Background Continued advances in human microbiome research and technologies raise a number of ethical, legal, and social challenges. These challenges are associated not only with the conduct of the research, but also with broader implications, such as the production and distribution of commercial products promising maintenance or restoration of good physical health and disease prevention. In this article, we document several ethical, legal, and social challenges associated with the commercialization of human microbiome research, focusing particularly on how this research is (...) mobilized within economic markets for new public health uses. Methods We conducted in-depth, semi-structured interviews (2009–2010) with 63 scientists, researchers, and National Institutes of Health project leaders (“investigators”) involved with human microbiome research. Interviews explored a range of ethical, legal, and social dimensions of human microbiome research, including investigators’ perspectives on commercialization. Using thematic content analysis, we identified and analyzed emergent themes and patterns. Results Investigators discussed the commercialization of human microbiome research in terms of (1) commercialization, probiotics, and issues of safety, (2) public awareness of the benefits and risks of dietary supplements, and (3) regulation. Conclusion The prevailing theme of ethical, legal, social concern focused on the need to find a balance between the marketplace, scientific research, and the public’s health. The themes we identified are intended to serve as points for discussions about the relationship between scientific research and the manufacture and distribution of over-the-counter dietary supplements in the United States. (shrink)

Increasingly, genomic analysis is being utilized to diagnose children with developmental delay or dysmorphic facial features suggestive of a congenital disorder. Genetic testing has rapidly evolved, and the genome-wide tests that we use today are significantly different from the more targeted single-gene tests of the last decade. Chromosomal microarray analysis is now a first line test for children with multiple birth defects, children with intellectual impairment, and children with an unusual constellation of symptoms that do not fit with a known (...) disease. There are three types of CMA that are currently clinically available. CMA by oligonucleotide array-based comparative genomic hybridization compares the hybridization signal from the patient's DNA to that of a reference DNA sample for each oligonucleotide on the array. Depending on the specific array, this can range from tens of thousands to hundreds of thousands of oligonucleotides. (shrink)

Increasingly, genomic analysis is being utilized to diagnose children with developmental delay or dysmorphic facial features suggestive of a congenital disorder. Genetic testing has rapidly evolved, and the genome-wide tests that we use today are significantly different from the more targeted single-gene tests of the last decade. Chromosomal microarray analysis is now a first line test for children with multiple birth defects, children with intellectual impairment, and children with an unusual constellation of symptoms that do not fit with a known (...) disease. There are three types of CMA that are currently clinically available. CMA by oligonucleotide array-based comparative genomic hybridization compares the hybridization signal from the patient's DNA to that of a reference DNA sample for each oligonucleotide on the array. Depending on the specific array, this can range from tens of thousands to hundreds of thousands of oligonucleotides. (shrink)

. A structured awareness of time lies at the core of the law's distinctive normativity. Melody is offered as a rough model of this mindfulness of time, since some important features of this awareness are also present in a hearer's grasp of melody. The model of melody is used, first, to identify some temporal dimensions of intentional action and then to highlight law's mindfulness of time. Its role in the structure of legal thinking, and especially in precedent‐sensitive (...) legal reasoning, is explored. This article argues further that melody‐modeled mindfulness of time is evident also at a deeper and more pervasive level, giving structure to the distinctive mode of law's normative guidance. The article draws one important theoretical consequence from this exploration, namely, that the normative coherence of momentary legal systems depends conceptually on their coherence over time. (shrink)

A great deal of effort has been, and continues to be, devoted to developing consciousness artificially (A small selection of the many authors writing in this area includes: Cotterill (J Conscious Stud 2:290–311, 1995 , 1998 ), Haikonen ( 2003 ), Aleksander and Dunmall (J Conscious Stud 10:7–18, 2003 ), Sloman ( 2004 , 2005 ), Aleksander ( 2005 ), Holland and Knight ( 2006 ), and Chella and Manzotti ( 2007 )), and yet a similar amount of effort has (...) gone in to demonstrating the infeasibility of the whole enterprise (Most notably: Dreyfus ( 1972/1979 , 1992 , 1998 ), Searle ( 1980 ), Harnad (J Conscious Stud 10:67–75, 2003 ), and Sternberg ( 2007 ), but there are a great many others). My concern in this paper is to steer some navigable channel between the two positions, laying out the necessary pre-conditions for consciousness in an artificial system, and concentrating on what needs to hold for the system to perform as a human being or other phenomenally conscious agent in an intersubjectively-demanding social and moral environment. By adopting a thick notion of embodiment—one that is bound up with the concepts of the lived body and autopoiesis (Maturana and Varela 1980 ; Varela et al. 2003 ; and Ziemke 2003 , 2007a , J Conscious Stud 14(7):167–179, 2007b )—I will argue that machine phenomenology is only possible within an embodied distributed system that possesses a richly affective musculature and a nervous system such that it can, through action and repetition, develop its tactile-kinaesthetic memory, individual kinaesthetic melodies pertaining to habitual practices, and an anticipatory enactive kinaesthetic imagination. Without these capacities the system would remain unconscious, unaware of itself embodied within a world. Finally, and following on from Damasio’s ( 1991 , 1994 , 1999 , 2003 ) claims for the necessity of pre-reflective conscious, emotional, bodily responses for the development of an organism’s core and extended consciousness, I will argue that without these capacities any agent would be incapable of developing the sorts of somatic markers or saliency tags that enable affective reactions, and which are indispensable for effective decision-making and subsequent survival. My position, as presented here, remains agnostic about whether or not the creation of artificial consciousness is an attainable goal. (shrink)

In a document penned under the direction of its then-president Cardinal Joseph Ratzinger, the Vatican’s International Theological Commission observed that many neo-Darwinian materialists and their Christian critics share a misunderstanding of the nature of divine causality. This article explores the thought of Joseph Ratzinger in view of proposing the features of a path that seeks to eschew these faulty understandings of how God causes evolutionary change within our world, thus providing an alternative to the Intelligent Design movement’s approach to creation.. (...) Ratzinger has a deep respect for the integrity of nature, rejecting the notion that God is a “craftsman” who “tinkers” with the world. According to Ratzinger, evolutionary change occurs “precisely in the processes of a living being” even as human beings are “not the mere product of development.” Finally, the emeritus pontiff insists that creation is an ever-present act that unfolds “in the manner in which thought is creative,” a dynamic that he describes variously as a story, drama, melody, and symphony. Wedding these and other key insights, this article submits that Ratzinger’s thought on evolution should lead us to conceive of creation less along the lines of an intelligently designed machine and more as a masterpiece story that is continually being told as its plot unfolds naturally over the course of time. (shrink)

Technologic advances mean automated, wearable cameras are now feasible for investigating health behaviors in a public health context. This paper attempts to identify and discuss the ethical implications of such research, in relation to existing guidelines for ethical research in traditional visual methodologies. Research using automated, wearable cameras can be very intrusive, generating unprecedented levels of image data, some of it potentially unflattering or unwanted. Participants and third parties they encounter may feel uncomfortable or that their privacy has been affected (...) negatively. This paper attempts to formalize the protection of all according to best ethical principles through the development of an ethical framework. Respect for autonomy, through appropriate approaches to informed consent and adequate privacy and confidentiality controls, allows for ethical research, which has the potential to confer substantial benefits on the field of health behavior research. (shrink)

Although Newman’s Fifteenth Oxford University Sermon is often considered a precursor to An Essay on the Development of Christian Doctrine (1845), the following essay views this Sermon as an expression of Newman’s personal struggle from 1839 to 1845: in the midst of confusion, he pondered; against the threat of liberal skepticism, he defended truth; in the face of doubt, he reaffirmed his relationship with God.

Being in the contextual orbit boldly affirms young people are the rolling waves of positive change in the world. They are indeed the rolling stream of life and its creative melody, but most important they are indefatigable explorers of the meaning of human existence. Let them roll forward with their 'will to win' attitude not just to live but to live well for them, but also for the sake of generations to follow in the future.

Humans' voice offers the widest variety of motor phenomena of any human activity. However, its clinical evaluation in people with movement disorders such as Parkinson's disease lags behind current knowledge on advanced analytical automatic speech processing methodology. Here, we use deep learning-based speech processing to differentially analyze voice recordings in 14 people with PD before and after dopaminergic medication using personalized Convolutional Recurrent Neural Networks and Phone Attribute Codebooks. p-CRNN yields an accuracy of 82.35% in the binary classification of ON (...) and OFF motor states at a sensitivity/specificity of 0.86/0.78. The PAC-based approach's accuracy was slightly lower with 73.08% at a sensitivity/specificity of 0.69/0.77, but this method offers easier interpretation and understanding of the computational biomarkers. Both p-CRNN and PAC provide a differentiated view and novel insights into the distinctive components of the speech of persons with PD. Both methods detect voice qualities that are amenable to dopaminergic treatment, including active phonetic and prosodic features. Our findings may pave the way for quantitative measurements of speech in persons with PD. (shrink)

We contest two claims: that language, understood as the processing of abstract symbolic forms, is an instrument of cognition and rational thought, and that conventional notions of turn-taking, exchange structure, and move analysis, are satisfactory as a basis for theorizing communication between living, feeling agents. We offer an enkinaesthetic theory describing the reciprocal affective neuro-muscular dynamical flows and tensions of co- agential dialogical sense-making relations. This “enkinaesthetic dialogue” is characterised by a preconceptual experientially recursive temporal dynamics forming the deep extended (...) melodies of relationships in time. An understanding of how those relationships work, when we understand and are ourselves understood, when communication falters and conflict arises, will depend on a grasp of our enkinaesthetic intersubjectivity. (shrink)

The primary aim of this essay is to present a case for a heavily revised notion of heterophenomenology. l will refer to the revised notion as ‘enkinaesthesia’ because of its dependence on the experiential entanglement of our own and the other’s felt action as the sensory background within which all other experience is possible. Enkinaesthesia2 emphasizes two things: (i) the neuromuscular dynamics of the agent, including the givenness and ownership of its experience, and (ii) the entwined, blended and situated co-affective (...) feeling of the presence of the other(s), agential (for example, human, horse, cat, beetle) and non-agential (for example, cup, bed, apple, paper) and, where appropriate, the anticipated arc of the other’s action or movement, including, again where appropriate, the other’s intentionality. When the ‘other’ is also a sensing and experiencing agent it is their - in this case, the pair’s - affective intentional reciprocity, their folding, enfolding, and unfolding, which co-constitutes the conscious relation and the experientially recursive temporal dynamics that lead to the formation and maintenance of the deep integral enkinaesthetic structures and melodies which bind us together, even when they pull us apart. Such deeply felt enkinaesthetic melodies emphasise the dialogical nature of the backgrounded feeling of being. (shrink)

When speaking or producing music, people rely in part on auditory feedback – the sounds associated with the performed action. Three experiments investigated the degree to which alterations of auditory feedback during music performances influence the experience of agency and the possible link between agency and the disruptive effect of AAF on production. Participants performed short novel melodies from memory on a keyboard. Auditory feedback during performances was manipulated with respect to its pitch contents and/or its synchrony with actions. Participants (...) rated their experience of agency after each trial. In all experiments, AAF reduced judgments of agency across conditions. Performance was most disrupted when AAF led to an ambiguous experience of agency, suggesting that there may be some causal relationship between agency and disruption. However, analyses revealed that these two effects were probably independent. A control experiment verified that performers can make veridical judgments of agency. (shrink)

This article reflects on a number of liturgical innovations in the worship of Melodi ya Tshwane, an inner-city congregation of the Uniting Reformed Church in Southern Africa . The focus of the innovations was to implement the understanding of justice in Article 4 of the Confession of Belhar, a confessional standard of the URCSA. The basic contention of the article is that well designed liturgies that facilitate experiences of beauty can nurture a concrete spirituality to mobilise urban church members for (...) a justice-seeking lifestyle. After exploring the message of Article 4 of Belhar, the article analyses eight liturgical features of Melodi ya Tshwane, showing how beauty and justice interact in those acts of worship. (shrink)

This book contains three essays: "The Mask and the Face: The Perception of Physiognomic Likeness in Life and Art" by Gombrich, the renowned art historian and critic; "The Representation of Things and People" by psychologist, Julian Hochberg; and "How Do Pictures Represent" by philosopher, Max Black. The book is based upon lectures delivered in the Johns Hopkins 1970 Thalheimer Lectures, where, taking off from the question "how there can be an underlying identity in the manifold and changing facial expression of (...) a single individual," there is an interdisciplinary attempt at clarifying the problem of representation. Gombrich’s central thesis is that the key to artistic representation is empathy and projection, which is guided by the interlocking display of the permanent and mobile features of the object represented. Perceptual activity and empathy rely more on the muscular imitation than on passive visual reception. He holds that what is singled out as the likeness-factor uniting the permanent and mobile features in, for example, the photograph of the four-year old Lord Russell and such factors in the ninety-year old Russell is the "general tonus, the melody of transition from given ranges of relaxations to forms of tenseness." Hochberg’s essay spells out the position that perception is purposive behavior, wherein the purpose is the information sought and behavior is the "succession of glances in different directions." Holding that perceptual activity is grounded in expectations, he lays aside Gombrich’s muscularity-thesis in favor of a learned expectation of feature characteristics. Black’s essay is a conceptual analysis of "depiction," or more precisely, of "P displays a subject S if and only if R, where R ‘will constitute the necessary and sufficient condition for P displaying S'." The essay, which proceeds in a Wittgensteinian Investigations-type fashion ends where the reader would hope it begin. He concludes that the problem can only be adequately answered by moving from logical investigation to the world of the artisan and art lover. To arrive at this conclusion he debunks six candidates that claim to meet the depiction conditions: causal history, selective information, intention, mimesis, resemblance, and "looking-like." At best, depiction may be considered a "cluster" concept of all six. Further determination, he holds, requires knowledge of the purpose of a particular depiction, and this takes us out of logic and into art; and so Black stops, unfortunately.—W. A. F. (shrink)

We seem to experience a world abounding with events that exhibit dynamic temporal structure; birds flying, children laughing, rain dripping from an eave, melodies unfolding, etc. Seeing objects in motion, hearing and communicating with sound, and feeling oneself move are such common everyday experiences that one is unlikely to question whether humans are capable of perceiving temporal properties and relations. Despite appearing pre-theoretically uncontroversial, there are longstanding and contentious debates concerning the structure of such experience, how temporal perception works, and (...) even whether the perception of change, motion, and succession is possible. The overarching goal of my project is to develop a comprehensive model of temporal perception that does justice to the apparent phenomenology, explains how perception functions to represent temporally structured targets, and generates empirically-informed hypotheses for how such perception is neuro-cognitively realized. I also defend my model against the challenges of anti-realist competitors whom deny the possibility of perceiving temporal relations between non-simultaneous events. (shrink)

Music can act as a mnemonic device that can elicit multiple memories. How musical and non-musical information integrate into complex cross-modal memory representations has however rarely been investigated. Here, we studied the ability of human subjects to associate visual objects with melodies. Musical laypersons and professional musicians performed an associative inference task that tested the ability to form and memorize paired associations between objects and melodies and to integrate these pairs into more complex representations where melodies are linked with two (...) objects across trials. We further investigated whether and how musical expertise modulates these two processes. We analyzed accuracy and reaction times of direct and indirect trials in both groups. We reasoned that the musical and cross-modal memory demands of musicianship might modulate performance in the task and might thus reveal mechanisms that underlie the association and integration of visual information with musical information. Although musicians showed a higher overall memory accuracy, non-musicians’ accuracy was well above chance level in both trial types, thus indicating a significant ability to associate and integrate musical with visual information even in musically untrained subjects. However, non-musicians showed shorter RTs in indirect compared to direct trials, whereas the reverse pattern was found in musicians. Moreover, accuracy of direct and indirect trials correlated significantly in musicians but not in non-musicians. Consistent with previous accounts of visual associative memory, we interpret these findings as suggestive of at least two complimentary mechanisms that contribute to visual-melodic memory integration. A default mechanism that mainly operates at encoding of complex visual-melodic associations and that works with surprising efficacy even in musically untrained subjects. A retrieval-based mechanism that critically depends on an expert ability to maintain and discriminate visual-melodic associations across extended memory delays. Future studies may investigate how these mechanisms contribute to the everyday experience of music-evoked memories. (shrink)

It is strange to write for the pages of this journal a statement which will not come under the eye of its founding editor, Sheldon Sacks. For nearly five years everything that appeared in Critical Inquiry—articles, critical responses, editorial comments—was a matter of painstaking and passionate concern to Shelly Sacks. With a flow of questions and suggestions and a talent for unabashed cajolery, he generated articles and rejoinders to those articles. He worked tirelessly in editorial consultation and correspondence with contributors, (...) especially young writers, helping them to discover the best way of giving form to their ideas. Among the essays submitted to this journal he searched eagerly, even anxiously, for those which seemed, in his words, "right for C.I." What was right for C. I. was never, for Shelly Sacks, a cut-and-dried choice. In his own intellectual life, in his teaching and writing, he delighted in arguing important general questions: theories of representation in the arts, points of possible intersection between linguistic science and literary criticism, the interplay of social forces and cultural expressions. Not surprisingly, in reconnoitering for Critical Inquiry, he found special satisfaction in identifying writers who shared his passion for reexamining fundamental topics in the intellectual disciplines. If such writers made their case forcefully, so much the better: in choosing an essay for publication he assessed its capacity to stimulate interesting counterargument. At no time, however, did Shelly Sacks confuse his own beliefs with the nature of intellectual discourse. As an editor he was hospitable to writers whose premises he questioned and whose conclusions he deplored. Nor did Shelly attempt to achieve a spurious catholicity by following a quiet quota system designed to give each major line of interpretation—deconstructionist, Marxist, psychoanalytic, what have you—an occasional airing in Critical Inquiry. For Shelly each article stood on its own ground: if its author dealt responsibly and freshly with an interesting problem, that was enough. And, along with his commitment to theoretical inquiry, he responded warmly to the personal, the offbeat, the idiosyncratic. He regarded the feature Artists on Art, for example, as a central element in our design. As an editor Sheldon Sacks was above all a shaper. He labored to find and suggest connections in the phenomena of intellectual life. Even the construction of a table of contents for a typical Critical Inquiry issue became for him an opportunity to influence the reader's experience of what we offered. The eminence of an author or the allure of a title were put to one side as Shelly sought to orchestrate, through placement, a kind of intellectual counterpoint from one essay to another. Unheard melodies, doubtless, for many of us, but for Shelly real and sustaining. In this valedictory note we have spoken of Sheldon Sacks' editorial accomplishment—in our friendly view, a very distinguished one—rather than of the personal qualities which made working alongside him an exhilarating experience. We should report, however, that for more than half the life of this journal Shelly was ill and knew that the time available to him was likely to be relatively brief. Faced with this diminishing perspective, he did not—indeed it is more accurate to say he could not—moderate his involvement with the life of this journal. At his death, as at the launching of this enterprise, he held to the high ambition that Critical Inquiry encourage comeliness, vigor, and continuity in the discourse of our time. The appropriate "critical response" to this great loss is that Sheldon Sacks’ editorial colleagues, and our publisher, the University of Chicago Press, pledge whatever talents and energies we possess to the continuing life of the journal he imagined and brought into being. (shrink)

Overlaps in form and meaning between morphologically related words have led to ambiguities in interpreting priming effects in studies of lexical organization. In Semitic languages like Arabic, however, linguistic analysis proposes that one of the three component morphemes of a surface word is the CV-Skeleton, an abstract prosodic unit coding the phonological shape of the surface word and its primary syntactic function, which has no surface phonetic content (McCarthy, J. J. (1981). A prosodic theory of non-concatenative morphology, Linguistic Inquiry, 12 (...) 373-418). The other two morphemes are proposed to be the vocalic melody, which conveys additional syntactic information, and the root, which defines meaning. In three experiments using masked, cross-modal, and auditory-auditory priming we examined the role of the vocalic melody and the CV-Skeleton as potential morphemic units in the processing and representation of Arabic words. Prime/target pairs sharing the vocalic melody but not the CV-Skeleton consistently failed to prime. In contrast, word pairs sharing only the CV-Skeleton primed reliably throughout, with the amount of priming being as large as that observed between word pattern pairs sharing both vocalic melody and CV-Skeleton. Priming between morphologically related words can be observed when there is no overlap either in meaning or in surface phonetic form. (shrink)

The central theme of the prologue is the notion of responsibility, as well it might be, given the subject, Accordingly, those first seven pages swamp the reader with the word “responsibility” to the point where they could be described as “variations on the theme.” Inundation, alas, is not elucidation, and all closer references to the notion remain impenetrability elliptic: Derrida possesses the unique art of combining extreme ellipsis with extreme verbosity. In fact these “variation” are more musical than analytic: “responsibility” (...) comes close to being a Wagnerian leitmotiv. Like a characteristic melody, the word winds through the text in a constant sequence of appearances and temporary disappearances, ever expected, always ready to reemerge. Although there is no clear-cut line of argument, there does seem to be a general direction of development. The question of de Man’s responsibility, which we might have thought to be crucial, is touched on only briefly and vaguely; we read much more about responsibility to de Man. Ours and Derrida’s: “responsibility” is associated with “responding,” which is increasingly read as Derrida’s obligation to respond for de Man. From the outset, this emphasis evokes the danger of an apologia rather than the conscientious quest for truth that is demanded in the same breath. There are further suggestions of this nature when Derrida later briefly returns to this subject and this style. “Responding for the other” is here connected with transference, allegory , and prosopopeia—that is, connected with two rhetorical categories and psychoanalytic one. To write about responsibility with so little reference to ethical categories is something of a tour de force. W. Wolfgang Holdheim, professor of comparative literature and romance studies and Frederic J. Whiton Professor of Liberal Studies at Cornell University, has published numerous articles on literature and literary theory as well as a number of books, including The Hermeneutic Mode. (shrink)

Voici venir l’heure du prestige pour la race des femmes (timà gunaikeío génei) ; une injurieuse renommée (duskélados pháma) ne pèsera plus sur elles.Les poèmes des antiques chanteurs cesseront de célébrer ma perfidie. Phoibos, le maître des mélodies, n’a point doté notre esprit du chant inspiré de la lyre (lúras … théspin aoidàn) ; sans quoi j’aurais retourné l’hymne contre la race des mâles. En 431 av. J.C., ces vers du poète Euripide sont chantés à l'unisson sur la scène du (...) théâtre de Diony.. (shrink)

In _Wild Blue Media_, Melody Jue destabilizes terrestrial-based ways of knowing and reorients our perception of the world by considering the ocean itself as a media environment—a place where the weight and opacity of seawater transforms how information is created, stored, transmitted, and perceived. By recentering media theory on and under the sea, Jue calls attention to the differences between perceptual environments and how we think within and through them as embodied observers. In doing so, she provides media studies (...) with alternatives to familiar theoretical frameworks, thereby challenging scholars to navigate unfamiliar oceanic conditions of orientation, materiality, and saturation. Jue not only examines media about the ocean—science fiction narratives, documentary films, ocean data visualizations, animal communication methods, and underwater art—but reexamines media _through_ the ocean, submerging media theory underwater to estrange it from terrestrial habits of perception while reframing our understanding of mediation, objectivity, and metaphor. (shrink)

In recent issues of this journal, Roger Scruton and Malcolm Budd have debated the question whether hearing a melody in a sequence of sounds necessarily involves an ‘unasserted thought’ about spatial movement. According to Scruton, the answer is ‘yes’; according to Budd, the answer is ‘no’. The conclusion of this paper is that, while Budd may have underestimated the viability of Scruton's thesis in one of its possible interpretations, there is no good reason to assume that the thesis is (...) true. Very briefly, the argument for the second part of the conclusion is that we can account for all the data adduced by Scruton in favour of his hypothesis by means of hypotheses that are far less daring. (shrink)

Beyond the major-minor tonality that characterizes classical and contemporary Western musical genres, Turkish classical and folk music offer experimental psychologists a rich modal system in which cognition, development, and enculturation can be studied. Here, we present a cross-cultural experiment concerning implicit knowledge of musical scales. Five groups of participants—American musicians and nonmusicians, Turkish musicians and nonmusicians, and Turkish classical and folk music listeners—were asked to listen to brief melodies composed using the member tones of either the major scale or the (...) rast makam, a microtonal mode found within Turkish classical and folk genres with no equivalent in Western music. Following each melody, participants were asked to identify whether a probe tone had been presented in the melody, providing confidence ratings on a six-point scale. In general, participants’ short-term memory was influenced by implicit knowledge of musical scales, with the major scale eclipsing the rast makam even in listeners experienced with Turkish genres. Prior work and future directions in cross-cultural music cognition research are discussed. (shrink)

J.S. Mill's plural voting proposal in Considerations on Representative Government presents political theorists with a puzzle: the elitist proposal that some individuals deserve a greater voice than others seems at odds with Mill's repeated arguments for the value of full participation in government. This essay looks at Mill's arguments for plural voting, arguing that, far from being motivated solely by elitism, Mill's account is actually driven by a commitment to both competence and participation. It goes on to argue that, for (...) Mill, much of the value of political participation lies in its unique ability to educate the participants. That ability to educate is not, however, a product of participation alone; rather, for Mill, the true educative benefits of participation obtain only when competence and participation work together in the political sphere. Plural voting, then, is a mechanism for allowing Mill to take advantage of the educative benefits that arise from the intersection of competence and participation. (shrink)

Quentin Gailhac Dans cet article, l’auteur se penche sur les développements de Husserl sur la perception du tempo-objet spécifique qu’est la mélodie, à partir des lectures critiques qui les déterminent. En réfutant tout à la fois la saisie instantanée de Brentano, le temps de présence de Stern et la conscience d’après-coup de Meinong, Husserl se donne les moyens d’une résolution proprement phénoménologique du problème de l’unité mélodique dans la conscience. L’insatisfaction en regard des positions discutées conduira en effet Husserl à (...) un élargissement du champ de l’intuition, qui le mènera, notamment dans les Manuscrits de Bernau de 1917-1918, à penser l’originaire comme mouvement dynamique, comme procès. (shrink)

The existing ethico-legal regulation of adolescent children's participation in health research in South Africa is currently unclear. The article interrogates the existing framework governing children's consent to research participation, with specific emphasis on discrepancies in consent norms in law and ethical guidelines. Against the backdrop of the constitutional directive that requires that a child's best interests are of paramount importance in every matter concerning the child, the article assesses whether sufficient consideration is given to children's evolving maturity and capacities when (...) consent to their participation in health research is sought. The article provides specific recommendations and proposes a legislative change to consent provisions in the National Health Act 61 of 2003 in order to address the existing lacunae and to align the framework with constitutional imperatives and international fundamental rights considerations. (shrink)

J.N. Findlay was a South African philosopher who published from the late 1940s into the 1980s. He had a prestigious international academic career, holding many academic posts around the world. This article uses a textual comparative approach and focuses on Findlay’s Gifford Lecture at St Andrews University between 1965 and 1970. The objective of the article is to highlight the extent to which Findlay’s philosophical writings were influenced by Mahāyāna Buddhism. Although predominantly a Platonist, Findlay drew influence from Asian philosophy (...) and religion, particularly Mahāyāna Buddhism. In these lectures, he applies the metaphor of the Platonic Cave to investigate Hegelian and Husserlian approaches to knowledge. Though he was a leading Hegel and Husserl scholar, his reading of these two philosophers is strongly influenced by Mahāyāna Buddhism, resulting in a unique mystical interpretation of these two philosophers. Revisiting Findlay’s writings is significant for two reasons; firstly, he investigated Buddhism prior to the Asian religions being included in Religious Studies departments’ purview in South African universities, and secondly, his interpretation of two prominent Western philosophers along Buddhist lines provides an early attempt at decolonising the predominance of Western philosophical views of knowledge.Contribution: This contribution forms part of a larger collection of essays investigating philosophical works that have had a significant impact on the study of religion. This contribution investigates the Buddhist influence on J.N. Findlay’s philosophical readings of Husserl and Hegel. (shrink)

Thomas J.J. Altizer is one of the most important theologians of the twentieth and early twenty-first centuries, and all radical theology must pass through and be conversant with his work and the historical significance of his earlier contributions. This chapter presents Altizer’s essential ideas in a straightforward and accessible manner and provides a guide for the beginning reader.