The Human Genome Project is regarded by many as one of the major scientific achievements in recent science history, a large-scale endeavour that is changing the way in which biomedical research is done and expected, moreover, to yield considerable benefit for society. Thus, since the completion of the human genome sequencing effort, a debate has emerged over the question whether this effort merits to be awarded a Nobel Prize and if so, who should be the one to receive it, as (...) no more than three individuals can be selected. In this article, the HGP is taken as a case study to consider the ethical question to what extent it is still possible, in an era of big science, of large-scale consortia and global team work, to acknowledge and reward individual contributions to important breakthroughs in biomedical fields. Is it still viable to single out individuals for their decisive contributions in order to reward them in a fair and convincing way? Whereas the concept of the Nobel prize as such seems to reflect an archetypical view of scientists as solitary researchers who, at a certain point in their careers, make their one decisive discovery, this vision has proven to be problematic from the very outset. Already during the first decade of the Nobel era, Ivan Pavlov was denied the Prize several times before finally receiving it, on the basis of the argument that he had been active as a research manager rather than as a researcher himself. The question then is whether, in the case of the HGP, a research effort that involved the contributions of hundreds or even thousands of researchers worldwide, it is still possible to “individualise” the Prize? The “HGP Nobel Prize problem” is regarded as an exemplary issue in current research ethics, highlighting a number of quandaries and trends involved in contemporary life science research practices more broadly. (shrink)

One interesting aspect of the Hwang-case has been the way in which this affair was assessed by academic journals such as Nature. Initially, Hwang’s success was regarded as evidence for the detrimental effects of research ethics, slowing down the pace of research in Western countries. Eventually, however, Hwang’s debacle was seen as evidence for the importance of ethics in the life sciences. Ironically, it was concluded that the West maintains its prominence in science (as a global endeavour) precisely because it (...) has its ethics in place. Bioethics was now seen as an indispensable part of quality control. In this article, I will claim that the Hwang case rather reveals that there is no reason for complacency and that there are substantial challenges awaiting us. They have to do with major transformations in the way knowledge is produced and research in the life sciences is conducted (such as the increase in pace and scale, globalisation and the growing importance of ICT and bioinformation). These transformations call for a different kind of bioethics. The focus must shift from duties of autonomous researchers concerning visible research subjects (“micro-ethics”) to responsibilities of institutionalised research networks in managing and processing large amounts of bioinformation (“macro-ethics”). Concepts such as transparency, reliability and benefit-sharing will become more important than concepts such as informed consent. Basically, it is a resurgence of the tension between the Kantian and the Hegelian view of ethics. The contours of macro-ethics will be elaborated notably as it is emerging in bioethical debates over biobanking and genetic databanks. (shrink)

The publication of the book Beta Writer. 2019. Lithium-Ion Batteries. A Machine-Generated Summary of Current Research. New York, NY: Springer, produced with Artificial Intelligence software prompts analysis and reflections in several areas. First of all, on what Artificial Intelligence systems are able to do in the production of informative texts. This raises the question if and how an Artificial Intelligence software system can be treated as the author of a text it has produced. Evaluating whether this is correct and possible (...) leads to re-examine the current conception for which it is taken for granted that the author is a person. This, in turn, when faced with texts produced by Artificial Intelligence systems necessarily raises the question of whether they, like the author-person, are endowed with agency. The article concludes that Artificial Intelligence systems are characterized by a distributed agency, shared with those who designed them and make them work, and that in the wake of the reflections of 50 years ago by Barthes and Foucault, it is necessary to define and recognize a new type of author. (shrink)

La pubblicazione del libro Beta Writer. 2019. Lithium-Ion Batteries. A Machine-Generated Summary of Current Research. New York, NY: Springer, prodotto con software di Intelligenza Artificiale sollecita analisi e riflessioni in vari ambiti. Prima di tutto su che cosa i sistemi di Intelligenza Artificiale siano in grado di fare nell’ambito della produzione di testi di tipo informativo. Di qui si pone la questione se e come un sistema software di Intelligenza Artificiale possa essere trattato come autore di un testo che ha (...) prodotto. Valutare se ciò sia corretto e possibile porta a riprendere in esame la concezione attuale per la quale è scontato che l’autore sia una persona. Ciò, a sua volta, di fronte a testi prodotti da sistemi di Intelligenza Artificiale sollecita necessariamente la domanda se essi, come l’autore-persona, siano dotati di agency. L’articolo conclude che i sistemi di Intelligenza Artificiale si caratterizzano per un’agency distribuita, condivisa con chi li ha progettati e li fa funzionare e che sulla scorta delle riflessioni di 50 anni fa di Barthes e Foucault occorre definire e riconoscere un nuovo tipo di autore. (shrink)

Translated from: W.V.O.Quine, W. H. O. (1986): Philosophy of Logic. Second Edition. Harvard University Press. Cambridge, Massachusetts and London, England, 47-61.

The special issue’s editors introduce the rationale for the following articles, all of which take up aspects of the relations among the production of artworks, the behavior of audiences, and the state’s interest in assembling, regulating, and transforming what it knows as its people through the responses to art.

This monograph contributes to the scientific misconduct debate from an oblique perspective, by analysing seven novels devoted to this issue, namely: Arrowsmith by Sinclair Lewis (1925), The affair by C.P. Snow (1960), Cantor’s Dilemma by Carl Djerassi (1989), Perlmann’s Silence by Pascal Mercier (1995), Intuition by Allegra Goodman (2006), Solar by Ian McEwan (2010) and Derailment by Diederik Stapel (2012). Scientific misconduct, i.e. fabrication, falsification, plagiarism, but also other questionable research practices, have become a focus of concern for academic communities (...) worldwide, but also for managers, funders and publishers of research. The aforementioned novels offer intriguing windows into integrity challenges emerging in contemporary research practices. They are analysed from a continental philosophical perspective, providing a stage where various voices, positions and modes of discourse are mutually exposed to one another, so that they critically address and question one another. They force us to start from the admission that we do not really know what misconduct is. Subsequently, by providing case histories of misconduct, they address integrity challenges not only in terms of individual deviance but also in terms of systemic crisis, due to current transformations in the ways in which knowledge is produced. Rather than functioning as moral vignettes, the author argues that misconduct novels challenge us to reconsider some of the basic conceptual building blocks of integrity discourse. (shrink)

Tussen zijn veertigste en zijn zestigste levensjaar was Jan Hendrik van den Berg (1914) een uitermate succesvol en populair auteur. Boeken van zijn hand, zoals Metabletica (1956) en Medische macht en medische ethiek (1969), waren ongekende bestsellers. Hij was de Nederlandse vertegenwoordiger van een belangrijke Europese stroming in de filosofie: de historische fenomenologie. In de jaren zeventig raakte hij echter in conflict met zijn tijd. Terwijl de Nederlandse publieke opinie een wending naar links doormaakte, bond Van den Berg de strijd (...) aan tegen verloedering, hooliganisme en anarchisme. Dit ging ten koste van zijn populariteit, maar niet van zijn productiviteit, noch van zijn innovativiteit. Tot op de dag van vandaag werkt hij aan een indrukwekkend , panoramisch oeuvre. Hij is de belangrijkste Nederlandse filosoof sinds Bolland. -/- Deze studie wil het werk van Van den Berg reconstrueren, situeren en beoordelen. Reconstrueren door de methodische en thematische coherentie ervan zichtbaar te maken. Situeren door het te confronteren met dat van andere, verwante auteurs zoals Husserl, Freud, Bachelard en Foucault. Beoordelen door na te gaan in hoeverre Van den Berg de inzet van zijn project, zowel inhoudelijk als methodologisch, waarmaakte. -/- Het werk van Van den Berg is geen curiosum, maar opvallend actueel. Hij onderzoekt het begin, de aanvang van wetenschappelijke en maatschappelijke ontwikkelingen waarvan het belang in de huidige situatie met nadruk zichtbaar wordt. Zijn beeldende stijl wekt de geschiedenis van de wetenschap tot leven, maar werd vaak als ‘anekdotisch’ afgedaan; zijn talent voor polemiek lokte soms felle reacties uit en zijn methodologische flexibiliteit maakte hem een gemakkelijk doelwit van academische kritiek. Aan de positieve kant van de balans staan echter zijn intellectuele enthousiasme en zijn internationale faam. Zijn werk verdient een rehabilitatie. (shrink)

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

Résumé Ce texte est la transposition d’un exposé de l’auteur à l’IRCAM dans le cadre du séminaire MaMuPhi où dialoguent mathématiciens, musiciens (compositeurs, interprètes, théoriciens) et philosophes. Ni glose sur les théories du style en mathématique, ni prolégomènes à une stylistique future, encore moins galerie de portraits d’auteurs, il s’agit d’un essai plutôt que d’une étude : un court essai, catalysé en partie par les caustiques « décalogues » de Gian-Carlo Rota, où l’on évalue la place de l’auteur et essaie (...) de dégager les enjeux, essentiels plutôt que décoratifs, des questions d’écriture et de style dans la mathématique d’aujourd’hui. (shrink)

The aim of this article is to develop a postmetaphysical conception of reading by following Kierkegaard’s Either/Or Part I (1843) through such Derridian concepts as secret, hospitality, and spectrality. The work focuses on the three essays addressed to the Symparanekromenoi (“the community of the dead”), a fellowship neither young nor old with an aphoristic way of life (2010b, pp. 137–225) that can be understood as a figure of alterity. Special attention is paid to paratextual features of the book: the texts (...) are actually presented as old papers found in a secretary desk by a pseudonymous editor (“Victor Eremita”), which suggests that every text is a posthumous paper, that is to say, it will always be read after the death of its author. Instead of finding a solid author who holds the semantic weight of the text, these papers are based in a blank of sense, a specter, a secret: if they are sustained on its author, then they are sustained in a mystery, not in a sort of revelation of meaning. (shrink)

On several occasions Michel Foucault advocated a methodological turn towards what he called a ‘happy positivism’. Foucault’s emphasis on the surface does not deny the importance of structures of hiding, but understands it as a game in which the structures of hiding are viewed as contingently given. In this paper, I will analyse the conflict between the hacker movement and the field of corporate interests. I argue that the introduction of graphical user interfaces and the maintaining of copyright interests are (...) the contingent background of the ongoing conflict. By bracketing the analyses of hidden intentional structures, the happy positivist is thus able to facilitate deeper understandings of the prevailing structures of hiding. (shrink)

Style, corpus et genèse L’article aborde la relation entre style et corpus du point de vue de la genèse des œuvres. Qu’est-ce qu’un corpus dans la perspective d’une étude génétique du style (et des styles) de l’œuvre en mouvement? Qu’en est-il du rapport au lecteur? L’article explore aussi ce qu’une telle approche révèle du style, qui apparaît non plus comme un ensemble de traits discontinus, mais comme processus de l’œuvre.

Increasingly in certain circles the idea is growing up that ‘intellectual property is theft’. With companies being concentrated into multimedia groups, literary works being captured electronically, products being created for a mass-media culture, commercial exchange on a worldwide scale, the legitimacy of the creator's literary and artistic property is being challenged. Originally the ‘droit d'auteur’ or copyright were mainly protective rules laid down by law to regulate the author's status. The legal system of literary and artistic ownership still ensures that (...) creators receive revenue each time their works are reproduced, adapted or communicated to the public. In addition the droit d'auteur has another aspect through the existence of moral right, which establishes a personal link between author and work. It is true that moral right, which is sometimes seen as an obstacle to economic development, is almost non-existent in the systems of law recognizing copyright, which do not incorporate the same balance of interests as between the author and the company. On the other hand, in its formulation the droit d'auteur takes a more human approach and to say that intellectual property is theft would be equivalent to weakening, or even eradicating, a system that protects individual creators facing the reality of the exploitation of their work. This is why this criticism of legitimacy should, in my view, be considered in the context of a debate about the status of the author. The electronic capture of creative works has meant that the general public has easier access to them. (shrink)

After highlighting Foucault’s ambivalent position with regards to psychoanalysis, this paper first shows that Foucault’s critical thought, insofar as it finds its condition of possibility in modern philosophy understood as a theoretical discourse on human finitude, must imperatively be complemented in the vicinity of psychoanalytical praxis-discourse: the ethical and political issue of the finished and desiring subjectivity can thus be examined anew. On the basis of the historicization of the Lacanian Law undertaken in La volonté de savoir, the paper therefore (...) concludes that a philosophical anthropology which is able to heave up to today’s decisive issues for the social critique and the politics of emancipation should build upon the Foucaldo-Lacanian critique of “modern” philosophical anthropology, but should not fear to confront it with radical criticism in return. (shrink)

The present debate on constitutional rights aims to protect the individual against the intrusive power of the state. Analysing the precarious relationship between art and money, the authors argue that constitutional rights need to be extended into the regimes of private governance. This requires four fundamental changes. (1) Constitutional rights can no longer be limited to the protection of individual actors. Instead, they need to be extended to guarantees of freedom of discourses. (2) The new experience of the twentieth century (...) is that totalizing tendencies have their origin not only in politics, but also in other fields of action, especially in technology, science, and the economy. Thus, a discursive concept of constitutional rights should be directed against any social system with totalizing tendencies. (3) Instead of concentrating on centres of economic and social power, constitutional rights in the private sphere should focus on the specific communicative medium of the expansionist social system involved. (4) This excludes the direct analogy of a ‘right’ as a quasispatial exclusion zone. More significant guarantees of discursive autonomy could be found in a ‘proceduralization’ of constitutional rights. (shrink)

L’étude traite de différentes catégories de signatures (et/ou de noms d’auteurs) et de leur fonctionnement dans l’écriture de l’histoire. L’histoire est une écriture dialogique au sens où elle s’appuie sur les écrits d’autres spécialistes, mais aussi sur une matérialité documentaire signée par des acteurs de l’histoire. En se référant à la parole d’autrui, l’historien valide son propre travail. Le principal indice de ce dialogue est le nom propre d’auteur associé à un propos qui représente pour l’historien une référence. L’étude met (...) en évidence l’aptitude des noms d’auteur à recevoir une corporalité et/ou une voix. La thèse est la suivante: dès que le lecteur peut attribuer un corps et un certain renom à une signature, celle-ci peut être utilisée comme instrument de la preuve. Une attention particulière est portée aux signataires inconnus, aux noms des rédacteurs de «témoignages». Au centre de notre intérêt se trouvent les «ajouts» des historiens (titres, annotations, notes en bas de page, etc.) qui introduisent sur la scène académique les propos des «auteurs inconnus». Des ajouts accompagnant une carte postale, représentée dans l’ouvrage Lettres de Drancy, sont analysés de près. (shrink)

This article focuses on the pendulum-like change in the way people read and use text, which was triggered by the introduction of new reading and writing technologies in human history. The paper argues that textual features, which characterized the ancient pre-print writing culture, disappeared with the establishment of the modern-day print culture and has been “revived” in the digital post-modern era. This claim is based on the analysis of four cases which demonstrate this textual-pendulum swing: (1) The swing from concrete (...) iconic-graphic representation of letters and words in the ancient alphabet to abstract phonetic representation of text in modern eras, and from written abstract computer commands “back” to the concrete iconic representation in graphic user interfaces of the digital era; (2) The swing from scroll reading in the pre-print era to page or book reading in the print era and “back” to scroll reading in the digital era; (3) The swing from a low level of authorship in the pre-print era to a strong authorship perception in the print era, and “back” to a low degree of authorship in the digital era; (4) The swing from synchronic representation of text in both visual and audio formats during the pre-print era to a visual representation only in print, and “back” to a synchronic representation in many environments of the digital era. We suggest that the print culture, which is usually considered the natural and preferred textual environment, should be regarded as the exception. (shrink)

1 It is not unusual to come across works written by philosophers that are half way between the essay and the novel. Some even talk of a kind of dilution of philosophy into literature, from a clearly metaphysical perspective, therefore a philosophical one. After the seminal case of Friedrich Nietzsche, the relationship between philosophy and literature in the 20th century has intensified. Evidence for this state of affairs are the many excellent philosophers who are also novelists – some of th...

This article questions the role of the author in the photographical image. Undoubtedly, the invention of photography has changed our attitude towards ourselves, towards the world. The impact of photography on one’s life is growing with the development of technology, mainly the photo-technology. One cannot but trust technological tools more than oneself, because any technological device nowadays is considered to be smarter, faster, and more precise than any human being. The technology plays a special role in photography, and that is (...) why the author’s position as the creator of the image is being challenged. Hence, there is also a much wider problem, the impact of technology on a person. Therefore, the purpose of this article is to show that photography as a kind of visual art is not directly a product of human creative activity. Nevertheless, as a technical product, it tends to anonymity when the question of authorship is simply decreasing. Although each image, as a human creation, has its author, in the photography the author becomes the background. We agree with Flusser that it is worthwhile to distinguish between the functionary and the photographer as candidates for the role of the author in the photographic process; but in the process of contemplating the photographs, the name of the author of the photographical image, regardless of his or her claims, is ignored, because the photography, retaining the function of objective documentation, captures any events without any interest. It is also completely dependent on technology; claiming not only for the mediation but also for the "authorship", it introduces the mode of anonymity and accidental fixation of events. The image is deprived of subjective features and the need to have an author. One can say that in any case the photographer falls into the "shadow" created by the device. The author "dies", giving the life to the photography, and dissolves in the technicality of the image. (shrink)

Este artículo plantea el problema de la multiplicación de comentarios en torno a la obra de Benjamin como una situación que ha de incidir en las metodologías de su interpretación. A través del tratamiento de dos términos precisos – teología y mesianismo – se argumenta la importancia de una crítica que tome en cuenta el contexto de recepción sociolingüístico del intérprete. Se busca así contribuir a generar metodologías que puedan abrir paso a tratamientos que propongan una recepción crítica renovada.

The thesis examines the nature of the "real" in the cinema; I overview the theories that are historically used, and offer some alternative models. First, I survey how the "real" has been traditionally theorized in film theory. The realist/anti-realist debate is addressed; the psycholinguistic theory of Jacques Lacan and Jean Baudrillard's postmodern model of the hyperreal are reexamined in light of their profound effect on film theory's model of the cinematic "real." I argue against these theories as models of spectatorship (...) and the "real" because of their hermetic nature. (shrink)

Filozofija percepcije, ki jo je razvijal Merleau-Ponty od l. 1945 dalje, kaže pomen izvornega izkustva: vsi smo bili telo med rečmi, preden smo se pričeli od njih razlikovati kot zavedajoči se in spoznavajoči subjekt. Ta izvornost, ki jo vsakdo doživi v svoji individualni zgodovini in je zastavljena kot moment anonimnosti, je doživljena kot nekakšen paradiž in njeni vztrajajoči sledovi so povezani z globoko nostalgijo. Edino umetnost se odziva tej nostalgiji: od svojih prvih besedil dalje pripisuje Merleau-Ponty umetnosti ontološki cilj, s (...) čimer nakazuje pot vsemu nadaljnjemu fenomenološkemu razmišljanju. (shrink)