In the UK, it has been proposed that alongside the current advice to abstain from alcohol completely in pregnancy, there should be increased screening of pregnant women for alcohol consumption in order to prevent instances of fetal alcohol spectrum disorder. The Scottish Intercollegiate Guidelines Network published guidelines in 2019 recommending that standardised screening questionnaires and associated use of biomarkers should be considered to identify alcohol exposure in pregnancy. This was followed in 2020 by the National Institute for Health and Care (...) Excellence Draft Quality Standard, which recommended that pregnant women should have information on their alcohol consumption recorded throughout their pregnancy and this information transferred to the child’s health records. Most recently, Public Health England has stated that the alcohol intake of all women should be recorded throughout pregnancy, not just at the initial booking appointment and that tools such as blood biomarkers and meconium testing should be researched in order to determine true prevalence rates of alcohol in pregnancy. We argue that this proposed enhanced screening undermines women’s autonomy and their legal right to be sufficiently informed to consent to screening. We argue that there is no evidence that this kind of screening will result in a reduction of fetal harm and there is a danger that undermining the autonomy of women and the trust relationship between women and healthcare professionals may even increase harm to future children. (shrink)

Via the existential questioning outlook supplied by the Grasshopper’s three visions as relevant to the fate of humankind – oblivion, delusion, and really magnificent games – this article seeks to alleviate some of the ambiguity surrounding Bernard Suits’ provocative claim that Utopian existence is fundamentally concerned with game-playing. Specifically, after proposing an interpretation of Suits’ parable designed to enrich the logical intelligibility of his Utopian thesis, I advance the suggestion that the Grasshopper’s picture of people playing really magnificent games is (...) reasonably interpreted as a clue that the philosopher’s quest to discern games worthy of a Utopian might very well be that which saves humanity from the desolate oblivion-delusion paradox erected as a consequence of the initial two visions. (shrink)

The question of acceptability in respect to the strategic foul in sport has provoked a rich and seemingly irreconcilable dispute with normative theorists currently divided amongst three schools of thought including formalism, conventionalism and interpretivism. In this paper, I seek to transcend the three-way intellectual stalemate portrayed in the literature via a consideration as to whether or not the strategic foul qualifies as ‘Utopian’. More specifically, after demonstrating that Bernard Suits’ theory of game-playing is fully capable of embracing all three (...) rival accounts, I seek to end the normative debate altogether via a conceptual analysis of the strategic foul as unacceptable via the higher-order point of view afforded by essentialism. (shrink)

A critically important ethical issue facing the AI research community is how AI research and AI products can be responsibly conceptualised and presented to the public. A good deal of fear and concern about uncontrollable AI is now being displayed in public discourse. Public understanding of AI is being shaped in a way that may ultimately impede AI research. The public discourse as well as discourse among AI researchers leads to at least two problems: a confusion about the notion of (...) ‘autonomy’ that induces people to attribute to machines something comparable to human autonomy, and a ‘sociotechnical blindness’ that hides the essential role played by humans at every stage of the design and deployment of an AI system. Here our purpose is to develop and use a language with the aim to reframe the discourse in AI and shed light on the real issues in the discipline. (shrink)

In The Grasshopper: Games, Life, and Utopia, Suits maintains the following two theses: game-playing is defined as ‘activity directed towards bringing about a specific state of affairs, using only means permitted by rules, where the rules prohibit more efficient in favour of less efficient means, and where such rules are accepted just because they make possible such activity’ and ‘game playing is what makes Utopia intelligible.’ Observing that these two theses cannot be jointly maintained absent paradox, this essay explores the (...) logical possibility that if is true, then must be false. More specifically, in the tradition of conceptual analysis it is argued that Suits’ definition of game-playing is too narrow inasmuch as it excludes really magnificent Utopian games of significance. (shrink)

Scholarly interest in Margaret Cavendish's philosophical views has steadily increased over the past decade, but her epistemology has received little attention, and no consensus has emerged; Cavendish has been characterized as a skeptic, as a rationalist, as presenting an alternative epistemology to both rationalism and empiricism, and even as presenting no clear theory of knowledge at all. This paper concludes that Cavendish was only a modest skeptic, for she believed that humans can achieve knowledge through sensitive and rational perception as (...) well as through self-knowledge and can form probable opinions through reasoning. (shrink)

Traditionally, acts of sportsmanship have been upheld as worthy of praise. The purpose of this paper is to discern whether Bernard Suits’ Grasshopper -- in "The Grasshopper: Games, Life and Utopia" -- would share this approval. The paper begins with a conceptual analysis of good sportspersonship. From this, four action categories are identified including good sportspersonship in the forms of game desertion, changing the game, not trying, and lusory self-handicapping. A strategy for evaluation is derived from the Grasshopper’s theory. Game-playing (...) is defined as action reflecting lusory attitude acknowledgement. Game-spoiling is introduced as action demonstrating lusory attitude abandonment. Three of the four actions categories are characterized as game-spoiling including good sportspersonship in the forms of game desertion, changing the game, and not trying. It is concluded that genuine good sportspersonship is characterized solely by altruistic forms of lusory self-handicapping. (shrink)

Germund Hesslow has argued recently [2] that a probabilistic theory of causality as advocated by Patrick Suppes [4] has two problems that a deterministic theory avoids. In this paper, I argue that Suppes' probabilistic causal calculus is free of each of these problems and, moreover, that several broader issues raised by Hesslow's discussion tend to support a probabilistic conception of causes.

Distinguished for the game-parabling expressed in The Grasshopper: Games, Life, and Utopia, Bernard Suits is revered as the author of the unorthodox claim that Utopia is intelligible and game playing is what makes Utopia intelligible. Reasonably embraced as a game in itself, the purpose of this metaphysical brainteaser is to present the reader with an enigma, with the challenge of its resolution serving as the very means by which one is to be brought into line with the logic of the (...) Grasshopper’s Utopian thesis. Appreciating the fine intricacies of this challenge, the purpose of this essay is to advance the quest for resolution via a consideration of play as a necessary element of the Grasshopper’s game playing Utopia. As foundational to the enigma, I begin with a portrayal of the Grasshopper’s tangle of riddles about play, games and the good life. Converging upon the insights of the Grasshopper and/or his disciples in respect to the nature, meaning and significance of play in its conceptual relati... (shrink)

Feminist literature sometimes posits that competition and cooperation are opposites. This dichotomy is important in that it is often invoked in order to explain why mainstream economics has focused on market activity to the exclusion of non-market activity, and why this fascination or focus is sexist. The purpose of this paper is to demonstrate that the competition/cooperation dichotomy is false. Once the dichotomy is dissolved, those activities which are seen as competitive (masculine) and those which are seen as cooperative (feminine) (...) are no longer mutually exclusive but are, in fact, dependent upon one another. It is shown that the outcome of competition (more and better knowledge) enhances, and in some cases makes possible, cooperation. The function of battle is destruction; of competition, construction. Ludwig von Mises. (shrink)

The connections between science and education, disciplines which are usually considered separately, were particulary strong in the U.S.A. in the early decades of the nineteenth century. Many American scientists at that time were employed as educators, and interested in matters of pedagogy. Like educators they were interested in popularizing their subject, and promoting it into a profession. The overlapping of science and education was especially evident in the area of apparatus. The philosophical apparatus that American scientists were acquiring at a (...) great rate might be considered scientific. In fact, it was often used for public demonstrations of natural philosophy, and seldom used for the advancement of science. In many instances this apparatus was indistinguishable from that developed for the educational reform known as object teaching. The proliferation of this apparatus was furthered by a growing apparatus industry operating within a growing consumer culture. (shrink)

Death narratives, nurturance, and transitive crossings within species and between species open pathways into entanglements of life of earth. This paper engages with time in both sequential and synchronous modes, investigating interfaces where time, species, and nourishment become densely knotted up in ethics of gift, motion, death, life, and desire. The further aim is to consider the dynamic ripples generated by anthropogenic mass death in multispecies knots of ethical time, and to gesture toward a practice of writing as witness.

The deontic model of justice and ethical behavior proposes that people care about justice simply for the sake of justice. This is an important consideration for business ethics because it implies that justice and ethical behavior are naturally occurring phenomenaindependent of system controls or individual self-interest. To date, research on the deontic model and third-party reactions to injustice has focused primarily on individuals’ tendency to punish transgressors. This research has revealed that witnesses to injustice will consider sacrificing their own resources (...) if it is the only way to sanction an observed transgressor. In this paper we seek to extend this model by arguing that punishment may not be the only “deontic” reaction, and that in fact, third-party observers of injustice may engage in moral self-regulation that would lead them to conclude that the most ethical response is to do nothing. We provide preliminary evidence for our propositions using voiced cognitions data collected during a resource allocation task. Results indicate that deonance may be more complex than originally thought, and previous tests of the model conservative in nature. (shrink)

During the past decade there has been a very effective campaign against any explanation of remembering whose basic concept is that of a causally mediating trace. This paper attempts to provide such an explanation by presenting an explicit deductive argument for the existence of the memory trace. The conclusion is shown to follow from reasonable, empirical assumptions of which the most interesting is a spatiotemporal contiguity thesis. Set-theoretic techniques are used to provide a framework of analysis and probabilistic definitions of (...) some causal notions, as that of a causal chain, are presented. (shrink)

Summary Americans import large amounts of sugar, levy a stiff tariff on it, and base this tariff on the saccharine content of each sample, and thus the assessment of sugar quality for tax purposes was enormously important. It was also among the most difficult challenges of a scientific or technical nature facing the federal government in the nineteenth century, and the issues it raised would often recur as science-based quality control became an essential feature of industry.

Since military planners must know the size and shape of the earth if they hope to track earth-orbiting satellites and to target missiles on distant lands, geodesy was an important concern of the two superpowers during the Cold War. The most important geodetic product in the United States was a series of increasingly powerful World Geodetic Systems, the first of which was published for the Department of Defense in 1960. Although WGS 60 was created because of intense international rivalries, it (...) reflected the intense rivalries between America's Army and its Air Force, and it introduced the notion of 'political geodesy'. My attention to American events does not indicate a lack of interest in the Soviet story; rather, I hope that historians with better language skills and better access to Soviet documents will examine geodetic research on the other side of the former Iron Curtain. (shrink)

This passage, which appears without variation at the end of four of Euripides' tragedies and with slight variation in a fifth,1 is perhaps the most notorious of the brief sequences of lines, usually anapaestic and usually assigned to the chorus, with which nearly all the extant plays of Sophocles and Euripides conclude.2 Unlike the more varied final speeches of extant Aeschylean tragedy, which are closely integrated with the play's concluding action, these passages often seem almost detachable from such action, a (...) comment upon or merely after finished business rather than a part of its finishing. In some instances there is general scholarly agreement that the concluding lines are relevant to the action of a play, but many of these passages have been variously dismissed by scholars - as interpolations, as mere dramatic conveniences, or as intentional throwaways. (shrink)

There is an explanatory constraint on practical reasons: practical reasons have to be the kinds of things that we can act for. Some philosophers, notably Bernard Williams, have argued that the explanatory constraint favours internalism about reasons: for an agent to have a reason to x, it is at least a necessary condition that she would, after ideal deliberation, be motivated to x. Internalism suggests that naturalism about reasons is more plausible for, in this view, reasons are psychological states. However, (...) reasons must not only be the kinds of things we can act for, at least some reasons must be good reasons, i.e. normative requirements. Derek Parfit argues that internalist, naturalist accounts cannot capture the normative aspect of reasons. He takes this to be a point in favour of his own externalist, non-naturalist account. I ask first whether Williams' account does fail to account for the normativity of reasons as Parfit argues, and second whether Parfit's externalist account can adequately meet the explanatory constraint. Although I claim that the answer to the first question is yes and the second no, the answer to both questions turns on the nature of practical rationality. My case stands if practical rationality is procedural, and falls if practical rationality is substantive. I argue, however, that the burden of proof is on those who, like Parfit, wish to defend a substantive account of practical rationality. S. Afr. J. Philos. Vol.24(2) 2005: 97-108. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Musical Design in Sophoclean TheaterDeborah H. RobertsWilliam C. Scott. Musical Design in Sophoclean Theater. Hanover, N.H., and London: University Press of New England, for Dartmouth College, 1996. xxii 1 330 pp. Cloth, $45.Music and the chorus that performed most of this music were fundamental elements in Greek tragedy, but we know very little about the music of tragedy, and it is notoriously difficult to find a successful way (...) of staging the chorus in modern productions. Among the great theorists of tragedy, Aristotle, who knew the music, placed it considerably below plot in importance; Nietzsche, who didn’t, saw it as tragedy’s source and essence. Recent criticism, turning increasingly from text to context, and concerning itself with both social context and performance context, again leads us from a variety of perspectives to consider the role of music and of the chorus in Greek tragedy.In Musical Design in Sophoclean Theater, a sequel of sorts to his earlier book on Aeschylus, William Scott looks at music less as an aspect of context than as an aspect of text; that is, he works with all that remains to us of tragedy’s music, the metrical forms of lyric. He does not understate the difficulties that confront his project and notes our lack of knowledge about melody and even about rhythm. But he seeks by a detailed analysis of metrical patterning and strophic form to show how music may have contributed to choral persona, the progress of choral response, the interchange between characters, the statement of dramatic theme, and the workings of dramatic irony. Scott’s aim is in part to enable producers of Greek plays to translate Greek musical idiom into something analogous to assist the meaning of the play; to that end, here as in the earlier book, he provides an introduction specifically for readers working in translation.Scott gives a useful account of the basic meters of Greek tragedy, avoiding the more arcane reaches of metrical studies and eschewing debate (except in the notes) over the exact metrical interpretation of particular passages. Readers will need to supplement Scott’s text with some form of aural experience of meter (reading out loud themselves, listening to others) if they are to get any sense of musicality; but he does about as much as can be done on the printed page. His comments both general and particular on the Sophoclean chorus and its varied roles and voices clarify its sometimes enigmatic presence for the newcomer to tragedy and also have something to offer to the scholar and teacher. His interpretations of the plays are not themselves novel in either approach or conclusions (nor are they intended to be), but they are again helpful; and in showing how attention to musical elements may strengthen a particular reading Scott vividly brings out important aspects of the plays. Notes and bibliography are thorough, and Scott extensively cites earlier work on the Sophoclean chorus.After a brief introductory chapter, the book consists largely of readings of each of Sophocles’ extant plays informed by metrical analysis and interpretation [End Page 123] of all lyric and anapestic passages in the order in which they occur. The second chapter deals with Antigone and Ajax, and the third with Trachiniae, Oedipus Tyrannus, Electra, and Philoctetes. In the last chapter, after recapitulating the chief features of musical design in the earlier plays, Scott turns to a concluding analysis of Oedipus at Colonus, which he sees as peculiarly varied and innovative. For each play he seeks to show how “scansion patterns can offer a clue to the rich effects available in a full musical performance” and how “it is possible to see from the scansion patterns that there are ironies and enriched meanings in the words that are supported in the musical design” (9). He takes account of the well-known associations of a few meters (dochmiacs with heightened emotion, sequences of dactyls with allusion to epic and so forth) but is primarily concerned with the meanings meters and groups of meters take on in particular metrical and dramatic contexts. Central to Scott’s interpretations is the assumption that the Greek audience responded to the odes in... (shrink)

This chapter is reprinted from our lead essay in the Encyclopedia of Science, Technology, and Ethics, ed. C. Mitcham, Gale, 2005.

Latin American women’s filmmaking has an unprecedented international profile thanks to the films of the Peruvian director Claudia Llosa, and the Argentine directors Lucía Puenzo and Lucrecia Martel. What is frequently unacknowledged when discussing the work of these award-winning filmmakers is the fact that all of their films are co-productions with Europe, and that programmes such as Cinéfondation, a programme aligned with the Cannes film festival, the Hubert Bals Fund, the World Cinema Fund and Ibermedia have been instrumental in their (...) production. This article will tell this story through a discussion of the work of Claudia Llosa with an introduction to the issues raised by her award winning festival film Madeinusa, and a focus on La teta asustada/The Milk of Sorrow. It will consider the arguments of theorists who critique what they see as neo-colonial European interventions in ‘world cinema’, and those who celebrate the enabling work of the funding bodies. The chapter asks where can we pl... (shrink)