Parts I through III of this paper will examine several, increasingly comprehensive forms of aggregation, ranging from insurance reimbursement “lock-in” programs to PDMPs to completely unified electronic medical records. Each part will advocate for the adoption of these aggregation systems and provide suggestions for effective implementation in the fight against opioid misuse. All PDMPs are not made equal, however, and Part II will, therefore, focus on several elements — mandating prescriber usage, streamlining the user interface, ensuring timely data uploads, creating (...) a national data repository, mitigating privacy concerns, and training doctors on how to respond to perceived doctor-shopping — that can make these systems more effective. In each part, we will also discuss the privacy concerns of aggregating data, ranging from minimal to significant, and highlight the unique role of stigma in motivating these concerns. In Part IV, we will conclude by suggesting remedial steps to offset this loss of privacy and to combat the stigma around SUDs and mental health disorders in general. (shrink)

Background Paramedicine is a newly regulated profession in Australia and with the introduction of regulation in 2018 for this profession came increased responsibilities – including the introduction of a professional code of conduct. Several countries now have regulation of paramedicine and associated professional codes to guide ethical and professional behaviour. Despite this, there has been no published research into paramedic understanding and use of their professional codes. Objectives To explore Australian paramedics’ use and understanding of their professional code of conduct. (...) Research design: This study used a qualitative descriptive design, underpinned by hermeneutic theory. Reflexive thematic analysis was used to analyse the interview data and identify Australian paramedic perceptions surrounding the use of their code of conduct. Results 11 Registered Paramedics from several states and territories were interviewed. Participants were invited to interview by advertisement on social media and the Australasian College of Paramedicine Web site. Participants had varied professional backgrounds including clinical work, education providers and policymakers/managers. Four themes were identified as follows: Theme 1 – ‘You don’t know, what you can’t know’; Theme 2 – ‘I don’t need the code – the code is for others’; Theme 3 – ‘It’s about time’; Theme 4 – ‘Navigating the new profession’. Ethical considerations: Ethics approval was granted by the Monash University Human Research Ethics Committee (MUHREC) Project ID: 28921. All participants provided informed consent. Conclusions The results of this study suggest that paramedics’ knowledge and use of their code is limited, and participants appeared to mostly rely instead on ‘common sense’ morals. Participants did appear to want to understand the broad concepts of the code more and have this better integrated into the profession. The code was also interpreted as important to the paramedic profession and its new professional status, helping to legitimise it as a health profession in Australia. (shrink)

Background:Professional ethical codes are an important part of healthcare. They are part of the professionalisation of an occupation, are used for regulation of the professions and are intended to...

William Paley in his famous statement in 1800 of the Argument from Design, imagined that he found a watch lying on a heath and set to wondering how it came to be there. “The inference is inevitable, that the watch must have had a maker: that there must have existed, at some time, and at some place or other, an artificer or artificers who formed it for the purpose which.

‘The shamanic context of cave art is attested by a number of features’, Michael Winkelman writes (p.6); and, scarcely pausing for breath, he proceeds to reel off as if they were matters of established fact a list of co njectures about the authorship and meaning of ice-age cave paintings. We are t o conclude, without question apparently, that ‘cave art images represent shamanic activities and altered states of consciousness, and the subterranean rock art sites were used for shamanic vision questing’ (...) (p. 7). Well, may be. The shaman hypothesis is certainly an intriguing one; and David Lewis-Williams, in particular, has made a plausible case for it. Yet my own first reaction is: not so fast. For one thing, I myself, in the pages of this Journal a few years ago, presented evidence which – to begin with, anyway – suggests that any such interpretation has to be complet ely mistaken. (shrink)

I went to Trinity College, Cambridge, in 1961 with a scholarship in Physics and Mathematics. But, coming under the influence of William Rushton, I soon decided that I wanted to study how the mind works - and I took my final degree in Psychology and Physiology.

Consciousness is, perhaps, the aspect of our mental lives that is the most perplexing for both psychologists and philosophers. Daniel Dennett has described it as 'both the most obvious and the most mysterious feature of our minds' and attempts at definition often seem to move in circles. Thomas Nagel famously remarked that 'without consciousness the mind-body problem would be much less interesting. With consciousness it seems hopeless.' These observations might suggest that consciousness - indefinable and mysterious - falls outside the (...) scope of rational enquiry, defying both scientific and philosophical investigation. In reality, however, the topic has been a focus of psychological investigation since William James and is increasingly vital in philosophical research. This book illustrates the various, interdisciplinary approaches to the problem, providing both pointers to a solution and a summary of the key positions. (shrink)

David Hume's relatively short essay 'Of the Standard of Taste' deals with some of the most difficult issues in aesthetic theory. Apart from giving a few pregnant remarks, near the end of his discussion, on the role of morality in aesthetic evaluation, Hume tries to reconcile the idea that tastes are subjective (in the sense of not being answerable to the facts) with the idea that some objects of taste are better than others. 'Tastes', in this context, are the pleasures (...) or displeasures that a person can take in the beauties of poems, paintings, and other artistic compositions (though Hume also wants to stress the continuities between tastes, so understood, and the bodily sense of taste). The position at which Hume arrives in the essay (despite some dialectical unclarity) is that some people – the 'true judges'– determine by their 'joint verdict' which works are meritorious. This solution continues to exercise a fascination, as does Hume's complicated route to it. Author Recommends: Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. This paper places 'Of the Standard of Taste' in an especially rich context, and asks why Hume concentrates on true judges instead of the improvement of one's own taste. Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon Press, 1984), 177–208. This chapter, embedded in an exposition of Mothersill's 'First Thesis' (the denial that there are principles of taste) and 'Second Thesis' (the affirmation that some judgments of taste are genuine judgments), gives a detailed running commentary on Hume's essay. A shorter self-contained version of the chapter appeared as 'Hume and the Paradox of Taste' in Aesthetics: A Critical Anthology , 2nd ed., eds. George Dickie, Richard Sclafani, and Ronald Roblin (New York, NY: St. Martin's Press, 1989, 269–86). Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. An importance recent article, Levinson's piece argues that the 'real' difficulty with Hume's essay has gone unnoticed: why should I care about what Hume's true judges think? Christopher Williams, 'Some Questions in Hume's Aesthetics', Philosophy Compass 2/2 (2007). This article provides a brief overview of the topics discussed under weeks 3–5 in the sample syllabus below. It is intended to provide a roadmap for the particular set of readings listed there. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. This is a stimulating paper in moral philosophy that treats Hume's essay on taste as a model for a serious subjectivism. Wiggins then presents his own brand of subjectivism as an alternative to Hume's. Online Materials: Hume's Aesthetics (Ted Gracyk): http://plato.stanford.edu/entries/hume-aesthetics/ Sample Syllabus: Recommended background reading on Hume's historical context: Peter Kivy, The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics , 2nd ed. (Oxford: Oxford University Press, 2003), especially Part III. Recommended background reading on the general topic of taste: David A. Whewell, 'Taste', Blackwell Companion to Aesthetics (Oxford: Blackwell, 1992), 415–18. Dabney Townsend and Carolyn Korsmeyer, 'Taste', Encyclopedia of Aesthetics , ed. Michael Kelly (New York, NY and Oxford: Oxford University Press, 1998), 4:355–62. Ted Cohen, 'The Philosophy of Taste: Thoughts on the Idea', Blackwell Guide to Aesthetics , ed. Peter Kivy (Oxford: Blackwell, 2004), 167–73. Week 1: Hume on beauty, art, and aesthetic judgment in the Treatise of Human Nature and the Enquiry Concerning the Principles of Morals The following references are usable for any complete edition of the Treatise or Enquiry Treatise , 2.1.8 ('Of Beauty and Deformity') Treatise , 2.2.5 ('Of Our Esteem for the Rich and Powerful') Treatise , 2.2.8 ('Of Malice and Envy'), final three paragraphs Treatise , 2.2.11 ('Of the Amorous Passion, or Love Betwixt the Sexes') Treatise , 3.1.2 ('Moral Distinctions Deriv'd from a Moral Sense') Treatise , 3.3.1 ('Of the Origin of the Natural Virtues') Treatise , 3.3.5 ('Some Farther Reflexions Concerning the Natural Virtues') Enquiry , Appendix 1 ('Of moral sentiment') Week 2: Hume's essays Essays Moral, Political, and Literary , ed. Eugene Miller (Indianapolis, IN: LibertyClassics, 1985) is the most commonly used edition today. 'Of the Delicacy of Taste and Passion' 'Of Eloquence' 'Of the Rise and Progress of the Arts and Sciences' 'Of Simplicity and Refinement in Writing' 'Of Tragedy' 'Of the Standard of Taste' Week 3: Circularity–Virtuous or Vicious? Peter Kivy, 'Hume's Standard of Taste: Breaking the Circle', British Journal of Aesthetics (1967): 57–66. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. Week 4: Rules of Art Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon, 1984), 177–208. James Shelley, 'Hume's Double Standard of Taste', Journal of Aesthetics and Art Criticism (1994): 437–45. Nick Zangwill, 'Hume, Taste, and Teleology', The Metaphysics of Beauty (Ithaca, NY: Cornell University Press, 2001), 149–65. Week 5: The True Judge Malcolm Budd, 'Hume and Kant', 'Hume's Standard of Taste', 'Hume and Human Nature', Values of Art (London: Allen Lane, 1995), 16–24 . Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. Week 6: Moralism in Aesthetic Judgment: Hume and Beyond Kendall Walton, 'Morals in Fiction and Fictional Morality', Proceedings of the Aristotelian Society (1994): 27–50. Richard Moran, 'The Expression of Feeling in Imagination', Philosophical Review (1994): 75–106. Tamar Szabo-Gendler, 'The Puzzle of Imaginative Resistance', Journal of Philosophy (2000): 55–81. Focus Questions 1. How does Hume distinguish between matters of 'fact' and 'sentiment'? 2. What is a 'rule of art', and are there any rules? 3. Can a bad critic be 'silenced'? 4. What are the characteristics of good critics? 5. Should we expect good critics to agree on the merits of a work, and should I care about becoming a good critic myself? 6. Is it possible to distinguish variations in taste for which we should expect a standard and variations for which it is 'vain' to have such an expectation? 7. How is the excellence of a work related to the exercise of taste? 8. If a work of literature has a moral outlook that differs from our own, should we consider the work defective on literary grounds? (shrink)

The identity of conscious states and brain states must remain a mystery until we find a way of characterising both sides of the equation in terms that have the same ‘dimensions’. In this paper I stress the need for ‘dual currency concepts’ that not only are but can be seen to be as appropriate for talking about, say, the experience of pain as for talking about the corresponding working of the brain. In the light of evolutionary theory I make a (...) radically new proposal for what the common dimension is, centred on the idea of ‘authorship’. (shrink)

William Galston is a distinguished political philosopher whose work is informed by the experience of having also served from 1993–5 as President Clinton's Deputy Assistant for Domestic Policy. He is thus able to speak with an authority unique amongst political theorists about the implications of advancing certain moral and political values in practice. The foundational argument of this 2002 book is that liberalism is compatible with the value pluralism first espoused by Isaiah Berlin. William Galston defends a version (...) of value pluralism - liberal pluralism - and argues, against the contentions of John Gray and others, that it undergirds a kind of liberal politics that gives weight to the ability of individuals and groups to live their lives in accordance with their deepest beliefs about what gives meaning and purpose to life. (shrink)

There is growing regulatory pressure on firms worldwide to address the under-representation of women in senior positions. Regulators have taken a variety of approaches to the issue. We investigate a jurisdiction that has issued recommendations and disclosure requirements, rather than implementing quotas. Much of the rhetoric surrounding gender diversity centres on whether diversity has a financial impact. In this paper we take an aggregate (market-level) approach and compare the performance of portfolios of firms with gender diverse boards to those without. (...) We also investigate whether having multiple women on the board is linked to performance, and if there is a within-industry effect. Overall, we do not find evidence of an association between diversity and performance. We find some weak evidence of a negative correlation between having multiple women on the board and performance, but that in some industries diversity is positively correlated with performance. (shrink)

It is the ambition of evolutionary psychology to explain how the basic features of human mental life came to be selected because of their contribution to biological survival. Counted among the most basic must be the subjective qualities of conscious sensory experience: the felt redness we experience on looking at a ripe tomato, the felt saltiness on tasting an anchovy, the felt pain on being pricked by a thorn. But, as many theorists acknowledge, with these qualia, the ambition of evolutionary (...) psychology may have met its match. Everyone agrees that a trait can only contribute to an organism's biological survival in so far as it operates in the public domain. Yet almost everyone also agrees that the subjective quality of sensory experience is (at least for all practical purposes) private and without external influence. Then, maybe we must either concede that the subjective quality of sensations cannot after all have been determined by selection (even if this is theoretically depressing) or else demonstrate that the quality of sensations is not as private as it seems to be (even if this is intuitively unconvincing). No. I believe neither of these solutions to the puzzle is in fact the right one. I argue instead that the truth is that the quality of sensations has indeed been shaped by selection in the past, despite the fact that it is today effectively private. And this situation has come about as a result of a remarkable evolutionary progression, whereby the primitive activity of sensing slowly became "privatized" - that is to say, removed from the domain of overt public behavior and transformed into a mental activity that is now, in humans, largely if not exclusively internal to the subject's mind. (shrink)

Despite a long period of neglect, research on emotion in organizational behavior has developed into a major field over the past 15 years, and is now seen to be part of an affective revolution in the organization sciences. In this article, we review current research on emotion in the organizational behavior field based on five levels of analysis: within person, between persons, dyadic interactions, leadership and teams, and organization-wide. Specific topics we cover include affective events theory, state and trait affect (...) and mood, emotional intelligence, emotional labor, emotional contagion, emotions and leadership, and building a healthy emotional climate. We conclude with suggestions for future research. (shrink)

The McCollough effect, an orientation-contingent color aftereffect, has been known for over 30 years and, like other aftereffects, has been taken as a means of probing the brain's operations psychophysically. In this paper, we review psychophysical, neuropsychological, and neuroimaging studies of the McCollough effect. Much of the evidence suggests that the McCollough effect depends on neural mechanisms that are located early in the cortical visual pathways, probably in V1. We also review evidence showing that the aftereffect can be induced without (...) conscious perception of the induction patterns. Based on these two lines of evidence, it is argued that our conscious visual experience of the world arises in the cortical visual system beyond V1. (shrink)

Easy to read, adorned with Mel Calman's brilliant illustrations, passionately argued, yet never less than scientifically profound, this book remains the...

The sensation of red light falling on your eyes has something in common with the experience of looking at a cartoon in the New Yorker. The phenomenal quality of the sensation and the funniness of the joke are both properties of your subjective take on an external event and both arise in two steps. With sensations, your brain responds to signals from bodily sense organs with an internalized evaluative response; your mind reads this response and represents what it's like as (...) the subjective property of redness. With jokes, the cartoonist creates a clever drawing; your mind takes in the drawing and represents what it's like as the subjective property of funniness. This analogy -- deliberately deflationary -- helps elucidate the nature of phenomenal consciousness and its neural correlates, and exposes the 'hard problem' as a conceptual error. (shrink)

Dreaming can provide a marvelous opportunity for the “playful” exploration of dramatic events. But the chance to learn to deal with danger is only a small part of it. More important is the chance to discover what it is like to be the subject of strange but humanly significant mental states. [Revonsuo].

Terence Parsons's informal theory of intentional objects, their properties, and modes of predication does not adequately reflect ordinary ways of speaking and thinking. Meinongian theories recognizing two modes of predication are defended against Parsons's theory of two kinds of properties. Against Parsons's theory of fictional objects, I argue that no existing entities appear in works of fiction. A formal version of Parsons's theory is presented, and a curious consequence about modes of predication is indicated.

Discusses the experiments of Aristotle, William Beaumont, Robert Norman, Stephen Hales, Konrad Lorenz, Galileo, Robert Boyle, Theodoric of Freibourg, Louis Pasteur, Ernest Rutherford, A.A. Michelson, E.W. Morley, F. Jacob, E. Wollman, J.J. Gibson, A.L. Lavoisier, Humphrey Davy, J.J. Thomson, Isaac Newton, Michael Faraday, J.J. Berzelius, and Otto Stern.

In _A Philosophy of the Unsayable_, William Franke argues that the encounter with what exceeds speech has become the crucial philosophical issue of our time. He proposes an original philosophy pivoting on analysis of the limits of language. The book also offers readings of literary texts as poetically performing the philosophical principles it expounds. Franke engages with philosophical theologies and philosophies of religion in the debate over negative theology and shows how apophaticism infiltrates the thinking even of those who (...) attempt to deny or delimit it._ In six cohesive essays, Franke explores fundamental aspects of unsayability. In the first and third essays, his philosophical argument is carried through with acute attention to modes of unsayability that are revealed best by literary works, particularly by negativities of poetic language in the oeuvres of Paul Celan and Edmond Jabès. Franke engages in critical discussion of apophatic currents of philosophy both ancient and modern, focusing on Hegel and French post-Hegelianism in his second essay and on Neoplatonism in his fourth essay. He treats Neoplatonic apophatics especially as found in Damascius and as illuminated by postmodern thought, particularly Jean-Luc Nancy’s deconstruction of Christianity. In the last two essays, Franke treats the tension between two contemporary approaches to philosophy of religion—Radical Orthodoxy and radically secular or Death-of-God theologies. _A Philosophy of the Unsayable _will interest scholars and students of philosophy, literature, religion, and the humanities. This book develops Franke's explicit theory of unsayability, which is informed by his long-standing engagement with major representatives of apophatic thought in the Western tradition. "William Franke is an articulate spokesman for what cannot be said not only with regards to modern European poetry but also with respect to contemporary theology. _A Philosophy of the Unsayable _is essential reading for everyone working in religion and literature and in modern theology." — Kevin Hart, Edwin B. Kyle Professor of Christian Studies, University of Virginia __ "By now, it would seem that there could be no more to say about not-saying. Apophatic language and negative theology have been accused of meaninglessness, nihilism, and even ill-concealed ontologies. In this lovely and surprising book, William Franke not only deftly undoes these criticisms but shows that apophasis underlies and strangely grounds all language and thought, even of those very discourses that most vigorously reject it. _A Philosophy of the Unsayable_ demonstrates with elegance that there is indeed more to say, and more that is both meaningful and important." — Karmen MacKendrick, Le Moyne College__ "William Franke is an eminent scholar in comparative literature, who is schooled in philosophy and religion. He is recognized as one of the most creative contemporary thinkers working at the double intersection of philosophy and literature and philosophy and theology. _A Philosophy of the Unsayable_ shows an intellectual grasp of a dizzying array of discourses and sheds real light on all thinkers who are discussed." — Cyril O'Regan, Huisking Professor of Theology, University of Notre Dame_. (shrink)