Rights are commonly linked to responsibilities. One commonly hears remarks about the rights and responsibilities of teachers, parents, students, etc. This linking together of the two is the topic of this paper. The paper is divided into four sections. In the first section I distinguish three accounts of the relation between rights and esponsibilities any of which we could have in mind when linking the two together, and I single out the third account for further study. Unlike the other two, (...) it seems to offer fresh material for the theory of rights. In the second section I develop this material. I explicate the general relation between rights and responsibilities as this third account represents it, and I specify the grounds for attributing such a relation to them. My aim here is to elucidate a conception of rights that certain legal and political rights can be taken to exemplify and that has been ignored or obscured in recent work in the theory of rights. In the last two sections I turn my attention to human rights. I argue in Section III that Locke's theory of natural rights can be interpreted as upholding the conception of rights elucidated in the preceding section, and I consider and criticize in Section IV an account of the relation between certain human rights and responsibilities that comes from Joel Feinberg's distinction between mandatory and discretionary rights. The arguments of these two sections are meant to strengthen the case for making room in the theory of rights for the conception elucidated in Section II. (shrink)

Empirical data on food sharing in native Dolgan, Nganasan, and Nenets communities in Siberia provide evidence for hunter control over big game and fish, as well as likely benefits of inter-household sharing. Most food sharing occurs with kin and, thus, kin-selection-based nepotism cannot be ruled out. Reciprocal interhousehold sharing at meals occurs less often. Social context is discussed.

This book offers a collection of contemporary essays that explore philosophical themes at work in chess. This collection includes essays on the nature of a game, the appropriateness of chess as a metaphor for life, and even deigns to query whether Garry Kasparov might—just might—be a cyborg. In twelve unique essays, contributed by philosophers with a broad range of expertise in chess, this book poses both serious and playful questions about this centuries-old pastime. -/- Perhaps more interestingly, philosophers have often (...) used chess in discussions of their work. Walter Benjamin compares the marching of history to an automaton playing chess. John Dewey and Charles Sanders Peirce utilize chess to explain their pragmatism. The linguist Ferdinand de Saussure employs the analogy of chess to explain the exchange of signifiers. There are approximately 181 uses of the word chess or one of its cognates in the published works of Ludwig Wittgenstein. John Rawls explains that one might want to make a distinction between constitutive and regulative rules, which can best be understood by examining a game of chess. John Searle, deeply convinced of this distinction, explains further: "The rules of football or chess are given as an example of constitutive rules because they 'create the very possibility of playing such games.'" Hubert Dreyfus and Daniel Dennett have had extensive public discussions about the issue of artificial intelligence and chess. Dreyfus, utilizing chess examples, has written extensively on what computers still cannot do. Meanwhile, in spite of his protestations, chess-playing computers continue to fascinate those who work in the area of artificial intelligence. -/- The game of chess has endured since at least the sixth century. Its earliest variant, the Indian game of Chaturanga, was from the beginning a game for thinkers. Since its inception, scholars, statesmen, strategists, and warriors have been fascinated by the game and its variants. German philosopher Emmanuel Lasker and famed French artist Marcel Duchamp were both Grandmasters at chess. Karl Marx played chess avidly, as did Sir Bertrand Russell, Jean-Paul Sartre, and the logical positivist Max Black. Jean-Jacques Rousseau mentions in his Confessions that, at the time, he "had another expedient, not less solid, in the game of chess, to which I regularly dedicated, at Maugis's, the evenings on which I did not go to the theater. I became acquainted with M. de Legal, M. Husson, Philidor, and all the great chess players of the day, without making the least improvement in the game." More recently, philosopher Stuart Rachels reports that his father, the late philosopher and prominent ethicist James Rachels, received a bribe from a Russian Grandmaster while he was the chair of the U.S. Chess Federation's Ethics committee. -/- "Whether you’re a professional philosopher, an armchair chess player, or something in between, Philosophy Looks at Chess gives you hours of thought-provoking reading. With chapters on technology, ethics, hip hop, and backward analysis, this book carves out a new space in the literature on both chess and philosophy" -/- —Jennifer Shahade, two-time U.S. Women's Champion and author of Chess Bitch -/- "Chess and philosophy are natural mates that have been awaiting the proper introduction. This wide-ranging collection of stimulating essays is the perfect opening gambit for philosophical chess enthusiasts." -/- —Will Dudley, author of Hegel, Nietzsche, and Philosophy: Thinking Freedom. (shrink)

Rolling Stones guitarist Keith Richards has argued that rock and roll happens from the neck down. In this contribution to The Rolling Stones and Philosophy, edited by Luke Dick and George Reisch, I draw on neuroscience to argue that, in the parlance of John Stuart Mill, rock and roll is both a higher and a lower pleasure.

[Editor's introduction: The following are excerpts from three talks given at the conference "Policies and Publics for Science and Technology, " London, April 1990. They introduce a British research initiative in public understanding of science and point to early results. The program was developed and coordinated by the Science Policy Support Group. At the meeting, a new journal for specialists in this area was launched: Public Understanding of Science, to be edited by John Durant, Science Museum, London SW7 2DD, (...) UK. The first issue of the journal is expected to appear in April 1991. Science, Technology, & Human Values reaffirms its long commitment to publishing research on public attitudes toward science and particularly welcomes articles on this topic of general interest to the field of science and technology studies.]. (shrink)

Photographer John Humble has lived in Los Angeles for thirty years. In that time he has created a strong body of work that captures the unique architecture and natural environment of Southern California. A Place in the Sun is a celebration of Humble's distinctive view of Los Angeles, from the concrete channels of the Los Angeles River to the instantly recognizable cityscape through which that river winds.

An excerpt from the INTRODUCTORY chapter: THE word "aesthetic," which originally meant perception by the senses, has had its meaning particularized so that it usually is associated with perception of a specific kind. In this sense it is applied to the appreciative attitude of the discerning mind towards the beautiful in art and in nature. Philosophy has spent not a little time and trouble on the attempt to formulate and define the essential nature of the beautiful; but what one regards (...) as beautiful, another will either lack interest in or even positively dislike, and such attempts, therefore, have not been particularly successful. This conflict of tastes is particularly noticeable in the case of the Art of Music. One age has its ideals which are often — if not usually — opposed to those of the succeeding generation; people in one country will take pleasure in a type of music which appears incomprehensible to those of another; and, even in the case of individuals of the same time and place, what one may admire and love another will abhor and detest. In the case of Music, therefore, it seems well-nigh hopeless to attempt to formulate or define what is the "beautiful," and I have no intention in this little book of trying such an unpromising task. Each of us has his or her own ideas of what constitutes musical beauty, and in most cases the criteria on which our judgments are based are not themselves fixed but are in a state of flux and development. Many people, it is true, seem obliged to adopt a fixed standard of artistic value to which they refer and on which their artistic judgments depend, and strenuously endeavor to prevent any change in, or deviation from, the rigorous formulae which regulate their musical thinking. An enlightened and progressive attitude is, naturally, for such, an impossibility, and the inevitable and necessary developments of Art pass unnoticed or misunderstood. Some aesthetic standards, however, are necessary, and if they are allowed to share in the inevitable process of development — if they are living, not dead — assist that process by giving it both direction and progressive energy. It is not even necessary that the musician should be able to formulate clearly what are the conditions and factors in a work in virtue of which it appeals to him as beautiful or the reverse. To reduce these aesthetic values to a clean-cut statement of relations intellectually apprehended, would, by that very act, tend to induce reference to dead and mechanical standards. The feeling of the beautiful is something which is intuitive, and which neither needs to be explained, nor can be explained, in terms of reason. In fact, it is something apprehended immediately, "perceived through the senses," and can no more be "explained" than those sensations which we call heat, cold, sweet, sour, etc. The Art of Music as practised in countries which owe their culture and civilization to Western Europe is the outgrowth of a body of doctrine and dogma which is extremely elaborate and complex. But for the fact that much of it is obviously derived from convention and custom rather than from natural law, it might almost be called a Science. It is very doubtful, however, if the feeling for the beautiful in Music is more keen in the case of the individual expert in the niceties of this quasi-science than in him who is entirely ignorant of its laws and conventions. (shrink)

Early utopian notions of Internet-based community as enabling transcendence of earthly governments and cultural divides manifested in the massively multiplayer online nongame platform, Second Life. However, while platform users nearly unanimously chose governance regimes based on professional management rather than democratic self-governance, one of the few democratic experiments experienced deep conflict over precisely the utopian notions it held in common. This article examines a failed merger between two experimental democratic communities in the virtual world of Second Life as an example (...) of the general failure of internet utopianism and a specific failure to transcend distinctions in cultures of origin (the “failure of convivencia,” of the title, a term reflecting a historical model chosen by one of the communities) in a common online space. Based on ethnographic fieldwork, this article will analyze a distinction between radically different, and ultimately incommensurable, discourses around governance in the merged community amid the failure of participatory, democratic models of online governance. (shrink)

Bentham’s famous remark was a response to the assertation of natural rights that did not depend on law or some other foundation for their normative force.1 Whatever we make of that claim, it flags a problem for making and evaluating rights-based arguments in medical ethics. He wasn’t trying to say that rights are all meaningless, nor that we can readily do without them. Rather, it’s an objection to a particular way of asserting rights where they are taken to express free (...) standing claims that don’t require further defence or justification. Whether or not the rise of human rights in medical law has enriched the ability of the courts to deal with complex issues in a nuanced way is debatable, but there’s no doubting their prominence and unavoidability.2 For medical ethics, rights analysis requires paying heed to the kind of rights in play when arguing about ethics, as well as what’s distinctive about rights analysis. For many, rights operate as strong moral assertions intended to override other, less weighty, considerations and Ronald Dworkin claimed that we should view rights as a way of expressing particularly important claims that should constrain the state in its actions.3 Rights imply duties and focussing on a right's correlative duty can …. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Triumphus in PalatioJohn F. MillerAs one of the many tokens of its symbolic centrality in Roman culture, the Capitoline Hill received the triumphator at the end of his ceremonial return to Rome. For centuries generals who had been granted a triumphus concluded the elaborate sacral procession through the city with a sacrifice at the Temple of Jupiter Optimus Maximus, the god most intimately associated with this religious institution.1 The (...) strongly local character of Roman cults made it nearly unthinkable to celebrate the solemn event anywhere else in Rome, but artistic imagination feels itself less bound by religious scruples. Two such ingenious revisions of the triumphal parade displace its endpoint to the Temple of Apollo on the Palatine Hill. Virgil imagines Octavian's great triple triumph of 29 B.C. taking place there, while other ancient evidence leads us to believe that the victor really proceeded to the Capitoline like countless imperatores triumphantes before him.2 The poet sets the celebration at the shrine of the deity credited with the victory at Actium, the shrine which Octavian built adjacent to his own house. The Palatine was becoming the imperial palace complex, the triumph a prerogative of the imperial family.3 When these developments had been fully realized, Nero in December A.D. 674 staged an eccentric victory procession which likewise climaxed at Apollo's Palatine temple. As returning victor in the festivals [End Page 409] of Greece he aimed to align himself with Apollo as patron of the arts, expressing now in topographical terms his frequent association with that deity.5 The lyre-playing god greeted the lyre-playing emperor, and vice versa. On the other hand, it is not irrelevant that one whom Pliny termed imperator scaenicus, "an actor-emperor" (Pan. 46.4), rode in the path of Virgil's fictional Augustus. The present essay explores the phenomenon triumphus in Palatio by explicating the two instances in the light of their ideological impulses. A further aim is to throw into relief the Augustan dimensions of Nero's triumphal ceremony, to show how the emperor in effect acted the part of Octavian riding in triple triumph.On the shield in Aeneid 8 Virgil inventively describes the triple triumph which Octavian celebrated in August 29 B.C. for victories in Illyricum, Actium, and Egypt:at Caesar, triplici invectus Romana triumphomoenia, dis Italis votum immortale sacrabat,maxima ter centum totam delubra per urbem.laetitia ludisque viae plausuque fremebant;omnibus in templis matrum chorus, omnibus arae;ante aras terram caesi stravere iuvenci.ipse sedens niveo candentis limine Phoebidona recognoscit populorum aptatque superbispostibus; incedunt victae longo ordine gentes...(8.714-22)One finds here familiar features of any triumphus: the imperator triumphans formally entering the city precinct (714-15), bystanders en route applauding the procession (717), the sacrifice of bulls (719), concluding dedications at a temple (720-22), and the display of captives, placards, and models illustrating the victor's conquests (722-28). But Virgil has also rewritten this triumph to take in a wider sacral and historical context. In verse 719 the general prayers and sacrifices and the prominent role of women suggest a supplicatio, a ritual often associated with but [End Page 410] formally distinct from triumphs.6 While triumphing commanders fulfilled vows which they made on the Capitol before their campaigns, Octavian's triumph is marked by the impressive votum of numerous mighty shrines throughout the city (715-16).7 Caesar's celebration looks ahead as well as backwards; it in effect announces the emergent leader's vast program of building and restoring temples, which was especially prominent in the period immediately after the triumph of 29.8 For Virgil, Caesar's triumphus inaugurates the religious renewal of Rome.By far the most momentous changes to the regular triumph occur in the scene at Apollo's gleaming temple, which in this context must be the new Palatine shrine.9 Whether dona... populorum (721) are the [End Page 411] ceremonial crowns which captives presented to the victor or euphemistically denote battle spoils from various peoples, the act of affixing them to the temple suggests that the triumphator has reached the triumph's end point. So does... (shrink)

In this book John Ziman seeks the answers to crucial questions facing scientists who need to change the direction of their careers.

It is said what it is to persist in time, and on that basis it is shown that time-travel, teleportation, and other mainstays of science fiction are impossible.