Should there be a female age limit on public funding for assisted reproductive technology (ART)? The question bears significant economic and sociopolitical implications and has been contentious in many countries. We conceptualise the question as one of justice in resource allocation, using three much-debated substantive principles of justice—the capacity to benefit, personal responsibility, and need—to structure and then explore a complex of arguments. Capacity-to-benefit arguments are not decisive: There are no clear cost-effectiveness grounds to restrict funding to those older women (...) who still bear some capacity to benefit from ART. Personal responsibility arguments are challenged by structural determinants of delayed motherhood. Nor are need arguments decisive: They can speak either for or against a female age limit, depending on the conception of need used. We demonstrate how these principles can differ not only in content but also in the relative importance they are accorded by governments. Wide variation in ART public funding policy might be better understood in this light. We conclude with some inter-country comparison. New Zealand and Swedish policies are uncommonly transparent and thus demonstrate particularly well how the arguments we explore have been put into practice. (shrink)

Thomas Hurka, in his book Virtue, Vice, and Value, and elsewhere, develops a recursive analysis of higher-order pleasures and pains. The account leads Hurka to some potentially controversial conclusions. For instance, Hurka argues on its basis that some states are both good and evil and also that the view he calls the conditionality view is false. In this paper, I argue that Hurka’s formulation of the recursive account is unusual and inelegant, and that Hurka reaches his conclusions only because of (...) its peculiar aspects. I provide an alternative recursive account which is similar in spirit to Hurka’s but which is theoretically elegant and does not entail those conclusions. (shrink)

In this chapter I survey the two main families of views about the moral psychology of moral responsibility, i.e., about the mental capacities or psychological functioning that distinguishes responsible agents from non-responsible agents. These are self-expression views, which maintain that responsible agency is essentially about being able to express one's practical stance or moral orientation in conduct; and reasons-responsiveness views, according to which responsible agency requires a suite of powers that make their possessors capable of detecting and responding apppropriately to (...) the moral considerations against their conduct (in the case of wrong actions). I explore different contemporary variants of each of these families of views and assess their weaknesses and strenghts. Finally, I sketch a methodology for settling this debate, the essence of which is to note that the debate about the moral psychology of moral responsibility is ancilliary to a broader debate about the nature of moral responsibility itself and, in particular, about the nature of blame and blaming reactions. On the basis of this methodology, I end up taking sides with a particular variant of the self-expression paradigm. (shrink)

En Self-Constitution. Agency, Identity, and Integrity (2009), Christine Korsgaard defiende la conclusión de que el imperativo categórico rige la acción humana porque es el único principio que permite alcanzar la unidad psíquica plena, la cual, según Korsgaard, es un prerrequisito esencial para la acción efectiva. Para los agentes humanos, alcanzar esa unidad -que consiste en hacer coherentes distintos impulsos hacia la acción- es una actividad constante, denominada "autoconstitución". De acuerdo con Korsgaard, ésta es la fuente originaria de la normatividad y (...) de las identidades prácticas e incluso de la identidad personal. Después de exponer las ideas centrales del libro, presento dos objeciones: primero, critico la equiparación del imperativo categórico con la autoconstitución exitosa, pues no toda falla de auto-constitución es una falla moral. Segundo, argumento que la tesis de que la identidad personal es producto de la autoconstitución es problemática y que, al defenderla, Korsgaard confunde identidad práctica con identidad personal. In Self-Constitution. Agency, Identity, and Integrity (2009), Christine Korsgaard argues that the categorical imperative rules human action because it is the sole principle that allows us to reach the complete psychic unity that, Korsgaard thinks, is an essential prerequisite for effective action. Reaching this unity -which consists in making cohere diverging impulses for action- is for human agents a constant activity called "self-constitution." According to Korsgaard, this activity is the source of normativity, of human practical identities and even of personal identity. After explaining the main ideas of the book, I present two objections. First, I criticize the linkage of the categorical imperative to successful self-constitution, for not every failure of the latter counts as a moral failure. Second, I argue that the thesis that personal identity is a product of self-constitution is problematic and that it betrays a confusion between practical identity and personal identity. (shrink)

In this paper I revisit Gregory Kavka’s Toxin Puzzle and propose a novel solution to it. Like some previous accounts, mine postulates a tight link between intentions and reasons but, unlike them, in my account these are motivating rather than normative reasons, i.e. reasons that explain (rather than justify) the intended action. I argue that sensitivity to the absence of possible motivational explanations for the intended action is constitutive of deliberation-based intentions. Since ordinary rational agents display this sensitivity, when placed (...) in the toxin scenario they will believe that there is no motivational explanation for actually drinking the toxin and this is why they can’t form the intention to drink it in the first place. I thus argue that my Motivating-Explanatory Reason Principle correctly explains the toxin puzzle, thereby revealing itself as a genuine metaphysical constraint on intentions. I also explore at length the implications of my account for the nature of intention and rational agency. (shrink)

The 2013 Rostock Symposium on Systems Biology and Bioinformatics in Aging Research was again dedicated to dissecting the aging process using in silico means. A particular focus was on ontologies, as these are a key technology to systematically integrate heterogeneous information about the aging process. Related topics were databases and data integration. Other talks tackled modeling issues and applications, the latter including talks focussed on marker development and cellular stress as well as on diseases, in particular on diseases of kidney (...) and skin. (shrink)

Historically, taxonomy, which is the area responsible for describing new species, used a priori only morphological characteristics. Darwin already pointed out that there was a great divergence among taxonomists when they classified some organism as a species. When a new species is described, due to its historical weight, the morphological characters are considered as the first species demarcation criterion, however, with the advance of genetics and molecular biology, new methods are added. The use of multiple methods seems to be necessary (...) for us to develop a contemporary taxonomy, so, a little more than a decade ago, the “integrative taxonomy” emerged, which refers to a taxonomy that aims to integrate all available data sources to frame the data. species limits. Data integration is not possible, as we do not have the technological capacity to do so. In view of this, we can interact the data through interactive taxonomy, which suggests, a way of treating the data under the assumption of different lines of evidence, through which the explanations have logical consequences that can be tested, mitigating the subjectivity of the subject in the process. Data interactions can overlap taxonomic descriptions, as they could encompass different phenomena and problem solving, thereby mitigating subjectivism. Therefore, in different fields, at least two indications would be necessary, which could be contained in two different approaches, one hypothetical and one by estimation. Such interpellations would contain evidence with different assumptions and dissimilar data characteristics, thus increasing the number of evidence, as well as improving the reliability of the argument. In this way, we can bring new species to light with a more objective bias and with less likelihood of error. Keywords: Taxonomy. Cryptic species. Estimation. Hypothetical. (shrink)

Hiller vonGaertringen says of this inscription: ‘Lapis in obscuro loco collocatus est. In ectypis nihil fere dispeximus … Lectio e Koehlero et Velseno componenda est.’ I did not find the stone till my last morning in Athens: it is E.M. 6600; it is extremely illegible, and I had not time to move it to a really good light. But there are a few things to add, and the length of line can, I believe, be determined.

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

This famous decree, which is the earliest Athenian decree preserved on stone, is printed e.g. by Hiller in IG. i. no. i, and with a materially different text by Tod in SGHI. no. II. A small new fragment was published in Hesperia, vii. 264. Restorations continue to differ widely and fundamentally. In Hesperia, x. 301–7, Meritt has discussed recent suggestions, and has submitted his own text on p. 307; on p. 305 is a drawing by Raubitschek of the whole (...) monument on the basis of Meritt's text. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Surrender Versus Control:How Best Not to DrinkMark D. Rego (bio)Keywordsaddiction, Alcoholics Anonymous, will, St. AugustineI recall as a teenager noticing that some people modified nouns in, what sounded to me, a peculiar way. A friend's mother who was taking an automotive repair course said, " We're going to learn to fix the brakes next week." The same folks would also use the possessive for common nouns in phrases like: (...) "I'll be ready after I take my shower." Although not incorrect, I believe this type of usage reflected a different attitude about brakes, showers, and other things. These tended to be more hands-on people and thus, in my understanding at least, had a more particular relationship with things in their world than others for whom objects were examples of types of things.This brief vignette serves as an introduction to my qualified enthusiasm for the project taken up by Allison Mitchell in her paper, "Taking Mentality Seriously: A Philosophical Inquiry into the Language of Addiction and Recovery" (Mitchell, 2006). Indeed, as a practicing psychiatrist I would be hard pressed not to endorse the use of language as a key to deeper aspects of experience.My following remarks are mostly contra Mitchell's hypothesis, but before beginning I name one more reason I think this project is worthwhile. In spite of much research and recitations of the motto "treatment works," we do not presently have a reliable treatment for addiction. The linguistic portrait painted by Mitchell allows us to view our treatments in vivo and reflect upon what we see. (For the purpose of this commentary, I consider alcoholism and Alcoholics Anonymous [AA] as a general example of addiction and treatment.)Medication treatment remains almost inconsequential except when applied for comorbid psychiatric disorders rather than the primary addiction. Even then it rarely serves to undo some form of self-medication, but instead only offers an important leg up in battling the addiction.Research and much experience has shown AA to be the single best treatment for alcoholism (Vaillant and Hiller-Sturmhofel 1996). Some investigators have proposed underlying mechanisms for its efficacy (some, like "creating dependency" run very counter to Mitchell) (Vaillant 2005). AA's success is highly dependent upon attendance (McCrady et al. 2004), which can of course be a marker for getting better in the first place and not solely a cause of improvement (i.e., people who are doing better attend more meetings not vice- versa). Even within AA, the dropout rate is quite high (Martin et al. 1996). Workers in this area [End Page 223] have raised questions about AA's approach and have proposed other avenues to sobriety, including interpersonal, cognitive–behavioral, and relapse prevention programs (Witkiewitz and Marlatt 2005, 2004; O'Dwyer 2006). Lamentably, some very large studies failed to show any effective ability to match up alcoholics with a particular treatment modality (Church 2004; Read 2004).Given the lack of clarity with which we still work, I think an approach like Mitchell's is a welcome call for serious reflection. The limitations of a linguistic analysis place an unfortunate constriction on implications to be drawn.Mitchell's chief concern is that the language of recovery, as reflected in twelve-step programs, betrays and even fosters a degree of passivity, which leaves the addict without an adequate sense of agency and autonomy with which to combat addiction. From a more philosophical perspective, Mitchell believes this is due to an incomplete philosophical materialism; one that lacks "mentality" (i.e., the sense that part of our physical being is made up of mental activities such as emotions, motivations, beliefs, etc.). This attitude is manifest in a "pretheoretic conception of the self" that leaves the addict with a dearth of self-awareness as a mental agent of action and change.In place of the standard recovery model in use today, Mitchell suggests cultivating a sense of self that values and fosters engaged agency that is both capable of self-control and responsive to external obligations.A Few ConcernsFirst, I will offer a few concerns about premises at work within the paper. Then, I outline an attempt to make sense of the... (shrink)

In the _World Library of Educationalists_, international experts themselves compile career-long collections of what they judge to be their finest pieces – extracts from books, key articles, salient research findings, major theoretical and practical contributions – so the world can read them in a single manageable volume, allowing readers to follow the themes of their work and see how it contributes to the development of the field. Mary James has researched and written on a range of educational subjects which encompass (...) curriculum, pedagogy and assessment in schools, and implications for teachers´ professional development, school leadership and policy frameworks. She has written many books and journals on assessment, particularly assessment for learning and is an expert on teacher learning, curriculum, leadership for learning and educational policy. Starting with a specially written introduction in which Mary gives an overview of her career and contextualises her selection, the chapters are divided into three parts: Educational Assessment and Learning Educational Evaluation and Curriculum Development Educational Research and the Improvement of Practice Through this book, readers can follow the different strands that Mary James has researched and written about over the last three decades, and clearly see her important contribution to the field of education. (shrink)

The noted psychologist, Doreen Kimura, has argued that we should not expect to find equal numbers of men and women in various professions because there is a natural sexual inequality of intellect. In rebuttal I argue that each of these mutually supporting theses is insufficiently supported by the evidence to be accepted. The social and ethical dimensions of Kimura's work, and of the scientific study of the nature-nurture controversy in general, are briefly discussed.

The purpose of this essay is to analyze succinctly the concept of faith through the very penetrating gaze of the Danish philosopher Sören Kierkegaard. Faith is analyzed by Kierkegaard from absurdity, resignation and the paradox of faith. In the same way, his concept of faith is carved with a chisel that would complete all his philosophy, that is, to touch human reality away from any abstract thought, trying at all times that his examination be seen on a personal dimension in (...) his rigorously individual coret. (shrink)

The orthodox explanation of the syntax of lines 453–4 is that repeated by the most recent commentator, F. Bömer, p.343): ‘neque adhuc epota parte ist Abl. absol.; der Gegenstand, mit dem Ceres den Jungen überschüttet, ist mixta … polenta.‘ The ablative absoluteis in itself unexceptionable, but the proliferation of three ablatives in two verses is awkward writing. As transmitted, line 454 is the product of a copyist who, as is often the habit of copyists, was confininghis attention to the verse (...) on which he was engaged and still had ‘tosta … polenta’from line 450 echoing in his head. Unless I am much mistaken, Ovid wrote. (shrink)

Книга адресована специалистам в области теории познания, обществоведам, преподавателям философских дисциплин, аспирантам и студентам философских факультетов вузов, всем тем, кто интересуется данной проблемой.