The purpose of this study was to assess the presence of ethics committees in rural critical access hospitals across the United States. Several studies have investigated the presence of ethics committees in rural health care facilities. The limitation of these studies is in the definition of ‘rural hospital’ and a regional or state focus. These limitations have created large variations in the study findings. In this nation-wide study we used the criteria of a critical access hospital (CAH), as defined by (...) the Medicare Rural Hospital Flexibility Program (Flex Program, 2007), to bring consistency and clarity to the assessment of the presence of ethics committees in rural hospitals. The Flex Monitoring Team conducted a national telephone survey of 381 CAH administrators throughout the United States. The survey covered a wide variety of questions concerning hospitals’ community benefit, impact activities, and whether the hospital had a formally established an ethics committee. About 230 (60%) of the respondents indicated they had a formally established ethics committee or ethics consultation program at their CAH. The prevalence of ethics committees declined as the CAH location became increasingly rural along a rural–urban continuum. Unlike CAHs, all rural Department of Veterans Affairs Medical Centers have ethics committees. The results of this study provide an understanding of the limited presence of ethics committee in rural America and the need to consider new approaches for providing ethics assistance. A virtual ethics committee network may be the most efficient and effective way of providing rural hospitals access to a knowledgeable ethics committee or consultant. (shrink)

The purpose of this paper is to examine the relationship between Friedrich Nietzsche's notion of the agon (Greek for contest) and the construction of athletic ability. In 'Homer's contest', Nietzsche claims that the ancient Greek agon was a contest that included only the most qualified competitors battling each other for honour and victory. Nietzsche seeks to restore the agon in contemporary society. Nietzsche believes that contests have lost this agonistic meaning since they are no more than contrived competitions between underqualified (...) opponents. I am extending the discussion to the domain of sport. If we stage an agon reminiscent of Greek antiquity, we could have a genuine competition between the most qualified athletes. (shrink)

Martin E. Rosenberg -/- The Gift of Silence: Towards an Anthropology of Jazz Improvisation as Neuro-Resistance. -/- ABSTRACT: -/- This essay addresses how the complex processes that occur during jazz improvisation enact behaviors that resemble the logic of gift exchange first described by Marcel Mauss. It is possible to bring to bear structural, sociological, political economical, deconstructive or even ethical approaches to what constitutes gift exchange during the performance of jazz. Yet, I would like to shift from focusing this analysis (...) of jazz improvisation with reference to the language of music as symbolic action (which all of these approaches require), to grounding improvisation in embodied and distributed cognition, the performance of which begins with a ritual gift of silence. By silence, I refer to the embodied, yet shared pure duration as felt synchrony within an individual performer, that extends to the members of an ensemble. Thus, I refer to both aesthetic and micro-political implications of embodied, yet also distributed musical cognition in real time. -/- For jazz musicians, embodied silence becomes the initial condition for processes of cognitive bifurcation. For it is bifurcation that attracts us to jazz in the first place. Here I expand my previous work establishing similarities in the behavior of bifurcating systems in physical and cognitive sciences to the unfolding of ambiguity in real time during improvisation with respect to polyphony, polytonality and polyrhythms in the history of jazz from Charlie Parker to Ornette Coleman. We can therefore re-conceptualize jazz improvisation as a subversive antidote for processes of determination identified in a sub-discipline of cultural studies called “cognitive capitalism.” By examining silence from this anthropological perspective, we can conceive of jazz performance as a ritualized resistance to top-down cognitive control immanent with social and digital networks. The ritual enactment that is jazz improvisation points towards an aesthetics of bifurcation that is simultaneously a micro-politics of neuro-resistance. In other words, I argue that freedom of thought requires freedom from thought as an initial condition. -/- Yet, I emphasize the empirical rather than mystical grounds to this gift of silence. The valorization of silence by jazz musicians is not simply etiquette, an ethics of reciprocity for performers exchanging “riffs,” but an initial condition that jazz performers (and, I would argue, listeners) experience in their bodies, thus linking embodied cognition to a collective field of cultural production that emerges from each embodied individual, and yet also pervades the ensemble in ways reminiscent of feedback loops in complex systems. The recent and remarkable research on music and the brain has demonstrated that it is now possible to describe jazz improvisation as possessing both embodied and distributed cognitive properties. The emergent neuronal ensemble behavior within the individual that is visible in jazz improvisors, discovered by the neuroscientists at Johns Hopkins led by Charles Limb, bears striking resemblance to the interactive behaviors of the jazz ensemble itself. Thus, it is by recourse to recent research by myself and others into the cognitive neuroscience of music generally, and jazz improvisation specifically, that the empirical grounds for an anthropology of neuro-resistance become visible. (shrink)

The extension of quantum mechanics to a general functional space (“rigged Hilbert space”), which incorporates time-symmetry breaking, is applied to construct extract dynamical models of entropy production and entropy flow. They are illustrated by using a simple conservative Hamiltonian system for multilevel atoms coupled to a time-dependent external force. The external force destroys the monotonicity of the ℋ-function evolution. This leads to a model of the entropy flow that allows a steady nonequilibrium structure of the emitted field around the unstable (...) particles. (shrink)

Every semester, professors in every discipline are burdened with the task of checking for plagiarized papers. Since plagiarism has become rampant in the university, it can be argued that devoting time to checking for plagiarism is nothing more than a fool’s errand. Students will continue to plagiarize regardless of the consequences. In this paper, I will argue that professors do have a categorically binding obligation to confirm whether papers have been plagiarized. I will use Onora O'Neill’s account of principled autonomy (...) as the foundation for my argument. Moral agents can only act on principles that can be adopted by all. Dishonesty cannot be adopted since honesty would cease to exist. Furthermore, failing to check for plagiarized papers is a failure to treat all students and professors and ends-in-themselves. (shrink)

From ancient Greece to Renaissance Italy to the Modern period, the classical ideal, with its elusive goal of perfecting nature, has held a tenacious grip on Western culture. Nowhere has its hold on the artistic imagination been more pervasive than in France between the seventeenth and nineteenth centuries. The art and life of Raphael formed the bedrock of the classical tradition in French art, yet no comprehensive study of Raphael's impact on the art theory, criticism, and practice of classicism exists. (...) This book fills that gap. Transcending limited notions of artistic influence, the book demonstrates that Raphael had as much impact as a symbol as he did as a paradigm of the classical tradition. Focusing on French art and theory from the classical to the Romantic era, _Raphael and France_ is part of the ongoing revision of views of that period which has been taking place for the last twenty years. The book demonstrates that the shifts from classical to Rococo to neoclassical aesthetics were not as abrupt or as all-encompassing as has been assumed. By tracing the continuity and transformation of the classical ideal, with Raphael's art and image as central paradigms, Rosenberg achieves a broader, more accurate, and comprehensive view of French artistic developments during this period. Rosenberg draws on careful readings of primary sources, including the correspondence and lectures of the French Academy, some of which are unpublished; most of the major theoretical treatises by French and foreign authors; and contemporary criticism and works of art. In the process, he strikes a methodological balance between traditional art-historical approaches and insights provided by more contemporary approaches, such as semiotics and post-structuralism. As the notion of isolated genius as the prime force in art has given way to a broader, more contextual view of art and history, interest in past traditions once regarded as outmoded or dead has grown tremendously. This book makes a timely contribution to this widening area of inquiry. (shrink)