In mainstream economics the principle of freedom from value judgment (Wertfreiheit) is enforced. This principle has different interpretations. The aim of this paper is to present author's interpretations of the principle of Wertfreiheit. The basic ideas of axiology have been analysed: values, valua- tions, and value judgments, including their application to economic activities and economic researches. Two models of valuations have been presented – the taste model and perception model – as well as points of view of economic researches on (...) those models. The conclusion comprises the author’s interpretation of the principle of Wertfreiheit as that of impartiality and integrity in research activities. (shrink)

Etyka troski rozwija teorię uogólnionej troski poprzez wyjście od naturalnych praktyk opiekuńczych. Jednak ze względu na jej uwikłanie w naturalizm efektem często jest zarówno wąska definicja kobiecości, jak i wąskie rozumienie troski – może ona dotyczyć tylko ludzi. Przyjęcie opieki nad dzieckiem jako paradygmatu sprawia też, że etyka troski powiela reprodukcyjny futuryzm – fantazmatyczne ujęcie polityczności jako jednolitej wspólnoty ucieleśnianej przez postać Dziecka. By pokazać, że etyka troski nie musi być naturalistyczna, konfrontuję ją z postulatem Donny Haraway, by ograniczyć (...) reprodukcję w imię dbałości o inne niż ludzie istoty, oraz z pojawiającym się w powieściach Octavii Butler motywem opieki nad dzieckiem, które nie jest ludzkie – „potwornego macierzyństwa” – by zarysować nieantropocentryczną etykę troski. (shrink)

Could a robot be a good actor? Could it build an effective relationship of understanding and empathy with other actors or spectators? This paper offers just a glimpse, a first trace of research of a now important phenomenon that affects the Performing Arts, namely the integration of artificial agents both in the creative process and in the theatrical performance. It will be treated for this purpose by the example of the android Geminoid F, protagonist of the play Sayonara (2010) by (...) Japanese director Oriza Hirata, created by Osaka University’s robotics expert Professor Hiroshi Ishiguro, whose gestures have been learned by imitating those of a real professional actress. Watching this android act is an alienating aesthetic experience: from the position of the audience, the boundary between human and robot is unclear. Geminoid F was chosen as co-star in the film of the same name, shot in 2015 by the internationally acclaimed Japanese director Koji Fukada, precisely because of her expressive qualities, as effective as those of a human actor, capable of arousing an empathic reaction in the viewer. (shrink)