Institutional ethics consultation services for biomedical scientists have begun to proliferate, especially for clinical researchers. We discuss several models of ethics consultation and describe a team-based approach used at Stanford University in the context of these models. As research ethics consultation services expand, there are many unresolved questions that need to be addressed, including what the scope, composition, and purpose of such services should be, whether core competencies for consultants can and should be defined, and how conflicts of interest should (...) be mitigated. We make preliminary recommendations for the structure and process of research ethics consultation, based on our initial experiences in a pilot program. (shrink)

Institutional ethics consultation services for biomedical scientists have begun to proliferate, especially for clinical researchers. We discuss several models of ethics consultation and describe a team-based approach used at Stanford University in the context of these models. As research ethics consultation services expand, there are many unresolved questions that need to be addressed, including what the scope, composition, and purpose of such services should be, whether core competencies for consultants can and should be defined, and how conflicts of interest should (...) be mitigated. We make preliminary recommendations for the structure and process of research ethics consultation, based on our initial experiences in a pilot program. (shrink)

“There's glory for you!”“I don't know what you mean by ‘glory,’ ” Alice said.Humpty Dumpty smiled contemptuously. “Of course, you dont—till I tell you. I meant ‘there's a nice knock-down argument.’”“But ‘glory’ doesn't mean a ‘nice knock-down argument,” Alice objected.“When I use a word,” Humpty Dumpty said, in rather a scornful tone, “it means just what I choose it to mean—neither more nor less.”“The question is,” said Alice, “whether you can make words mean so many different things.”“The question is,” said (...) Humpty Dumpty, “which is to be master, that's all.”When applied bioethics confronts the topic of futility, the question of who is to be master turns out to be central. Indeed, much of the literature on futility has focused on exactly this question: who gets to define the terms of the debate? Who gets to decide that treatment is “futile” and therefore allowably withheld or withdrawn? (shrink)

I met Dan Callahan in 1986—when I came to pitch him. Coming from a sleek office setting near Boston, I was intrigued by The Hastings Center's higgledy‐piggledy environment where so many smart people got to work in a relaxed, inviting atmosphere. I had noticed that the Center was producing a great deal of policy work on a wide range of topics but didn't seem to go further than publishing the highly valuable guidance developed under Dan Callahan's leadership. I ended my (...) pitch, “Look, Dan, where Hastings gets bored and wants to go on to the next topic, my group in Boston gets interested.” To my great pleasure, and despite his skepticism, Dan accepted the pitch. Beyond his generous responsiveness to unproven young people, Dan had many other virtues. For one, he was a boundary crosser. (shrink)

Together this August, Hastings Center fellows and staff scholars left their respective studies to look up. Over a three-day period, we engaged with one another, renewing ties with beloved old friends and welcoming new ones. We asked what each other was passionate about. We asked how our field could be better. We shared works-in-progress and imagined how we might work together across institutions, across miles to accomplish things we couldn't do alone.

This book offers an important study of Aristotle's theory of the sense-organs. It aims to answer two questions central to Aristotle's psychology and biology: why does Aristotle think we have sense-organs, and why does he describe the sense-organs in the way he does? The author looks at all the Aristotelian evidence for the five senses and shows how pervasively Aristotle's accounts of the sense-organs are motivated by his interest in form and function. The book also engages with the celebrated problem (...) of whether perception for Aristotle requires material changes in the perceiver. It argues that, surprisingly to the modern philosopher, nothing in Aristotle's description of the sense-organs requires us to believe in such changes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

Chalmers (2018) considers a wide range of possible responses to the meta-problem of consciousness. Among them is the ignorance hypothesis -- the view that there only appears to be a hard problem because of our inadequate conception of the physical. Although Chalmers quickly dismisses this view, I argue that it has much greater promise than he recognizes. The plausibility of the ignorance hypothesis depends on how exactly one frames the 'problem intuitions' that a solution to the meta-problem must explain. I (...) argue that problem intuitions are hybrid intuitions that encompass one's intuitive take on the phenomenal and one's intuitive take on the physical. The ignorance hypothesis undermines the second half of these hybrid intuitions. I show how the ignorance hypothesis is preferable to the alternatives and attempt to explain why there is such widespread resistance to this promising position. (shrink)

Etymology might encourage us to begin a discussion of Aristotle on philanthropy with a discussion of philanthropia ; and it is instructive to see why this is not quite the right place to look. The Greek term initially refers to a generalized attitude of kindness and consideration for a human being. The gods accuse Prometheus of being a ‘human-lover’, intending the term in an unfavorable sense, when he confers on human beings the benefits that should have been confined to the (...) gods. Aristotle uses the abstract noun only once, to refer to sympathetic fellow-feeling ; and he mentions our feeling of kinship with other human beings to explain our approval of the philanthropos person. Philanthropia is the attitude of a kind and considerate person, even if she lacks material resources, and it can be displayed without the transfer of material resources. (shrink)

. Ill BERGSONS THEORY OF ART . . .141 THE PHILOSOPHY OF INTENSIVE MANIFOLDS I I CINDERS ..... 215 APPENDICES A. REFLECTIONS ON VIOLENCE . . 249 B. PLAN FOR A ...

This article reviews contributions to The Volitional Brain, some of which defend a libertarian, contra-causal account of free will, while others take a so-called compatibilist view, in which adequate conceptions of human liberty and moral responsibility are claimed to be compatible with naturalistic causality. Siding with compatibilism, this review finds that defenders of libertarian free will place undue weight on the first person feeling of freedom, while discounting scientific evidence that human choices are fully a function of antecedent causes at (...) various levels of description. It is argued that morality, justice, and personal responsibility and efficacy do not require the assumption that persons are first causes, so that we need not fear mechanism when applied to human agency. (shrink)

This draft now appears (in revised form) as Chapter 7 of _Self-Reflection for the Opaque Mind_. See http://philpapers.org/rec/PARSFT-3.

The Ethics of Public Health Paternalism is about policies that try to stop people damaging their own health. From the point of view of public health advocates, if people did not smoke, or drank less alcohol, or kept off junk food and sugary liquids, they would tend to be healthier. Hence such tactics as taxing tobacco, restricting the sale of alcohol, and limiting the density of fast-food outlets. These tactics are often pejoratively described as the actions of a 'nanny state' (...) that overvalues health and wrongly infringes on the autonomy of adults. But many of us want to be healthy rather than ill, and alive rather than dead. Does a state really nanny us when it uses its power to make us healthier? If it does, should it stop? (shrink)