This book is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make (...) thousands of international literature classics available in printed format again - worldwide. (shrink)

BackgroundIn 2004, patient advocate groups were major players in helping pass and implement significant public policy and funding initiatives in stem cells and regenerative medicine. In the following years, advocates were also actively engaged in Washington DC, encouraging policy makers to broaden embryonic stem cell research funding, which was ultimately passed after President Barack Obama came into office. Many advocates did this because they were told stem cell research would lead to cures. After waiting more than 10 years, many (...) of these same patients are now approaching clinics around the world offering experimental stem cell-based interventions instead of waiting for scientists in the US to complete clinical trials. How did the same groups who were once the strongest supporters of stem cell research become stem cell tourists? And how can scientists, clinicians, and regulators work to bring stem cell patients back home to the US and into the clinical trial process?DiscussionIn this paper, we argue that the continued marketing and use of experimental stem cell-based interventions is problematic and unsustainable. Central problems include the lack of patient protection, US liability standards, regulation of clinical sites, and clinician licensing. These interventions have insufficient evidence of safety and efficacy; patients may be wasting money and time, and they may be forgoing other opportunities for an intervention that has not been shown to be safe and effective. Current practices do not contribute to scientific progress because the data from the procedures are unsuitable for follow-up research to measure outcomes. In addition, there is no assurance for patients that they are receiving the interventions promised or of what dosage they are receiving. Furthermore, there is inconsistent or non-existent follow-up care. Public policy should be developed to correct the current situation.ConclusionThe current landscape of stem cell tourism should prompt a re-evaluation of current approaches to study cell-based interventions with respect to the design, initiation, and conduct of US clinical trials. Stakeholders, including scientists, clinicians, regulators and patient advocates, need to work together to find a compromise to keep patients in the US and within the clinical trial process. Using HIV/AIDS and breast cancer advocate cases as examples, we identify key priorities and goals for this policy effort. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Estelle R. Jorgensen, “Four Philosophical Models of the Relationship Between Theory and Practice”W. Ann StokesEstelle Jorgensen has written a most interesting paper contrasting four different concepts of the relationship between theory and practice, and pointing out the advantages and disadvantages of each. Each approach introduces insights that the others have missed, but is not sufficient in itself to explain all the relationships between theory and practice. In (...) response to the concept of "dichotomy," I am also sympathetic to the attempt to distinguish practice and theory because it identifies two important constituents of experience, and it provides a fruitful way of investigating the relationship between the two concepts. However, I believe that a concept of dichotomy may put the two categoriees in too distant a relationship with each other. This distance may prevent us from recognizing the "interconnections and cross-fertilizations" that are often possible between them.The idea of "polarity" opens up the possibility of focusing on the ground [End Page 102] between the two concepts. It also provides a framework for allowing "practice to bubble up into theory," and "theory to bubble up into practice." Given that a theory may bring about a range of different practices and that practices may be based upon a range of differing theories, one needs to be able to move easily between the two worlds. Imagination, intuition, and rational thinking all contribute to our understanding of the relationship between the two concepts. In this situation of polarity one should not expect to find "a theory perfectly translated into a particular practice, or a practice drawing entirely and fully on one particular theory."I am also sympathetic to the view that "theory without practice is mentalism," and that "practice without theory is activism or instrumentalism bare of guiding principles," but like Jorgensen I find the concept of fusion the least helpful of the four concepts. Given the fact that very rarely (if ever) is theory perfectly exemplified in practice, or practice based solely upon one specific theory, the concept of fusion in many instances is too absolute. I am open to the suggestion that moral principles as well as aesthetic ones should guide the practice of music education despite the difficulties that a multiplicity of perspectives opens up. I also agree that democratic ideals can offer us one way of guiding the decisions made in the classroom and can offer a rallying point for persons coming from different ethnic, religious, political, and cultural backgrounds.The dialectical approach opens up a way to negotiate among differences of opinion and beliefs that influence practice. It assumes that there is no one perfect perspective on the relationship between theory and practice. The dialectical approach provides (1)a framework to investigate the theories and practices of which practitioners are aware, (2)opportunities to examine how practitioners adjudicate them, and (3)explanations of how and why they decide to act "in their particular lived situations." In contrast to the ontological approach, I like Jorgensen's epistemological approach to the investigation of theory and practice. It offers another perspective in addition to the influence that ontological theories can have in guiding music education practice.My view of the ideal relationship between theory and practice is one that acknowledges the differences between the two concepts, but allows for a variety of relationships between the two. It is one that recognizes that theory should influence practice and that practice should influence theory in an ongoing and continuous reciprocal exchange. It entails being sensitive to a variety of theories and particular practices, and being skilled at being able to pick which particular theory or theories best explains the practice observed.In addition to the concepts of dichotomy, polarity, fusion, and dialectic, another possible concept of the relationship between theory and practice might be based upon Michael Lewis, Margaret Sullivan, and Linda Michalson's view [End Page 103] of the "cognitive-emotional fugue."1 This perspective has the advantage of being very flexible. The authors describe emotion and cognition as being neither separate nor independent processes. "Rather both are elements of a continuous, inseparable stream of behavior like the parts of a fugue in which the theme is often lost... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Estelle R. Jorgensen, “Four Philosophical Models of the Relationship Between Theory and Practice”W. Ann StokesEstelle Jorgensen has written a most interesting paper contrasting four different concepts of the relationship between theory and practice, and pointing out the advantages and disadvantages of each. Each approach introduces insights that the others have missed, but is not sufficient in itself to explain all the relationships between theory and practice. In (...) response to the concept of "dichotomy," I am also sympathetic to the attempt to distinguish practice and theory because it identifies two important constituents of experience, and it provides a fruitful way of investigating the relationship between the two concepts. However, I believe that a concept of dichotomy may put the two categoriees in too distant a relationship with each other. This distance may prevent us from recognizing the "interconnections and cross-fertilizations" that are often possible between them.The idea of "polarity" opens up the possibility of focusing on the ground [End Page 102] between the two concepts. It also provides a framework for allowing "practice to bubble up into theory," and "theory to bubble up into practice." Given that a theory may bring about a range of different practices and that practices may be based upon a range of differing theories, one needs to be able to move easily between the two worlds. Imagination, intuition, and rational thinking all contribute to our understanding of the relationship between the two concepts. In this situation of polarity one should not expect to find "a theory perfectly translated into a particular practice, or a practice drawing entirely and fully on one particular theory."I am also sympathetic to the view that "theory without practice is mentalism," and that "practice without theory is activism or instrumentalism bare of guiding principles," but like Jorgensen I find the concept of fusion the least helpful of the four concepts. Given the fact that very rarely (if ever) is theory perfectly exemplified in practice, or practice based solely upon one specific theory, the concept of fusion in many instances is too absolute. I am open to the suggestion that moral principles as well as aesthetic ones should guide the practice of music education despite the difficulties that a multiplicity of perspectives opens up. I also agree that democratic ideals can offer us one way of guiding the decisions made in the classroom and can offer a rallying point for persons coming from different ethnic, religious, political, and cultural backgrounds.The dialectical approach opens up a way to negotiate among differences of opinion and beliefs that influence practice. It assumes that there is no one perfect perspective on the relationship between theory and practice. The dialectical approach provides (1)a framework to investigate the theories and practices of which practitioners are aware, (2)opportunities to examine how practitioners adjudicate them, and (3)explanations of how and why they decide to act "in their particular lived situations." In contrast to the ontological approach, I like Jorgensen's epistemological approach to the investigation of theory and practice. It offers another perspective in addition to the influence that ontological theories can have in guiding music education practice.My view of the ideal relationship between theory and practice is one that acknowledges the differences between the two concepts, but allows for a variety of relationships between the two. It is one that recognizes that theory should influence practice and that practice should influence theory in an ongoing and continuous reciprocal exchange. It entails being sensitive to a variety of theories and particular practices, and being skilled at being able to pick which particular theory or theories best explains the practice observed.In addition to the concepts of dichotomy, polarity, fusion, and dialectic, another possible concept of the relationship between theory and practice might be based upon Michael Lewis, Margaret Sullivan, and Linda Michalson's view [End Page 103] of the "cognitive-emotional fugue."1 This perspective has the advantage of being very flexible. The authors describe emotion and cognition as being neither separate nor independent processes. "Rather both are elements of a continuous, inseparable stream of behavior like the parts of a fugue in which the theme is often lost... (shrink)

Some twenty years ago, W. F. R. Hardie focused his attention on an issue which has since become a programmatic theme for Aristotelian scholars. He wrote: "In speaking of the good for man Aristotle hesitates between an inclusive and an exclusive formulation. [He further fails] to make explicit the distinction between the comprehensive plan and the paramount end". Since that time, virtually everyone writing on Aristotle's ethics has essayed a view about what Aristotle said or should have said about the (...) best human life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Wenyi W. KurkulAt the beginning, I would like to congratulate Elvira Panaiotidi on her interesting paper and on her proposal to move beyond the long-running debates that began in the mid-1990s between Bennett Reimer and David Elliott and their respective supporters. I also applaud her affirmation that, beyond the numerous debates within the music-education philosophy community, (...) the ultimate goal is to put the theories to work in schools or, in other words, to convert theories into operative paradigms.Echoing her affirmation, I shared her article with a class of my graduate students after I received the invitation to respond to this paper. All of my graduate students are current schoolteachers in the greater Washington, DC metropolitan area in the United States. Some of them are young teachers; others have decades [End Page 114] of teaching experience. As a university professor, I have always been thrilled by how much my thoughts are inspired by my students—by their stories, writing, discussions, dialogues, and sometimes very challenging questions in class. Their concern for their daily jobs and their students constantly remind me of our responsibilities to the children in the schools. However, with our schools and students in mind, I have to ask the music education philosophy community a question: Is "producing a unified concept of music," or "searching for a unified approach," or even aiming to "develop a unified approach in music education" as proposed by Panaiotidi what we truly need?In her paper, Panaiotidi discusses the debate over the approaches in music education by Reimer and Elliott in the context of paradigm shifts. The term, "paradigm shift," was introduced by Thomas Kuhn in 1962 in his highly influential book, The Structure of Scientific Revolutions. Kuhn proposes that almost every significant break-through in the field of scientific endeavor is first a break with tradition, with old ways of thinking, with old paradigms. For example, until the germ theory was developed, there was a high percentage of deaths during childbirth and scientists were not sure why. Likewise, in military settings, more people were dying from small wounds and diseases than from the major traumas experienced on the frontlines. But as soon as the germ theory was developed, a whole new paradigm—a better, improved way of understanding what was happening—made dramatic and significant improvements in the practice of medicine possible.The United States today is the setting for another fruitful and powerful example of a dramatic paradigm shift. The traditional concept of government had been monarchical, based on the divine right of kings. It was not until centuries later that a significant break-through paradigm was developed: government of the people, by the people, and for the people. A constitutional democracy was born that unleashed tremendous human energy and ingenuity. This new paradigm, over time, generated personal empowerment, free enterprise, a higher standard of living, freedom and liberty, and influence and hope unequaled in the history of the world.Stephen R. Covey, the author of a popular book in the late 1980s, The Seven Habits of Highly Effective People, cites Kuhn's conception of paradigm shift to illustrate his own ideas. He describes an experiment at the Harvard Business School in which an instructor passed out a picture of a young woman to half of the class and a picture of an old woman to the other half. The students were asked to look briefly at the picture and pass it back. The professor then asked the class to describe the woman as he projected on a screen a picture of a woman that was a combined image of the "old" and "young" women. Needless to say, the students debated the age of the woman. If they had seen the "young" version, [End Page 115] they could see only a young woman now, and vice-versa. Each student was adamant about his or her position. They did not see the image in another way until the lines were pointed out to demonstrate the features of the old and young woman. Covey cites this exercise to prove the powerful conditioning effects of one... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ENVIRONMENTAL THEOLOGYA REVIEW DISCUSSION* KEVIN W. IRWIN The Catholic University ofAmerica Washington, D.C. l UST OVER a decade ago the Norwegian philosopher Arne Naess coined the term deep ecology to encapsulate his challenge that while others have dealt with short-term views of ure and ways of dealing with the ecological crisis,1 he urged a deeper probing of "why, how and where" educational systems, religious bodies, and societies themselves (...) can deal with environ- * The books under discussion are: Leonardo Boff, Ecologia, Mundializacao, Espiritualidade (Sao Paolo: Editora Atica, 1993), English translation by John Cuming, Ecology and Liberation: A New Paradigm (Maryknoll: Orbis, 1995); Denis Edwards, Jesus the Wisdom ofGod: An Ecological Theology (Maryknoll: Orbis, 1995); Catharina J. M. Halkes, New Creation: Christian Feminism and the Renewal ofthe Earth, trans. C. Romanik (Louisville: Westminster/John Knox Press, 1991); Michael J. Himes and Kenneth R. Himes, Fullness of Faith: The Public Significance of Theology (New York/Mahwah: Paulist Press, 1993), especially chapter 5, "Creation and an Environmental Ethic"; Tony Kelly, An Expanding Theology: Faith in a World of Connections (Newtowne: E. J. Dwyer, 1993); Richard N. Fragomeni and John T. Pawlikowski, eds., The Ecological Challenge: Ethical, Liturgical and Spiritual Responses (Collegeville: The Liturgical Press, 1994); Albert J. LaChance and John E. Carroll, eds., Embracing Earth: Catholi.c Approaches to Ecology (Maryknoll: Orbis, 1994); Sean McDonagh, The Greening ofthe Church (London: G. Chapman; Maryknoll: Orbis, 1990); and Passion for the Earth: The Christian Vocation to Promote Justice, Peace and the Integrity ofCreation (London: G. Chapman; Maryknoll: Orbis, 1994). 1 From the outset it is important to clarify terminology and to indicate the meaning of some terms used in this review. In accord with common usage we understand that the term "ecology" (from the Greek oikos, "home") refers to our being at home on the earth, and "ecological crisis" refers to the destruction that has been worked to make the earth/home less inhabitable for a variety of species. "Creation" refers to the whole created world and all living beings as gifts from God the creator. "Environment" refers to the life context in which we live, our habitat as given to us by God and for which we are responsible. 301 302 KEVIN W. IRWIN mental deterioration and devastation.2 That Roman Catholicism has an important contribution to make to this issue3 is clear from recent magisterial statements as well as from the theological literature under review here. For example, in 1990 John Paul II articulated a number of avenues from within the Catholic tradition that relate to the ecological crisis and the Church's corporate responsibility to face it theologically, spiritually, and practically.4 In 1991 the U.S. bishops issued a more focused document, Renewing the Earth, which was drawn largely from the Church's social teaching tradition.5 The purpose of this article is to review some recent Roman Catholic theological literature in English (originally or recently translated) on environmental theology and ethics that can be understood as deep ecology from within mainstream Catholic thought. The contention of these authors is that the ecological crisis is a matter of theology, ethics, and values. Not surprisingly, given the comparative infancy of Catholicism's theological contribution to this issue, these works include collections of essays with a variety of approaches of varying quality, monographs that deal with the issue with greater methodological pre2 "Intuition, Intrinsic Value, and Deep Ecology," The Ecologist 14 (Sept./Oct., 1984): 56 ; also see Devall Bill and George Sessions, Deep Ecology (Layton, Utah: Gibbs Smith, 1985). 3 It is important to note that other Christian faith traditions have offered pertinent and challenging statements on this issue, especially the Orthodox. See, for example, the statement by Patriarch Dimitrios, Orthodoxy and the Ecological Crisis (Geneva: Ecumenical Patriarchate, 1990). 4 See "Peace with God the Creator, Peace with All of Creation," Origins 19 (Dec. 14, 1989): 465-68. This is but one example of John Paul's voice on this issue, which is not univocal. Among other statements, his 1993 Lenten Message is particularly interesting in the way it addresses the devastation caused by "uncontrolled industrial development and the use of technologies which disrupt the balance of nature [that] have caused... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:J. H. Hexter 1910–1996Donald R. KelleyJ. H. Hexter, one of the leading intellectual historians of this century and a close associate of this Journal, died on 8 December 1996. Jack Hexter was a great scholar, talented writer and polemicist, devoted baseball fan, and authentic American humorist, who made wit and facetiousness part of his historiographical tool-kit. He was also an American character, as he made insistently clear in his (...) writings, especially his autobiographical account, “By Any Other Name,” which explained (among other things) why he came to be called “Jack,” why he resisted advice to change it, and other onomastic adventures.Jack taught at Queens College (N.Y., not, he pointed out, the one in South Carolina), 1939–57; Washington University (St. Louis, not Seattle or George Washington U.), 1957–64 and again 1978–86; and Yale University (one did not have to add, “New Haven”) 1965–85, where he was Director of the Center for Parliamentary History. At Washington University he was founding Director of the Center for the History of Freedom, which was devoted to a collaborative, multi-volume study of the history of liberty in the West that would realize the dream that Lord Acton called his “madonna of the future”—the difference being that Jack’s vision is already on the way to fulfillment, with the publication of the volume edited by him on Parliament and Liberty from the Reign of Elizabeth to the English Civil War (1992), followed by seven more volumes up to 1996, with more to come.Hexter published books and articles in a variety of fields, finding notoriety especially in his essay of 1958, “Storm over the Gentry,” and later in public jousts with Christopher Hill and others and more retrospective censures of (among others) A. W. Pollard and R. H. Tawney; and he was a master of the Macaulayan art of the review-essay (collected in On Historians, 1979). His article on “Braudel and le monde braudelien” was a mischievous masterpiece of satire which, according to a private communication to Jack, Braudel himself enjoyed in his Olympian way, including the good-natured charge of excessive appetite for facts—“Je vais me dire: ne joue pas trop au Rabelais, sois sage, ne mange pas tout, n’aie les yeux plus gros que le ventre!” (personal letter, 8 February 1973). Several generations of graduate students learned what was involved in doing history from his “The Historian and his Day” (1954), which (like “Storm”), he enjoyed recalling, was rejected by the AHR. He was amused, too, at learning that his article on “The Rhetoric of History” (written for the International Encyclopedia of the Social Sciences) was a harbinger of the rhetorical turn taken a few years later signalled by the historiographical work of Hayden White and others. He was a pioneer, too, in the intensive study of political languages (Visions of Politics on the Eve of the Reformation, 1973), though he lamented the fact that his work on Machiavelli’s and Seyssel’s political vocabulary had to be carried out before the age of computer technology.My first contact with Jack came through my mentor Garrett Mattingly, who was the contemporary historian Jack “most admired” (as he made plain in his contribution to Mattingly’s festschrift). In 1962 Mattingly told me that the plan to publish Hexter’s translation of Seyssel’s Monarchy of France for the Columbia Records Series had to be abandoned because of the first (I think) of Jack’s several heart attacks. I was able to use the mimeographed version for some years before Jack asked me to take over this project, originally visited on him by C. H. McIlwain. It was his suggestion that [End Page 349] we dedicate the collaborative volume, with nice ambiguity, to both McIlwain and Mattingly (who had also been a student of McIlwain) from “two of their deeply devoted students.”In this brief and perhaps overpersonal note (though nothing could be “too personal” for Jack) I will not add further to the store of Hexterian anecdotes, which I began collecting at Queens College, where Jack had already left the makings of a legend in the 1950s. I would just add... (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Wenyi W. KurkulAt the beginning, I would like to congratulate Elvira Panaiotidi on her interesting paper and on her proposal to move beyond the long-running debates that began in the mid-1990s between Bennett Reimer and David Elliott and their respective supporters. I also applaud her affirmation that, beyond the numerous debates within the music-education philosophy community, (...) the ultimate goal is to put the theories to work in schools or, in other words, to convert theories into operative paradigms.Echoing her affirmation, I shared her article with a class of my graduate students after I received the invitation to respond to this paper. All of my graduate students are current schoolteachers in the greater Washington, DC metropolitan area in the United States. Some of them are young teachers; others have decades [End Page 114] of teaching experience. As a university professor, I have always been thrilled by how much my thoughts are inspired by my students—by their stories, writing, discussions, dialogues, and sometimes very challenging questions in class. Their concern for their daily jobs and their students constantly remind me of our responsibilities to the children in the schools. However, with our schools and students in mind, I have to ask the music education philosophy community a question: Is "producing a unified concept of music," or "searching for a unified approach," or even aiming to "develop a unified approach in music education" as proposed by Panaiotidi what we truly need?In her paper, Panaiotidi discusses the debate over the approaches in music education by Reimer and Elliott in the context of paradigm shifts. The term, "paradigm shift," was introduced by Thomas Kuhn in 1962 in his highly influential book, The Structure of Scientific Revolutions. Kuhn proposes that almost every significant break-through in the field of scientific endeavor is first a break with tradition, with old ways of thinking, with old paradigms. For example, until the germ theory was developed, there was a high percentage of deaths during childbirth and scientists were not sure why. Likewise, in military settings, more people were dying from small wounds and diseases than from the major traumas experienced on the frontlines. But as soon as the germ theory was developed, a whole new paradigm—a better, improved way of understanding what was happening—made dramatic and significant improvements in the practice of medicine possible.The United States today is the setting for another fruitful and powerful example of a dramatic paradigm shift. The traditional concept of government had been monarchical, based on the divine right of kings. It was not until centuries later that a significant break-through paradigm was developed: government of the people, by the people, and for the people. A constitutional democracy was born that unleashed tremendous human energy and ingenuity. This new paradigm, over time, generated personal empowerment, free enterprise, a higher standard of living, freedom and liberty, and influence and hope unequaled in the history of the world.Stephen R. Covey, the author of a popular book in the late 1980s, The Seven Habits of Highly Effective People, cites Kuhn's conception of paradigm shift to illustrate his own ideas. He describes an experiment at the Harvard Business School in which an instructor passed out a picture of a young woman to half of the class and a picture of an old woman to the other half. The students were asked to look briefly at the picture and pass it back. The professor then asked the class to describe the woman as he projected on a screen a picture of a woman that was a combined image of the "old" and "young" women. Needless to say, the students debated the age of the woman. If they had seen the "young" version, [End Page 115] they could see only a young woman now, and vice-versa. Each student was adamant about his or her position. They did not see the image in another way until the lines were pointed out to demonstrate the features of the old and young woman. Covey cites this exercise to prove the powerful conditioning effects of one... (shrink)

Along with political, economic, ethical, rehabilitative and military dimensions, psychopathological sequelae of war and terrorism also deserve our attention. The terrorist attack on the World Trade Centre ( W.T.C.) in 2001 and the Gulf War of 1990-91 gave rise to a number of psychiatric disturbances in the population, both adult and children, mainly in the form of Post-traumatic Stress disorder (PTSD). Nearly 75,000 people suffered psychological problems in South Manhattan alone due to that one terrorist attack on the WTC in (...) New York and the Pentagon in Washington. In Gulf War I, more that 1,00,000 US veterans reported a number of health problems on returning from war, whose claims the concerned government has denied in more than 90% cases. Extensive and comprehensive neurological damage to the brain of Gulf War I veterans has been reported by one study, as has damage to the basal ganglia in another, and Amyotrophic Lateral Sclerosis (ALS) in a third, possibly due to genetic mutations induced by exposure to biological and chemical agents, fumes from burning oil wells, landfills, mustard or other nerve gases. The recent Gulf War will no doubt give rise its own crop of PTSD and related disorders. In a cost-benefit analysis of the post Gulf War II scenario, the psychopathological effects of war and terrorism should become part of the social audit any civilized society engages in. Enlightened public opinion must become aware of the wider ramifications of war and terrorism so that appropriate action plans can be worked out. (shrink)

The advent of new genetic and genomic technologies may cause friction with the principle of respect for autonomy and demands a rethinking of traditional interpretations of the concept of informed consent. Technologies such as whole-genome sequencing and micro-array based analysis enable genome-wide testing for many heterogeneous abnormalities and predispositions simultaneously. This may challenge the feasibility of providing adequate pre-test information and achieving autonomous decision-making. At a symposium held at the 11th World Congress of Bioethics in June 2012 (Rotterdam), organized by (...) the International Association of Bioethics, these challenges were presented for three different areas in which these so-called ‘new genetics’ technologies are increasingly being applied: newborn screening, prenatal screening strategies and commercial personal genome testing. In this article, we build upon the existing ethical framework for a responsible set-up of testing and screening offers and reinterpret some of its criteria in the light of the new genetics. As we will argue, the scope of a responsible testing or screening offer should align with the purpose(s) of testing and with the principle of respect for autonomy for all stakeholders involved, including (future) children. Informed consent is a prerequisite but requires a new approach. We present preliminary and general directions for an individualized or differentiated set-up of the testing offer and for the informed consent process. With this article we wish to contribute to the formation of new ideas on how to tackle the issues of autonomy and informed consent for (public) healthcare and direct-to-consumer applications of the new genetics. (shrink)

Claims about ‘the meaning of life’ have tended to be made and discussed in conjunction with bold metaphysical and theological affirmations. For life to have meaning, there must be a comprehensive divine plan to give it meaning, or there must be an intelligible cosmic process with a ‘telos’ that a man needs to know if his life is to be meaningfully orientated. Or, it is thought to be a condition of the meaningfulness of life, that values should be ultimately ‘conserved’ (...) in some way, that no evil should be unredeemable and irrational. And it may be claimed that if death were to end our experience, meaninglessness would triumph. (shrink)

Review of a Thomist critique of the Reformed Epistemology of Alvin Plantinga and Nicholas Wolterstorff. The authors contend that P & W misunderstand Aquinas and that their own project of Reformed epistemology is either inadequate or mistaken.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:To Shape a New World: Essays on the Political Philosophy of Martin Luther King, Jr. ed. by Tommie Shelby and Brandon M. TerryErin R. PinedaTommie Shelby and Brandon M. Terry, editors. To Shape a New World: Essays on the Political Philosophy of Martin Luther King, Jr. Cambridge, MA: Harvard University Press, 2020. Pp. 464. Paperback, $20.00.In the summer of 2020, as cities across the globe erupted in protest (...) after the murder of George Floyd, references to Martin Luther King, Jr. abounded: while a familiar cast of politicians evoked his memory to scold riotous protestors, others issued King's rejoinder that "the riot is the language of the unheard" (King, "The Other America," 1967). Many such invocations no doubt smacked of the "ritual celebration" and "intellectual marginalization" [End Page 339] that, as Tommie Shelby and Brandon M. Terry observe, have long marked King's reception as a political thinker (2). But in another sense, the seemingly inevitable return to King points to the significant stakes of taking his thought seriously and the political danger of laying claim to interpretive mastery. Struggles over King's legacy and the terms of his thought are not just about King but form part of the discursive terrain on which struggles over the demands of racial justice and the means of transformative collective action are waged.Shelby and Terry's ambitious, illuminating volume, To Shape a New World, first published in 2018 (timed to mark the fiftieth anniversary of King's assassination) and released as paperback in 2020 (amidst the George Floyd uprisings), invites us to take King seriously in just this sense: with an acute sensitivity to the stakes and an embrace of an interpretive pluralism that refuses the certainty of a singular, definitive reading. The collection facilitates rigorous engagement with King's thought in its own time and place but also presses the question of what we ought to do with it in this current "age of impunity and mendacity," standing amid the "unraveling" edges of "American empire," as Cornel West puts it (331). In posing and answering this question across its fifteen essays, the collection seeks to do justice to King as both a political philosopher and a political activist—a religious and political thinker whose philosophies were worked out not only behind the pulpit or within the academy, but also (and perhaps primarily) in concert with others on the field of political action. Indeed, one of its primary contributions is to challenge mainstream presumptions about what counts as political philosophy—its boundaries as a genre as well as the spaces where we imagine political philosophizing to happen and the figures we position as its primary producers.The volume is organized into four sections. The first, "Traditions," is devoted to exploring some of King's diverse intellectual influences. Here, the emphasis is less on making the case for particular traditions as the essential ones, and more on exploring the use of different interpretive lenses for shedding new light on his ideas. Three essays put King in context with thinkers he directly engaged: Robert Gooding-Williams places him in conversation with W. E. B. Du Bois and Booker T. Washington to reveal the structure of King's account of dignity amid the constraints of racial injustice; Bernard Boxill shows how King's theory of civil disobedience builds on—and collectivizes—Frederick Douglass's account of comparative freedom; and Karuna Mantena explores the theory of nonviolent action that King, through figures like Benjamin Mays and Howard Thurman, adopted and adapted from Gandhi. In contrast, Paul Taylor argues that we should read King in the company of moral perfectionists Stanley Cavell and Christopher Lebron—as showing us how practices of self-criticism, self-transformation, and experimentation enable "citizens to remain dissatisfied with things as they stand" while remaining "open to the possibility that justice will require reconstructing both society and the self" (41).In the next section, contributors turn their attention to King's "Ideals"—the ethical and political imperatives that shape the ends and means of the struggle for a new world. Like Mantena, Martha Nussbaum reads King alongside Gandhi to focus on King's insistence on channeling righteous... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Photo-credit to Chicago Sun-Times and James Mescall. 4 "The town is beastly and the weather was vile": Bertrand Russell in Chicago, 1938-1939 Visiting Chicago in 1867, Lord Amberley offered his wife an appreciation of the city: "The country around Chicago is flat and ugly; the town itself has good buildings but has a rough unfinished appearance which does not contribute to its attractions."l While Bertrand Russell is known to (...) have accepted and developed particular aspects of his father's thought, it is more likely that his own visits to Chicago, rather than this nineteenth -century appraisal, brought him to the opinion that "the town is beastly and the weather was vile."z One might suppose Russell's longest stay reaffirmed his image of the city suggested in a 1922 article expressing fear of "a slow destruction of the civilization of China" through which "the big towns will become like Chicago."3 Here, Russell appears to have envisioned this city as an amorphous collection of streets and structures manifesting the least desirable values of American capitalism. In his Autobiography a single paragraph is devoted to his 1938-1939 experience of "the bleak hideousness of Chicago" (II, p. 332). Yet there was far more to Russell's six-month sojourn than the little he chose to recall in print. One-half year is a significant period in anyone's life, even for a man who lived ninety-seven (and a half) years. This article, then, presents an account of Russell's coming to and departure from Chicago and his diverse activities while a professor at the University of Chicago. The need to secure some permanent academic position was strongly felt by Russell in the mid-1930s. His ~aertrand and Patricia Russell, The Amberley Papers (London: Allen and Unwin, 1966), p. 57. zThe Autobiography of Bertrand Russell (Boston: Atlantic-Little, Brown, 1968), II, p. 332. 3"How Washington Can Help China", New Republic, 4 Jan. 1922, p. 154. / 5 second marriage had ended and a third was beginn~ng; ~ar­ ticipation in the Beacon Hill experimen~ w~s behlnd hlmj and journalistic writing, though ~ contlnulng so~rce of income, was ceasing to be attractlve: No~ a d~slre to return to philosophical work, recurrlng fl~anclal troubles, and the fear of another, far m~r~ destr~ctlve.European~ar all contributed toward his declslon to lnvestlgate Amerlcan possibilities. My feelings are threefold: (a) I' have a lot of ideas in,my head that I long to work at and believe important (b) I am faced with such poverty that I may be unable to give a proper education to the child that is coming (c) That Europe is no place for children with the imminent risk of war--particularly England, which is ' 4 likely to suffer most in the next war. At first, with the help of his American publisher, Warder Norton, Russell approached Princeton University hoping for a research post "on the foundations of mathematics and philosophy" (letter to Norton, 13 Jan. 1937). But no prospect materialized, and he requested Norton to inquire at universities such as Columbia and Harvard. Finally in the spring of 1937 Russell received a letter from Professor Scott Buchanan who then represented the University of Chicago's Committee on the Liberal Arts (COTLA). Buchanan offered a place on COTLA with only minor teaching duties. Writing to Norton that this "seems a very agreeable job", Russell nevertheless suggested the post "may be reactionary and the sort of thing my radical friends would think I ought not to be connected with. '" it is a committee concerned with a conservative reform of education." But the invitation promised adequate time for independent research, and Russell, quite characteristically, concluded "my wish is to accept, but not if doing so would be wicked" (letter of 30 Apr. 1937). However, Buchanan, having soon thereafter left the University of Chicago for a Maryland college, corresponded no further with Russell. The COTLA job offer was officially withdrawn. Only in January 1938 did Russell again hear from a University of Chicago spokesman. Aware that Russell had been somewhat brusquely treated, Professor Richard P. McKeon of the Department of Philosophy now wrote "in the... (shrink)

(2008). Medicine and Statecraft in The Book of the Courtier ∗. Intellectual History Review: Vol. 18, Humanism and Medicine in the Early Modern Era, pp. 75-89.

David Benatar argues that coming into existence is always a harm, and that – for all of us unfortunate enough to have come into existence – it would be better had we never come to be. We contend that if one accepts Benatar’s arguments for the asymmetry between the presence and absence of pleasure and pain, and the poor quality of life, one must also accept that suicide is preferable to continued existence, and that his view therefore implies both anti-natalism (...) and pro-mortalism . This conclusion has been argued for before by Elizabeth Harman – she takes it that because Benatar claims that our lives are ‘awful’, it follows that ‘we would be better off to kill ourselves’ (Harman 2009: 784). Though we agree with Harman’s conclusion, we think that her argument is too quick, and that Benatar’s arguments for non-pro-mortalism deserve more serious consideration than she gives them. We make our case using a tripartite structure. We start by examining the prima facie case for the claim that pro-mortalism follows from Benatar’s position, presenting his response to the contrary, and furthering the dialectic by showing that Benatar’s position is not just that coming into existence is a harm, but that existence itself is a harm. We then look to Benatar’s treatment of the Epicurean line, which is important for him as it undermines his anti-death argument for non-pro-mortalism. We demonstrate that he fails to address the concern that the Epicurean line raises, and that he cannot therefore use the harm of death as an argument for non-pro-mortalism. Finally, we turn to Benatar’s pro-life argument for non-pro-mortalism, built upon his notion of interests, and argue that while the interest in continued existence may indeed have moral relevance, it is almost always irrational. Given that neither Benatar’s anti-death nor pro-life arguments for non-pro-mortalism work, we conclude that pro-mortalism follows from his anti-natalism, As such, if it is better never to have been, then it is better no longer to be. -/- . (shrink)