The regulation of the activity of multiple autonomous entities represented in a multi-agent system, in environments with no central design (and thus with no cooperative assumption), is gaining much attention in the research community. Approaches to this concern include the use of norms in so-called normative multi-agent systems and the development of electronic institution frameworks. In this paper we describe our approach towards the development of an electronic institution providing an enforceable normative environment. Within this environment, institutional services are provided (...) that assist agents in forming cooperative structures whose commitments are made explicit through contracts. Our normative framework borrows some concepts from contract law theory. Contracts are formalized using norms which are used by the institution while monitoring agents’ activities, thus making our normative environment dynamic. We regard the electronic institution as a means to facilitate both the creation and the enforcement of contracts between agents. A model of “institutional reality” is presented that allows for monitoring the fulfillment of norms. The paper also distinguishes our approach from other developments of the electronic institution concept. We address the application of our proposal in the B2B field, namely regarding the formation of Virtual Organizations. (shrink)
Informed consent is recognized as a primary ethical requirement to conduct research involving humans. In the investigations with the use of human biological material, informed consent (IC) assumes a differentiated condition on account of the many future possibilities. This work presents suitable alternatives for IC regarding the storage and use of human biological material in research, according to new Brazilian regulations. Both norms – Resolution 441/11 of the National Health Council, approved on 12 May 2011, and Ordinance 2.201 (NATIONAL GUIDELINES (...) FOR BIOREPOSITORIES AND BIOBANKS OF HUMAN BIOLOGICAL MATERIAL FOR RESEARCH PURPOSE) of the Brazil Ministry of Health, approved on 14 September 2011 – state that the consent of subjects for the collection, storage and use of samples stored in Biobanks is necessarily established by means of a Free and Informed Consent Form (ICF). In order to obtain individual and formal statements, this form should contain the following two mutually exclusive options: an explanation about the use of the stored material in each research study, and the need for new consent or the waiver thereof when the material is used for a new study. On the other hand, ICF suitable for Biorepositories must be exclusive and related to specific research. Although Brazilian and international regulations identify the main aspects to be included in the IC, efforts are still necessary to improve the consent process, so that the document will become a bond of trust between subject and researcher. (shrink)
There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways (...) pictures represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)
Looking at pictures, we see in them the scenes they depict, and any value they have springs from these experiences of seeing-in. Sight and Sensibility presents the first detailed and comprehensive theory of evaluating pictures. Dominic Lopes confronts the puzzle of how the value of seeing anything in a picture can exceed that of seeing it face to face - his solution pinpoints how seeing-in is like and unlike ordinary seeing. Moreover, since part of what we see in pictures (...) is emotional expressions, his book also develops a theory of expression especially tailored to pictures. -/- Not all evaluations of pictures as opportunities for seeing-in are aesthetic - others are cognitive or moral. Lopes argues that these evaluations interact, for some imply others. His argument entails novel conceptions of aesthetic and cognitive evaluation, such that aesthetic evaluation is distinguished from art evaluation as essentially tied to experience, and that cognitive evaluations assess cognitive capacities, including perceptual ones. Ultimately, Lopes defends images against the widespread criticism that they thwart serious thought, especially moral thought, because they merely replicate ordinary experience. He concludes by presenting detailed case studies of the contribution pictures can make to moral reflection. -/- Sight and Sensibility will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. (shrink)
When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...) paper argues that the claims are compatible. While seeing things in photographs is quite unlike seeing things face-to-face, nevertheless seeing things in photographs is one way of seeing things. The differences between seeing things by means of photographs and by means of the naked eye provide the elements of an account of the aesthetic interests photographs engage. (shrink)
Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. Imagination, Philosophy and the Arts represents the work of fifteen young yet distinguished philosophers of art, who critically examine just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. All new papers, a strong collection on the imagination (...) in philosophy, particularly in relation to literature and the visual arts. The book falls in three parts: emotional imagination, fiction-making imagination and sensory imagination. The volume opens up several new frontiers that will attract substantial interest in philosophers of art, as well as philosophers working on mental representation, emotion theory, perception and fiction. These papers make a large contribution to developing our understanding of 'imagination' in new directions and setting the research agenda for the next decade. (shrink)
The question "what is art?" is often said to be venerable and vexing. In fact, the following answer to the question should be obvious: (R) item x is a work of art if and only if x is a work in practice P and P is one of the arts. Yet (R) has appeared so far from obvious that nobody has given it a moment's thought. The trouble is not that anyone might seriously deny the truth of (R), but rather (...) that they will find it uninformative. After all, the vexing question is pressed upon us by radical changes in art of the avant-garde, and (R) offers no resources to address these changes. With that in mind, here is the case for (R). The challenges posed by the avant-garde are real enough and they need to be addressed, but the vexing question is the wrong question to ask to address them. It does not follow that the question has no good answer. On the contrary, (R) is all the answer we need, if we do not need an answer that addresses the challenges posed by the avant-garde. Moreover, (R) points to a question that we do need answered. So, not only is it true but, in addition, (R) is as informative as we need. (shrink)
Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its (...) expressive properties are purely sonic, then music expresses less than we think it does. And if the expressive properties of music are visual as well as sonic, then music is not what we think it is—it is not purely sonic. (shrink)
The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then (...) color depiction has interesting implications for color science. Empirical researchers must rethink the widespread assumption that color recognition requires color constancy. I suggest that a neuropsychological account of color recognition will be instrumental to completing the philosophical task, but by the same token scientists might do well not to proceed without casting an eye to the work of philosophers of art. (shrink)
Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works of art.
If good taste is a virtue, then an account of good taste might be modelled on existing accounts of moral or epistemic virtue. One good reason to develop such an account is that it helps solve otherwise intractable problems in aesthetics. This paper proposes an alternative to neo-Aristotelian models of good taste. It then contrasts the neo-Aristotelian models with the proposed model, assessing them for their potential to contend with otherwise intractable problems in aesthetics.
This paper examines a form of pictorial realism that has epistemic import. Gombrich and Schier claim that some pictures are realistic because they convey accurate information. The difficulty is that judgments of realism vary across cultural and historical contexts. Goodman counters that pictures belong to different systems and realistic pictures belong to familiar systems. However, this does not explain the revelatory realism' of pictures in novel systems. I propose that two views can be combined: a realistic picture is one which (...) belongs to a system that conveys the kind of information that suits the needs of users in a context. (shrink)
Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for (...) cross-cultural studies of art both in anthropology and philosophy. (shrink)
Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.
Pictures belong to stylistic systems that vary historically and culturally. This variation suggests that styles are conventional. However, styles are not conventional. Styles have perceptual functions that make them apt for use in some contexts and not others.
Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it is no more than (...) twenty years old and that it is more than a thousand years old. Two ontologies are considered that reconcile this paradox. A general lesson is also drawn, that ontology of art can profit from cross-cultural studies. (shrink)
Since blind people can draw and interpret raised-line drawings, depiction is not an essentially visual medium. Neither is the art of pictures an essentially visual art form. The reasons given for evaluating a picture aesthetically may advert to its tactile qualities insteadof its visual qualities.In particular, a raised-line picture canbe valued for the tactile experience it elicits of the scene it depicts, just as a visual picture is sometimes valuedfor eliciting a visual experience of its subject. The argument for this (...) claim responds to some objections recently put forward by Robert Hopkins. (shrink)
This paper reflects on quality assessment and performance evaluation in higher education, namely by analysing the insufficient link between those two aspects. We start by reviewing the current state of the art regarding different processes and mechanisms of quality assessment and performance evaluation and discuss some of the major issues regarding the implementation of some of them. In particular, we analyse the current limitations regarding data collected, available and publicised on the performance of HEIs and the problems those limitations bring (...) to a fair evaluation of higher education. Through this analysis we intend to contribute to a better understanding of the mechanisms of evaluation in higher education and the way these may lead to the promotion of better quality assessment practices and institutional management. (shrink)
Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...) pictures stand to benefit by taking "directive pictures" into account, as do theories of representation in general and mental representation in particular. (shrink)
The Routledge Companion to Aesthetics is an indispensable guide and reference source to the major thinkers and topics in aesthetics. Forty-six new entries by a team of renowned international contributors provide clear and up-to-date entries under four headings: historical, from Plato to Derrida; aesthetic theory, from definitions of art to pictorial representation; issues and challenges, from criticism to feminist aesthetics; and the individual arts, from literature to theatre.
There are a number of agricultural farming practices that are controversial. These may include using chemical fertilizers, pesticides, and herbicides, and planting genetically modified crops, as well as the decision to dehorn cattle rather than raise polled cattle breeds. We use data from a survey of Missouri crop and livestock producers to determine whether a farmer’s ethical framework affects his or her decision to engage in these practices. We find that a plurality of farmers prefer an agricultural policy that reflects (...) principles based on rights rather than principles of utilitarianism or justice. Furthermore, after controlling for personal and farm characteristics, we find a positive correlation between farmers preferring a rights-based policy and a farmer’s use of chemical farm inputs and polled rather than horned cattle. We also find that a combination of ethical framework and farm and farmer characteristics correlate with decisions to use farm chemicals, while only farm and farmer characteristics affect the decision to plant GM crops and only a farmer’s ethical framework affects the decision to use polled cattle. (shrink)
O presente trabalho visa elucidar a renovaçáo da teleologia no pensamento de Hans Jonas, mostrando como esta ocupa aí duas funções centrais, a saber: pensar uma nova ontologia que atenda de forma mais exata à construçáo de um universo psicofísico e em vir-a-ser; e pensar o dever-ser da humanidade enquanto telos e valor absoluto no processo evolutivo do Ser. Para alcançarmos nosso objetivo, primeiro explicitaremos que o que Jonas designa por "enigma da subjetividade" é o problema fundamental da ontologia, e (...) que a filosofia moderna fracassa diante de tal problema, exigindo assim a reabilitaçáo – e renovaçáo – de uma concepçáo teleológica do ser. Depois mostraremos que essa renovaçáo da teleologia – que pode certamente ser designada de "neo-finalismo" – define o finalismo como intrínseco náo só aos seres individuais, mas ao próprio devenir do mundo, onde o homem seria a própria realizaçáo última de uma possibilidade latente no interior de tal processo evolutivo da substância universal. Com isso, resultaria um princípio da ética que náo estaria fundado nem na autonomia do Eu, nem nas necessidades da comunidade, mas antes no próprio caráter teleológico do processo evolutivo da natureza – o homem assumindo aí um valor absoluto por justamente ser o telos – entenda-se: "qualidade final" – de tal processo. Quer isto dizer, a teleologia jonasiana visa por fim responder sobre o bem que é a humanidade, que se firmaria assim como o próprio fundamento da ética. (shrink)
O envelhecimento populacional é uma preocupação mundial e exige medidas de prevenção de saúde a serem adotadas com a maior brevidade possível. Esse processo é, muitas vezes, acompanhado pelo declínio das habilidades cognitivas, como a memória e as funções executivas. O objetivo do presente estudo é ..
O texto objetiva a discussão de como o design de embalagem contribui para construção da identidade de um produto no segmento de marca própria. Para isso, foi realizada uma análise comparativa entre embalagens de produtos da marca Qualitá, e embalagens de marcas líderes, onde verificou-se que as embalagens de marca própria utilizam-se de estratégias de semelhança e diferença para criar a sua identidade.
O presente estudo trata-se de uma pesquisa qualitativa com objetivo de analisar as mudanças nas relações familiares provenientes da guarda judicial dos netos, em disputa com seus filhos. Nesse texto, enfatizamse as questões sobre tempo e dinheiro e suas influências sobre essas relações. Para a const..