In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...) there are counterexamples to the entire conditional. With regard to (ii), I will suggest that conventionality is necessary for creativity. [This was my first published paper, written as a graduate student, taken from my University of Illinois at Chicago dissertation written with Professor George Dickie on the topic of conventions, utilitizing David Lewis' definition of "convention."]. (shrink)

This article reports the findings of AI4People, an Atomium—EISMD initiative designed to lay the foundations for a “Good AI Society”. We introduce the core opportunities and risks of AI for society; present a synthesis of five ethical principles that should undergird its development and adoption; and offer 20 concrete recommendations—to assess, to develop, to incentivise, and to support good AI—which in some cases may be undertaken directly by national or supranational policy makers, while in others may be led by other (...) stakeholders. If adopted, these recommendations would serve as a firm foundation for the establishment of a Good AI Society. (shrink)

There has been an important artist in our midst. Her work is about gender, race, and the internal structures of the artworld, and it predated the current popularity of those topics in theoretical circles by three decades.... Piper's volumes serve two functions. Volume I, Selected writings in Meta-Art, 1968-1992, provides an intimate history of the development of her own creative art making, while Volume 2, Selected writings in Art Criticism, 1967-1992, chronicles her more public responses to art-critical writings. Together they (...) form an intense document of a practicing, successful artist who is exceptionally articulate and hence interesting to read. It is no coincidence that her deep commitment to making political art--in which the artist is an agent of social change--functions in tandem with her scholarly pursuits in Kantian ethics. (shrink)

The European Medical Information Framework project, funded through the IMI programme, has designed and implemented a federated platform to connect health data from a variety of sources across Europe, to facilitate large scale clinical and life sciences research. It enables approved users to analyse securely multiple, diverse, data via a single portal, thereby mediating research opportunities across a large quantity of research data. EMIF developed a code of practice to ensure the privacy protection of data subjects, protect the interests of (...) data sharing parties, comply with legislation and various organisational policies on data protection, uphold best practices in the protection of personal privacy and information governance, and eventually promote these best practices more widely. EMIF convened an Ethics Advisory Board, to provide feedback on its approach, platform, and the EcoP. The most important challenges the ECoP team faced were: how to define, control and monitor the purposes for which federated health data are used; the kinds of organisation that should be permitted to conduct permitted research; and how to monitor this. This manuscript explores those issues, offering the combined insights of the EAB and EMIF core ECoP team. For some issues, a consensus on how to approach them is proposed. For other issues, a singular approach may be premature but the challenges are summarised to help the community to debate the topic further. Arguably, the issues and their analyses have application beyond EMIF, to many research infrastructures connected to health data sources. (shrink)

It is no accident that white privilege designed to be both be invisible and weightless to white people. Alison Bailey’s “On White Privilege and Anesthesia: Why Does Peggy McIntosh’s Knapsack Feel Weightless?” extends a weighty invitation white readers to complete the unpacking task McIntosh (1988) began when she compared white privilege to an “invisible and weightless knapsack.” McIntosh focuses primarily making white privilege visible to white people. Bailey’s project continues the conversation by extending a ‘weighty invitation’ to white readers (...) to explore why the metaphorical knapsack, despite the weight of its contents, feels weightless. Here’s the short answer. The knapsack only feels weightless because white people have become anesthetized us to our own brokenness. We are more comfortable considering what white privilege does for us than what it does to us. People of color feel the weight of whiteness every day. The weighty invitation invites white readers to become sensitive to our own insensitivity. To do this Bailey (1) explores white resistance to unpacking the weight; (2) people of color’s testimonies to the daily impact of the weight on their bodies; and (3) how the anesthesia of white privilege distorts our humanity. The article concludes with a McIntosh style list of that the anesthesia of privilege distorts white people’s humanity. (shrink)