Ethical thought experiments such as the trolley dilemma have been investigated extensively in the past, showing that humans act in utilitarian ways, trying to cause as little overall damage as possible. These trolley dilemmas have gained renewed attention over the past few years, especially due to the necessity of implementing moral decisions in autonomous driving vehicles. We conducted a set of experiments in which participants experienced modified trolley dilemmas as drivers in virtual reality environments. Participants had to make decisions between (...) driving in one of two lanes where different obstacles came into view. Eventually, the participants had to decide which of the objects they would crash into. Obstacles included a variety of human-like avatars of different ages and group sizes. Furthermore, the influence of sidewalks as potential safe harbors and a condition implicating self-sacrifice were tested. Results showed that participants, in general, decided in a utilitarian manner, sparing the highest number of avatars possible with a limited influence by the other variables. Derived from these findings, which are in line with the utilitarian approach in moral decision making, it will be argued for an obligatory ethics setting implemented in ADVs. (shrink)

As donor trust legitimises research, trust is vital for research in the fields of biomedicine, genetics, translational medicine and personalised medicine. For parts of the donor community, the consent signature is a sign of trust in research. Many consent processes in biomedical research ask donors to provide their data for an unspecified future use, which introduces uncertainty of the unknown. This uncertainty can jeopardise donor trust or demand blind trust. But which donor wants to trust blindly? To reduce this (...) uncertainty, we explore first, which future-proof actors donors could trust when signing a consent form. Second, we discuss the question Can we know if donor trust expires? and what prevents donor trust from expiring. Finally, we present possible measures that can help to nurture trust in the far future. In this article, we draw on our previous research on trust in biomedical research, on trust in the broader healthcare system and Niklas Luhmann’s and Anthony Giddens’ trust theories. Our findings suggest that, in the far future, researchers will need to consider donor autonomy, as well as societal norms and values of the time period in which the data were donated. They will need to find mechanisms where possible to publicly announce the use of old data sets. However, foremost researchers will need to treat the data respectfully. It remains vital that professionals and the society continue to elaborate on the norms and values that shape the common understanding of what is morally right and wrong when researching data. (shrink)

In Part III of his Remarks on the Foundations of Mathematics Wittgenstein deals with what he calls the surveyability of proofs. By this he means that mathematical proofs can be reproduced with certainty and in the manner in which we reproduce pictures. There are remarkable similarities between Wittgenstein's view of proofs and Hilbert's, but Wittgenstein, unlike Hilbert, uses his view mainly in critical intent. He tries to undermine foundational systems in mathematics, like logicist or set theoretic ones, by stressing the (...) unsurveyability of the proof-patterns occurring in them. Wittgenstein presents two main arguments against foundational endeavours of this sort. First, he shows that there are problems with the criteria of identity for the unsurveyable proof-patterns, and second, he points out that by making these patterns surveyable, we rely on concepts and procedures which go beyond the foundational frameworks. When we take these concepts and procedures seriously, mathematics does not appear as a uniform system, but as a mixture of different techniques. (shrink)

It is being increasingly recognized that the Saussurean dictum of “the arbitrariness of the linguistic sign” is in conflict with the pervasiveness of the phenomenon commonly known as “sound symbolism”. After first presenting a historical overview of the debate, however, we conclude that both positions have been exaggerated, and that an adequate explanation of sound symbolism is still lacking. How can there, for example, be (perceived) similarity between expressionsand contents across different sensory modalities? We offer an answer, based on the (...) Peircian notion of iconic ground, and G. Sonesson’s distinction betweenprimary and secondary iconicity. Furthermore, we describe an experimental study, in a paradigm first pioneered by W. Kohler, and recently popularized by V.Ramachandran, in which we varied vowels and consonants in fictive word-forms, and conclude that both types of sounds play a role in perceiving an iconic ground between the word-forms and visual figures. The combination of historical conceptual analysis, semiotic explication and psychological experimentationpresented in this article is characteristic of the emerging paradigm of cognitive semiotics. (shrink)

Bilattices, introduced by Ginsberg as a uniform framework for inference in artificial intelligence, are algebraic structures that proved useful in many fields. In recent years, Arieli and Avron developed a logical system based on a class of bilattice-based matrices, called logical bilattices, and provided a Gentzen-style calculus for it. This logic is essentially an expansion of the well-known Belnap–Dunn four-valued logic to the standard language of bilattices. Our aim is to study Arieli and Avron’s logic from the perspective of abstract (...) algebraic logic . We introduce a Hilbert-style axiomatization in order to investigate the properties of the algebraic models of this logic, proving that every formula can be reduced to an equivalent normal form and that our axiomatization is complete w.r.t. Arieli and Avron’s semantics. In this way, we are able to classify this logic according to the criteria of AAL. We show, for instance, that it is non-protoalgebraic and non-self-extensional. We also characterize its Tarski congruence and the class of algebraic reducts of its reduced generalized models, which in the general theory of AAL is usually taken to be the algebraic counterpart of a sentential logic. This class turns out to be the variety generated by the smallest non-trivial bilattice, which is strictly contained in the class of algebraic reducts of logical bilattices. On the other hand, we prove that the class of algebraic reducts of reduced models of our logic is strictly included in the class of algebraic reducts of its reduced generalized models. Another interesting result obtained is that, as happens with some implicationless fragments of well-known logics, we can associate with our logic a Gentzen calculus which is algebraizable in the sense of Rebagliato and Verdú . We also prove some purely algebraic results concerning bilattices, for instance that the variety of distributive bilattices is generated by the smallest non-trivial bilattice. This result is based on an improvement of a theorem by Avron stating that every bounded interlaced bilattice is isomorphic to a certain product of two bounded lattices. We generalize it to the case of unbounded interlaced bilattices. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Today, “scientism“ is a concept with a negative connotation in every language. Although many definitions are circulating, they have the assessment in common that scientism implicates a blind faith in science, which is wrong, simple-minded and even dangerous. However, the question is, who actually is defending that kind of position? Is scientism not just a ghost, a projection, an intellectual scarecrow in order to use many people’s fear of science in order to bash rationalistic opinions? This article develops the (...) argument that scientism is a real historical current which can be analyzed in a concrete way. It starts by outlining the history of the French word “scientisme” and the debates around it and discovers that the word is not at all of recent invention, but goes back to the 1840s and received its negative emphasis in the late nineteenth century when “scientific spiritism” on the one hand and Catholicism on the other were struggling against the “exaggerated” claims of natural science. A polemical counter-concept was therefore needed. Soon afterward some scientists and philosophers emerge, like Félix Le Dantec, Abel Rey or Marcel Boll, who turn around the invective in order to describe their own optimistic and rationalistic conception of science. In conclusion the article argues that scientism has to be understood as an intellectual project and as an optimistic thought-style in science that does not at all correspond to the prejudices of the amoral scientist or the power-hungry technocrat, but is represented mostly by outsiders and nonconformists. (shrink)

The following definition of objective is proposed: A statement S is objective if and only if in S all parameters that are relevant to its truth value are made explicit. The objectivity of predicates and relations can be defined in a similar manner. This simple conception of objectivity-which could be called explicitness conception of objectivity-can be found in Hermann Weyl and plays a central part in the natural sciences. There are grades of objectivity depending on the quality and the number (...) of parameters our predicates are relativized to A relativistic Ockham principle has to be recognized: Relativization parameters are not to be multiplied beyond necessity. The explicitness conception of objectivity is accessible to mathematical specifications, is the core of the idea of invariance, has a lot of philosophical applications and leads to precise notions of subjectivity and a precise formulation of the problem of the limits of objectivity. (shrink)

: This paper discusses the relation between the philosophies of difference and the so-called postcolonial movement of thought. Our main sources are, on the side of the postcolonial studies, Frantz Fanon, Edward Said, and Homi Bhabha and, on the side of the philosophies of difference, Jean-François Lyotard, Michel Foucault, Gilles Deleuze, and Félix Guattari. We show that the authors belonging to the postcolonial movement are, to large extent, heirs of a way of thought already practiced by the philosophers of difference. (...) However, the postcolonial authors also reinforce the conceptual apparatus of the philosophies of difference with original contributions and, above all, an attentive consideration of the problem of colonial difference, which remains a big gap for critical thought. Regarding that, with no intention of approaching in depth the singularity and complexity of the ideas of each of the mentioned authors, we draw a minimal map of the points where the philosophies of difference and the postcolonial thought intercept each other. This map also shows points where the postcolonial movement complements the perspective of the philosophies of difference, precisely addressing one of its blind spots: the colonial question. Resumo: Este artigo discute a relação entre as filosofias da diferença e o chamado movimento de pensamento pós-colonial. Suas fontes principais são, do lado dos estudos pós-coloniais, Frantz Fanon, Edward Said e Homi Bhabha, e, do lado das filosofias da diferença, Jean-François Lyotard, Michel Foucault, Gilles Deleuze e Félix Guattari. Mostra-se que os autores do movimento pós-colonial são, em grande medida, herdeiros de um pensamento já praticado pelos filósofos da diferença. No entanto, os autores pós-coloniais também reforçam o aparato conceitual das filosofias da diferença com contribuições originais e, sobretudo, uma consideração atenta do problema da diferença colonial, que permanece uma grande lacuna para o pensamento crítico. Tendo isso em vista, sem pretender abordar, de maneira aprofundada, a singularidade e a complexidade das ideias de cada um dos autores mencionados, traça-se um mapa mínimo dos pontos onde as filosofias da diferença e o pensamento pós-colonial se interceptam. Esse mapa também mostra pontos onde o movimento pós-colonial complementa a perspectiva das filosofias da diferença, abordando justamente um de seus pontos cegos: a questão colonial. (shrink)

Interactions between the host and its associated microbiota differ spatially and the local cross talk determines organ function and physiology. Animals and their organs are not uniform but contain several functional and cellular compartments and gradients. In the intestinal tract, different parts of the gut carry out different functions, tissue structure varies accordingly, epithelial cells are differentially distributed and gradients exist for several physicochemical parameters such as nutrients, pH, or oxygen. Consequently, the microbiota composition also differs along the length of (...) the gut, but also between lumen and mucosa of the same intestinal segment, and even along the crypt‐villus axis in the epithelium. Thus, host‐microbiota interactions are highly site‐specific and the local cross talk determines intestinal function and physiology. Here we review recent advances in our understanding of site‐specific host‐microbiota interactions and discuss their functional relevance for host physiology. (shrink)

This article presents a model for the procedure of elaboration of an effective ethical code. Taking as the starting point the concept of business ethics as critical hermeneutics, we describe a process which will lead to the creation of a document that is truly ethical and efficient. We believe the elaboration of an ethical code should follow a definite procedure, and that the process is as important as the result, but we also add that in order for the process to (...) be a truly rational dialogue it is necessary to make efforts to ensure the participation of truly valid interlocutors who can represent their interests in conditions that are as close as possible to an ideal community of dialogue. Our model for the elaboration of an ethical code attempts to break with the conventional distinction between processes of elaboration and application in order to develop a truly integrative ethics, while also giving attention to the concrete conditions in which the ethical code is developed. In our view the contribution made by this model is the emphasis it places on the transformation of the will of the participants in the dialogue. (shrink)

Researchers in post-war industrial laboratories such as Bell Labs and the Smith-Kettlewell Institute pioneered solutions to compensate for sensory loss through so-called sensory substitution systems, premised on an assumption of cortical and sensory plasticity. The article tracks early discussions of plasticity in psychology literature from William James, acknowledged by Wiener, but explicitly developed by Bach-y-Rita and his collaborators. After discussing the conceptual foundations of the principles of sensory substitution, two examples are discussed. First, ‘Project Felix’ was an experiment in (...) vibrotactile communication by means of ‘hearing gloves’ for the deaf at Norbert Wiener’s laboratory at Massachusetts Institute of Technology, demonstrated to Helen Keller in 1950. Second, the tactile-visual sensory substitution system for the blind pioneered by Paul Bach-y-Rita from 1968 onwards. Cumulatively, this article underlines the crucial yet occluded history of research on sensory impairments in the discovery of underlying neurophysiological processes of plasticity and the emergent discourse of neuroplastic subjectivity. (shrink)

The present volume is devoted to the theme of Divine Father in Second Temple Jewish and early Christian tradition and in its ancient pagan contexts. It brings together proceedings of a conference under the same title, held in Gottingen in September 2011. Selected articles by well-known scholars focus on religious and philosophical concepts of divine parenthood in antiquity, from the Hebrew Bible and Second Temple Judaism (the Dead Sea Scrolls, Targums, Philo and Josephus) to the field of the New Testament. (...) In addition, the volume deals with the designation of deity as father or mother from the broad spectrum of ancient Egypt and classical antiquity (Homer, Hesiod, Plato, and its reception) to late antiquity (Plotinus and Porphyry).". (shrink)

Autobiographical introduction.--Philosophical theory.--Applications: the three shadows, sickness, sorrow and sin, and the right to life, property and reputation.--Applications: the ethics of the family, the state, the international relations, etc.

Considered by many to be one of the major influences on modern Humanistic Judaism, Felix Adler (1851-1933) was a professor of political and social ethics and a social reformer who founded the Ethical Culture movement. First published in 1903 "Life and Destiny" contains quotations from Adler's lectures for the New York Society for Ethical Culture in its early years. It covers such things as the meaning of life, religion, immortality, moral ideas, the ethical outlook, and related topics.

The later Wittgenstein holds that the sole function of mathematical propositions is to determine the concepts they invoke. In the paper this view is discussed by means of a single example: Wittgenstein's investigation of the concept of a regular heptagon as used in Euclidean geometry (i.e., the Euclidean constructiongame with rulerand compass) andinCartesian analytic geometry. Going on from some well-known passages in Wittgenstein's Lectures on the Foundations of Mathematics, and completing these passages, it is shown that Wittgenstein'sview makes perfectly good (...) sense and can be very well defended. (shrink)

David Hume's Essays, which were written and published at various junctures between 1741 and his death in 1776, offer his most accessible and often most profound statements on a range of subjects including politics, philosophy, aesthetics, and political economy. In Hume's lifetime, the readable and wide-ranging Essays acquired considerable fame throughout Europe and North America, influencing the writings of such diverse figures as James Madison and William Paley, yet they have not been given the same scholarly attention as his more (...) famous philosophical works. This Critical Guide provides a series of in-depth studies of the Essays, as well as an account of the state of scholarship on the work. Thirteen chapters examine the Essays from historical, political and philosophical perspectives, with the aim of restoring the work to its rightful place among Hume's works and in intellectual history more broadly. (shrink)

From the Hippocratic Oath on, deontological codes and other professional self-regulation mechanisms have been used to legitimize and identify professional groups. New technological challenges and, above all, changes in the socioeconomic environment require adaptable codes which can respond to new demands.We assume that ethical codes for professionals should not simply focus on regulative functions, but must also consider ideological and educative functions. Any adaptations should take into account both contents (values, norms and recommendations) and the drafting process itself.In this article (...) we propose a process for developing a professional ethical code for an official professional association (Colegio Oficial de Ingenieros Industriales de Valencia (COIIV) starting from the philosophical assumptions of discursive ethics but adapting them to critical hermeneutics.Our proposal is based on the Integrity Approach rather than the Compliance Approach. A process aiming to achieve an effective ethical document that fulfils regulative and ideological functions requires a participative, dialogical and reflexive methodology. This process must respond to moral exigencies and demands for efficiency and professional effectiveness.In addition to the methodological proposal we present our experience of producing an ethical code for the industrial engineers’ association in Valencia (Spain) where this methodology was applied, and we evaluate the detected problems and future potential. (shrink)

1. IntroductionConstructing narratives that can combat people’s unease about their sense of belonging, by providing a sense of certainty and steadfastness, is a recurrent affect in the history of humanity.1 Perhaps change is, however, the only constant in this history. Over a hundred years ago, Max Weber bemoaned the transition to a rationalized modernity as “the disenchantment of the world,”2 which in turn had been inspired by similar concerns expressed by Friedrich Schiller in his poem “The Gods of Greece” (“Die (...) Götter Griechenlands”) at the end of the eighteenth century.3 Intensifying scholarly debates across the humanities and social sciences, asking questions about what people experience as fundamental changes to the fabric of their lived realities and how they cope with it, further indicate that Western societies are in transition in the present day. There is, however, disagreement over whether the human condition simply observes changes or whether it transforms into a qualitatively new stage, one that has been termed postmodernity, late modernity, and liquid modernity.4 Nevertheless, there is a consensus among scholars that contemporary realities unfold in contrast to social imaginaries that have defined Western societies and senses of belonging since the “global transformation” took place in the nineteenth century. This transformation still “underpins core aspects of contemporary international relations,” as Barry Buzan and George Lawson contend.5 Even today, social imaginaries are narrated—and criticized as such—in grand terms, often with a focus on the nation and a (however conceived) glorious future. (shrink)

Twenty-five years ago, drawing on her fieldwork among the Zapotec, the legal anthropologist Laura Nader proposed the term harmony ideology to characterize postcolonial systems of justice. She found outward social harmony to be the result of coercion, as people were denied access to legal means and were forced either into alternative dispute resolution or into autocoercion, in which marginalized people presented unity to outsiders to avoid state interference. This proposition constitutes a relevant advance in relation to previous approaches to conflict (...) and harmony in the social sciences, but it falls short by failing to account for indigenous notions of and demands for harmony. Ethnographic data from rural Kyrgyzstan and the South Omo region of Ethiopia indicate that there are models of harmony active at various social levels and that harmony is a genuine concern of communities. Demands for harmony are performatively integrated into social practices. The authors argue that, rather than searching for a scale of sociality where harmony might be “organic,” it is necessary to critically assess proclamations of and demands for harmony as means of coercion even within small communities. A focus on social practice in such places reveals that the experience of community partly derives from acts of collectively condemning and sanctioning deviance. (shrink)

SummaryThe present paper deals with the determination of the size and charge of a single submicroscopic particle, measured in a small horizontal condenser of a diameter of approximately 8 mm., using the author's method first stated April 1910. To obtain the highest sensitivity, author used solid particles of an order of magnitude under 3 × 10–5 cm. and found charges less than that of the electron. Various objections were raised against his findings, namely that the particles investigated were not spheres, (...) and that their density was not that of the macroscopic substance, so that his findings of charges less than the electronic charge were merely imaginary. The author has succeeded in precipitating and measuring a particle after having observed it in the condenser under normal and also very high gas pressures. The particles were shown to be perfect spheres. A new method is indicated whereby it is possible to determine the size of sub-microscopic spheres by pushing together two equal spheres with a micromanipulator; the two diffraction disks overlap and render it very easy to determine the actual size. It is also possible to show that the density of each individual sphere is that of the macroscopic substance, since it can be computed easily from the velocity of fall at high gas pressures. These two data being accurately determined, the author still found charges considerably less than the electronic charge, and the deviations are too great to be accounted for by errors of observation. The reason that the author has used a solid substance and not oil, which is a liquid, was in the first place, that liquids evaporate, and therefore do not yield correct results, and secondly, because liquid spheres are not certain to preserve their sphericity when precipitated. Thus charges less than that of the electron are to be considered as actually existing. (shrink)