He occasionally made photographs until his death in poverty there in 1884, leaving behind some of the most dazzling photographic images of his era.".

This article proceeds to describe in detail the expression forms (“Formes de l’expression”) particular to two photographs by Henri Cartier-Bresson. The investigation of the specificities of the plastic dimension of these photographs leads us to discover some of the formal features liable to raise photographic language to the level of artistic composition. We thereby demonstrate how Photography may take on astonishingly deep and complex sensations and significations.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art (...) being a case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

Promettant à la fois la capture de l’instant et son dépassement vers l’intemporel, le medium photographique voit son destin intimement lié à la catégorie du temps. L’article suggère cependant que cette inclusion du temps dans l’image s’est acquise, au cours de l’histoire de la photographie, au prix d’une essentialisation du momentané. À rebours d’une telle approche, il s’agit de repenser l’instantané photographique comme découlant de l’accident, si bien que la photo figure non plus l’instant fécond, mais bien le temps de (...) l’accident, qui correspond, dans tous les sens du terme, à un arrêt de mort. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that (...) motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

The first art of photography best aligns with the production of photographers like Henri Cartier‐Bresson, Edward Weston, Andre Kertesz, and Diane Arbus. Modernism is the moniker that tends to be applied to these photographers and their peers in retrospect, usually by art historians, especially in connection with the writings of John Szarkowski. As curator of photography at the Museum of Modern Art in New York from the 1960s through the 1980s, Szarkowski commanded attention and used it to lead (...) the cheer for modernist photography. A recurring theme of photography writing is that looking at photographs enables one to experience bits of the world that are distant in time or space‐the past or the far away. Confidence in the epistemic power of photography amplifies the revelation: what is revealed is reality, not an artist's fancy or a side effect of the mechanical imaging process. (shrink)

Emmet Gowin à la fondation Henri Cartier-Bresson (14 mai-27 juillet 2014) / Lewis Baltz au Bal (23 mai-24 août 2014) Depuis quelques semaines, les Parisiens ont la chance de pouvoir découvrir deux figures légendaires de la photographie américaine contemporaine, deux géants incontournables et pourtant peu exposés en France jusque-là : Lewis Baltz, au Bal, et Emmet Gowin à la fondation Henri Cartier-Bresson. De la même génération (ils sont nés dans les années 1940), ces deux artistes ont (...) en commun (...) - Arts plastiques et autres – GALERIE – Nouvel article. (shrink)

From the earliest silver-chloride calotypes of inventor of photography William Henry Fox-Talbot to developments in digital photography and the tiny but surprisingly capable cameras that are a component of every smartphone today, photography has changed dramatically over the past 150 years. As technology has advanced, so too has photography as a living, dynamic art form, as evidenced by the innovative techniques and compositions of contemporary photographic artists. Drawing on a diverse collection of historical and contemporary photographs held by Bank Austria (...) and on display at the Museum der Moderne Salzburg, Focus on Photography provides a rich visual record of the history of photography. The photographs reproduced here date from the 1840s to the 1970s and include works by Julia Margaret Cameron, Lewis Carroll, André Kertész, Josef Sudek, Eadweard Muybridge, Alexander Rodchenko, Lászlo Moholy-Nagy, Man Ray, Henri Cartier-Bresson, Diane Arbus, and Arnulf Rainer, among others, and range from landscapes and portraits to cutting-edge modern compositions. Together, they offer readers a series of invaluable reference points for thinking about of the important trends and developments throughout the history of photography. A stunning, kaleidoscopic portfolio featuring nearly two centuries of photographic art with representation from among many major movements and figures, Focus on Photography will be welcomed by all with an interest in this powerful medium. (shrink)

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts and hip-hop (...) album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

The ubiquity of camera phones today has made us all photographers, and as these nano-devices attest, the history of photography, perhaps more so than any other art, is also a history of technology, one best revealed in the very vehicle that makes it possible—the camera. Through brief, illustrated chapters on fifty landmark cameras and the photographers who used them, Michael Pritchard offers an entertaining look at photography as practiced by professionals, artists, and amateurs. A History of Photography in Fifty Cameras (...) is organized chronologically, beginning with William Henry Fox Talbot’s wooden “Mousetrap” camera of 1835. Other entries include the Brownie, the Coronet Midget, the Kodak Instamatic 100, and, of course, the Polaroid SX-70. Photographs within each chapter show not only the cameras themselves but also samples of the images made with them. Pritchard uses each camera as a point of entry for talking about the people who used them and the kind of photos they produced, from Weegee and his Speed Graphic to Cartier-Bresson and the Leica’s role in the invention of photojournalism. In the hands of individual photographers, he reveals, cameras came to represent unique styles of depiction. Together, the stories of the fifty cameras gathered here present an approachable and informative take on a medium that continues to fire the imagination, whether we’re perfecting the selfie or longing for the days of Fotomat. (shrink)

This retrospective of photographs spans a period of forty years. Each photograph, each act of photographing, has been an attempt to stop time, to capture what is happening in the moment, and to preserve the moment for posterity. The photographer frames the subject and gives witness to an order in the universe. But the photographer knows that, as Henri Cartier-Bresson has reminded us, nothing can really bring back the moment of things fixed in the photograph. And nothing can (...) bring back that moment in the life of the photographer. In the wisdom of Buddhism, “all things are impermanent.” Photographs are a reminder of the impermanence of all things. But what the photographer once saw and caught on film may be given another life when others see the photographs. For the photographer, the act of photographing has been an intimate part of the process of living a life. This body of work, accompanied by journal notes, is a record of what the photographer once saw, and is a window to the life once lived. (shrink)

A staff photographer for the Ketchikan Daily News, Hall Anderson counted among his early influences photographers like Robert Frank and Henri Cartier-Bresson, who understood the visual bounty to be found in photographing the candid side of life. For more than twenty-five years, Anderson has brought this perspective to his photographic endeavors, both personal and professional, in the small town of Ketchikan in southeast Alaska. Still Rainin' Still Dreamin' showcases one hundred of Anderson's prize-winning black-and-white images, which collectively chronicle (...) three decades of life in Ketchikan, spanning its transition from a timber- and fishing-based economy to one built on a booming tourism industry. From timber carnivals to election coverage to Fourth of July parades, Still Rainin' Still Dreamin' is a poignant celebration of the uncanny juxtapositions found in everyday life. (shrink)

He tells us the inside stories behind dozens of famous pictures like these, which are reproduced in this book, and provides intimate and revealing portraits of the men and women who shot them, including Robert Capa, Henri Cartier-Bresson, ...

Key writings by artists and theorists chart the shifting relationship between film and photography and how the rise of cinema forced photography to make a virtue of its stillness. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; (...) photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography—cinema's ghostly parent—was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on—including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David—documenting the photography-film dialogue that has enriched both media. (shrink)

The role of chance in producing a picture by snapping a shutter release before a complex and quickly changing scene weakens the bond between the historic action photograph and the meanings it is routinely asked to bear. To appreciate this problem and to understand the array of popular notions that have been marshaled to finesse or suppress the role of chance in photographic production, I consider the case of Joe Rosenthal’s 1945 photograph of American servicemen raising a flag on Iwo (...) Jima. The analysis pushes the production of this famous photograph through a series of zoological analogies: Is it like a fisherman reeling in a trophy catch? Like a cat pouncing on a mouse or a spider setting a trap for a fly? Like a pig pushing its snout through the dirt? Like chimpanzees banging at typewriters? These analogies are playful but also serious. We need new models for understanding the production of the historic action photograph because the predominant modern and postmodern approaches to that production have suppressed the role of chance. Whereas the modern regime tends to understand the historic action photograph as an inspired flash of history, the postmodern regime tends to understand it as a discursive effect. Entertaining the notion that such a photograph is instead a stochastic result leads to a new conception of photography and its relationship to history. Chance emerges as a third kind of photographic madness, alongside the industrial madness decried by Charles Baudelaire and the indexical madness that moved Roland Barthes. (shrink)

Les mathématiques sont bien plus qu’une science, tant elles ont acquis un statut central et tout à fait particulier. Elles sont à la fois un langage permettant d’articuler la réalité et un outil qui façonne le réel, et jouent à ce titre un rôle clé dans le développement des sciences de la nature, des sciences humaines et sociales, et de l’industrie. Leur position centrale dans les mécanismes de sélection et de reproduction qui caractérisent l’enseignement en France en fait par ailleurs (...) un enjeu social majeur. L’essence des mathématiques, c’est la liberté, disait Georg Cantor. Quelles sont les nouvelles frontières, les nouveaux défis de cette science qui ne s’impose aucune limite? Comment cette science de l’abstraction s’inscrit-elle au cœur de la réalité, au point d’être incontournable? Quel rôle, quelle place, quelle responsabilité s’assignent les mathématiciens? Deux mathématiciens, Pierre Cartier qui fut l’un des piliers du fameux groupe Bourbaki et Cédric Villani, un des représentants les plus brillants de sa génération (médaille Fields en 2010), le mathématicien et historien des sciences Jean Dhombres, et le philosophe des sciences Gerhard Heinzmann nous invitent à débattre avec eux de l’activité mathématique et de ses conséquences sociales, tant dans l’histoire de l’humanité que dans le monde contemporain. (shrink)

La « parentalité » est une notion peu employée dans le milieu scolaire. Les relations parents-enseignants sont par ailleurs de plus en plus problématiques. À partir de situations d’analyse des pratiques avec des enseignants, l’auteur de cet article fait l’hypothèse que la prise en compte d’une « parentalité en souffrance » permettrait une évolution positive de ces relations. Les crises identitaires que traversent la famille et l’école viennent en effet complexifier et conflictualiser leurs relations et parfois créer de la confusion (...) dans leurs places respectives. La construction de nouvelles alliances suppose le dégagement d’espaces tiers propres à médiatiser ces relations. La prise en compte de la place particulière que représente l’école entre l’enfant et ses parents ainsi que l’élaboration du « parent interne » chez les enseignants constituent deux pistes de travail. Une « parentalité partagée » pourrait ainsi servir de base à des alliances à même de garantir une place à l’enfant ou adolescent devenu élève. (shrink)

Home-based service jobs have developed considerably across Western societies. In fact, chances are high that a working-class woman in France today will, at some point in her life, be a house cleaner, home-based child care provider, or home aide for the elderly. Going against political, scholarly, and everyday discourses that, saturated with the double prejudices of gender and class, treat all these home service occupations, which require little prior training, the same, this article illuminates the variability of the forms of (...) subordination experienced by women practicing these occupations in France. Comparing these jobs with the ensemble of low-skill jobs and with each other exposes what is specific to the particular form of subordination each job type entails, in terms of the extent of job supervision and the nature of the home where it is practiced, the presence or absence of relations with coworkers and/or a “public,” and the nature of this “public.” It mobilizes nationwide statistical data in a new way to shift attention to these numerous ordinary work situations, which are much less studied than those of the domestic workers of the wealthiest cities of the Western world. (shrink)

This paper presents a historical view of the rise of mathematical universalism in modern times. It argues that 20th century mathematical revolution laid the foundations for a new universalism which extended to physics, economics, informatics, and recently biology. It describes the role played by the organization of mathematical work for closer co-operation among scientists on an international scale throughout the century, and stresses the importance of mathematics in the education process.

In this paper is presented and discussed the notion of true finite by opposition to the notion of theoretical finite. Examples from mathematics and physics are given. Fermat’s infinite descent principle is challenged.

Recent advancements in therapeutic and diagnostic medicine, along with the creation of large biobanks and methods for monitoring health technologies, have improved the prospects for preventing, treating, and curing illness. These same advancements, however, give rise to a plethora of ethical questions concerning good decision-making and best action. These ethical questions engage policymakers, practitioners, scientists, and researchers from a variety of fields in different ways. Collaborations between professionals in the medical and health sciences and the social sciences and humanities often (...) take an asymmetrical form, as when social scientists use ethnographic approaches to study the moral issues and practices of physicians. The ethics laboratory described in this article is a cross-sectoral and inter-disciplinary forum for collaborative investigation on important moral topics. It offers an experimental way of unpacking implied assumptions, underlying values, and comparable notions from different professional healthcare fields. The aim of this article is to present the ethics laboratory’s methodology. The article offers a model and a hermeneutical framework that rests on a dialogical approach to ethical questions. The model and the framework derive from a Danish research project, _Personalized Medicine in the Welfare State_. This article uses personalized medicine as a point of reference, though it offers an argument for the applicability of the model more broadly. (shrink)

Le genre épigrammatique est connu pour son potentiel comique mais également pour la dimension ludique qu’il peut mettre en place. Cette étude s’intéresse précisément à ces deux aspects et à leur mise en relation au sein des épigrammes à caractère sexuel d’Ausone et de Claudien afin d’observer les interactions entre ces trois dimensions (comique, ludique, sexualité) mais également pour délimiter les moyens et les bornes du comique et du ludique.

Le décret de la Confédération des Insulaires pour le banquier Timôn de Syracuse (IG XII 5, 817) fait mention d’une opération financière dont il est montré ici qu’elle ne peut qu’avoir été une opération de change. Timôn avait changé aux Insulaires une importante somme d’argent sans leur faire payer de kollybos. Sur la base de divers parallèles (inscriptions d’Olbia, Delphes, Pergame et Mylasa), on démontre ensuite qu’à Délos le change était libre et ne faisait pas l’objet d’un monopole de la (...) cité, et que, de manière générale, le kollybos correspondait non pas à une taxe (même s’il devenait une taxe lorsqu’un État établissait un monopole de change) ou à une commission de change stricto sensu, mais à un agio de change, établi sur la base du cours du change entre espèces différentes. (shrink)

This article introduces _the Ethics Laboratory_ as an inter-sectorial and cross-disciplinary dialogical forum which can be viewed as an educational tool for moral learning. _The Ethics Laboratory_ represents a platform for the informal, collaborative investigation, in strict confidentiality, of ethical questions that have social consequences and/or legal concerns and bridges boundaries between research communities, institutions and patients. Its methodological structure proposes an experimental, open-ended way of unpacking implied assumptions, underlying values, comparable notions and observations from different professional fields. In connection (...) with a large social science project on precision medicine, we conducted four Ethics Laboratories followed by eight interviews with a selected number of participants. Through these interviews we learnt how this exploratory dialogical forum heighten moral awareness on issues that are shared among stakeholders who work to implement precision medicine in Denmark. Though the framework was developed specifically to foster ethical reflection within precision medicine, its dialogical structure lends itself to other professional areas and can easily be adopted and carried out. (shrink)

The geohistorical disjunctures between Hong Kong—colonial territory, global city, and special administrative region—and China challenge understandings of the relationship. Hong Kong officially maintains certain core values that differ from those of the People’s Republic of China, while unofficial Chinese Communist Party united-front activity in Hong Kong has arguably narrowed the range of the sayable, in Jacques Rancière’s terms, in the public sphere. How does this admixture of core values, at turns antithetical and contested, appear in the space and time of (...) Hong Kong? Interventions in the ideational dynamic between the city and the state—through images, utterances, performances, and alternative artworks—produce space for the appearance of subjects defined by the people. Not a postcolonial culture of disappearance but an ontology of politics where spaces of disagreement make apprehensible that which is politically unsayable. During the decade before the Umbrella Movement, in a fervent aesthetics of politics at the crossroads of hurtling urban transformation and accelerating illiberal governance, alternative art in Hong Kong populated social-movement activity with claims on public space and the possibilities of the people in the sightlines of a democratic future. (shrink)

It is my intention in this brief study to extend the argument that Nestle begins with her seminal article,' Butch-Femme Relationships: Sexual Cour age in the 1950s', and that Henking and Comstock continue by including it in the critical anthology of writings on'being queer' and 'being religious', Querying Religion. I want to do this by making 'an overt claim' that the butch-femme community of the 1950s created its own spirituality—in the content of a corporeal theology between couples and individually, and (...) that these couples/individuals were also part of this larger 'bar community' that created a space for the community to refine this theology in terms of self-defining community. I want to argue that this self-defined community served to function for its members in many of the same ways any religious community functions that is held together by a common faith and/ or theology....I praise those hands, with scars she's proud of, on gender fuck forearms. They steady my pulse, settle down, settle down, curve on my cheek in the dark like a prayer....Her hands say yield and make it sound safe. They enter me like something holy. It takes time to interpret the tongue of her hands, the whispering of 'come here', or the bunch and knot of 'back off', as they churn cement, hoist bricks, sludge mortar into cracks, knife off the excess, until she's built Jericho and I have no trumpet......I am in the sweet, inquisitive poultice of her hands, proudly helpless, wanted, given. She makes loaves and fishes of me.2. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 12.3 (2002) 305-323 [Access article in PDF] Scope Note 41 Bioethics and Cloning, Part I Susan Cartier Poland and Laura Jane Bishop This is Part One of a two part Scope Note on Bioethics and Cloning. Part Two will be published in the December 2002 issue of the Kennedy Institute of Ethics Journal and as a separate reprint. Contents For Parts 1 And (...) 2 Part 1Part 2I.History of the ScienceI.Ethical PerspectivesII.Historical CommentaryII.Religious PerspectivesIII.Animal WelfareIII.Fiction and FilmIV.Laws and Legal Literature"Clone" is a collective noun (I, Stewart 1997, p. 771). A collective noun names a group and is composed of individual members, such as "herd" or "flock." Derived from the Greek kl¯on for twig or slip, "clone" was first used in biology to describe the aggregate of asexually produced progeny of an individual, either naturally occurring or man-made; the definition later expanded to mean a group of genetically identical members who originate from a single ancestor. Thus, a clone is a group that results from the process of asexual reproduction.In nature, cloning occurs either by parthenogenesis (reproduction without fertilization) or by fission (embryo splitting). In a pioneering experiment in 1952, Robert Briggs and Thomas J. King (I, 1952), cancer researchers at the Institute for Cancer Research (today part of the Fox Chase Cancer Center) in Philadelphia, demonstrated on frogs another method of cloning by transplanting nuclei into enucleated cells, a technique called "nuclear transplantation," which John B. Gurdon and colleagues (I, 1958, 1975) used to create clones of frogs.Then, in the late 1970s and early 1980s, two back-to-back frauds in cloning occurred. First, the cloning of a human described by American science journalist David Rorvik in the 1978 book In His Image was called a hoax by a court in [End Page 305] 1982. Second, the cloning of three mice, announced by German wunderkind Karl Illmensee to scientific circles in 1979 (and to the public in 1981), could not be proven to be true, according to convincing evidence by McGrath and Solter (I) published in 1984.With their pronouncement that mammalian cloning was impossible, McGrath and Solter essentially stopped cloning research and funding for such biological research. So by the mid-1980s, instead of further investigating cloning, developmental biologists studied embryology related to in vitro fertilization, while molecular biologists studied recombinant DNA under the newly relaxed NIH guidelines. These two strands of scientific investigation came together in the work of Ian Wilmut, who created in vitro embryos using nuclear transplantation to reproduce genetically engineered cattle. Wilmut was seeking a way to increase the successful birth rate when, in the 1990s, he produced identical twin sheep, Megan and Morag, cloned from an embryonic cell, followed by another sheep, Dolly, cloned from an adult cell. The birth of a mammal from an embryo whose genetic material came from an adult cell firmly re-established the possibility of cloning from adults. Prior to Dolly's birth, scientists believed that adult cells lost the ability to dedifferentiate—i.e., to become unspecialized—and so could not direct the development of an embryo through to birth.The 1997 announcement of Dolly's birth initiated the present widespread discussion of cloning. Because of its potentially vast applications across human health, medicine, agriculture, and business/economics, cloning raises a host of issues including those concerning: genetics and genetic engineering, patenting, animal rights and/or animal welfare (especially for transgenic, research, or cloned animals), organ transplantation, reproduction, eugenics, pharmacology (drug production using transgenic animals), research practices, informed consent, stem cell research, women's rights, children's rights, parental rights and responsibilities, and theology and philosophy. It fosters questions about the meaning and purpose of life, the limits of human powers to intervene in research and therapy, and what it means to be human or animal. In addition, environmentalists and organic farmers raise concerns about the effect of novel animals and plants on the environment, while nutritionists and the lay public wonder... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 10.3 (2000) 265-281 [Access article in PDF] Scope Note 39 Genes, Patents, and Bioethics-Will History Repeat Itself? Susan Cartier Poland Gene patenting--the very notion sounds absurd! How can anyone claim to have invented the genes with which one is born? To make matters worse, genetic makeup precedes birth, meaning the existence of the invention predates the existence of the inventor. So, do we (...) really own our genes, or do they belong to our parents, or our governments, or a Supreme Being? Ownership is only one bioethical issue involved in gene patenting. But before looking at the issues, some essential and basic terms must be understood, namely genes and patents. Genes In his book On the Origin of Species, published in 1859, the biologist Charles Darwin proposed a theory called "natural selection," whereby living things changed over time or evolved through generations due to competition and variation. By experimenting with the garden pea in the 1860s, Gregor Mendel, a monk and accomplished horticulturalist, provided the mechanism of inheritance supporting the natural selection theory of his contemporary Darwin. That mechanism is the gene, or, as Mendel described it, a discrete "factor." The gene has also been defined as "the fundamental unit of heredity" (United States 1987, p. 157). Each individual has two copies of a gene, one from each parent, but that individual passes down to offspring only one of the two copies. Because of Mendel, the gene has become a scientific concept and the basis of a new scientific field: genetics.David C. Page (2000) of the Whitehead Institute for Biomedical Research at the Massachusetts Institute of Technology explained today's terms for genetics structures using an analogy taken from the home. In his view, the cell is a kitchen, the genome is a shelf in the kitchen, the chromosome is a cookbook on the shelf, the gene is a recipe in the cookbook, and a base-pair (either adenine with thymine or guanine with cytosine) is a single letter in the recipe. A protein, the [End Page 265] working molecule blueprinted by a gene, is a dish ready to eat, and an ingredient in the dish is an amino acid, which is a building block of the protein as specified by a string of base-pairs.Colin Tudge (1993), a British science journalist, would disagree with Page's description of the gene as a recipe. A recipe is like a blueprint: both are directions that precede the work. But a gene is not passive according to Tudge; it actively administers the cell's work, and it also responds to cellular events (Aldridge 1996).The current focus of scientific research and funding is on the gene and the completion of the sequencing of all the genes that comprise the human genome, portrayed in the press as a race between the U.S. government's Human Genome Project and the private corporation Celera Genomics. The real action, however, is at the protein level. The gene only holds the information to produce a protein; it is the three-dimensional shaped protein that does the work. In order to produce energy, eliminate waste, and perform other functions specific to a cell or tissue, proteins must bind, thus creating "biological pathways." Proteins bind (or not) and detach as a function of their shapes, which are determined by their precise chemical composition as spelled out in their genetic code. IBM will spend the next five years making one computer, Blue Gene, that will then take an entire year to come up with the chemical map for only one protein (Gillis 2000). It is estimated that there are about 40,000 proteins in the human body.Despite these overwhelming numbers, modern biology has been able to achieve significant results within the Human Genome Project's 15-year time frame, from 1990 to 2005. The genetic map was completed in 1993; the physical map was completed in 1995; and the genetic sequence is expected to be completed in 2002, with 97 to 99 percent completed as of 26 June 2000. This... (shrink)

L’adjectif prochain fait partie de ces adjectifs que Schnedecker (2002a) nomme « les adjectifs du troisième type ». Ni qualificatifs ni relationnels, souvent marginalisés, ces derniers possèdent des caractéristiques qui n’ont fait l’objet d’aucune étude systématique sur corpus. Nous nous proposons de combler cette lacune en réalisant une analyse distributionnelle de prochain dans différents genres textuels (oraux et écrits). Dans un premier temps, l’analyse portera sur les phénomènes de sélection lexicale qui apparaissent dans les emplois attestés et qui semblent fortement (...) conditionnés par la position de l’adjectif par rapport à son nom recteur. Nous verrons également que le nombre du nom recteur impose des contraintes d’emploi qui ont été peu détaillées dans les travaux antérieurs. Dans un deuxième temps, nous nous intéresserons aux noms recteurs, tels fois, saison et siècle, dont le fonctionnement diffère. L’étude sera l’occasion de comparer la description sur corpus avec celle proposée par Berthonneau (2002), basée sur une analyse introspective. La comparaison permettra de mettre en évidence les spécificités et les limites des deux approches. Une démarche similaire sera développée à partir des entrées de quelques dictionnaires. Au-delà de l’analyse de détail, l’article a pour objectif de présenter les bases descriptives permettant de problématiser le statut catégoriel de prochain. (shrink)

The feature article by Delany, Feldman, Kameniar and Gillam on the deliberative structure of a local Australian clinical ethics consultation programme is important for several reasons. It underscores Walker’s ‘moral spaces’ within healthcare settings and it increases conceptual freedom in dialogue through the bottom-up approach described.1 We concur with their commitment to the advancement of this form of clinical ethics deliberation and agree with many of the notions in the article. Due to limited space, we confine our commentary to the (...) topics of (1) the goal of consultations and (2) the didactic aspect of consultations. We unequivocally second the authors’ critical stance towards principled resolutions and salute their wish to enhance clinicians’ moral understandings. However, our angle is somewhat different. The conceptual freedom of which they speak is, in our view, limited by the premise that clinical ethics issues must be ‘solved’ by a consensus decision. In our experience with cases, it may be more appropriate to seek mutual rather than shared understanding due to the inherent need to balance conflicting values. This approach opens for a dialogue that is not restrained by the imperative of reaching moral consensus. It may better serve to enhance the moral agency of clinical staff and it leaves the decision with …. (shrink)

Long-term cancer survivorship is an emerging field that focuses on physical late-effects and psychosocial implications for the inflicted. This study wishes to cast light on the underlying ontological aspect of long-term survivorship by philosophically exploring how being in life post cancer is perceived by survivors. Sixteen in-depth interviews with 14 Danish cancer survivors were conducted by the author. Having faced a life-threatening disease but no longer being in imminent danger of dying, survivors still considered death a defining yet dynamic component (...) in their approach to life as a moving toward the end, sparking a sense of vitality in mortality. In order to unfold the interviewees’ renewed existential understanding post cancer, this study employs Martin Heidegger’s ontological analysis of death. In survivorship, my participants can thus be understood as being left with the perpetual choice between living in inauthenticity or in authenticity. The difference between the two modes of existence exhibits two diverging ways of relating to death, self, and being-in-the-world. At the same time, the role of death in long-term survivorship reflects back on the magnitude of the initial existential and moral upheaval triggered by the cancer diagnosis. Understanding the role of death in long-term survivorship can positively inform the field of cancer rehabilitation and long-term survivor care. (shrink)

This article addresses some critical aspects of the relationship between aesthetic medicine (AM) and ethics and proposes a possible deontological ethical line to pursue based on current practices. The role of AM has always been controversial and suffers from unclear practical and moral boundaries, even within academic settings, since it aims to improve the appearance of individuals, not to cure a disease. Today, it is essential and pertinent to discuss these issues, as AM specialists are dealing with a growing and (...) increasingly demanding patient population that has undergone profound evolution in recent years. Current challenges within the field of AM include a lack of global uniformity concerning the education of AM specialists, an increasing number of physicians practicing AM with diverse training backgrounds, the spread of AM being practiced outside of medical practice or hospital settings, and the influence of social media where the success is modelled and dictated by the identification of a youthful appearance). By the field of action enriched by technologies that aim not only at enhancement per se but also at the preservation and regeneration of tissues, it is necessary to establish an active multidisciplinary discussion on the definition of shared ethical limits. This discussion would allow AM to fully reclaim its identity as a specialty that aims to improve patient well-being whilst maintaining respect for patient aesthetic harmony, the expertise of specialists who practice AM, the essential role of safety, and awareness of the importance of a confidential doctor−patient relationship. (shrink)