Communication and Conflict Management Training for Clinical Bioethics Committees Content Type Journal Article Pages 341-349 DOI 10.1007/s10730-009-9116-7 Authors Lauren M. Edelstein, Johns Hopkins Medicine’s Howard County General Hospital 5755 Cedar Lane Columbia MD 21044 USA Evan G. DeRenzo, Washington Hospital Center Center for Ethics 110 Irving St Washington, D.C. NW 20010 USA ElizabethWaetzig, Change Matrix Inc. 485 Maylin St. Pasadena CA 91105 USA CraigZelizer, Georgetown University Department of Government 3240 Prospect St. Washington, D.C. NW (...) 20057 USA Nneka O. Mokwunye, Washington Hospital Center Center for Ethics 110 Irving St Washington, D.C. NW 20010 USA Journal HEC Forum Online ISSN 1572-8498 Print ISSN 0956-2737 Journal Volume Volume 21 Journal Issue Volume 21, Number 4. (shrink)
Interest in political theology has surged in recent years, and this accessible volume provides a focused overview of the field. Many are asking serious questions about religious faith in secular societies, the origin and function of democratic polities, worldwide economic challenges, the shift of Christianity's center of gravity to the global south, and anxieties related to bold and even violent assertions of theologically determined political ideas. In fourteen original essays, authors examine Christian political theology in order to clarify the contemporary (...) discourse and some of its most important themes and issues. These include up-to-date, critical engagements with historical figures like Augustine, Thomas Aquinas, and Immanuel Kant; discussions of how the Bible functions theopolitically; and introductions to key movements such as liberation theology, Catholic social teaching, and radical orthodoxy. An invaluable resource for students and scholars in theology, the Companion will also be beneficial to those in history, philosophy, and politics. (shrink)
Our focus has been on the role of early cry as a commanding source of information about infant pain and distress that requires interpretation by an adult caregiver. Its inherent ambiguity may offer an adaptive advantage, as resolution requires adult presence and scrutiny of other behavioral, physical, and contextual factors.
Religious and Ethical Perspectives on Global Migration examines the complicated social ethics of migration in today's world. Editors Elizabeth W. Collier and Charles R. Strain bring the perspectives of an international group of scholars toward a theory of justice and ethical understanding for the nearly two hundred million migrants who have left their homes seeking asylum from political persecution, greater freedom and safety, economic opportunity, or reunion with family members.
Mortal and immortal DNA : Craig Venter and the lure of "lamia" -- Homeopathy : Holmes, hogwarts, and the Prince of Wales -- Citizen Pinel and the madman at Bellevue -- The experimental pathology of stress : Hans Selye to Paris Hilton -- Gore's fever and Dante's Inferno : Chikungunya reaches Ravenna -- Giving things their proper names : Carl Linnaeus and W.H. Auden -- Spinal irritation and fibromyalgia : Lincoln's surgeon general and the three graces -- Tithonus and (...) the fruit fly : new science and old myths -- Swiftboating "America the beautiful" : Katharine Lee Bates and a Boston marriage -- Nothing makes sense in medicine except in the light of biology -- Apply directly to the forehead : Holmes, Zola, and Hennapecia -- Elizabeth Blackwell breaks the bonds -- Chronic lyme disease and medically unexplained syndromes -- Eugenics and the immigrant : Rosalyn Yalow and Rita Levi-Montalcini -- Science in the Middle East : Robert Koch and the cholera war -- How to win a Nobel prize : thinking inside and outside the box -- Homer Smith and the lungfish : the last gasp of intelligent design -- DDT is back : let us spray! -- Academic boycotts and the Royal Society -- Teach evolution, learn science : John William Draper and the "bone bill" -- Diderot and the yeti crab : the encyclopedias of life -- Dengue fever in Rio : Macumba versus Voltaire. (shrink)
Many problems of inequality in developing countries resist treatment by formal egalitarian policies. To deal with these problems, we must shift from a distributive to a relational conception of equality, founded on opposition to social hierarchy. Yet the production of many goods requires the coordination of wills by means of commands. In these cases, egalitarians must seek to tame rather than abolish hierarchy. I argue that bureaucracy offers important constraints on command hierarchies that help promote the equality of workers in (...) bureaucratic organizations. Bureaucracy thus constitutes a vital if limited egalitarian tool applicable to developing and developed countries alike. (shrink)
My paper proposes the concept of relational work to explain economic activity. In all economic action, I argue, people engage in the process of differentiating meaningful social relations. For each distinct category of social relations, people erect a boundary, mark the boundary by means of names and practices, establish a set of distinctive understandings that operate within that boundary, designate certain sorts of economic transactions as appropriate for the relation, bar other transactions as inappropriate, and adopt certain media for reckoning (...) and facilitating economic transactions within the relation. I call that process relational work. After identifying specific elements of a relational work approach, the paper focuses on the case of monetary differentiation. It compares a relational work theory of earmarking money with behavioral economics’ individually based mental accounting approach. (shrink)
In his article ‘Saints and Heroes’, Urmson argues that traditional moral theories allow at most for a threefold classification of actions in terms of their worth, and that they are therefore unsatisfactory. Since the conclusion of his argument has led to the widespread use of the term ‘acts of supererogation’, and since I do not believe that such acts exist, I propose to argue that the actions with which he is concerned not only can, but should, be contained within the (...) traditional classification. (shrink)
This article is an interview with Elizabeth Povinelli, by Mathew Coleman and Kathryn Yusoff. It addresses Povinelli’s approaches to ‘geontologies’ and ‘geontopower’, and the discussion encompasses an exploration of her ideas on biopolitics, her retheorization of power in the current conditions of late liberalism, and the situation of the inhuman within philosophical and anthropological economies. Povinelli describes a mode of power that she calls geontopower, which operates through the governance of Life and Nonlife. The interview is accompanied by a (...) brief contextualizing introduction. (shrink)
This article is an interview with Elizabeth Grosz by Kathryn Yusoff and Nigel Clark. It primarily addresses Grosz’s approaches to ‘geopower’, and the discussion encompasses an exploration of her ideas on biopolitics, inhuman forces and material experimentation. Grosz describes geopower as a force that subtends the possibility of politics. The interview is accompanied by a brief contextualizing introduction examining the themes of geophilosophy and the inhumanities in Grosz’s work.
continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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What is the proper role of politics in higher education? Many policies and reforms in the academy, from affirmative action and a multicultural curriculum to racial and sexual harassment codes and movements to change pedagogical styles, seek justice for oppressed groups in society. They understand justice to require a comprehensive equality of membership: individuals belonging to different groups should have equal access to educational opportunities; their interests and cultures should be taken equally seriously as worthy subjects of study, their persons (...) treated with equal respect and concern in communicative interaction. Conservative critics of these egalitarian movements represent them as dangerous political meddling into the disinterested pursuit of knowledge. They cast the pursuit of equality as a threat to freedom of speech and academic standards. In response, some radical advocates of such programs agree that the quest for equality clashes with free speech, but view this as an argument for sacrificing freedom of speech. (shrink)
A common justification for retributive views of punishment is the idea that injustice is intolerable and must be answered. For instance F. H. Bradley writes: Why … do I merit punishment? It is because I have been guilty. I have done ‘wrong’… Now the plain man may not know what he means by ‘wrong’, but he is sure that, whatever it is, it ‘ought’ not to exist, that it calls and cries for obliteration; that, if he can remove it, it (...) rests also upon him, and that the destruction of guilt, whatever be the consequences, and even if there be no consequences at all, is still a good in itself; and this, not because a mere negation is a good, but because the denial of wrong is the assertion of right. A wrong is something that ought not to exist and calls to be obliterated. If anyone is able to remove it, he is obligated to do so or the wrong will also be partly his. To deny or obliterate a wrong is to assert right, Bradley says—as if the two things were counterpoised, one able to cancel the other. It reminds us of the balance held by the figure of Justice, and of debts and credits in accounts. Paying a debt erases it; the debt no longer exists. In a similar way punishment is supposed to erase wrong. (shrink)
Raymond Van Arragon considers my my suggestion that most of those who never have the opportunity to accept Christ during their earthly lives suffer from transworld damnation, and he offers four different interpretations of that notion. He argues that at least three of these interpretations are such that on them the suggestion becomes implausible. I maintain that once my suggestion is properly understood, then, despite Van Arragon’s misgivings, it ought not to be thought implausible even on the first two, boldest (...) interpretations he offers. (shrink)
Women, Modernism, and Performance is an interdisciplinary 2004 study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do not (...) address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life. (shrink)
A misleading and apparently addictive practice is now prevalent in discussions of philosophy in general, and moral philosophy in particular. This is the habit of dichotomizing. We are led to believe that we have to choose between reason and sentiment as the basis of morality, that facts and values are to be found on either side of an unbridgeable gulf, and so on. This practice is harmful because it leads philosophers to take sides in unnecessary conflicts which cannot be won (...) by either side, and thus prevents progress in the discussion of extremely important issues. (shrink)
In this illuminating study Craig argues that the standard practice of analyzing the concept of knowledge has radical defects--arbitrary restriction of the subject matter and risky theoretical presuppositions. He proposes a new approach similar to the "state-of-nature" method found in political theory, building the concept up from a hypothesis about its social function and the needs it fulfills. Shedding light on much that philosophers have written about knowledge, its analysis and the obstacles to its analysis, and the debate over (...) skepticism, this compelling work will be of interest to students and scholars of epistemology and the philosophy of language. (shrink)
Psychology's fascination with memory and its imperfections dates back further than we can remember. The first careful experimental studies of memory were published in 1885 by German psychologist Hermann Ebbinghaus, and tens of thousands of memory studies have been conducted since. What has been learned, and what might the future of memory be?
Although the theme of these papers is ‘Contemporary Moral Problems’ my paper is partly about Aristotelian ideas. I had originally intended to apologize for this, but I find there is no need: many other contributors have found Aristotle to be timelessly relevant, as I myself have.
Over the past three decades, economic sociology has been revealing how culture shapes economic life even while economic facts affect social relationships. This work has transformed the field into a flourishing and increasingly influential discipline. No one has played a greater role in this development than Viviana Zelizer, one of the world's leading sociologists. Economic Lives synthesizes and extends her most important work to date, demonstrating the full breadth and range of her field-defining contributions in a single volume for (...) the first time. Economic Lives shows how shared cultural understandings and interpersonal relations shape everyday economic activities. Far from being simple responses to narrow individual incentives and preferences, economic actions emerge, persist, and are transformed by our relations to others. Distilling three decades of research, the book offers a distinctive vision of economic activity that brings out the hidden meanings and social actions behind the supposedly impersonal worlds of production, consumption, and asset transfer. Economic Lives ranges broadly from life insurance marketing, corporate ethics, household budgets, and migrant remittances to caring labor, workplace romance, baby markets, and payments for sex. These examples demonstrate an alternative approach to explaining how we manage economic activity--as well as a different way of understanding why conventional economic theory has proved incapable of predicting or responding to recent economic crises. Providing an important perspective on the recent past and possible futures of a growing field, Economic Lives promises to be widely read and discussed. (shrink)
How does one represent the Holocaust? What does it mean to visualize it? Despite Theodor Adorno's famous injunction that there can be no poetry after the Holocaust, the past half century has produced repeated attempts to impart that which has been considered beyond the limits of representation. From Steven Spielberg's Schindler's List, Claude Lanzmann's epic documentary project _Shoah_, to Art Spiegelman's _Maus_, the visual domain has emerged as a fruitful venue for representing those horrible times. _Visual Culture and the Holocaust_ (...) takes that domain as its focus. It considers the increasing number of works that claim to give us access to the Holocaust, asking for whom these images are intended and how effective they are at promoting remembrance and understanding. Barbie Zelizer has gathered essays from a group of internationally renowned scholars representing a broad range of disciplines to consider both the traditional and the unconventional ways in which the Holocaust has been visually represented. In addressing film, painting, photography, museum exhibits, television, the Internet, and the body itself as venues for these representations, the essays explore the abilities of these different genres to testify to the tragedy, particularly in relation to the horrific historical fact they seek to translate. _Visual Culture and the Holocaust_ substantially enhances what we know of the visual representation of the Holocaust. An introduction by the editor provides an important historical and theoretical overview of these efforts as well as a context in which these accomplishments may be understood. (shrink)
The flow of time is a deep, significant and universal aspect of human life. Yet it remains a mystery and many dismiss the flow of time as illusory. Craig Callender explores this puzzle, and offers a fascinating explanation of why creatures experience time as flowing - even if, as physics suggests, it isn't.
Harry C. Boyte. Craig Calhoun. Geoff Eley. Nancy Fraser. Nicholas Garnham. JürgenHabermas. Peter Hohendahl. Lloyd Kramer. Benjamin Lee. Thomas McCarthy. Moishe Postone. Mary P.Ryan. Michael Schudson. Michael Warner. David Zaret.
Digital medicine is a medical treatment that combines technology with drug delivery. The promises of this combination are continuous and remote monitoring, better disease management, self-tracking, self-management of diseases, and improved treatment adherence. These devices pose ethical challenges for patients, providers, and the social practice of medicine. For patients, having both informed consent and a user agreement raises questions of understanding for autonomy and informed consent, therapeutic misconception, external influences on decision making, confidentiality and privacy, and device dependability. For providers, (...) digital medicine changes the relationship where trust can be verified, clinicians can be monitored, expectations must be managed, and new liability risks may be assumed. Other ethical questions include direct third-party monitoring of health treatment, affordability, and planning for adverse events in the case of device malfunction. This article seeks to lay out the ethical landscape for the implementation of such devices in patient care. (shrink)
In ‘Professor Mackie and the Kalam Cosmological Argument’ , 367–75), Professor William Lane Craig undertakes to demonstrate that J. L. Mackie's analysis of the kalam cosmological argument in The Miracle of Theism is ‘superficial’, and that Mackie ‘has failed to provide any compelling or even intuitively appealing objection against the argument’ . I disagree with Craig's judgement; for it seems to me that the considerations which Mackie advances do serve to refute the kalam cosmological argument. Consequently, the purpose (...) of this paper is to reply to Craig's criticisms on Mackie's behalf. (shrink)
This paper reassesses the question of whether Craig’s theorem poses a challenge to Quine's empirical underdetermination thesis. It will be demonstrated that Quine’s account of this issue in his paper “Empirically Equivalent Systems of the World” (1975) is flawed and that Quine makes too strong a concession to the Craigian challenge. It will further be pointed out that Craig’s theorem would threaten the empirical underdetermination thesis only if the set of all relevant observation conditionals could be shown to (...) be recursively enumerable — a condition which Quine seems to overlook — and it will be argued that, at least within the framework of Quine’s philosophy, it is doubtful whether this condition is satisfiable. (shrink)
Within a year of each other, three one-volume general dictionaries of philosophy have recently appeared; when our future colleagues in philosophy look back on the 1990s they may well think of it as the decade of reference works. But however productive these years may prove to be in this genre, clearly visible somewhere around the top of the heap will be this handy, useful, entertaining, and instructive contribution from Simon Blackburn. Its two immediate competitors are the Cambridge Dictionary of Philosophy, (...) edited by Robert Audi, and the Oxford Companion to Philosophy, edited by Ted Honderich. No detailed comparison will be attempted here, but two points stand out as obviously giving Blackburn’s dictionary a rather different use and flavor from the others: while containing a closely comparable number of entries, it is distinctly shorter and handier in format; and it has all been written by a single author. (shrink)
In this book and the companion volume The Tenseless Theory of Time: A Critical Examination, Craig undertakes the first thorough appraisal of the arguments for and against the tensed and tenseless theories of time.
The standard philosophical project of analysing the concept of knowledge has radical defects in its arbitrary restriction of the subject matter, and its risky theoretical presuppositions. Edward Craig suggests a more illuminating approach, akin to the `state of nature' method found in political theory, which builds up the concept from a hypothesis about the social function of knowledge and the needs it fulfils. Light is thrown on much that philosophers have written about knowledge, about its analysis and the obstacles (...) to its analysis, and on the debate over scepticism. It becomes apparent why many languages not only have such constructions as `knows whether' and `knows that', but also have equivalents of `knows how to' and `know' followed by a direct object. Thus the inquiry is both broadened in scope and made theoretically less fragile. (shrink)