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)

For quite some time, cognitive science has offered philosophy an opportunity to address central problems with an arsenal of relevant theories and empirical data. However, even among those naturalistically inclined, it has been hard to find a universally accepted way to do so. In this article, we offer a case study of how cognitive-science input can elucidate an epistemological issue that has caused extensive debate. We explore Jason Stanley’s idea of the practical grasp of a propositional truth and present naturalistic (...) arguments against his reductive approach to knowledge. We argue that a plausible interpretation of cognitive-science input concerning knowledge—even if one accepts that knowledge how is partly propositional—must involve an element of knowing how to act correctly upon the proposition; and this element of knowing how to act correctly cannot itself be propositional. (shrink)

The notion of “individuality” in Plotinus is one of the most discussed. Throughout the Enneads, the problem of the individual subject arises from the complexity in understanding the relation between man and soul. To the intelligible man, also known as the inner or first man, a second man is added, so that “we have come to be the pair of them” 14.28-30). This question has been extensively addressed from different angles that lead either to a purely structuralist solution, or to (...) its criticism and the search for a more stable definition of subjective identity. The thesis that we will defend in this article, and that will indicate our position in the debate, tries to give a new perspective of the issue alluding to the sphere of life and its forms. The continuity between the different men will be determined by the continuity between their different forms of life, a primary issue to which the problem of individuality and the different modes of consciousness are subject. (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)

Propomos neste texto examinar o papel das disposições (Stimmungen), e, particularmente, das chamadas “disposições fundamentais” na construção da pergunta heideggeriana pela historicidade da história. Nós partimos da pergunta pela historicidade da história da filosofia para a análise do papel hermenêutico cumprido pela angústia na analítica da cotidianidade em Ser e Tempo, procurando esclarecer a conexão dessa disposição com o conceito de historicidade tal como tratado nessa obra. Em seguida, tratamos da maneira como são pensadas as disposições em Conceitos fundamentais da (...) metafísica, obra na qual Heidegger explicitamente pensa a disposição do tédio como característica de uma época. Uma vez que mostramos como podemos entender as disposições em geral em sentido historial, retomamos a análise da angústia, e, a partir da discussão de sua estrutura tal como apresentada em Ser e Tempo, perguntamos pela relação específica da angústia com a questão da historicidade, no que ela significa para o projeto de Ser e Tempo e para a obra posterior de Heidegger. (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)

Keynes is widely accepted to have proved the existence of a consumption gap as a cause of economic depressions. Such a gap meant that, ironically, depressions could get worse as a result of the greater wealth produced by the modern economy, since, as Keynes argued, the wealthy consumed proportionately less than the lower?income groups. Textual analysis, however, shows that Keynes's arguments amounted to assumptions, not demonstrations. And a survey of the empirical research of the subsequent half?century reveals a lack of (...) convincing evidence of the consumption gap. (shrink)

En la conmemoración del octavo centenario del fallecimiento de Averroes, el recuerdo de un esfuerzo filosófico por armonizar fe y razón, por presentar la esperanza de la revelación monoteísta, por mantener el talante del pensar crítico aprendido en la tradición griega. Demasiada pretensión, quizá, para una cultura tan desagarrada como la nuestra que no quiere o no puede penetrar en lo mejor del impulso filosófico medieval. Por eso, quizá Averroes va a congresos presididos por altas jerarquías de la sociedad, pero (...) no entra en la escuela para enseñar una manera de enfrentar la vida, una manera de humanizar (que esto es educar). (shrink)

Biesta approaches different important educational topics that deserve some clarification and exploration. To begin with, Biesta emphasizes the preferential position that subjectification should occupy in education, a thesis I agree with. Nevertheless, qualification and socialization are also fundamental domains in education, much more in formal education. The aim of education, therefore, is to achieve an adequate balance between the three domains that makes possible a full educational process. On the other hand, it is valuable proposal to recover the importance of (...) the act of teaching, in a period of learning focuses the attention in educational environments. However, we need also to achieve a balance between teaching and learning; thus, a contrast between the two dimensions of education should not be highlighted: there is not teaching without learning, and there is not learning without teaching. Likewise, evaluation and measurement are essential elements of education, even if they involve risks that must be avoided. If we want to achieve some educational aims, we have to be able to find out whether we got them and how much we have achieved. That is, we have to measure and compare. Finally, education is an interpersonal relationship characterized by openness and encounter, which includes a positive view of heteronomy and obedience, in which empowerment does not preclude acceptance of interdependence and vulnerability. (shrink)

Desde comienzos del siglo XIX, los trabajadores buscaron asociarse para defender sus derechos y mejorar sus condiciones de existencia. Buscaban también en algunas ocasiones cambiar radicalmente la sociedad capitalista. Más de un siglo de lucha contribuyó decisivamente a la consolidación del estado del bienestar, con el consiguiente éxito del sindicalismo. Las condiciones de trabajo en las últimas décadas han cambiado significativamente y los sindicatos tradicionales, a pesar del reconocimiento social de que disponen, no han sido capaces de hacer frente a (...) las exigencias de un modelo de capitalismo más explotador. Por otra parte, otras organizaciones se muestran más activas en la lucha por un cambio social. En estos momentos, el sindicalismo tiene el difícil reto de reorganizarse para conseguir defender eficazmente a la clase trabajadora y proponer un modelo de sociedad más justo y solidario. (shrink)

La historia de la filosofía ha experimentado grandes cambios a lo largo de los últimos decenios. Algunos de ellos afectan a la forma de entender la propia historia, es decir, la filosofía de la historia, estando sometidos a revisión conceptos fundamentales como los de progreso, sujeto de la historia, posibilidad de un conocimiento objetivo de los hechos históricos y el sentido mismo de la historia. Por otra parte, se han enriquecido considerablemente los estudios históricos y han ido apareciendo nuevas temáticas (...) como pueden ser la historia de las mentalidades o la historia intelectual, que aportan análisis e información relevantes para la historia de la filosofía clásica. Los nuevos planteamientos en historia del arte o en historia de la ciencia han tenido igualmente un impacto significativo en la historia de la filosofía. Por último, desde la propia historia de la filosofía se ha producido una importante renovación en la manera de enfocar los autores y los problemas, ofreciendo en algunos casos, como la historia de las ideas, planteamientos globales y coherentes alternativos a las clásicas doxografías. (shrink)

En las corrientes filosóficas continuadoreas de las dos grandes tradiciones filosóficas de la modernidad, empiristas y racionalestas, el papel de los sentimientos en la vida moral ha contado con una atención insuficiente. No obstante, en los últimos decenios han aparecido numerosas aprtaciones sobre este tema. Por un lado están los trabajos que han pretendido clarificar la definición de los sentimientos desde la filosofía y la psicología, haciendo ver la profucnda relación que existe entre la dimensión afectiva y cognitiva de la (...) vida humana. Por otra parte hay diversas corrientes que reivindican un protagonismo mayor de los entimientos en la comprensión de la vida moral, tato si los entendemos como motivadores de la acción moral como si los cosideramos como rasgos que permiten percibir la realidad moral. (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)

Signal transduction pathways are largely conserved throughout the animal kingdom. The repertoire of pathways is limited and each pathway is used in different intercellular signaling events during the development of a given animal. For example, Wnt signaling is recruited, sometimes redundantly with other molecular pathways, in four cell specification events during Caenorhabditis elegans vulva development, including the activation of vulval differentiation. Strikingly,a recent study finds that Wnts act to repress vulval differentiation in the nematode Pristionchus pacificus,1 demonstrating evolutionary flexibility in (...) the use of intercellular signaling pathways. BioEssays 27:765–769, 2005. © 2005 Wiley Periodicals, Inc. (shrink)

Economists’ conceptions about the “nature of the economic agent” are central to understanding their economic thinking, the phenomena that deserve their attention, the way they build models and theories—as well as the scope and relevance of those theories. Moreover, according to the “psychological” traits of the agent, the subsequent economic theory can accommodate (or not) certain economic phenomena. These claims certainly apply to Brian J. Loasby’s economics. The objective of this article is to survey and analyse Loasby’s reconstruction of economics (...) based on the revision of the psychological foundations of economic agent. We show the influence that George A. Kelly, Adam Smith, Alfred Marshall, Friedrich Hayek and Herbert Simon (among others) play in his work. According to Loasby, concepts such as uncertainty, motivation, imagination, and connecting principles, are central to explaining the growth and organization of knowledge, complexity, and the evolution of economic systems. (shrink)