BackgroundIn Saudi clinical settings, benevolent family care that reflects strongly held sociocultural values is commonly used to justify overriding respect for patient autonomy. Because the welfare of individuals is commonly regarded as inseparable from the welfare of their family as a whole, these values are widely believed to obligate the family to protect the welfare of its members by, for example, giving the family authority over what healthcare practitioners disclose to patients about their diagnoses and prognoses and preventing them from (...) making informed decisions about their healthcare.DiscussionFamily dominance over the healthcare decisions of competent patients is ethically problematic when the family prevent healthcare practitioners from disclosing diagnoses and prognoses to patients who have the capacity to consent and make decisions in their own best interests. Thus, the author holds that sociocultural values ought to be respected only when they do not prevent competent patients from knowing their diagnoses and prognoses or prevent them from making their own decisions.ConclusionHealthcare practitioners should not allow patients’ families to control what can or cannot be disclosed to competent patients. This is particularly important when patients are approaching death so that they may address their material and spiritual wishes—among other needs—as they prepare for death. Justification for this position is drawn from the Maqasid Al-Shariah-based Islamic bioethics approach, from which it is possible to argue that the harm of withholding diagnoses and prognoses from patients who are imminently dying outweighs the potential benefits. (shrink)

The essays in this volume, focus on this distinction in their consideration of Hegel's political philosophy - his attempted (re)construction of modern ethical ...

It is proved that equations between arrows assumed for cartesian categories are maximal in the sense that extending them with any new equation in the language of free cartesian categories collapses a cartesian category into a preorder. An analogous result holds for categories with binary products, which may lack a terminal object. The proof is based on a coherence result for cartesian categories, which is related to model-theoretic methods of normalization. This maximality of cartesian categories, which is analogous to Post (...) completeness, shows that the usual equivalence between deductions in conjunctive logic induced by βη normalization in natural deduction is chosen optimally. (shrink)

The digital age brings with it novel forms of data flow. As a result, individuals are constantly being monitored while consuming products, services and content. These abilities have given rise to a variety of concerns, which are most often framed using “privacy” and “data protection”-related paradigms. An important, oft-noted yet undertheorized concern is that these dynamics might facilitate the manipulation of subjects; a process in which firms strive to motivate and influence individuals to take specific steps and make particular decisions (...) in a manner considered to be socially unacceptable. That it is important and imperative to battle manipulation carries with it a strong intuitive appeal. Intuition, however, does not always indicate the existence of a sound justification or policy option. For that, a deeper analytic and academic discussion is called for. This Article begins by emphasizing the importance of addressing the manipulation-based argument, which derives from several crucial problems and flaws in the legal and policy setting currently striving to meet the challenges of the digital age. Next, the Article examines whether the manipulation-based concerns are sustainable, or are merely a visceral response to changing technologies which cannot be provided with substantial analytical backing. Here the Article details the reasons for striving to block manipulative conduct and, on the other hand, reasons why legal intervention should be, in the best case, limited. The Article concludes with some general implications of this discussion for the broader themes and future directions of privacy law, while trying to ascertain whether the rise of the manipulation-based discourse will lead to information privacy’s expansion or perhaps its demise. (shrink)

The authors explore the interfaces between different dimensions of moral cognition, bridging economic, Bayesian and reinforcement learning perspectives. The human aversion to harming others cuts across these different interfaces, influencing decisions, judgments, and inferences about morality.

Originally published in 1971, this volume was created to commemorate the bicentenary of Hegel's birth in 1770. Thirteen essays are included from experts with diverse approaches, concentrating on the central issues of Hegel's political philosophy, and covering all of the major political works. These essays demonstrate the vitality of Hegel's philosophical perspective, engaging the reader and providing a way into the often difficult explication of his ideas. Whilst this is a commemorative edition, and the views put forward are broadly sympathetic, (...) a critical distance is maintained, allowing for numerous fresh insights. Accessible and highly informative, this book will be of value to anyone with an interest in Hegelian thought and its political implications. (shrink)

Good and evil; religious aspects; Islam.

Meditation hasrecently emerged as a topic of interest for the medicinal scientists as well as for the neuropsychological scientists for different reasons. The methods used by both of these approaches have been mostly objective. This quest of objectification has led to vigorous use of tools like EEG and ERP, which has definitely led to revealing of marvellous aspects of meditation. However, the subjective states of meditation have been much less explored, especially when seen in contrast to the objective states. The (...) need of the hour is to use the qualitative methods for exploration of these states because these methods better depict the unique experiences of meditation. In this context, we conducted a qualitative study in the form of Interpretative phenomenological analysis to explore the subjective experiences associated with the inner-light perception of a group of meditators practising the meditation technique of Vihangam Yoga. It is an ancient meditation technique of India, initiated by HH Sadguru Sadafal Deoji Maharaj in the year 1924 and now being propogated by HH Sadguru Swatantra Deoji Maharaj. When asked in detail, the practitioners often report of many mystique experiences. This particular Yoga group was chosen because in a survey of among four groups, the maximum number of confident mediators reporting of perceiving some sort of luminance during meditation was found in this group. For this study, the inner-light perception experience of this meditation was chosen because of the divine value attached to this experience across all the cultures and religions. This experience was also chosen because of the great impact on their lives that Vihangam Yogis attributed to this experience. As the results of the study, four major themes were obtained which were: Uniqueness of the nature of light Experiences during light perception Explanations of the source of light Change in outlook towards world and associated changes in thinking. (shrink)

The paper deals with the fundamental problems of Juraj Cíger’s philosophical and ethical thinking. It’s focus is on Cíger’s understanding and explaining of the legacy of the founder of modern philosophy R. Descartes as an enigmatic philosopher. In this context it shows that Descartes was the clue philosopher for Cíger and that in a sense Cíger himself can be seen as an enigmatic philosopher. The author offers an analysis of Cíger’s interpretation of Descartes’ philosophical conception, which on his opinion was (...) not dualistic, but rather trialistic. The impact of Cíger’s thinking on the theoretical and practical ethics is shown as well. (shrink)

This paper will analyse Hegel's discussion of the relation between family and civil society on the basis of Marx's insight into the discrepancy between Hegel's explicitly logical structure of presentation based on �essential relationships� and his implicitly historical structure of presentation based on �external necessities�. It is intended neither to resolve the dispute between Hegel and Marx nor to apply Marx's critique to passages of the Philosophy of Right that he did not have occasion to discuss. The purpose of this (...) paper is more specific. It will attempt to illustrate the conflict between Hegel's characterization of civil society as a moment of ethical life emerging from the family in a non-contradictory manner, and his characterization of civil society's opposition to, and transformation of, the family. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

Autor se z hlediska marxistické filozofie a metodologie zabývá revolucí v biologii ve vztahu k filozofii, teoretizací současné biologie, problémem biologické evoluce, druhem jako základní jednotkou evoluce, problémy klasifikace v biologii a v závěru klade otázku : "věk biologie" nebo ekologická katastrofa?