Although the patient’s right to decide what they want for themselves, which is encompassed in the notion of ‘patient-centred medicine’ and ‘informed consent’, is widely recognised and emphasised in Japan, there remain grave problems when it comes to respecting the wishes of the no-longer-competent when death is imminent. In general, it is believed that the concepts above do not include the right to refuse treatment when treatment withdrawal inevitably results in death, even when the patient previously expressed the wish to (...) exercise this right when competent. In this paper, I first explain the current social and legal situation in Japan, where the lack of legal clarity regarding the right to reject treatment tends to result in doctors adopting the interpretation of patients’ words that is least conducive to treatment withdrawal. I then argue that the right to refuse treatment should be taken seriously, even when the patient is no longer competent, or the treatment refusal will result in death. I suggest that the concept of relational autonomy might have some practical and valuable implications in a country where individual autonomy is considered incompatible with societal values. Finally, I answer possible objections to relational autonomy and address the widespread societal concern about sliding down the slippery slope from allowing the right to refuse treatment to the obligation to die. (shrink)

En este texto analizaremos la obra de Anri Sala. Sus instalaciones audiovisuales utilizan los medios basados en el cine y el video, alterando los conceptos del espacio y el tiempo. En un primer apartado, proponemos la obra Time after Time (2003) donde rompe el tiempo y el espacio e introduce la idea de la disrupción de la cotidianeidad como tiempo de experiencia. En un segundo apartado, trataremos la obra Ravel, Ravel, Unravel (2013) en la que debatimos las manipulaciones del (...) tiempo y el espacio. Y concluiremos, cómo Anri Sala invoca en su trabajo tanto a la emoción como al cuerpo del espectador. (shrink)

Книга предназначена для студентов, преподавателей и научных сотрудников высших учебных заведений, занимающихся вопросами истории, философии.

Digital cameras and motion capture technologies that document and share creative practices have transformed the way we think about dance as an embodied knowledge as well as the way we experience it bodily. Computational media, which not only records and archives but also calculates, analyses and models dance, further complicates its ontological status. This move to document and inscribe dance in a tangible medium marks a shift from understanding dance as an ungraspable event towards conceiving of dance as a tangible (...) process that can be collected, transmitted, repeated and packaged or archived as an object. I look at two dance works – Matthias Sperling’s Loop Atlas and Siobhan Davies and Anri Sala’s Solo in the Doldrums – that trouble conventional notions of embodiment and its relationship to both presence and absence, at the same time they challenge how computational media fixates on figures and gestures that can be traced, mapped and calibrated. (shrink)