This essay critically examines some classic philosophical and legal theories of privacy, organized into four categories: the nonintrusion, seclusion, limitation, and control theories of privacy. Although each theory includes one or more important insights regarding the concept of privacy, I argue that each falls short of providing an adequate account of privacy. I then examine and defend a theory of privacy that incorporates elements of the classic theories into one unified theory: the Restricted Access/Limited Control (RALC) theory of privacy. Using (...) an example involving data-mining technology on the Internet, I show how RALC can help us to frame an online privacy policy that is sufficiently comprehensive in scope to address a wide range of privacy concerns that arise in connection with computers and information technology. (shrink)

Are trust relationships involving humans and artificial agents possible? This controversial question has become a hotly debated topic in the emerging field of machine ethics. Employing a model of trust advanced by Buechner and Tavani :39–51, 2011), I argue that the “short answer” to this question is yes. However, I also argue that a more complete and nuanced answer will require us to articulate the various levels of trust that are also possible in environments comprising both human agents and AAs. (...) In defending this view, I show how James Moor’s model for distinguishing four levels of ethical agents in the context of machine ethics :18–21, 2006) can help us to develop a framework that differentiates four levels of trust. Via a series of hypothetical scenarios, I illustrate each level of trust involved in HA–AA relationships. Finally, I argue that these levels of trust reflect three key factors or variables: the level of autonomy of the individual AAs involved, the degree of risk/vulnerability on the part of the HAs who place their trust in the AAs, and the kind of interactions that occur between the HAs and AAs in the trust environments. (shrink)

Heidegger denied that his enquiries were concerned with ethics. Heidegger and Ethics questions this self-understanding and reveals a form of ethics in Heidegger’s thinking that is central to his understanding of metaphysics and philosophy. In our technological age, metaphysics has, according to Heidegger, become real- ity; philosophy has come to an end. Joanna Hodge argues that there has been a concomitant transformation of ethics that Heidegger has failed to identify. Today, technological relationships form the ethical relations in which humans find (...) them- selves. As a result, ethics is cut loose from abstract universal moral standards, and the end of philosophy announced by Heidegger turns out to be an interminable interruption of the metaphysical will to completion. In order to realise the produc- tive potential of this interruption, the repressed ethical element in Heidegger’s think- ing must be retrieved. (shrink)

The uniform halting problem (UH) can be stated as follows.Give a decision procedure which for any given Turing machine (TM) will decide whether or not it has an immortal instantaneous description (ID).An ID is called immortal if it has no terminal successor. As it is generally the case in the literature (see e.g. Minsky [3, p. 118]) we assume that in an ID the tape must be blank except for some finite numbers of squares. If we remove this restriction the (...) UH becomes the immortality problem (IP). The UH should not be confused with the initialised uniform halting problem (whether or not a TM has an immortal ID when started in a specified state) which can easily be shown to be undecidable (see e.g. Minsky [3, p. 151]). (shrink)

Looks at issues such as, the intellectual outlook of Medieval Christendom, the Renaissance, the order of nature in the 17th and 18th centuries, and thought and aspiration in the 19th and 20th centuries.

Much work in the philosophy of language assumes that a semantic theory T, for a language L should assign p as the semantic content of an utterance u, by A, of a sentence S in L, if and only if “A said that p” is true. This assumption is mistaken. More generally, the aim of semantics cannot be to capture the extension of English expressions such as “meaning” or “what was said”. This provides support for Davidson’s paratactic theory of indirect (...) speech and for the view that a semantic theory should take the form of a truth-theory. (shrink)

This collection of papers, celebrating the contributions of Swedish logician Dag Prawitz to Proof Theory, has been assembled from those presented at the Natural Deduction conference organized in Rio de Janeiro to honour his seminal research. Dag Prawitz’s work forms the basis of intuitionistic type theory and his inversion principle constitutes the foundation of most modern accounts of proof-theoretic semantics in Logic, Linguistics and Theoretical Computer Science.

A reiteration of the main details of the case may be helpful. Euphiletus killed Eratosthenes and was prosecuted for premeditated homicide by Eratosthenes' relatives. The present speech, our sole source of information concerning the case, was written for the defendant, partially or totally, by a professional speechwriter, presumably Lysias. In this speech Euphiletus admits killing Eratosthenes. He pleads, however, that, since he killed Eratosthenes after catching him in the act of adultery with his own wife, this was a case of (...) justified homicide. At the same time, he denies a charge of the prosecution that he had killed Eratosthenes for reasons unrelated to the adultery. The speech was delivered before a court of fifty-one judges especially set up to judge such cases, as is attested elsewhere:T1Arist. Ath. Pol. 57.3: ‘If…a person admits that he has killed someone but claims that he had a right to do so, as, for instance, when he has surprised an adulterer in the act,… then the trial takes place in the Delphinion’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Looking to Learn: Museum Educators and Aesthetic EducationNancy Blume (bio), Jean Henning (bio), Amy Herman (bio), and Nancy Richner (bio)IntroductionMuseum education. Aesthetic education. How are they similar? How do they differ? How do they relate to each other? What are their goals? As museum educators working with classroom and art teachers, we are often asked these questions, and we ask them ourselves. “What do you DO?” is probably (...) the most frequently asked question of all, and the answer is complex. Even more complex is how these questions relate to the Rembrandt Project. Given that looking at original works of art is such a priority for museums and museum educators, how do we address the project’s reliance on technology? And how do these questions relate to the social studies and visual arts standards, [End Page 83] another major component of the project? How does the project relate to the work we do in our own museums? Writing collaboratively implies that we have certain areas of commonality; but we also have differences, which will be apparent in individual sections of this article: Jean Henning and Nancy Richner discuss the Nassau County Museum of Art, Nancy Blume writes about Asia Society, and Amy Herman explores the Frick Collection. Our focus will be the domain of museum education as that is what we know best, but there are inevitably areas where it overlaps and complements the domains of art education, aesthetic education, and social studies.Art Museum Education HistoryThe history of art museum education begins with the founding of museums in the United States during the commercial and industrial expansion that took place after the Civil War, between 1870 and 1929. The principles guiding American museums have always mirrored the values of American society. From the beginning of this country’s history, the fine arts have been viewed as elitist and thus of no value to the larger society. “To America,” Ben Franklin wrote in the late 1700s, “one school master is worth a dozen poets, and the invention of a machine or the improvement of an implement is of more importance than a masterpiece of Raphael.”1 Given such longstanding and deep-seated suspicion of art among Americans, it is not surprising that both the champions and the staff of art museums insisted on the practical educational benefits museums provided to the public.By the late nineteenth century, at the height of immigration and the emergence of a strong working class and labor movement, a social dimension was added to the mission of museum education. Art museums, like public libraries, were seen as venues for achieving social balance. By the early twentieth century an aesthetic agenda was finally joined to these social and pragmatic ones.2While museums have responded to the needs created by cyclical changes in social, economic, political, and intellectual life, today’s art museum educators still deal with the tension among the museum’s aesthetic, educational, and social missions; only the context and delivery modes of museum education have changed. Yet despite the shifting directions and priorities in museum education, there are certain basic and commonly accepted premises that museum educators have shared since the late nineteenth century. The 1984 Museums Commission on Museums for a New Century stated what has been the continuing premise of museum education since the late nineteenth century: learning in museums is based on objects and involves not only developing the ability to synthesize ideas and form opinions but also shaping an aesthetic and cultural sensibility.3 Another fundamental [End Page 84] assumption is that museums are institutions of visual instruction. Although each of the museum educators writing here represents a unique institution with unique approaches to looking at and finding meaning in art, we all agree on the importance of the original work of art as the basis for our work. It is the complexity of original artworks that enables them to play a dual role. One role is pragmatic, which requires meeting standards set by state and national governments for teaching critical thinking skills and improving literacy. The second role is aesthetic—namely, ways of helping students develop habits for aesthetic encounters that are an integral part... (shrink)