danielle Collobert, David Coxhead, John Cussans, Tatjana Doll, Jerry Estrin, Ulli Freer, Margarita Gluzsberg, Paul Green, Anouchka Grose, Pierre Guyotat, Susan Hiller, Andrew Hunt, Franz Kamin, Chris Kraus, Liane Lang, Roger Laporte, Francesca Lisette, Lucy McKenzie, Bernard Noël, Hestia Peppe, Holly Pester, Perle Petit, Richard Prince, Pascal Quignard, Clunie Reid, Mitsou Ronat, Claude Royet-Journoud, Eugène Savitzkaya, Will Shutes, Sophie Sleigh-Johnson, Miroslav Tichy, Colette Thomas, Simon Thompson, Sophie von Hellermann, and Gabrielle Wittkop. (shrink)
It is a matter of suprise to some that St. Thomas ever wrote implicitly concerning education. That he touched educational matters incidently we know, as in his possibly unexcelled theory of play which Dr. Leibell has included in his "Readings in Ethics." But De Magistro is different. It descends immediately to the bed rock of education, and should remind modern man of his place in the educational scheme.