European animal disease policy seems to find its justification in a “harm to other” principle. Limiting the freedom of animal keepers—e.g., by culling their animals—is justified by the aim to prevent harm, i.e., the spreading of the disease. The picture, however, is more complicated. Both during the control of outbreaks and in the prevention of notifiable, animal diseases the government is confronted with conflicting claims of stakeholders who anticipate running a risk to be harmed by each other, and who ask (...) for government intervention. In this paper, we first argue that in a policy that aims to prevent animal diseases, the focus shifts from limiting “harm” to weighing conflicting claims with respect to “risks of harm.” Therefore, we claim that the harm principle is no longer a sufficient justification for governmental intervention in animal disease prevention. A policy that has to deal with and distribute conflicting risks of harm needs additional value assumptions that guide this process of assessment and distribution. We show that currently, policies are based on assumptions that are mainly economic considerations. In order to show the limitations of these considerations, we use the interests and position of keepers of backyard animals as an example. Based on the problems they faced during and after the recent outbreaks, we defend the thesis that in order to develop a sustainable animal disease policy other than economic assumptions need to be taken into account. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The aim of the study was to determine the acceptance and perception of Nigerian patients to medical photography. A self-administered questionnaire was distributed among Nigerian patients attending oral and maxillofacial surgery and plastic surgery clinics of 3 tertiary health institutions. Information requested included patients' opinion about consent process, capturing equipment, distribution and accessibility of medical photographs. The use of non-identifiable medical photographs was more acceptable than identifiable to respondents for all purposes (P = 0.003). Most respondents were favourably disposed to (...) photographs being taken for inclusion in the case note, but opposed to identifiable photographs being used for other purposes most especially in medical websites and medical journals. Female respondents preferred non-identifiable medical photographs to identifiable ones (P = 0.001). Most respondents (78%) indicated that their consent be sought for each of the outline needs for medical photography. Half of the respondents indicated that identifiable photographs may have a negative effect on their persons; and the most commonly mentioned effects were social stigmatization, bad publicity and emotional/psychological effects. Most of the respondents preferred the use of hospital-owned camera to personal camera/personal camera-phone for their medical photographs. Most respondents (67.8%) indicated that they would like to be informed about the use of their photographs on every occasion, and 74% indicated that they would like to be informed of the specific journal in which their medical photographs are to be published. In conclusion, non-identifiable rather than identifiable medical photography is acceptable to most patients in the studied Nigerian environment. The use of personal camera/personal camera-phone should be discouraged as its acceptance by respondents is very low. Judicious use of medical photography is therefore advocated to avoid breach of principle of privacy and confidentiality in medical practice. (shrink)

Li Zehou , a former professor of philosophy at Beijing University and a member of the Chinese Academy for Social Sciences in Beijing, is widely recognized as one of the most important thinkers in post-Mao China and "the leader of the Chinese Enlightenment" of the 1980s.1 One of the signatories of a petition to the government during the 1989 democracy movement, he was castigated in the official press after the crackdown and accused of being a proponent of "bourgeois liberalism." Li (...) left China in 1992 and has lived abroad ever since, returning only for occasional visits. He has been a guest professor at various Western universities and continues to publish academic writings, adding to his already voluminous Collected Works published in Taiwan a few years ago.2 At present he teaches at Boulder University in Colorado. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art, Mind, and IntentionNoël CarrollArt and Intention: A Philosophical Study, by Paisley Livingston ; 266 pp. oxford: oxford University Press, 2005, $74.00, $35.00 paper.The relevance of intention to the philosophy of art was perhaps first made explicit by G.W.F. Hegel who, in his monumental The Philosophy of Fine Art, narrowed the domain of aesthetics to art on the grounds that the beauty that pertains to art is the product (...) of mind. Though Hegel does not single out intention as the aspect of mind that impresses him, his definition of fine art in terms of that which possesses an aim that imbues the pertinent art with content makes it probable that what he is talking about is intention. Since Hegel's day, but maybe most especially in the last three decades, philosophers of art have relied upon the notion of intention to attempt to solve many of the recurring problems of their field, including not only issues involving art status, but those involving authorship, interpretation, and fictional truth, among others. In Art and Intention: A Philosophical Study, Paisley Livingston has performed the very valuable service of corralling a substantial number of topics regarding the intersection of art and intention between the covers of one book.Although there are books devoted to exploring the relation of art and intention with respect to specific topics, most notably interpretation, there is, to my knowledge, no other book like Livingston's that surveys such a diversity of issues concerning the nexus of intention and the [End Page 394] philosophy of art. Thus, Art and Intention should be a welcome addition to the library of any aesthetician.Art and Intention comprises seven chapters. The first chapter, reasonably enough, involves a discussion of what it is to be an intention. For Livingston, who follows the action theorist Alfred Mele quite closely, an intention standardly consists of a propositional attitude in addition to a propositional content toward which said attitude is directed. The propositional attitude is executive in nature—that is, where x is the content, the intender is firmly settled upon or committed to perform x, or, at least, to try to perform x. The propositional content of an intention, in turn, is what Livingston calls a plan. An intention then is an executive attitude towards plans.I am a bit unhappy with this formulation, since I worry that it may be somewhat misleading. To my ear, the word plan insinuates the idea of a formulated method, whereas many intentional actions, including those of artists, are scarcely worked out beforehand but emerge instead in the heat of doing things. Livingston is aware of this and appears to require no more of plans in his sense than that they involve at least a rudimentary grasp of the means for carrying off the purposes at hand. This seems right to me, but it still strikes me as strained to call this sort of procedural knowledge a plan.When Jasper Johns denies that he plans to make a picture in a certain way, but rather only follows a thought that pulls in a certain direction, he does not mean to disagree with Livingston, though his choice of words seems at odds with Livingston's.1 For Johns's, like many others, plan means a precise formulation, whereas for the action theorist it is a technical term of art with broader signification. Nevertheless, since the word still retains its ordinary meaning, the possibility for confusion here is rife. So, perhaps another word can be found or, maybe, coined.Chapter 2 concerns intention and the creation of art. Livingston spends the first part of the chapter fending off counterexamples, like automatic writing, that might be adduced to challenge the claim that artworks require intentions. I am very sympathetic with his treatment of the examples he canvasses. However, I would be curious to hear what he would say about a case that I've heard described of a show at MOMA several decades back where images culled from surveillance cameras, operating automatically, were exhibited.2 These specific images were not produced intentionally by anyone. But aren't they art? Perhaps the curators will be assigned the... (shrink)