Ethical thought experiments such as the trolley dilemma have been investigated extensively in the past, showing that humans act in utilitarian ways, trying to cause as little overall damage as possible. These trolley dilemmas have gained renewed attention over the past few years, especially due to the necessity of implementing moral decisions in autonomous driving vehicles. We conducted a set of experiments in which participants experienced modified trolley dilemmas as drivers in virtual reality environments. Participants had to make decisions between (...) driving in one of two lanes where different obstacles came into view. Eventually, the participants had to decide which of the objects they would crash into. Obstacles included a variety of human-like avatars of different ages and group sizes. Furthermore, the influence of sidewalks as potential safe harbors and a condition implicating self-sacrifice were tested. Results showed that participants, in general, decided in a utilitarian manner, sparing the highest number of avatars possible with a limited influence by the other variables. Derived from these findings, which are in line with the utilitarian approach in moral decision making, it will be argued for an obligatory ethics setting implemented in ADVs. (shrink)

Without knowing the rules of the game in a specific area qualified ethical decisions within are simply not possible. Therefore, a fundamental understanding of the phenomenon 'media' is a prerequisite for the ‘usablity’ of any media ethics. This understanding of the very basis of media is introduced by the notion of space: media is the space where the presentation of something is possible – formally that space fulfils the criteria of a Hilbert space; more common is this concept in the (...) notion of cyberspace e.g.. As presentations do not exist separated from each other but are connected, are linked, thus acting in the media can be understood as moving in the space of communication, following the links. This understanding leads to fundamentally new ethical categories: media ethic is the challenge of ethically designing the communicative space. The appropriate ethical approach for this task can be found in Wittgenstein's notion of 'use'. That overcomes the 'blind' application of ethical norms to categorical distinctive descriptions, which is very common through the term 'applied ethics' though it can be easily proved as aporetic. The investigation in what the ethical 'ought' basically could mean shows that there is no normative meaning without a descriptive context: 'to ought' always means 'to ought' in a certain situation, be it more common or more specific. Ethically right then means: one can decide on the basis of good reasons to do the right in this or that situation. And ethics finally is the quest to categorize, structure and systemize these right decisions by the means of creating a comprehensive theory. These are the limits and the dignity of ethics as a scientific scholarship and media ethics in particular. (shrink)

As donor trust legitimises research, trust is vital for research in the fields of biomedicine, genetics, translational medicine and personalised medicine. For parts of the donor community, the consent signature is a sign of trust in research. Many consent processes in biomedical research ask donors to provide their data for an unspecified future use, which introduces uncertainty of the unknown. This uncertainty can jeopardise donor trust or demand blind trust. But which donor wants to trust blindly? To reduce this (...) uncertainty, we explore first, which future-proof actors donors could trust when signing a consent form. Second, we discuss the question Can we know if donor trust expires? and what prevents donor trust from expiring. Finally, we present possible measures that can help to nurture trust in the far future. In this article, we draw on our previous research on trust in biomedical research, on trust in the broader healthcare system and Niklas Luhmann’s and Anthony Giddens’ trust theories. Our findings suggest that, in the far future, researchers will need to consider donor autonomy, as well as societal norms and values of the time period in which the data were donated. They will need to find mechanisms where possible to publicly announce the use of old data sets. However, foremost researchers will need to treat the data respectfully. It remains vital that professionals and the society continue to elaborate on the norms and values that shape the common understanding of what is morally right and wrong when researching data. (shrink)

In this paper I investigate the mechanics of killing, brining together neuroscience, military history, and the work of the French philosophers Gilles Deleuze & Félix Guattari. Investigating the Columbine killers and the way they negotiate with the intensity of the act of killing allows me to construct a concept of “political physiology,” defined as “interlocking intensive processes that articulate the patterns, thresholds, and triggers of emergent bodies, forming assemblages linking the social and the somatic, with sometimes the subjective as intermediary.” (...) While most people must be in a blind rage to kill at close range, the Columbine killers raised the threshold at which an evolutionarily inherited non-subjective “rage agent” kicks in, thus allowing themselves to be subjects in the act of killing. Yet they were not “cold-blooded killers,” either, those who lower the intensity of the act of killing below the threshold that prevents most interpersonal violence from reaching lethal proportions, since they committed suicide soon after their killing spree from burning out. The success of the Columbine killing machine warns us of a “machinic phylum” whose singularities are virtually available for incorporation into bodies by subjects willing to undergo extreme experiments in political physiology. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Researchers in post-war industrial laboratories such as Bell Labs and the Smith-Kettlewell Institute pioneered solutions to compensate for sensory loss through so-called sensory substitution systems, premised on an assumption of cortical and sensory plasticity. The article tracks early discussions of plasticity in psychology literature from William James, acknowledged by Wiener, but explicitly developed by Bach-y-Rita and his collaborators. After discussing the conceptual foundations of the principles of sensory substitution, two examples are discussed. First, ‘Project Felix’ was an experiment in (...) vibrotactile communication by means of ‘hearing gloves’ for the deaf at Norbert Wiener’s laboratory at Massachusetts Institute of Technology, demonstrated to Helen Keller in 1950. Second, the tactile-visual sensory substitution system for the blind pioneered by Paul Bach-y-Rita from 1968 onwards. Cumulatively, this article underlines the crucial yet occluded history of research on sensory impairments in the discovery of underlying neurophysiological processes of plasticity and the emergent discourse of neuroplastic subjectivity. (shrink)

: This paper discusses the relation between the philosophies of difference and the so-called postcolonial movement of thought. Our main sources are, on the side of the postcolonial studies, Frantz Fanon, Edward Said, and Homi Bhabha and, on the side of the philosophies of difference, Jean-François Lyotard, Michel Foucault, Gilles Deleuze, and Félix Guattari. We show that the authors belonging to the postcolonial movement are, to large extent, heirs of a way of thought already practiced by the philosophers of difference. (...) However, the postcolonial authors also reinforce the conceptual apparatus of the philosophies of difference with original contributions and, above all, an attentive consideration of the problem of colonial difference, which remains a big gap for critical thought. Regarding that, with no intention of approaching in depth the singularity and complexity of the ideas of each of the mentioned authors, we draw a minimal map of the points where the philosophies of difference and the postcolonial thought intercept each other. This map also shows points where the postcolonial movement complements the perspective of the philosophies of difference, precisely addressing one of its blind spots: the colonial question. Resumo: Este artigo discute a relação entre as filosofias da diferença e o chamado movimento de pensamento pós-colonial. Suas fontes principais são, do lado dos estudos pós-coloniais, Frantz Fanon, Edward Said e Homi Bhabha, e, do lado das filosofias da diferença, Jean-François Lyotard, Michel Foucault, Gilles Deleuze e Félix Guattari. Mostra-se que os autores do movimento pós-colonial são, em grande medida, herdeiros de um pensamento já praticado pelos filósofos da diferença. No entanto, os autores pós-coloniais também reforçam o aparato conceitual das filosofias da diferença com contribuições originais e, sobretudo, uma consideração atenta do problema da diferença colonial, que permanece uma grande lacuna para o pensamento crítico. Tendo isso em vista, sem pretender abordar, de maneira aprofundada, a singularidade e a complexidade das ideias de cada um dos autores mencionados, traça-se um mapa mínimo dos pontos onde as filosofias da diferença e o pensamento pós-colonial se interceptam. Esse mapa também mostra pontos onde o movimento pós-colonial complementa a perspectiva das filosofias da diferença, abordando justamente um de seus pontos cegos: a questão colonial. (shrink)

Sebastian Grève interviews Felix Mühlhölzer on his work on the philosophy of mathematics.

This collection of original essays on political and legal theory concentrates on themes dealt with in the work of Felix Oppenheim, including fundamental political and legal concepts and their implications for the scope of morality in politics and international relations. Among the issues addressed are the relationship between empirical and normative definitions of "freedom", "power", and "interests", whether governments are free to act against the national interest, and whether they can ever be morally obliged to do so.

La psicología y los psicólogos han dedicado bastante esfuerzo para conseguir una comprensión mejor y más profundea de las emociones y los sentimientos. Roberto Colom con sus respuestas nos ofrece una visión de primera mano de todas esas aportaciones así como el punto de vista de un psicólogo sobre el valos y la importancia de las emociones, los sntimientos y la vida afectiva en general para la personalidad humana.

Change-blindness occurs when large changes are missed under natural viewing conditions because they occur simultaneously with a brief visual disruption, perhaps caused by an eye movement, a flicker, a blink, or a camera cut in a film sequence. We have found that this can occur even when the disruption does not cover or obscure the changes. When a few small, high-contrast shapes are briefly spattered over a picture, like mudsplashes on a car windscreen, large changes can be made simultaneously in (...) the scene without being noticed. (shrink)

Change blindness is the striking failure to see large changes that normally would be noticed easily. Over the past decade this phenomenon has greatly contributed to our understanding of attention, perception, and even consciousness. The surprising extent of change blindness explains its broad appeal, but its counterintuitive nature has also engendered confusions about the kinds of inferences that legitimately follow from it. Here we discuss the legitimate and the erroneous inferences that have been drawn, and offer a set of requirements (...) to help separate them. In doing so, we clarify the genuine contributions of change blindness research to our understanding of visual perception and awareness, and provide a glimpse of some ways in which change blindness might shape future research. (shrink)

Perhaps the most striking phenomenon of visual awareness is inattentional blindness (IB), in which a surprisingly salient event right in front of you may go completely unseen when unattended. Does IB reflect a failure of perception, or only of subsequent memory? Previous work has been unable to answer this question, due to a seemingly intractable dilemma: ruling out memory requires immediate perceptual reports, but soliciting such reports fuels an expectation that eliminates IB. Here we introduce a way of evoking repeated (...) IB in the same subjects and the same session: we show that observers fail to report seeing salient events’ not only when they have no expectation, but also when they have the wrong expectations about the events nature. This occurs when observers must immediately report seeing anything unexpected, even mid-event. Repeated IB thus demonstrates that IB is aptly named: it reflects a genuine deficit in moment-by-moment conscious perception, rather than a form of inattentional amnesia. (shrink)

When confronted with an ethical dilemma, most of us like to think we would stand up for our principles. But we are not as ethical as we think we are. In Blind Spots, leading business ethicists Max Bazerman and Ann Tenbrunsel examine the ways we overestimate our ability to do what is right and how we act unethically without meaning to. From the collapse of Enron and corruption in the tobacco industry, to sales of the defective Ford Pinto, the (...) downfall of Bernard Madoff, and the Challenger space shuttle disaster, the authors investigate the nature of ethical failures in the business world and beyond, and illustrate how we can become more ethical, bridging the gap between who we are and who we want to be. Explaining why traditional approaches to ethics don't work, the book considers how blind spots like ethical fading--the removal of ethics from the decision--making process--have led to tragedies and scandals such as the Challenger space shuttle disaster, steroid use in Major League Baseball, the crash in the financial markets, and the energy crisis. The authors demonstrate how ethical standards shift, how we neglect to notice and act on the unethical behavior of others, and how compliance initiatives can actually promote unethical behavior. They argue that scandals will continue to emerge unless such approaches take into account the psychology of individuals faced with ethical dilemmas. Distinguishing our "should self" from our "want self", the authors point out ethical sinkholes that create questionable actions. Suggesting innovative individual and group tactics for improving human judgment, Blind Spots shows us how to secure a place for ethics in our workplaces, institutions, and daily lives. (shrink)

Arien Mack and Irvin Rock make the radical claim that there is no conscious perception of the visual world without attention to it.

Abstract: To evaluate the explanation of change blindness in terms of misrepresentation and determine its role for Rosenthal’s higher-order thought theory of consciousness, we present an alternative account of change blindness that affords an independent outlook and provides a viable alternative. First we describe Rosenthal’s actualism and the notion of misrepresentation, then introduce change blindness and the explanation of it by misrepresentation. Rosenthal asserts that, in change blindness, the first-order state tracks the post-change stimulus, but the higher-order state misrepresents it. (...) We propose the alternative that both post-change and pre-change content can be tracked by the first-order state, and that in change blindness the higher-order thought represents the pre-change state, resulting in a good-enough representation: true but not veridical. We compare the two explanations with respect to available data and analyse the principal theoretical claims. Discussing the rationale of the alternative account, we conclude that there is good reason to conceive of the mind as satisficing, geared towards reliability instead of truth-tracking, and guided by representations that are good enough as opposed to complete or corresponding to the facts. We end with some methodological remarks concerning the risk of cognitive biases in interdisciplinary research that brings together empirical and philosophical claims. (shrink)

Schizoanalytic Cartographies represents Félix Guattari's most important later work and the most systematic and detailed account of his theoretical position and his therapeutic ideas. Guattari sets out to provide a complete account of the conditions of 'enunciation' - autonomous speech and self-expression - for subjects in the contemporary world. Over the course of eight closely argued chapters, he presents a breathtakingly new reformulation of the structures of individual and collective subjectivity. Based on research into information theory and new technologies, Guattari (...) articulates a vision of a humanity finally reconciled with its relationship to machines. Schizoanalytic Cartographies is a visionary yet highly concrete work, providing a powerful vantage point on the upheavals of our present epoch, powerfully imagining a future 'post-media' era of technological development. This long overdue translation of this substantial work offers English-speaking readers the opportunity finally to fully assess Guattari's contribution to European thought. (shrink)

When confronted with an ethical dilemma, most of us like to think we would stand up for our principles. But we are not as ethical as we think we are. In Blind Spots, leading business ethicists Max Bazerman and Ann Tenbrunsel examine the ways we overestimate our ability to do what is right and how we act unethically without meaning to. From the collapse of Enron and corruption in the tobacco industry, to sales of the defective Ford Pinto, the (...) downfall of Bernard Madoff, and the Challenger space shuttle disaster, the authors investigate the nature of ethical failures in the business world and beyond, and illustrate how we can become more ethical, bridging the gap between who we are and who we want to be. Explaining why traditional approaches to ethics don't work, the book considers how blind spots like ethical fading--the removal of ethics from the decision--making process--have led to tragedies and scandals such as the Challenger space shuttle disaster, steroid use in Major League Baseball, the crash in the financial markets, and the energy crisis. The authors demonstrate how ethical standards shift, how we neglect to notice and act on the unethical behavior of others, and how compliance initiatives can actually promote unethical behavior. They argue that scandals will continue to emerge unless such approaches take into account the psychology of individuals faced with ethical dilemmas. Distinguishing our "should self" from our "want self", the authors point out ethical sinkholes that create questionable actions. Suggesting innovative individual and group tactics for improving human judgment, Blind Spots shows us how to secure a place for ethics in our workplaces, institutions, and daily lives. (shrink)

Large changes that occur in clear view of an observer can become difficult to notice if made during an eye movement, blink, or other such disturbance. This change blindness is consistent with the proposal that focused visual attention is necessary to see change, with a change becoming difficult to notice whenever conditions prevent attention from being automatically drawn to it. -/- It is shown here how the phenomenon of change blindness can provide new results on the nature of visual attention, (...) including estimates of its capacity and the extent to which it can bind visual properties into coherent descriptions. It is also shown how the resultant characterization of attention can in turn provide new insights into the role that it plays in the perception of scenes and events. (shrink)

An early work that lays the foundation for establishing a “polemical” dimension to psychoanalysis. We certainly have the unconscious that we deserve, an unconscious for specialists, ready-made for an institutionalized discourse. I would rather see it as something that wraps itself around us in everyday objects, something that is involved with day-to-day problems, with the world outside. It would be the possible itself, open to the socius, to the cosmos...—from The Machinic Unconscious: Essays in Schizoanalysis In his seminal solo-authored work (...) The Machinic Unconscious, Félix Guattari lays the groundwork for a general pragmatics capable of resisting the semiotic enslavement of subjectivity. Concluding that psychoanalytic theory had become part and parcel of a repressive, capitalist social order, Guattari here outlines a schizoanalytic theory to undo its capitalist structure and set the discipline back on its feet. Combining theoretical research from fields as diverse as cybernetics, semiotics, ethnology, and ethology, Guattari reintroduces into psychoanalysis a “polemical” dimension, at once transhuman, transsexual, and transcosmic, that brings out the social and political—the “machinic”—potential of the unconscious. To illustrate his theory, Guattari turns to literature and analyzes the various modes of subjectivization and semiotization at work in Proust's In Search of Lost Time, examining the novel as if he were undertaking a scientific exploration in the style of Freud or Newton. Casting Proust's figures as abstract mental objects, Guattari maps the separation between literature and science, elaborating along the way such major Deleuze-Guattarian concepts as “faciality” and “refrain,” which would be unpacked in their subsequent A Thousand Plateaus: Capitalism and Schizophrenia. Never before available in English, The Machinic Unconscious has for too long been the missing chapter from Deleuze and Guattari's Anti-Oedipus project: the most important political extension of May 1968 and one of the most important philosophical contributions of the twentieth century. (shrink)

Notes and journal entries document Guattari and Deleuze's collaboration on their 1972 book Anti-Oedipus. "The unconscious is not a theatre, but a factory," wrote Gilles Deleuze and Félix Guattari in Anti-Oedipus, instigating one of the most daring intellectual adventures of the last half-century. Together, the well-known philosopher and the activist-psychiatrist were updating both psychoanalysis and Marxism in light of a more radical and "constructivist" vision of capitalism: "Capitalism is the exterior limit of all societies because it has no exterior limit (...) itself. It works well as long as it keeps breaking down."Few people at the time believed, as they wrote in the often-quoted opening sentence of Rhizome, that "the two of us wrote Anti-Oedipus together." They added, "Since each of us was several, that became quite a crowd." These notes, addressed to Deleuze by Guattari in preparation for Anti-Oedipus, and annotated by Deleuze, substantiate their claim, finally bringing out the factory behind the theatre. They reveal Guattari as an inventive, highly analytical, mathematically-minded "conceptor," arguably one of the most prolific and enigmatic figures in philosophy and sociopolitical theory today. The Anti-Oedipus Papers are supplemented by substantial journal entries in which Guattari describes his turbulent relationship with his analyst and teacher Jacques Lacan, his apprehensions about the publication of Anti-Oedipus and accounts of his personal and professional life as a private analyst and codirector with Jean Oury of the experimental clinic Laborde. (shrink)

Normativists about belief hold that belief formation is essentially rule- or norm-guided. On this view, certain norms are constitutive of or essential to belief in such a way that no mental state not guided by those norms counts as a belief, properly construed. In recent influential work, Kathrin Glüer and Åsa Wikforss develop novel arguments against normativism. According to their regress of motivations argument, not all belief formation can be rule- or norm-guided, on pain of a vicious infinite regress. I (...) argue that the regress of motivations argument is unsuccessful: an appeal to the notion of blind rule-following, drawn from a plausible interpretation of Ludwig Wittgenstein’s remarks on rule-following, stops the regress of motivations in its tracks. (shrink)

Felix Kaufmanns Wissenschaftstheorie Hans-Georg Zilian. X KAUFMANN, DIE ÖKONOMEN UND DAS A PRIORI Bei den österreichischen Grenznutzentheoretikern, mit deren Arbeiten sich Kaufmann vor allem auseinandersetzte, ist von ...

This is the first detailed assessment of the life and work of Felix Guattari--"Mr. Anti" as the French press labelled him--the friend of and collaborator with..

A critique of capitalism and a manifesto for a new way of thinking, this book is also an introduction to the work of one of Europe's most radical thinkers. This edition includes a chronology of Guattari's life and work, introductions to both his general philosophy and to the work itself and extended notes to the original text.

1 A Versatile Mediator 2 Theory and Method in the Social Sciences 3 Kaufmann and Logical Empiricism 4 Kaufmann and the Liberal Wing of Viennese Late Enlightenment 5 Kaufmann and Popper 6 Kaufmann in the United States 7 Rediscovering Kaufmann's Methodology.

The sensorimotor theory (Noe¨, 2004, in press) discusses a special instance of lack of perceptual experience despite no sensory impairment. The phenomenon dubbed “experiential blindness” is cited as evidence for a constitutive relation between sensorimotor skills and perceptual experience. Recently it has been objected (Adams & Aizawa, 2008; Aizawa, 2007) that the cases described by Noe¨ as experiential blindness are cases of pure sensory deficit. This paper argues that while the objections bring out limitations of Noe¨’s sensorimotor theory they do (...) not do enough to challenge a robust perception–action interdependence claim. There are genuine cases of experiential blindness and these are better explained by the hypothesis of the interdependence of perception and action rather than by a passive vision approach. The cases provide support for a strong thesis of embodied cognition where ongoing sensorimotor dynamics non-trivially constrain perceptual content. (shrink)

The paper asks under what conditions deductive reasoning transmits justification from its premises to its conclusion. It argues that both standard externalist and standard internalist accounts of this phenomenon fail. The nature of this failure is taken to indicate the way forward: basic forms of deductive reasoning must justify by being instances of ‘blind but blameless’ reasoning. Finally, the paper explores the suggestion that an inferentialist account of the logical constants can help explain how such reasoning is possible.

These lectures on logic, more specifically proof theory, are basically intended for postgraduate students and researchers in logic. The question at stake is the nature of mathematical knowledge and the difference between a question and an answer, i.e., the implicit and the explicit. The problem is delicate mathematically and philosophically as well: the relation between a question and its answer is a sort of equality where one side is ``more equal than the other'': one thus discovers essentialist blind spots. (...) Starting with Godel's paradox --so to speak, the incompleteness of answers with respect to questions--the book proceeds with paradigms inherited from Gentzen's cut-elimination. Various settings are studied: sequent calculus, natural deduction, lambda calculi, category-theoretic composition, up to geometry of interaction, all devoted to explicitation, which eventually amounts to inverting an operator in a von Neumann algebra. Mathematical language is usually described as referring to a preexisting reality. Logical operations can be given an alternative procedural meaning: typically, the operators involved in GoI are invertible, not because they are constructed according to the book, but because logical rules are those ensuring invertibility. Similarly, the durability of truth should not be taken for granted: one should distinguish between imperfect and perfect modes. The procedural explanation of the infinite thus identifies it with the unfinished, i.e., the perennial. But is perenniality perennial? This questioning yields a possible logical explanation for algorithmic complexity. This highly original course on logic by one of the world's leading proof theorists challenges mathematicians, computer scientists, physicists, and philosophers to rethink their views and concepts on the nature of mathematical knowledge in an exceptionally profound way. (shrink)

The paper asks under what conditions deductive reasoning transmits justification from its premises to its conclusion. It argues that both standard externalist and standard internalist accounts of this phenomenon fail. The nature of this failure is taken to indicate the way forward: basic forms of deductive reasoning must justify by being instances of 'blind but blameless' reasoning. Finally, the paper explores the suggestion that an inferentialist account of the logical constants can help explain how such reasoning is possible.

Change blindness—our inability to detect changes in a stimulus—occurs even when the change takes place gradually, without disruption (Simons et al., 2000). Such gradual changes are more difficult to detect than changes that involve a disruption. In this experiment, we extend previous findings to the domain of facial expressions of emotions occurring in the context of a realistic scene. Even with changes occurring in central, highly relevant stimuli such as faces, gradual changes still produced high levels of change blindness: Detection (...) rates were three times lower for gradual changes than for displays involving disruption, with only 15% of the observers perceiving the gradual change within a single trial. However, despite this high rate of change blindness, changes on faces were significantly better detected than color changes occurring on non facial objects in the same scene. (shrink)

Molecular Revolution in BrazilFélix Guattari and Suely Rolniktranslated by KarelClapshow and Brian HolmesYes, I believe that there is a multiple people, a people of mutants, apeople of potentialities that appears and disappears, that is embodied in social, literary, andmusical events.... I think that we're in a period of productivity, proliferation, creation, utterlyfabulous revolutions from the viewpoint of this emergence of a people. That's molecular revolution:it isn't a slogan or a program, it's something that I feel, that I live....--from MolecularRevolution in (...) BrazilFollowing Brazil's first democratic election after two decades of militarydictatorship, French philosopher Félix Guattari traveled through Brazil in 1982 with Brazilianpsychoanalyst Suely Rolnik and discovered an exciting, new political vitality. In the infancy of itsnew republic, Brazil was moving against traditional hierarchies of control and totalitarian regimesand founding a revolution of ideas and politics. Molecular Revolution in Brazil documents theconversations, discussions, and debates that arose during the trip, including a dialogue betweenGuattari and Brazil's future President Luis Ignacia Lula da Silva, then a young gubernatorialcandidate. Through these exchanges, Guattari cuts through to the shadowy practices of globalizationgone awry and boldly charts a revolution in practice.Assembled and edited by Rolnik, MolecularRevolution in Brazil is organized thematically; aphoristic at times, it presents a lesser-known,more overtly political aspect of Guattari's work. Originally published in Brazil in 1986 asMicropolitica: Cartografias do desejo, the book became a crucial reference for political movementsin Brazil in the 1980s and 1990s. It now provides English-speaking readers with an invaluablepicture of the radical thought and optimism that lies at the root of Lula's Brazil. Félix Guattari, post-'68 French psychoanalyst and philosopher, is the author of Anti-Oedipus, The Anti-Oedipus Papers, 2006), and other books. Semiotext haspublished the first two volumes of his complete essays, Chaosophy and Soft Subversions, and will publish the final volume, Chaos and Complexity, in 2008. Suely Rolnik is apsychoanalyst, cultural critic, and curator who lives and works in São Paulo, Brazil. She was aclose collaborator of Guattari during her exile in Paris from the military dictatorship inBrazil. (shrink)

This paper defends a desire-based understanding of pleasurable and unpleasant experiences. More specifically, the thesis is that what makes an experience pleasant/unpleasant is the subject having a certain kind of desire about that experience. I begin by introducing the ‘Desire Account’ in more detail, and then go on to explain and refute a prominent set of contemporary counter-examples, based on subjects who might have ‘Reflective Blindness’, looking particularly at the example of subjects with depression. I aim to make the Desire (...) Account more persuasive, but also to clear up more widespread misunderstandings about depression in metaethics. For example, mistakes that are made by conflating two of depression’s most prominent symptoms: depressed mood and anhedonia. (shrink)

Willful blindness is not an appropriate substitute for knowledge in crimes that require a mens rea of knowledge because an actor who contrives his own ignorance is only sometimes as culpable as a knowing actor. This paper begins with the assumption that the classic willfully blind actor—the drug courier—is culpable. If so, any plausible account of willful blindness must provide criteria that find this actor culpable. This paper then offers two limiting cases: a criminal defense lawyer defending a client (...) he suspects of perjury and a pain doctor who suspects his patient may be lying about her pain. The paper argues that each of these actors is justified in cultivating ignorance about his client’s or patient’s truthfulness. If this is right, then a good theory of willful blindness must distinguish these cases. The article argues that neither Husak & Callender’s motivation-based account of willful blindness nor the recklessness account is able to do so. The paper proposes the following alternative: contrived ignorance constitutes culpable blindness when the decision to remain blind or to cultivate blindness is not itself justified. This Justification approach meshes with our intuitions about willfully blind drug couriers as well as willfully blind lawyers and doctors. (shrink)

This paper discusses the so-called non-interference assumption (NIA) grounding causal inference in trials in both medicine and the social sciences. It states that for each participant in the experiment, the value of the potential outcome depends only upon whether she or he gets the treatment. Drawing on methodological discussion in clinical trials and laboratory experiments in economics, I defend the necessity of partial forms of blinding as a warrant of the NIA, to control the participants’ expectations and their strategic interactions (...) with the experimenter. (shrink)

Many philosophers hold constitutive theories of self-knowledge in the sense that they think either that a person’s psychological states depend upon her having true beliefs about them, or that a person’s believing that she is in a particular psychological state depends upon her actually being in that state. One way to support this type of view can be found in Shoemaker’s well-known argument that an absurd condition, which he calls “self-blindness”, would be possible if a subject’s psychological states and her (...) higher-order beliefs about them were wholly distinct existences. A second reason to endorse a constitutive theory is the widespread conviction that first-person access is epistemically special. In this essay, I shall argue that even if self-blindness is impossible, the best explanation for this does not deny that a person’s psychological states are wholly distinct from her beliefs about them. I shall then attempt to account for the epistemic distinctiveness of first-person access on the basis of fundamental features of rational cognition. One advantage of this account over constitutive theories of self-knowledge is that it is better placed to explain our fallibility and ignorance. (shrink)

Over the last four decades arguments for and against the claim that creative hypothesis formation is based on Darwinian ‘blind’ variation have been put forward. This paper offers a new and systematic route through this long-lasting debate. It distinguishes between undirected, random, and unjustified variation, to prevent widespread confusions regarding the meaning of undirected variation. These misunderstandings concern Lamarckism, equiprobability, developmental constraints, and creative hypothesis formation. The paper then introduces and develops the standard critique that creative hypothesis formation is (...) guided rather than blind, integrating developments from contemporary research on creativity. On that basis, I discuss three compatibility arguments that have been used to answer the critique. These arguments do not deny guided variation but insist that an important analogy exists nonetheless. These compatibility arguments all fail, even though they do so for different reasons: trivialisation, conceptual confusion, and lack of evidence respectively. Revisiting the debate in this manner not only allows us to see where exactly a ‘Darwinian’ account of creative hypothesis formation goes wrong, but also to see that the debate is not about factual issues, but about the interpretation of these factual issues in Darwinian terms. (shrink)

It is being increasingly recognized that the Saussurean dictum of “the arbitrariness of the linguistic sign” is in conflict with the pervasiveness of the phenomenon commonly known as “sound symbolism”. After first presenting a historical overview of the debate, however, we conclude that both positions have been exaggerated, and that an adequate explanation of sound symbolism is still lacking. How can there, for example, be similarity between expressionsand contents across different sensory modalities? We offer an answer, based on the Peircian (...) notion of iconic ground, and G. Sonesson’s distinction betweenprimary and secondary iconicity. Furthermore, we describe an experimental study, in a paradigm first pioneered by W. Kohler, and recently popularized by V.Ramachandran, in which we varied vowels and consonants in fictive word-forms, and conclude that both types of sounds play a role in perceiving an iconic ground between the word-forms and visual figures. The combination of historical conceptual analysis, semiotic explication and psychological experimentationpresented in this article is characteristic of the emerging paradigm of cognitive semiotics. (shrink)

In the not-too-distant past, vision was often said to involve three levels of processing: a low level concerned with descriptions of the geometric and photometric properties of the image, a high level concerned with abstract knowledge of the physical and semantic properties of the world, and a middle level concerned with anything not handled by the other two. The negative definition of mid-level vision contained in this description reflected a rather large gap in our understanding of visual processing: How could (...) the here-and-now descriptions of the low levels combine with the enduring knowledge of the high levels to produce our perception of the surrounding world? A number of experimental and theoretical efforts have been made over the past few decades to solve this "mid-level crisis". One of the more recent of these is based on the phenomenon of change blindness—the difficulty in seeing a large change in a scene when the transients accompanying that change no longer convey information about its location (Rensink, O'Regan, & Clark, 1997; Rensink, 2000a). Phenomenologically, this effect is quite striking: the change typically is not seen for several seconds, after which it suddenly snaps into awareness. During the time the change remains "invisible", there is an apparent disconnection of the low-level descriptions (which respond to the change) from subjective visual experience (which does not). As such, this effect would seem to have the potential to help us understand how mid-level mechanisms might knit low- and high-level processes into a coherent representation of our surroundings. -/- It is argued here that this potential can indeed be realized, and that change blindness can teach us much about the nature of mid-level vision.3 A number of studies are first reviewed showing that the perception of a scene does not involve a steady buildup of detailed representation: rather, it is a dynamic process, with focused attention playing one of the main roles, viz., forming coherent object representations whenever needed. It is then argued that change blindness can also shed considerable light on the nature of focused attention itself, such as its speed, capacity, selectivity, and ability to bind together visual properties into coherent structures. (shrink)

[Paul Boghossian] The paper asks under what conditions deductive reasoning transmits justification from its premises to its conclusion. It argues that both standard externalist and standard internalist accounts of this phenomenon fail. The nature of this failure is taken to indicate the way forward: basic forms of deductive reasoning must justify by being instances of ’blind but blameless’ reasoning. Finally, the paper explores the suggestion that an inferentialist account of the logical constants can help explain how such reasoning is (...) possible. /// [Timothy Williamson] The paper challenges the inferentialist account of concept possession that Paul Boghossian takes as a premise in his account of the transmission of justification by deductive reasoning in his paper ’Blind Reasoning’. Unorthodox speakers who reject the inferences in an alleged possession condition can still have the concept by understanding a word for it. In that sense, the inferences are not analytic. Inferentialist accounts of logical constants, theoretical terms (using the Ramsey-Carnap-Lewis method) and pejorative expressions such as ’Boche’ are examined and rejected. It is suggested that epistemological questions cannot be reduced to questions in the theory of thought and meaning. (shrink)

First published in 1983. Routledge is an imprint of Taylor & Francis, an informa company.