Psychiatry is rapidly adopting digital phenotyping and artificial intelligence/machine learning tools to study mental illness based on tracking participants’ locations, online activity, phone and text message usage, heart rate, sleep, physical activity, and more. Existing ethical frameworks for return of individual research results (IRRs) are inadequate to guide researchers for when, if, and how to return this unprecedented number of potentially sensitive results about each participant’s real-world behavior. To address this gap, we convened an interdisciplinary expert working group, supported by (...) a National Institute of Mental Health grant. Building on established guidelines and the emerging norm of returning results in participant-centered research, we present a novel framework specific to the ethical, legal, and social implications of returning IRRs in digital phenotyping research. Our framework offers researchers, clinicians, and Institutional Review Boards (IRBs) urgently needed guidance, and the principles developed here in the context of psychiatry will be readily adaptable to other therapeutic areas. (shrink)

This study provides evidence regarding the level of ethical cognition of business students at the entry to college as compared to a national norm. It also provides comparative evidence on the effects of group versus individual ethical cognition upon completion of a business ethics course. The Principled Score (P-score) from the Defining Issues Test (DIT) was used to measure the ethical cognition of a total sample of 301 business students (273 entering students plus 28 students in a business ethics course). (...) The results indicate that (1) business students are not significantly different from the national norms at entry to college and (2) group reasoning helps male students improve their P-scores significantly in the business ethics course at a loss of P-score (albeit not statistically significant) for female students. (shrink)

© 2014 Taylor Francis. The Centers for Disease Control and Prevention recommends routine human immunodeficiency virus testing of every client presenting for services in venues where HIV prevalence is high. Because older adults have particularly poor prognosis if they receive their diagnosis late in the course of HIV disease, any screening provided to younger adults in these venues should also be provided to older adults. We examined aging-related disparities in recent and ever HIV testing in a probability sample of (...) at-risk adults seeking services in needle exchange sites, sexually transmitted disease clinics, and Latino community clinics that provide HIV testing. Using multiple logistic regression with generalized estimating equations, we estimated associations between age category and each HIV testing outcome. Even after controlling for covariates such as recent injection drug use, older adults had 40% lower odds than younger adults did of having tested in the past 12 months or ever. Aging-related disparities in HIV testing exist among clients of these high HIV prevalence venues and may contribute to known aging-related disparities in late diagnosis of HIV infection and poor long-term prognosis. (shrink)

Cet article a déjà paru dans la revue Projet n° 273, p. 35-42, en mars 2003. Il remet en question avec efficacité et élégance un certain nombre d'idées reçues, de clichés et de généralisations abusives concernant les évolutions contemporaines des régimes temporels. À lire absolument. L'individualisme contemporain serait-il la nouvelle maladie de nos sociétés, comme le laisse entendre le discours sur la crise du lien social ? Répondre à cette question suppose que l'on conçoive précisément ce que signifie (...) - (...) Sociologie – Nouvel article. (shrink)

Une version légèrement modifiée de ce texte a déjà paru dans L. Vodoz & C. Jemelin (dir.), Les territoires de la mobilité : l'aire du temps, Lausanne, PPUR, 2004, p. 43-56. Il est également accessible ici. En France, comme aux États-Unis, la sociologie se divise sur l'analyse des temps sociaux individuels ou, autrement dit, sur l'interprétation de la transformation des rapports entre temps de travail et temps du quotidien hors travail. Les réponses sont, non seulement opposées : elles le sont (...) de (...) - Sociologie – Nouvel article. (shrink)

Ce texte a déjà paru dans la revue Réseaux, 2007/1, N° 140, p. 29-65. Personne ne le conteste, et ceci est devenu un lieu commun, nos modes de vie connaissent des mutations importantes et sont amenés à en connaître d'autres encore plus importantes. Depuis la fin des « trente glorieuses » une succession de transformations se cumulent pour aboutir à ce que l'on peut considérer comme le début d'une véritable mutation anthropologique. Les explications proposées pour comprendre un tel mouvement ne (...) manquent (...) - Sociologie – Nouvel article. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:470 HISTORY OF PHILOSOPHY of fundamental notions (e.g.,"creator" and "demiurge") are omnipresent. Sometimes even a confusion happens of Anaxagoras with Democritus when the "atom" is ascribed to Anaxagoras (p. 48). And the author does not seem to feel the fatal inadequacy of merely second-hand knowledge. While he in longura et latum argues with Aristotelian presentations and misrepresentations of Anaxagorean tenets, there is good reason for the suspicion that he (...) might never have read even one authentic sentence written by Anaxagoras himself. For those interested in general cultural history, this book, the religious diatribe of a modem Zoroastrian believer, is very worthwhile reading. For the historian of philosophy, itis of rather modest value. P-~LIX M. CLEVE New School for Social Research New York City The Esthetics of the Middle Ages. By Edgar De Bruyne. Trans. Eileen B. Hennessy. (New York: Frederick Uugar, 1969. Pp. viii+232. $6.50) This book has a very complex character. It is the English translation of a French work, L'Esth~tique du moyen dge,I which, in turn, is a one-volume abridged version by Edgar De Bruyne of his own original three-volume work, I~tudes d'Esth~tique M~di~vale.2 Thus, one may evaluate this book either as a translation or, presupposing the faithfulness and correctness of the translation itself,as a relatively short work by E. De Bruyne, or else in its relation to or as compared with the original three-volume work. I will confine myself here to the lattertwo considerations.3 First, considering this book in comparison with the three-volume original work, one of the principal writings of De Bruyne and one of the most significant contemporary contributions to the history of medieval aesthetics, we can find both quantitative and qualitative differences between the original work and its abridged version. The quantitative difference is considerable. While the abridged work, at least in its English translation, is less than a quarter of a thousand pages in length, the original work includes altogether 1,224 pages 4 and is thus more than five times longer than thc translated abridged version of it. The qualitative or methodological difference is at least equally great. In the original work, each of the three volumes deals primarily with the various medieval authors of aesthetic works and doctrines in a chronological order.5 In contrast, the contents of the translated abridged version follow a topical arrangement with chronology playing only a subordinate role, if any at all, within Louvain. L'InstitutSupdrieur de Philosophic, 1947. Brugge: De Tempel, 1946. s I have had no access to the abridged French original. 9 Vol. I, xiv+370; II, x-{-420; III,x-F400. 9 VoL I: Boethius to Erigena; II. "L'l~poque Romane," from the Carolingian period to the schools of Chartres and St. Victor; and Ill:the thirteenthcentury, from St. Bernard to Duns Scotus. BOOK REVIEWS 471 each topic. The six chapters are entitled, "'The Sources," "The Fundamental Principles," "Various Esthetic Systems," "The Esthetic Experience," "Art," and "The Fine Arts." To this may be added a third difference that is the result of the first two differences. There is virtually neither any direct quotation from any author on any topic, nor a~y direct reference to texts in the works of medieval authors mentioned or discussed. While the quantitative difference in itself is understandable, since only a scholar specializing in this field would read over 1,200 pages on medieval aesthetics, and while the qualitative difference is perfectly justified in terms of an intelligent summary, the absence especially of direct references to discussed texts is, as will be shown below, deeply regxettable. So much for the relative consideration of this translated abridged work. Let us next consider the abridged work in itself in the form of a positive and a negative evaluation. Second, despite the relative brevity of the work, one finds this book extremely valuable both in terms of the quantity and the quality of the data it contains. As to quantity, De Bruyne manages to compress an enormous amount of information about medieval aesthetic thought into this book. The significance of this, to confine ourselves at this point only... (shrink)

Different researchers use "the philosophy of automated theorem p r o v i n g " t o cover d i f f e r e n t concepts, indeed, different levels of concepts. Some w o u l d count such issues as h o w to e f f i c i e n t l y i n d e x databases as part of the philosophy of automated theorem p r o v i n g . (...) Others wonder about whether f o r m u l a s should be represented as strings or as trees or as lists, and call this part of the philosophy of automated theorem p r o v i n g . Yet others concern themselves w i t h what k i n d o f search should b e embodied i n a n y automated theorem prover, or to what degree any automated theorem prover should resemble Prolog. Still others debate whether natural deduction or semantic tableaux or resolution is " b e t t e r " , a n d c a l l t h i s a part of the p h i l o s o p h y of automated theorem p r o v i n g . Some people wonder whether automated theorem p r o v i n g should be " h u m a n oriented" or "machine o r i e n t e d " — sometimes arguing about whether the internal p r o o f methods should be " h u m a n - I i k e " or not, sometimes arguing about whether the generated proof should be output in a f o r m u n d e r s t a n d a b l e by p e o p l e , and sometimes a r g u i n g a b o u t the d e s i r a b i l i t y o f h u m a n intervention in the process of constructing a proof. There are also those w h o ask such questions as whether we s h o u l d even be concerned w i t h completeness or w i t h soundness of a system, or perhaps we should instead look at very efficient (but i n c o m p l e t e ) subsystems or look at methods of generating models w h i c h might nevertheless validate invalid arguments. A n d a l l of these have been v i e w e d as issues in the philosophy of automated theorem proving. Here, I w o u l d l i k e to step back from such i m p l e m e n t - ation issues and ask: " W h a t do we really think we are doing when we w r i t e an automated theorem prover?" My reflections are perhaps idiosyncratic, but I do think that they put the different researchers* efforts into a broader perspective, and give us some k i n d of handle on w h i c h directions we ourselves m i g h t w i s h to pursue when constructing (or extending) an automated theorem proving system. A logic is defined to be (i) a vocabulary and formation rules ( w h i c h tells us w h a t strings of symbols are w e l l - formed formulas in the logic), and ( i i ) a definition of ' p r o o f in that system ( w h i c h tells us the conditions under which an arrangement of formulas in the system constitutes a proof). Historically speaking, definitions of ' p r o o f have been given in various different manners: the most c o m m o n have been H i l b e r t - s t y l e ( a x i o m a t i c ) , Gentzen-style (consecution, or sequent), F i t c h - s t y l e (natural deduction), and Beth-style (tableaux).. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:470 HISTORY OF PHILOSOPHY of fundamental notions (e.g.,"creator" and "demiurge") are omnipresent. Sometimes even a confusion happens of Anaxagoras with Democritus when the "atom" is ascribed to Anaxagoras (p. 48). And the author does not seem to feel the fatal inadequacy of merely second-hand knowledge. While he in longura et latum argues with Aristotelian presentations and misrepresentations of Anaxagorean tenets, there is good reason for the suspicion that he (...) might never have read even one authentic sentence written by Anaxagoras himself. For those interested in general cultural history, this book, the religious diatribe of a modem Zoroastrian believer, is very worthwhile reading. For the historian of philosophy, itis of rather modest value. P-~LIX M. CLEVE New School for Social Research New York City The Esthetics of the Middle Ages. By Edgar De Bruyne. Trans. Eileen B. Hennessy. (New York: Frederick Uugar, 1969. Pp. viii+232. $6.50) This book has a very complex character. It is the English translation of a French work, L'Esth~tique du moyen dge,I which, in turn, is a one-volume abridged version by Edgar De Bruyne of his own original three-volume work, I~tudes d'Esth~tique M~di~vale.2 Thus, one may evaluate this book either as a translation or, presupposing the faithfulness and correctness of the translation itself,as a relatively short work by E. De Bruyne, or else in its relation to or as compared with the original three-volume work. I will confine myself here to the lattertwo considerations.3 First, considering this book in comparison with the three-volume original work, one of the principal writings of De Bruyne and one of the most significant contemporary contributions to the history of medieval aesthetics, we can find both quantitative and qualitative differences between the original work and its abridged version. The quantitative difference is considerable. While the abridged work, at least in its English translation, is less than a quarter of a thousand pages in length, the original work includes altogether 1,224 pages 4 and is thus more than five times longer than thc translated abridged version of it. The qualitative or methodological difference is at least equally great. In the original work, each of the three volumes deals primarily with the various medieval authors of aesthetic works and doctrines in a chronological order.5 In contrast, the contents of the translated abridged version follow a topical arrangement with chronology playing only a subordinate role, if any at all, within Louvain. L'InstitutSupdrieur de Philosophic, 1947. Brugge: De Tempel, 1946. s I have had no access to the abridged French original. 9 Vol. I, xiv+370; II, x-{-420; III,x-F400. 9 VoL I: Boethius to Erigena; II. "L'l~poque Romane," from the Carolingian period to the schools of Chartres and St. Victor; and Ill:the thirteenthcentury, from St. Bernard to Duns Scotus. BOOK REVIEWS 471 each topic. The six chapters are entitled, "'The Sources," "The Fundamental Principles," "Various Esthetic Systems," "The Esthetic Experience," "Art," and "The Fine Arts." To this may be added a third difference that is the result of the first two differences. There is virtually neither any direct quotation from any author on any topic, nor a~y direct reference to texts in the works of medieval authors mentioned or discussed. While the quantitative difference in itself is understandable, since only a scholar specializing in this field would read over 1,200 pages on medieval aesthetics, and while the qualitative difference is perfectly justified in terms of an intelligent summary, the absence especially of direct references to discussed texts is, as will be shown below, deeply regxettable. So much for the relative consideration of this translated abridged work. Let us next consider the abridged work in itself in the form of a positive and a negative evaluation. Second, despite the relative brevity of the work, one finds this book extremely valuable both in terms of the quantity and the quality of the data it contains. As to quantity, De Bruyne manages to compress an enormous amount of information about medieval aesthetic thought into this book. The significance of this, to confine ourselves at this point only... (shrink)

La plupart des recherches entreprises sur la philosophie de Michel Foucault ont visé jusqu’à maintenant à définir et assigner son travail à une étiquette politique définie. Foucault est pour les uns anarchiste, pour les autres nihiliste ou encore simple militant de gauche. Ce qui est étonnant avec cet effort, c’est que malgré la multiplicité des lectures, elles peuvent toutes se justifier et trouver quelques appuis dans son oeuvre. Par contre, en entreprenant la recherchedu politique de cette façon, c’est-à-dire en posant (...) à Foucault la question programmatique du « ce qu’il faut faire », nous tombons dans un piège que lui-même a toujours souhaité éviter, celui d’« unidimensionnaliser » sa pensée. Mais alors, comment lire son oeuvre sans nous-mêmes appliquer cette morale d’État civil demandant à chaque philosophe ses papiers politiques? En quoi, si nous refusons cette question, la pensée de Foucault peut-elle demeurer une pensée politique? Notre thèse est la suivante : en examinant la manière avec laquelle Foucault ré????léchit le politique dans son cours au Collège de France Le Gouvernement de soi et des autres, nous p ouvons m ontrer c omment, vers la fin de sa vie, il a changé l’angle de la question. En effet, dans ce cours, l’activité politique n’est plus envisagée à partir de la question du « ce qu’il faut faire », mais à partir de l’expérience du pouvoir elle-même, c’est-àdire comment sommes-nous en mesure d’exercer le pouvoir sur les autres. La tâche du philosophe n’est donc plus celle du « donneur de leçon » pense Foucault dans ce cours, mais celle de faire de sa vie un exemple où parole et acte, discours et vérité sont intimement reliés. (shrink)

Jardine examines the evolution of concepts of dialectics during the Renaissance and problems of methodology that influenced the teachings of the founder of philosophy in the modern era, F. Bacon. The work traces the sources of these problems in the dialectics of antiquity and its medieval interpretation. Sources little known to the Soviet reader are cited. In order to evaluate Bacon's reaction to the dialectics of his day, the author also describes works named in the statutes of Cambridge University in (...) the sixteenth century as textbooks on dialectics. They are writings by humanists — bearers of the ideas of the Enlightenment — I. Caesarius, R. Agricola, D. Seton, and others. To a certain extent they were based on the work by Peter the Spaniard Summulae Logicales, which is taken as a point of departure for the further evolution of dialectics. (shrink)

Jardine examines the evolution of concepts of dialectics during the Renaissance and problems of methodology that influenced the teachings of the founder of philosophy in the modern era, F. Bacon. The work traces the sources of these problems in the dialectics of antiquity and its medieval interpretation. Sources little known to the Soviet reader are cited. In order to evaluate Bacon's reaction to the dialectics of his day, the author also describes works named in the statutes of Cambridge University in (...) the sixteenth century as textbooks on dialectics. They are writings by humanists — bearers of the ideas of the Enlightenment — I. Caesarius, R. Agricola, D. Seton, and others. To a certain extent they were based on the work by Peter the Spaniard Summulae Logicales, which is taken as a point of departure for the further evolution of dialectics. (shrink)

The bulk of this massive collection is comprised of selections from about twenty medieval, modern, and contemporary writers, on legal philosophy. These selections cover the traditions of natural law, positivism, and realism on the problem of the nature of law. It would be impossible to fault Professor Christie on the pieces he has included. Each one, old or new, is an acknowledged classic or standard. The omission of Lon L. Fuller who represents a notable variety of non-Thomistic natural law should, (...) however, be mentioned. In the very last part of the book, covering the topic of legal reasoning, the philosopher will be pleased to find extensive extracts from Aristotle and Francis Bacon. (shrink)

Insight, by F. H. Parker.--Why be uncritical about the life-world? By H. B. Veatch.--Homage to Saint Anselm, by R. Jordan.--Art and philosophy, by J. M. Anderson.--The phenomenon of world, by R. R. Ehman.--The life-world and its historical horizon, by C. O. Schrag.--The Lebenswelt as ground and as Leib in Husserl: somatology, psychology, sociology, by E. Paci.--Life-world and structures, by C. A. van Peursen.--The miser, by E. W. Straus.--Monetary value and personal value, by G. Schrader.--Individualisms, by W. L. McBride.--Sartre the individualist, (...) by W. Desan.--The nature of social man, by M. Natanson.--The problem of the will and philosophical discourse, by P. Ricoeur.--Structuralism and humanism, by M. Dufrenne.--The illusion of monolinear time, by N. Lawrence.--Can grammar be thought? By J. M. Edie.--The existentialist critique of objectivity, by S. J. Todes and H. L. Dreyfus.--Bibliography (p. 391-400). (shrink)

It is frequently noted that a “crisis in language” accompanied the profound changes in human consciousness everywhere evident near the turn of the century. As the nature of reality itself became problematic—or at least suspect, distrusted for its imposition of limits upon individual imagination—so, necessarily, did the relationship of language to reality. Thus in the later nineteenth century, the adequacy of an essentially standardized form of “classical” writing was increasingly questioned as an effective vehicle for artistic expression: even though often (...) in “elevated” form, such writing bore too close a connection to ordinary discourse. Indeed, it was precisely the mutually shared, conventional aspects of language that came to be most deeply distrusted for their failure to mirror the more subjective, obscure, and improbable manifestations of a transcendent reality or, rather, realities—the plural reflecting an insistence upon the optional and provisional nature of human experience. Language in its normal manifestations—with its conventionalized vocabulary and standardized rules for syntactical combination—proved inadequate for an artistic sensibility demanding, in Friedrich Nietzsche’s words, “a world of abnormally drawn perspectives.”This dissatisfaction with “normal” language received its classic statement through Hugo von Hofmannsthal’s Lord Chandos. Writing in 1902, Hofmannsthal conveys through the figure of the aristocratic Chandos the loss of an encompassing framework within which the various objects of external reality are connected with one another and integrated with the internal reality of human feelings. Chandos’ world has become one of disparate, disconnected fragments, resistant to the abstractions of ordinary language. It is a world characterized by “a sort of feverish thought, but thought in a material that is more immediate, more fluid, and more intense than that of language.” Chandos longs for a new language in which not a single word is known to me, a language in which mute objects speak to me and in which perhaps one day, in the grave, I will give account of myself before an unknown judge.”2 The content and forms of art thus shifted away from exterior reality, which no longer provided a stable, “given” material, toward language itself—to “pure” language in a sense closely related to the symbolists’ “pure” poetry. “No artist tolerates reality,” Nietzsche proclaimed.3 And Gustave Flaubert’s farsighted advice to himself was that he should write “a book about nothing, a book dependent on nothing external, which would be held together by the internal strength of its style.”4 2. Hugo von Hofmannsthal, “Ein Brief,” Gesammelte Werke, ed. Bernd Schoeller with Rudolf Hirsch, 10 vols. , 7:471-72; my translation. All further translations are my own unless otherwise indicated.3. Friedrich Nitzsche, Complete Works, ed. Oscar Levy, 18 vols. , vol. 15, The Will to Power, trans. Anthony M. Ludovici, p. 74.4. Gustave Flaubert, Flaubert to Louise Colet, 16 Jan. 1852, The Letters of Gustave Flaubert 1830-1857, ed. and trans. Francis Steegmuller , p. 154. Other passages in this letter are equally remarkable for their “modernist” tone. Flaubert argues that from the standpoint of l’Art pur, “one might almost establish the axiom that there is no such thing as subject—style in itself being an absolute manner of seeing things” . Further:The finest works are those that contain the least matter; the closer expression comes to thought, the closer language comes to coinciding and merging with it, the finer the result. I believe the future of Art lies in this direction. I see it, as it has developed from its beginnings, growing progressively more ethereal …. Form, in becoming more skillful, becomes attenuated, it leaves behind all liturgy, rule, measure; the epic is discarded in favor of the novel, verse in favor of prose; there is no longer any orthodoxy, and form is as free as the will of its creator. This progressive shedding of the burden of tradition can be observed everywhere: governments have gone through similar evolution, from oriental despotisms to the socialisms of the future. [P. 154] Robert P. Morgan, professor of music at the University of Chicago, is currently writing a history of twentieth-century music and working on a study of form in nineteenth-century music. His previous contributions to Critical Inquiry are “On the Analysis of Recent Music” and “Musical Time/Musical Space”. (shrink)

Sex and sensibility: The role of social selection Content Type Journal Article DOI 10.1007/s11016-010-9464-6 Authors Erika L. Milam, Department of History, University of Maryland, 2115 Francis Scott Key Hall, College Park, MD 20742, USA Roberta L. Millstein, Department of Philosophy, University of California, Davis, One Shields Avenue, Davis, CA 95616, USA Angela Potochnik, Department of Philosophy, University of Cincinnati, P.O. Box 210374, Cincinnati, OH 45221, USA Joan E. Roughgarden, Department of Biology, Stanford University, Stanford, CA 94305-5020, USA Journal Metascience (...) Online ISSN 1467-9981 Print ISSN 0815-0796. (shrink)

Some of the problems associated with the construction of a manifestly covariant relativistic quantum theory are discussed. A resolution of this problem is given in terms of the off mass shell classical and quantum mechanics of Stueckelberg, Horwitz and Piron. This theory contains many questions of interpretation, reaching deeply into the notions of time, localizability and causality. A proper generalization of the Maxwell theory of electromagnetic interaction, required for the well-posed formulation of dynamical problems of systems with electromagnetic interaction is (...) discussed, and some of the significance of recently found (classical) relativistic chaotic behavior is pointed out. Many results of a technical nature have been achieved in this framework; in this paper, some of these are reviewed, but I shall concentrate on a discussion of the basic ideas and foundations of the theory. (shrink)

The gauge compensation fields induced by the differential operators of the Stueckelberg-Schrödinger equation are discussed, as well as the relation between these fields and the standard Maxwell fields; An action is constructed and the second quantization of the fields carried out using a constraint procedure. The properties of the second quantized matter fields are discussed.

It is well known that when resolution occurs in the stichic iambics and trochaics of tragedy word-end is not found between the two shorts so produced: w or, more accurately, that the first short of resolution must not be the last syllable of a polysyllabic word. Moreover, the syllables in resolution most often form part of the same word as the following short or anceps, e.g.: Ion 1143.

As in literature poetry precedes prose, so in poetry a special and ‘heightened’ diction seems to precede everyday language. Mr.T.S.Eliot has put it thus: ‘Every revolution in poetry is apt to be, and sometimes to announce itself as, a return to common speech.’ How does this apply to Greek and Latin ? There are objections to considering words in isolation from this point of view, since neutral ones are apt to go now grey, now purple, according to their company; but (...) if we do not do so, we deny ourselves the only considerable method of investigation that is still open to us. Again, we must recognize that most poems are composed largely of ordinary words, though these are often used in a way that is not ordinary. (shrink)