My goals in this paper are twofold: to outline the refashioning of amateur and professional roles in life science in late Victorian Yorkshire, and to provide a revised historiography of the relationship between amateurs and professionals in this era. Some historical treatments of this relationship assume that amateurs were demoralized by the advances of laboratory science, and so ceased to contribute and were left behind by the autonomous "new biology." Despite this view, I show that many amateurs (...) played a vital part in the construction of a professional academic community in urban Yorkshire, and then continued to collaborate with the laboratory-based biologists. The key to any analysis of the relationship between amateurs and professionals is the great variety of amateur identities and practices in Victorian Yorkshire. The amateur-professional rift fallacy arose because laboratory biologists fashioned an identity in conscious opposition to a particular type of amateur: an ideal that belied an array of cooperative relationships. As naturalists refashioned their roles and identities in light of the changes within academe and without, debates about the practice and place of life science took place as often among amateurs as between professionals and amateurs. (shrink)

ABSTRACT The contribution of amateur scientists to the International Geophysical Year (IGY) was substantial, especially in the arena of spotting artificial satellites. This article examines how Fred L. Whipple and his colleagues recruited satellite spotters for Moonwatch, a program for amateur scientists initiated by the Smithsonian Astrophysical Observatory (SAO) in 1956. At the same time, however, the administrators with responsibility for the IGY program closely monitored and managed—sometimes even contested—amateur participation. IGY programs like Moonwatch provided valuable scientific information and gave (...) amateurs opportunities to contribute actively to the research of professional scientists. Moonwatch, which operated until 1975, eventually became the public face of a vast satellite‐tracking network that expanded the SAO’s global reach and helped further Whipple’s professional goals. Understanding amateurs’ interactions with the professional science community enables us better to understand the IGY as a phenomenon that enlisted broad participation and transcended traditional boundaries between professional and amateur scientists. (shrink)

We recommend that the future of religion and science involve more partnerships between scholars, amateurs, and artists. This reimagines an underdeveloped aspect of the history of religion and science. Case studies of an undergraduate course examining religious ritual and technology, seminarians reflecting on memory and identity in light of Alzheimer's disease, environmentalists responding to their guilt and shame about climate change, and Chicagoans recognizing the presence of nature in the city show how these partnerships respect insights and experiences of (...) our varied partners, identify and resolve community problems, and advance scholarship. Sourdough starter, a new metaphor, describes these collaborative, nourishing partnerships. (shrink)

This paper explores the careers of several British women astronomers in the late nineteenth and early twentieth centuries. I postulate that the only category of scientific practice open to most of these women was that of an ‘amateur’. They would have become professionals had they had the opportunity but since they were barred from professional status they used their talents to promote the importance of amateur science. I propose the term ‘obligatory amateur’ for these women who, unlike men, were unable (...) to choose amateur or professional status. I explore this concept of a ‘gendered’ amateurism through the life and works of Annie Maunder, with references to British women astronomers contemporary with her. (shrink)

The COVID-19 pandemic has negatively impacted mobility worldwide. As a corollary, the health of top- and lower-level athletes alike is profoundly reliant on movement and exercise. Thus, the aim of this study is to understand impacts of the COVID-19 pandemic lockdown on athletes’ motivation to exercise and train. In detail, we aim to better understand who reported a change in motivation to train due to the lockdown, why they reported lower motivation, what they did to help themselves, what support they (...) received from others, and what they are looking forward to after the lockdown. Questionnaire data and answers to these open-ended questions were assessed via an online questionnaire, completed by 95 amateur and recreational athletes during the first COVID-19 lockdown in Germany. Results show that greater numbers of female athletes are less motivated to train in comparison to male athletes. No differences in motivation were found regarding type of sport and number of competitions during the year. Also, more motivated to train amateur and recreational athletes showed lower athletic identity than athletes who reported no change in motivation to exercise during the lockdown. Additionally, differences in state emotional, perceived stress, and personality variables were found between athletes who stated that they were less motivated to train compared to athletes who reported no changes in motivation. In particular, closure of sports facilities and social distancing measures were perceived to be highly problematic. Even though athletes received emotional support, organized themselves via routines and schedules, and trained using online tools, they predominately stated that they wished that their coaches would have supported them more. Understanding the impacts of a pandemic-related lockdown on athletes’ motivation, athletes’ coping strategies, and their desired support will help better support them in future crises. (shrink)

In the early decades of the 20th century, women's access to the historical discipline followed fundamentally two paths. For the first time, some (a small minority) entered the profession as academic historians; others worked outside or on the margins of academia, pursuing their research interests as independent scholars. What did being an independent scholar mean for these women? Was it always a form of externally imposed marginalization? My paper argues that this is not the case. First of all, being an (...) independent scholar did not necessarily mean marginality. Some of these women scholars exerted a deep influence on 20th century historiography, and their work is still influential today. Quite apart from posthumous fame, moreover, it should be noted that the lack of academic affiliation did not necessarily preclude for some of these women the possibility of recognition and influence during their lives. Secondly, we should be careful not to assume that being an independent scholar was invariably an externally imposed marginalization. Some of these women scholars can be defined as ‘obligatory amateurs,’ because they were frustrated in their attempt to pursue an academic career. But others, in contrast, deliberately chose independent scholarship over an academic job, and can thus be defined ‘amateurs by choice.’ What was the motivation behind this choice? I argue that an important factor was the resilience of the amateur tradition in historical writing. The amateur tradition offered a strong counterbalance to women's marginality in academia and a source of positive values and models for their participation in the intellectual life. (shrink)

Music impacting on speech processing is vividly evidenced in most reports involving professional musicians, while the question of whether the facilitative effects of music are limited to experts or may extend to amateurs remains to be resolved. Previous research has suggested that analogous to language experience, musicianship also modulates lexical tone perception but the influence of amateur musical experience in adulthood is poorly understood. Furthermore, little is known about how acoustic information and phonological information of lexical tones are processed (...) by amateur musicians. This study aimed to provide neural evidence of cortical plasticity by examining categorical perception of lexical tones in Chinese adults with amateur musical experience relative to the non-musician counterparts. Fifteen adult Chinese amateur musicians and an equal number of non-musicians participated in an event-related potential (ERP) experiment. Their mismatch negativities (MMNs) to lexical tones from Mandarin Tone 2–Tone 4 continuum and non-speech tone analogs were measured. It was hypothesized that amateur musicians would exhibit different MMNs to their non-musician counterparts in processing two aspects of information in lexical tones. Results showed that the MMN mean amplitude evoked by within-category deviants was significantly larger for amateur musicians than non-musicians regardless of speech or non-speech condition. This implies the strengthened processing of acoustic information by adult amateur musicians without the need of focused attention, as the detection of subtle acoustic nuances of pitch was measurably improved. In addition, the MMN peak latency elicited by across-category deviants was significantly shorter than that by within-category deviants for both groups, indicative of the earlier processing of phonological information than acoustic information of lexical tones at the pre-attentive stage. The results mentioned above suggest that cortical plasticity can still be induced in adulthood, hence non-musicians should be defined more strictly than before. Besides, the current study enlarges the population demonstrating the beneficial effects of musical experience on perceptual and cognitive functions, namely, the effects of enhanced speech processing from music are not confined to a small group of experts but extend to a large population of amateurs. (shrink)

A history of rare archival amateur photographs and films from Nazi Germany.

Das Phänomen des Amateurkünstlers und Dilettanten zählt zu den bisher kaum beachteten Gegenständen der kunsthistorischen Forschung. Das Werk dieser Schaffenden darf gleichwohl als ein entscheidender Beitrag zur Kunst- und Künstlergeschichte des 18. Jahrhunderts verstanden werden. Unter einem Dilettanten versteht man gemeinhin einen Laien und Stümper, welcher dem Metier, in dem er sich versucht, eher Schaden als Nutzen bringt. Dabei wird ausser Acht gelassen, dass sich künstlerisch begabte Personen vor allem deshalb als Dilettanten bezeichneten, um sich vom professionellen Künstler abzugrenzen. Dilettieren (...) wurde als eine dem Adel vorbehaltene exklusive Form der Kunstausübung verstanden, die sich weder finanziellen Interessen noch dem Geschmack eines grösseren Publikums unterwerfen musste und sich somit kreative Freiräume ermöglichte. (shrink)

Six decades after his death, there is still no scholarly consensus regarding whether C.S. Lewis should be considered an important theologian of the twentieth century. This paper investigates where the belief that Lewis was not a theological writer worth taking seriously originated. Then it evaluates two approaches that have been introduced in recent scholarship, by P.H. Brazier and Alister McGrath, that seek to affirm Lewis as a modern theologian of distinction. The final and central part of this paper nuances McGrath's (...) argument by surveying seven reasons Lewis had for not doing theology the way academics did – reasons that have often been overlooked in the relevant literature. I argue that Lewis's decision to remain ‘outside the inner ring’ of academic theologians was based on a set of risks he perceived were involved in doing theology professionally. In so doing, I suggest that Lewis's writings about religious topics deserve to be taken seriously by professional theologians and other readers. Besides Lewis scholarship in particular, this discussion matters for Christian theology in general because it explores what it means to be a theologian in an era of professionalisation and the conditions under which religious writers like Lewis can become theologians, both of which cast light on how we understand the nature of theology. (shrink)

This book will appeal to general readers and sociologists as well as art historians because of its original treatment of early photography as a manifestation of class concerns.

This pragmatic study addresses the question of the plural realities that emerge from perception, based on an empirical analysis of the tasting activity of wine amateurs and olfactory experts. Though they share the same requirement of rooting taste in the product under scrutiny, they also significantly differ regarding the constraints with which their tasting results have to comply: repeatability for experts’ tasting results, and activity contiunuation for amateurs. Both therefore foster the emergence of two contrasting realities: a stabilized (...) one for experts; an ‘un-stabilized’ one for amateurs. Both happen to fit with the ‘fiction’ and the ‘reference’ modes of existence of Latour’s inventory, which extends and relaunches the analysis of the coexistence of activities initiated by the works on ‘boundary objects’ some decades ago. Finally, the notion of taste is reinterpreted as a translation operator between tasting realities. (shrink)

The rise and rise of the amateur cultural producer has been greeted with a spectacular amount of celebratory rhetoric, in both popular and academic writing. It has also been criticised, often for the inferior quality of amateur productions compared to the fruits of professional labour. But apart from that by a small number of journalism scholars, little empirical research has been carried out with professional creative labourers about the impact of amateur economies on their work, and their responses to amateur (...) production practices. This article addresses that gap, and also counterbalances the dominant celebratory discourse by focusing on an initiative that is critical of amateur economies and that emerges from creative workers themselves: the anti-spec movement within design industries. Anti-spec activists campaign against speculative work, which is seen as one problematic materialisation of crowdsourced, amateur economies. Here, it is argued that responses to spec work can be understood in relation to designers’ ethics and values and the extent to which they feel that these are thrown into question by amateur activity. (shrink)

This essay examines the role of amateurs in founding the astronomical subdiscipline of astrophysics. During 1840–1870, they initiated many of the observing programs that came to comprise the new specialty. And during 1870–1910, they participated both in the ongoing research of the field and the campaign to provide it with an institutional base. These general trends are illustrated by examples from the lives of ten prominent amateur solar physicists.

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19 th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20 th and 21 st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of (...) amateur photographs? In our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

In the mid-1990s, the Internet rapidly changedfrom a venue used by a small number ofscientists to a popular phenomena affecting allaspects of life in industrialized nations. Scholars from diverse disciplines have taken aninterest in trying to understand the Internetand Internet users. However, as a variety ofresearchers have noted, guidelines for ethicalresearch on human subjects written before theInternet's growth can be difficult to extend toresearch on Internet users.In this paper, I focus on one ethicalissue: whether and to what extent to disguisematerial (...) collected online in publishedaccounts. While some people argue thatvulnerable human subjects must always be madeanonymous in publications for their ownprotection, others argue that Internet usersdeserve credit for their creative andintellectual work. Still others argue thatmuch material available online should betreated as ``published.'' To attempt to resolvethese issues, I first review my own experiencesof disguising material in research accountsfrom 1992 to 2002. Some of the thorniestissues emerge at the boundaries betweenresearch disciplines. Furthermore, manyhumanities disciplines have not historicallyviewed what they do as human subjects research. Next, I explore what it means to do humansubjects research in the humanities. Inspiredby issues raised by colleagues in thehumanities, I argue that the traditional notionof a ``human subject'' does not adequatelycharacterize Internet users. A useful alternatemental model is proposed: Internet users areamateur artists. The Internet can be seen as aplayground for amateur artists creatingsemi-published work. I argue that thisapproach helps make some ethical dilemmaseasier to reason about, because it highlightskey novel aspects of the situation,particularly with regard to disguisingmaterial. Finally, I conclude by proposing aset of practical guidelines regardingdisguising material gathered on the Internet inpublished accounts, on a continuum from nodisguise, light disguise, moderate disguise, toheavy disguise. (shrink)

This paper traces how media representations encouraged enthusiasts, youth and skilled volunteers to participate actively in science and technology during the twentieth century. It assesses how distinctive discourses about scientific amateurs positioned them with respect to professionals in shifting political and cultural environments. In particular, the account assesses the seminal role of a periodical, Scientific American magazine, in shaping and championing an enduring vision of autonomous scientific enthusiasms. Between the 1920s and 1970s, editors Albert G. Ingalls and Clair L. (...) Stong shepherded generations of adult ‘amateur scientists’. Their columns and books popularized a vision of independent nonprofessional research that celebrated the frugal ingenuity and skills of inveterate tinkerers. Some of these attributes have found more recent expression in present-day ‘maker culture’. The topic consequently is relevant to the historiography of scientific practice, science popularization and science education. Its focus on independent nonprofessionals highlights political dimensions of agency and autonomy that have often been implicit for such historical (and contemporary) actors. The paper argues that the Scientific American template of adult scientific amateurism contrasted with other representations: those promoted by earlier periodicals and by a science education organization, Science Service, and by the national demands for recruiting scientific labour during and after the Second World War. The evidence indicates that advocates of the alternative models had distinctive goals and adapted their narrative tactics to reach their intended audiences, which typically were conceived as young persons requiring instruction or mentoring. By contrast, the monthly Scientific American columns established a long-lived and stable image of the independent lay scientist. (shrink)

This article presents the results of an empirical study of the “sportification” of amateur-level competitive computer gaming. How do amateur players, who are unlikely to become professional esports players, turn what is considered to be enjoyable entertainment into a collective activity that demonstrates traits traditionally associated with professional sports, such as self-discipline, a focus on achieving results and overcoming personal limitations? Ethnographic research, consisting of in-depth interviews and participant observations, was conducted in the last quarter of 2019 based on a (...) series of tournaments (Rocket League, Counter-Strike: Global Offensive, League of Legends, and Rainbow Six Siege) managed by a student esports club of a Moscow-based university. Such clubs combine different levels of esports practice: players who consider themselves amateurs who attend tournaments “for fun”, players seeking professionalization and who have already received the first modest revenue from their activity, as well as players who achieved the status of a cyberathlete through membership in one of the university teams. Thus, student esports represents an ideal environment for exploring the dynamics of changes in the meanings that players put into their activity, as well as for finding elements holding to­gether what could be called “esports culture”. The analysis conducted in the present article is based not so much on the interpretations of the phe­nomenon of esports that exists in the field of game studies, as on two clas­sical sociological traditions: the writings of Erving Goffman and Howard Becker, on the one hand, and those of Max Weber and Norbert Elias on the other. As a result, the process of the “sportification” of the amateur practice of competitive computer games is presented in the article as a change in the actors’ level of reflexivity: towards the game, towards themselves during play, and towards the world around the game, occurring as they move through the stages of the “career of a competitive player”. ­. (shrink)

L’amateur – qui aime une chose, développe une activité pour son plaisir – est une figure qui dessine le paysage artistique contemporain. Le champ artistique étant soumis aux injonctions à la professionnalisation, réfléchir l’art en tant que manière d’être et d’agir en amateur, permet de repenser la pratique artistique. Engager celle-ci dans la sphère de l’amateurisme signifie alors remettre en question les attentes de production, d’efficacité et de visibilité, critiquer la notion de travail, pour prendre le temps de faire, expérimenter (...) et développer une pratique peut-être plus sincère, certainement plus amoureuse. Cette double figure de l’artiste amateur de et amateur en, offre ainsi un positionnement critique des plus pertinents au tournant du xxi e siècle. (shrink)

Although inadequate immunization is a significant public health problem, as covid-19 is an urgent reminder, it has been largely ignored in amateur youth sports. By comparison, safety issues such as...

This paper traces how media representations encouraged enthusiasts, youth and skilled volunteers to participate actively in science and technology during the twentieth century. It assesses how distinctive discourses about scientific amateurs positioned them with respect to professionals in shifting political and cultural environments. In particular, the account assesses the seminal role of a periodical, Scientific American magazine, in shaping and championing an enduring vision of autonomous scientific enthusiasms. Between the 1920s and 1970s, editors Albert G. Ingalls and Clair L. (...) Stong shepherded generations of adult ‘amateur scientists’. Their columns and books popularized a vision of independent non-professional research that celebrated the frugal ingenuity and skills of inveterate tinkerers. Some of these attributes have found more recent expression in present-day ‘maker culture’. The topic consequently is relevant to the historiography of scientific practice, science popularization and science education. Its focus on independent non-professionals highlights political dimensions of agency and autonomy that have often been implicit for such historical actors.The paper argues that the Scientific American template of adult scientific amateurism contrasted with other representations: those promoted by earlier periodicals and by a science education organization, Science Service, and by the national demands for recruiting scientific labour during and after the Second World War. The evidence indicates that advocates of the alternative models had distinctive goals and adapted their narrative tactics to reach their intended audiences, which typically were conceived as young persons requiring instruction or mentoring. By contrast, the monthly Scientific American columns established a long-lived and stable image of the independent lay scientist. (shrink)

The ability to group perceptual objects into functionally relevant categories is vital to our comprehension of the world. Such categorisation aids in how we search for objects in familiar scenes and how we identify an object and its likely uses despite never having seen that specific object before. The systems that mediate this process are only now coming to be understood through considerable research efforts combining neurological, psychological and behavioural studies. What is much less well understood are the differences between (...) the categories, how they are formed and how they are used by experts and non-experts in a complex task that can take decades to master. In a quite different direction to previous studies, this work infers the different categorical structures that might be used by amateurs and professionals in the oriental game of Go. This is achieved by using a newly developed combination of artificial neural networks (Self-organising Maps) and perceptual inference to show that categories of strategic scenes can be learned while playing games using a model of ‘conditional perceptual learning’. Applying this technique to two databases of games, one of amateurs and one of professionals, shows that a structural hierarchy of scene information develops that can be readily incorporated into traditional psychological models of decisions and readily implemented in computational systems. The results are discussed in terms of the heuristics and biases literature, emphasising where the significant similarities and differences lie between this work and previous work. (shrink)

Cultivated by Hand aligns the overlooked history of amateur musicians in the early years of the United States with little-understood practices of music book making. It reveals the pervasiveness of these practices, particularly among women, and their importance for the construction of gender, class, race, and nation.

Musical performance requires the ability to master a complex integration of highly specialized motor, cognitive and perceptual skills developed over years of practice. It often means also being able to deal with a large amount of pressure within dynamic environments. Consequently, many musicians suffer from health-related problems and have a large number of physical and psychological complaints. Research has shown that making music can present challenges for musicians’ wellbeing. Therefore, our research aims to evaluate and analyze the wellbeing of two (...) distinct groups of respondents, college music students compared with amateur musicians in the French-speaking part of Switzerland, this second group serving as our comparison group. This article presents the results of a sample of 126 musicians (mean age ± SD = 22.4 ± 4.5 years, 71 male). The wellbeing was assessed through the World Health Organization Quality of Life-BREF questionnaire evaluating two general measures, Quality of Life and General health, and four specific dimensions, Physical health, Psychological health, Social relationships and Environment. The respondents’ Quality of Life was high on each measure: median scores were higher than 4 for the first two measures and higher than 70 for the four specific dimensions. Among the dimensions, respondents had the highest mean score for Social relationships and Physical health (74.0 and 73.8, respectively) and, finally, on Psychological health (70.3). Our overview of musicians’ wellbeing in Western Switzerland underlines the importance of helping musicians to be aware of their health in order to take care of themselves. This research offers an important insight into musicians’ health and point out the importance of involving different actors (teachers, administrators or support staff) to promote their wellbeing and empower musicians. (shrink)

L’œuvre de Bruno Goosse Classement diagonal exemplifie la tendance qui consiste, pour certains artistes contemporains, à entreprendre des enquêtes proches des recherches menées en sciences humaines, et particulièrement en histoire. Au travers d’une démarche spécifique, Classement diagonal questionne les processus de valorisation, de conservation et de patrimonialisation diversifiés qui ont affecté le champ de bataille de Waterloo, depuis 1815. L’exploration minutieuse conduite par Bruno Goosse pendant près de trois années a autorisé trois formes de présentation – une installation, un livre, (...) une conférence – qui, chacune à leur manière et non sans humour, font progresser la réflexion sur les mécanismes et les enjeux de la patrimonialisation, comme sur le régime d’historicité qui est celui de notre époque. L’artiste belge, s’il s’attelle à une étude historique, ne le fait pas en savant, affublé d’une autorité institutionnelle ou d’une accréditation universitaire, mais en amateur. Cette situation inconfortable lui permet d’interroger les idées reçues quant aux délimitations des arts et de la science, de la raison et de l’imagination, de la forme et du fond…. (shrink)

Malacologists took notice of tree snails in the genus Liguus during the last decades of the nineteenth century. Since then, Liguus have undergone repeated shifts in identity as members of species, states, shell collections, backyard gardens, and engineered wildernesses. To understand what Liguus are, this paper examines snail enthusiasts, collectors, researchers, and conservationists—collectively self-identified as Liggers—in their varied landscapes. I argue that Liguus, both in the scientific imaginary and in the material landscape, mediated knowledge-making processes that circulated among amateur and (...) professional malacologists across the United States and Cuba during the twentieth century. Beginning with an examination of early Liggers’ work in Florida and Cuba, this paper demonstrates how notions of taxonomy and biogeography informed later efforts to understand Liguus hybridization and conservation. A heterogeneous community of Liggers has had varied and at times contradictory commitments informed by shifting physical, social, and scientific landscapes. Genealogizing those commitments illuminates the factors underpinning a decision to undertake the until now little-chronicled large-scale and sustained transplantation of every living Floridian form of Liguus fasciatus into Everglades National Park. The social history of Liggers and Liguus fundamentally blurs distinctions between professional scientists and amateur naturalists. The experiences of a diverse cast of Liggers and their Liguus snails historicize the complex character of human-animal relations and speak to the increasing endangerment of many similarly range-restricted invertebrates. (shrink)

A summary of revisionist accounts of the contextual meaning of "professional" and "amateur," as applied to the mid-Victorian X Club, is followed by an analysis of the liberal goals and inner tensions of this coalition of gentlemen specialists and government teachers. The changing status of amateurs is appraised, as are the new sites for the emerging laboratory discipline of "biology." Various historiographical strategies for recovering the women's role are considered. The relationship of science journalism to professionalization, and the constructive (...) engagement of X Club publicists with their empowering audiences, are discussed. Finally, the article assesses how far the content and boundary closure of "biology," forged by Thomas Henry Huxley, were related to 'professional' and political goals. Pure biology's social and medical roots are examined, and the way inter-professional and wider Darwinian conflicts resulted in a new lexicon of words for the X Clubbers around 1870, including "evolution" and "agnosticism," as well as "biology." Biology's role in the forging of British national identity is discussed, as are its relationship to the social strategies of liberal, Dissenting, and industrial groups in the country, whose authority sustained the new laboratory rhetoric. (shrink)

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20th and 21st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of amateur photographs? In (...) our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20th and 21st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of amateur photographs? In (...) our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20th and 21st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of amateur photographs? In (...) our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

Vuillemin a écrit un article concis sur la Théorie de la justice de Rawls où son propos se concentre uniquement sur la justice comme convention, c’est-à-dire sur le contrat qui définit une société juste selon Rawls. Après avoir analysé la nature du « contrat explicite » puis celle du « contrat implicite » dans cette théorie, Vuillemin critique la définition de la justice que donne Rawls et soutient que celui-ci«s’est trompé d’ancêtres » en considérant que sa philosophie politique est dans (...) la filiation de la morale kantienne alors qu’elle est, selon Vuillemin, l’expression d’un scepticisme comparable à celui de Carnéade. On réfute dans cet article l’interprétation que Vuillemin donne de la théorie de Rawls en montrant que celle-ci est fondée sur une lecture à la fois partielle et partiale de la Théorie de la Justice. (shrink)

De los relatos que Jack London ha consagrado al boxeo, A Piece of Steak es sin dudas aquel que merece hoy nuestra mayor atención, e incluso un lugar en el panteón de los textos literarios sobre el Noble Arte, y junto a él otros tres títulos..

The purpose of this article is to highlight ways in which institutional policymakers tend to insufficiently conceptualise their role as ethics practitioners. We use the case of blood product recall notification as a means of raising questions about the way in which, as we have observed it, discourse for those who make institutional ethics policies is constrained by routine balancing of simplified principles to the exclusion of reflexive practices—those that turn ethics reasoning back on itself. The latter allows ethics practitioners (...) with comparatively little formal training to take ownership of traditional parameters, which define their discussions and ultimately ought to make them more insightful when doing ethics. Thus, in the midst of calls for more training to increase the competency of ethics committees, we suggest that an additional problem of how these lay ethicists conceive of their roles also needs to be addressed. (shrink)