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)

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)

In this paper I investigate the mechanics of killing, brining together neuroscience, military history, and the work of the French philosophers Gilles Deleuze & Félix Guattari. Investigating the Columbine killers and the way they negotiate with the intensity of the act of killing allows me to construct a concept of “political physiology,” defined as “interlocking intensive processes that articulate the patterns, thresholds, and triggers of emergent bodies, forming assemblages linking the social and the somatic, with sometimes the subjective as intermediary.” (...) While most people must be in a blind rage to kill at close range, the Columbine killers raised the threshold at which an evolutionarily inherited non-subjective “rage agent” kicks in, thus allowing themselves to be subjects in the act of killing. Yet they were not “cold-blooded killers,” either, those who lower the intensity of the act of killing below the threshold that prevents most interpersonal violence from reaching lethal proportions, since they committed suicide soon after their killing spree from burning out. The success of the Columbine killing machine warns us of a “machinic phylum” whose singularities are virtually available for incorporation into bodies by subjects willing to undergo extreme experiments in political physiology. (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)

En este artículo se estudia un peculiar recurso discursivo de un cronista barroco del virreinato del Perú: un elogio de las mujeres criollas de la ciudad de Arequipa, que se transforma en una vindicación general de los indígenas como una forma de exaltar a la ciudad criolla a través de una serie de analogías históricas con experiencias e ideales de la tradición hispánica asumibles para una audiencia metropolitana.

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)

La familia Murcia de la Llana desarrolló a lo largo de casi un siglo una de las tareas más significativas y a su vez más desconocidas dentro del complicado proceso por el que un manuscrito debía transcurrir hasta abandonar la imprenta: la corrección de libros. Por sus manos pasaron la mayor parte de los escritos del siglo XVII, muchos de los cuales alcanzarían posteriormente un éxito sin precedentes, caso del Quijote de Miguel de Cervantes. Este estudio se articula en base (...) a una serie de noticias documentales, muchas inéditas, que intentan esclarecer la compleja relación de parentescos, así como interesantes datos sobre el oficio de corrector general de libros. (shrink)

A partir du double constat d’une carence de statut et d’une crise de sens de la topologie lacanienne du nœud borroméen, nous tenterons d’expliciter le sens phénoménologique de ce nœud. Réduit à son essence, le nœud borroméen est composé de points et de trous. Or ces trous sont le résultat de mouvements expérimentables sur un mode affectif et charnel. La pul- sion, le désir, l’amour, constituent en effet la matière phénoménale du nœud borroméen. Avec Husserl, Merleau-Ponty et Patočka, nous montrerons (...) que la Terre originaire et immobile cons- titue l’ancrage de tous ces mouvements. Les mouvements-nœuds de la vie affective reçoivent alors une signification ontologique. Ils sont autant de variantes du mouvement primordial vers l’être. (shrink)

Hermeneutics originates in the mediation of meaningful utterances understood as arising from a suprahuman, divine domain. The religious origin of hermeneutics is centrally connected with the history of Christianity both in the Patristic period, ending with St. Augustine, and in the modern era of Reformation and Counter‐Reformation. Schleiermacher outlines a general theory of interpretation, while resisting any claims to special status of biblical hermeneutics. This chapter charts both facets of hermeneutics before ending with the relation of hermeneutics to the phenomenology (...) of the sacred. The masters of suspicion, Marx, Nietzsche, and Freud, understood religion as a cultural phenomenon, and one which masks a deeper reality. The hermeneutics of religion continues to be a fundamental philosophical and theological concern. Hermeneutics and religious phenomena inform each other in the development of a hermeneutics of religion and an exploration of the religious origins of hermeneutics. (shrink)

Building on previous work by Mints, Buchholz and Schwichtenberg, a simplified version of continuous normalization for the untyped λ-calculus and Gödel’s is presented and analysed in the coalgebraic framework of non-wellfounded terms with so-called repetition constructors.The primitive recursive normalization function is uniformly continuous w.r.t. the natural metric on non-wellfounded terms. Furthermore, the number of necessary repetition constructors is locally related to the number of reduction steps needed to reach the normal form and its size.It is also shown how continuous normal (...) forms relate to derivations of strong normalizability in the typed λ-calculus and how this leads to new bounds for the sum of the height of the reduction tree and the size of the normal form.Finally, the methods are extended to an infinitary λ-calculus with ω-rule and permutative conversions and this is used to derive a strong form of normalization for an iterative version of Gödel’s system , leading to a value table semantics for number-theoretic functions. (shrink)

No hay caracterización del republicanismo que no mencione la virtud cívica. Sin embargo, no siempre es clara la ubicación de la virtud en el entramado de la filosofía política republicana. Tomaré como punto de partida la reflexión de Rawls. Su temor es que la defensa de lo que la democracia necesita, la virtud cívica, ponga en peligro la libertad. Es lo que llamaré el «problema (de Rawls) con la virtud». Un problema que, a su parecer, compromete seriamente al republicanismo. Por (...) mi parte, intentaré mostrar que, en realidad, se trata de un problema del liberalismo que apunta directamente a una bien conocida tensión entre los derechos y la democracia, cuya única «solución liberal» pasa por atrincherar los derechos «frente a la democracia», excluyendo el compromiso ciudadano. En la segunda parte mostraré que el problema es real, pero que no afecta a todos los republicanismos y argumentaré que «el problema de Rawls» afecta, fundamentalmente, a aquel republicanismo que hace de la «realización ciudadana» su objetivo, que busca, por así decir, maximizar la virtud. No sucede lo mismo con aquel otro que otorga a la virtud un carácter instrumental. En la parte final precisaré esa idea de republicanismo que otorga tanto a la virtud como a la democracia un papel instrumental en lo que realmente importa: la libertad. (shrink)

This essay reviews the model of power from Maturana, Canetti, Foucault, and Zizek, in order to think the relationship between the State, freedom and decent society.

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)

Both the sound and the sea are characterized by a constant fluidity and transformation, which has been considered as a creative foundation for expanded sonic practices that identify, capture and experiment with natural elements. The text aims to explore how the idea of sonification as a process of translating qualities and data into sound constitutes the departure point towards contemporary sound practices that encourage deeper listening and immersive experiences. Taking the sea-responsive sound installations of French artist Félix Blume, Rumors from (...) the Sea and Suspiros as a foundation, the article presents a reflective conversation between Félix Blume and Bill Psarras on aspects of such artworks that highlight ideas of sea and limens, listening experience, sound ecology and sonic instruments through performative, inventive and participatory lenses. (shrink)

La psicología y los psicólogos han dedicado bastante esfuerzo para conseguir una comprensión mejor y más profundea de las emociones y los sentimientos. Roberto Colom con sus respuestas nos ofrece una visión de primera mano de todas esas aportaciones así como el punto de vista de un psicólogo sobre el valos y la importancia de las emociones, los sntimientos y la vida afectiva en general para la personalidad humana.

Sebastian Grève interviews Felix Mühlhölzer on his work on the philosophy of mathematics.

This collection of original essays on political and legal theory concentrates on themes dealt with in the work of Felix Oppenheim, including fundamental political and legal concepts and their implications for the scope of morality in politics and international relations. Among the issues addressed are the relationship between empirical and normative definitions of "freedom", "power", and "interests", whether governments are free to act against the national interest, and whether they can ever be morally obliged to do so.

In moral and political philosophy, collective obligations are promising “gap-stoppers” when we find that we need to assert some obligation, but can not plausibly ascribe this obligation to individual agents. Most notably, Bill Wringe and Jesse Tomalty discuss whether the obligations that correspond to socio-economic human rights are held by states or even by humankind at large. The present paper aims to provide a missing piece for these discussions, namely an account of the conditions under which obligations can apply to (...) loose collections of agents that do not qualify as collective agents in their own right. I first explain the notion of joint obligations of loose collections of agents as opposed to collective obligations of collections of agents that are collective agents in their own right, and argue that the conditions under which agents can jointly have obligations are the conditions under which they are jointly able to do what is required. I then build on Virginia Held’s seminal work on the moral responsibility of “random collections” to develop such conditions for joint ability. My discussion shows that collections of individuals can more easily be subject to moral obligations than previously assumed. It also shows that putative joint obligations need to be carefully time-indexed, and that it is largely an empirical question whether a given collection can be subject to a moral obligation to perform a given joint action at a particular time. (shrink)

Who should be recognized as a refugee? This article seeks to uncover the normative arguments at the core of legal and philosophical conceptions of refugeehood. It identifies three analytically dist...

In this article, I address the ways in which debates in liberal, Marxist and postmodernist social theory have remoulded readings of emancipation – and how these reformulations have affected the organisation of emancipatory struggles by and in political parties and social movements. I focus on three conceptual ambiguities that have spurred theoretical disputes and restructured organisational imaginations of emancipation: who might struggle for liberation, to what end and in which ways. In all three respects, understandings of emancipation have become increasingly (...) individualised, contingent and process-oriented – both in theory and in its political-organisational correspondents. As a consequence, effective collective struggles for autonomy may become ever more difficult to organise. While occurring in the name of further liberation, the ongoing reinterpretation of emancipation and its impact on the political organisation of emancipatory struggles might in the end hamper or even undermine the very liberation and autonomy they had aimed to promote. (shrink)

Contemporary liberal states must provide an answer to the “question of cultural diversity”, requiring a principled way to determine which minority cultural practices a state must accommodate and support. (Liberal egalitarian) multiculturalism answers this question neatly by creating a dichotomy between national minorities and ethnic minorities (the national/ethnic “dichotomy”). Where national minorities are entitled to extensive and far-reaching cultural rights, ethnic minorities are entitled to significantly fewer cultural rights and accommodations. This dichotomy is enacted through a distributive logic that allocates (...) cultural rights to achieve equal individual autonomy. But the dichotomy is also influenced by the ways these groups were incorporated into the state. Their modes of incorporation are different and, thus, they have different requirements to achieve equally autonomous lives. Critics have challenged multiculturalism by questioning this dichotomy. They have suggested that the dichotomy does not adequately capture differences in kinds of minority groups and their entitlements. This paper defends the dichotomy by offering a supplementary principle to liberal egalitarian multiculturalism: the reparative multicultural principle. This principle allocates cultural rights as part of reparative entitlements for historical and ongoing injustices committed against minority groups. Supplementing multiculturalism in this way more accurately captures the idea of the historical mode of incorporation that inspires the dichotomy and can help resolve some the objections to multiculturalism. (shrink)

Multinational enterprises venturing into emerging economies operate in relatively unfamiliar environments that, compared with their home countries, often display a high degree of administrative distance. At the same time, many MNEs face the question of how intensely to commit to corporate social responsibility in emerging economies, given the often relatively lower social standards in those countries. This research addresses the question of how administrative distance, MNE subsidiary size, and experience in the host country relate to the extent to which MNEs (...) strategically commit to CSR in their emerging economy subsidiaries. We argue that the greater the administrative distance between MNEs’ home and host countries, the lesser the MNE subsidiaries strategically commit to CSR. At the same time, we predict that the larger the size of MNE subsidiaries, and the longer their experience in the host country, the more the MNE subsidiaries strategically commit to CSR. To test our hypotheses, we use data from a large-scale, cross-industry survey of 213 subsidiaries of Western MNEs in Asia, Eastern Europe, and Latin America. We complement the survey data with country-level data from the World Bank Governance Indicators. (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)

This study presents original evidence that abstract and concrete concepts are organized and represented differently in the mind, based on analyses of thousands of concepts in publicly available data sets and computational resources. First, we show that abstract and concrete concepts have differing patterns of association with other concepts. Second, we test recent hypotheses that abstract concepts are organized according to association, whereas concrete concepts are organized according to (semantic) similarity. Third, we present evidence suggesting that concrete representations are more (...) strongly feature-based than abstract concepts. We argue that degree of feature-based structure may fundamentally determine concreteness, and we discuss implications for cognitive and computational models of meaning. (shrink)