Family members can provide crucial support to individuals participating in clinical trials. In research on the “newest frontier” of Deep Brain Stimulation (DBS)—the use of DBS for psychiatric conditions—family member support is frequently listed as a criterion for trial enrollment. Despite the significance of family members, qualitative ethics research on DBS for psychiatric conditions has focused almost exclusively on the perspectives and experiences of DBS recipients. This qualitative study is one of the first to include both DBS recipients and their (...) family members as interview participants. Using dyadic thematic analysis—an approach that takes both the individuals and the relationship as units of analyses—this study analyzes the complex ways in which family relationships can affect DBS trial participation, and how DBS trial participation in turn influences family relationships. Based on these findings, we propose ways to improve study designs to better take family relationships into account, and better support family members in taking on the complex, essential roles that they play in DBS trials for psychiatric conditions. (shrink)

some lighthearted definitions of philosophical terms.

Peer commentary on: Goering, S., Klein, E., Dougherty, D. D., & Widge, A. S. (2017). Staying in the loop: Relational agency and identity in next-generation DBS for psychiatry. AJOB Neuroscience, 8(2), 59-70.

In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It is the only French-produced (...) movie to win Best Picture, and the only (almost entirely) silent movie to win Best Picture since the start of the Academy Awards in 1929. (shrink)

The international protest surrounding the Copenhagen Zoo’s recent decision to kill a healthy giraffe in the name of population management reveals a deep moral tension between contemporary zoological display practices—which induce zoo-goers to view certain animals as individuals, quasi-persons, or friends—and the traditional objectives of zoos, which ask us only to view animals as specimens. I argue that these zoological display practices give rise to moral obligations on the part of zoos to their visitors, and thus ground indirect duties on (...) behalf of zoos to their animals. I conclude that zoos might take on interspecies friendship as a new zoological objective. (shrink)

În acest articol încerc să argumentez opinia că, așa cum este definită eugenia, este foarte dificil de făcut o diferențiere clară între știință (medicină, ingineria genetică) și eugenie. Și de stabilit o linie peste care ingineria genetică nu ar trebui să treacă, conform unor norme morale, juridice și religioase. Atâta timp cât acceptăm ajutorul geneticii în găsirea unor modalități de combatere a cancerului, diabetului sau HIV, acceptăm în mod implicit și eugenia pozitivă, conform definiției actuale. Și atâta timp cât acceptăm (...) screening-ul genetic, și intervenții asupra fătului nenăscut, sau avortul, acceptăm în mod implicit și eugenia negativă. În plus, la nivel de guverne, deși oficial eugenia este repudiată, ea a fost legalizată în foarte multe țări până de curând, și încă mai este acceptată și legalizată, chiar dacă în forme mai subtile, și în prezent. În Introducere definesc termenul și modurile de clasificare. Urmează Istoria eugeniei pornind din perioada antică, introducerea eugeniei de Francis Galton, practica eugeniei ca politică de stat în diverse țări, și eugenia actuală (eugenia liberală). Analizez apoi diverse probleme ridicate de Etica eugeniei liberale, și am dezvoltat o secțiune aparte pentru Viitorul eugeniei, cu accent pe proiectul genomului uman. În final, în secțiunea Concluzii expun opiniile personale cu privire la practica actuală a eugeniei. Am folosit ca surse principale de investigație articolele lui Kenneth M. Ludmerer, ”American Geneticists and the Eugenics Movement: 1905-1935”, Kathy J. Cooke, ”Duty or Dream? Edwin G. Conklin's Critique of Eugenics and Support for American Individualism”, Jonathan Anomaly, ”Defending Eugenics”, John R. Harding Jr. ”Beyond Abortion: Human Genetics and the New Eugenics”, Michael Boulter, ”Bloomsbury Scientists”, Chapter Title: The rise of eugenics, 1901–14, Michael Ruse and Edward O. Wilson, ”Moral Philosophy as Applied Science” și Goering, Sara, "Eugenics". (shrink)

Many people go outdoors in winter for skiing, snowboarding, sledding, snowmobiling and some other activities that all fall within the realm of winter tourism. Winter tourism is a source of both personal and public health, and thus a source of prosperous living. Along with that, it is a conspicuous economic phenomenon that generates millions of dollars in annual revenue for stakeholders. Hence, this type of tourism is of top importance, and thus one of the main concerns to many snowy destinations (...) with high altitudes such as those in Austria, Switzerland, Germany, Italy, and Turkey. Stakeholders such as entrepreneurs, business professionals, state incumbents, and tourism, leisure, and sports scholars should benefit from both precedent and unprecedented principles and practices to cultivate the industry, and they should constantly seek to improve the winter tourism experience. Therefore, it is aimed to drive implications from the success of a cult winter tourism location MooserWirt in Sankt Anton herein by depending on a web-based examination. MooserWirt is an après-ski bar located in a world-famous village and ski resort called St Anton at the Arlberg Massif in Austria. The bar is open in winter seasons starting from early December to the end of April. It serves daily between 11 a.m. and 8 p.m. up to three thousand people. The bar team starts serving food and beverage at 11 a.m. Then at 3:30 p.m., the bar’s magnate –DJ starts his ritual music party that captivates and amuses hundreds if not thousands of ski-goers. MooserWirt is regarded as one of the best après ski lodges throughout the world. Many people would ask for the principles of such a success. By depending on a web-based examination of the case, we can respond to that kind of a call with a few generic implications. First of all, one of the main features that makes the bar special seems to be its music parties. People mostly comment that the bar has a music mogul –DJ, and enjoyable mixtures of music that charm the audience. Furthermore, the bar has heretofore hosted the prominent TV show known as Après Ski Hits featuring various famed singers and bands on outdoor stage performance many times to commence the season. Secondly, many people acknowledge that the bar has an eye-catching menu with delightful foods and beverages of local ingredients with a reasonable tariff. Third, we deduce that the bar serves with an agile and friendly team that satisfies the customers in general. Various people appreciate the performance of the staff. Last but not least, the bar has an elegant architectural design with a comfortable ambiance enclosed by a typical winter landscape. Overall, MooserWirt is a quality locale as it commonly meets the expectations of skiers of an après-ski lodge. In conclusion, MooserWirt has been seemingly building up a tradition through quality over the decades. It is distinctive through product differentiation. It serves with dedicated personnel adhering to quality service that generates customer satisfaction, and it uses a powerful marketing strategy that leads to having worldwide visibility and being a mind-anchored brand with preeminence. (shrink)

What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...) performative utterance of the artist about his art takes the place of a real piece of artwork seen or perceived, or that may be seen or perceived? For Andy Warhol, «wasted space is any space that has art in it.» In the spring of 1958, in Paris, an artist already well-known among the neo-avantgardes and accredited by the international art-world, shows up empty-handed and presents himself as a painter without paintings in a empty space. In a singular never-wasted space, Yves Klein displays himself as a snob, with an extraordinary showbiz glamour and literally sine-nobilitate, without the traditional marks of artistic manual skills. Against the modernist issues, he writes: «Credit was given to me. The gesture alone was enough. The public had accepted the abstract intention.» What’s the matter with this powerful prestige and its influence on the critic and public? How to understand the public trust in the artist as a producer of an institutional “make-believe” without any objecthood, devoid of any individual artwork presented to the sight or to any other sense? For Modernism and Minimalism, the work of art seems to have an internal coherence, whether formal or expressive, and is thus autonomous from the surrounding world, existing with only the clear opposition to the living space and set as a specialized and situated objection to the enclosing field. Instead, now the object melts into the air and becomes undetectable, confused with the atmosphere of the theory of art and with the stylish and snobbish life of the artist. What type of interpretation is put on regarding this unclassifiable and ambiguous field, simultaneously an-aesthetic and existential, theoretical and sensitive, charismatic and motionless, at same time without a specialized position in the world made by the artist himself? And what kind of embodied experience is performed by the spectatorship? What type of phenomenology and pragmatics of aesthetic relationship is necessary to describe how the body of the beholder absorbs this vacated and boring space via a direct and immediate perception-assimilation? What kind of artistic rhetoric, what kind ontology of art? Until this day, after more than 50 years, Yves Klein’s The Void has not ceased asking these and other questions on aesthetics, philosophy and the history of art. (shrink)

It is fair to say that in contemporary society there is a growing demand amongst consumers for instant gratification and for products and services that can be accessed 24-hours a day. This appears to be the case across numerous sectors of society including (but not limited to) business, education, retail, tourism, health, and recreation. Some examples that come to mind are the: (i) investor looking for a quick-win return on their outlay, (ii) patient demanding a same-day diagnosis and medicine for (...) their latest ailment, (iii) fast-food restaurant goer, (iv) all-inclusive package holiday-maker that can have food, drink, and entertainment any time of day and without having to leave the confines of their hotel, (v) student or professional undertaking an accelerated program of studies or training in order to be awarded the qualification/certificate in the shortest time possible, and (vi) individual using an online dating agency in order to be instantly matched with the “perfect partner”. In addition to the sectors and examples mentioned above, this trend towards wanting immediate reward also appears to be occurring in the spirituality and religion marketplace. For example, one only has to conduct a search on the internet or look at the spiritualty section of a bookshop and it is easy to be overwhelmed by the number of individuals purporting to be spiritual teachers and promising a quick-fix for alleviating suffering. In this post, we examine the benefits and risks of the ‘I want it all, I want it now’ mentality as they relate to the spiritual (and high-street) consumer, and discuss whether it is possible to embody the essence of the Buddha’s teachings whilst living in a “fast-food” society. (shrink)