Thomas Holden
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579945
- eISBN:
- 9780191722776
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579945.001.0001
- Subject:
- Philosophy, History of Philosophy, Philosophy of Religion
This book presents an historical and critical interpretation of Hume's rejection of the existence of a deity with moral attributes. It argues that in Hume's view no first cause or designer ...
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This book presents an historical and critical interpretation of Hume's rejection of the existence of a deity with moral attributes. It argues that in Hume's view no first cause or designer responsible for the ordered universe could possibly have moral attributes; nor could the existence (or non-existence) of such a being have any real implications for human practice or conduct. Hume's case for this ‘moral atheism’ is a central plank of both his naturalistic agenda in metaphysics and his secularizing program in moral theory. It complements his wider critique of traditional theism, and threatens to rule out any religion that would make claims on moral practice. This book situates Hume's commitment to moral atheism in its historical and philosophical context, offers a systematic interpretation of his case for divine amorality, and shows how Hume can endorse moral atheism while maintaining his sceptical attitude toward traditional forms of cosmological and theological speculation.Less
This book presents an historical and critical interpretation of Hume's rejection of the existence of a deity with moral attributes. It argues that in Hume's view no first cause or designer responsible for the ordered universe could possibly have moral attributes; nor could the existence (or non-existence) of such a being have any real implications for human practice or conduct. Hume's case for this ‘moral atheism’ is a central plank of both his naturalistic agenda in metaphysics and his secularizing program in moral theory. It complements his wider critique of traditional theism, and threatens to rule out any religion that would make claims on moral practice. This book situates Hume's commitment to moral atheism in its historical and philosophical context, offers a systematic interpretation of his case for divine amorality, and shows how Hume can endorse moral atheism while maintaining his sceptical attitude toward traditional forms of cosmological and theological speculation.
Peter Fleming
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780199547159
- eISBN:
- 9780191720024
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199547159.003.0005
- Subject:
- Business and Management, Organization Studies, HRM / IR
One of the more surprising ‘extra-employment’ themes that corporations are now celebrating and utilizing is that of dissent. This chapter analyses a favourite topic in critical organization theory, ...
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One of the more surprising ‘extra-employment’ themes that corporations are now celebrating and utilizing is that of dissent. This chapter analyses a favourite topic in critical organization theory, namely worker resistance and struggle. The latest attempts to render workplaces authentic zones pre-empts serious criticism by encouraging resistance of an expressive and aesthetic kind. This designer resistance gains inspiration from the commons that is simulated and transmuted into an utilizable organization resource. The chapter explores the implications of this promoted ‘designer dissent’ and discovers the limitations around its expression. Only certain types of dissent are petitioned since more serious forms of resistance are still considered to be a serious challenge to the corporate form.Less
One of the more surprising ‘extra-employment’ themes that corporations are now celebrating and utilizing is that of dissent. This chapter analyses a favourite topic in critical organization theory, namely worker resistance and struggle. The latest attempts to render workplaces authentic zones pre-empts serious criticism by encouraging resistance of an expressive and aesthetic kind. This designer resistance gains inspiration from the commons that is simulated and transmuted into an utilizable organization resource. The chapter explores the implications of this promoted ‘designer dissent’ and discovers the limitations around its expression. Only certain types of dissent are petitioned since more serious forms of resistance are still considered to be a serious challenge to the corporate form.
Beth L. Glixon and Jonathan E. Glixon
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195154160
- eISBN:
- 9780199868483
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195154160.003.0010
- Subject:
- Music, History, Western
This chapter looks at costumes and their importance in mid-17h-century opera. Rather than reuse old stock, costumes were redesigned and remanufactured each year, especially those for the main ...
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This chapter looks at costumes and their importance in mid-17h-century opera. Rather than reuse old stock, costumes were redesigned and remanufactured each year, especially those for the main characters. The practice in Venice was for a separate artisan to take charge of costume design and manufacture. Venice was famous for the manufacturing and sale of cloth, and costumes could be made of a variety of silks and other fabrics; embellishments included embroidery and lace were added. The costumes for the minor characters and extras, however, could be rented from an agent or jobber. Some costumes for the prima donnas were especially extravagant, often costing more than many singers would earn in an entire year. On occasion these would be offered as an enticement to hire a prominent singer, who would then get to keep the dress after the opera had concluded. After the opera season, the costumes could be returned as the property of the designer/tailor, or could be distributed among the investors of the company for their own use or as capital.Less
This chapter looks at costumes and their importance in mid-17h-century opera. Rather than reuse old stock, costumes were redesigned and remanufactured each year, especially those for the main characters. The practice in Venice was for a separate artisan to take charge of costume design and manufacture. Venice was famous for the manufacturing and sale of cloth, and costumes could be made of a variety of silks and other fabrics; embellishments included embroidery and lace were added. The costumes for the minor characters and extras, however, could be rented from an agent or jobber. Some costumes for the prima donnas were especially extravagant, often costing more than many singers would earn in an entire year. On occasion these would be offered as an enticement to hire a prominent singer, who would then get to keep the dress after the opera had concluded. After the opera season, the costumes could be returned as the property of the designer/tailor, or could be distributed among the investors of the company for their own use or as capital.
Lynn S. Neal
- Published in print:
- 2019
- Published Online:
- September 2020
- ISBN:
- 9781479892709
- eISBN:
- 9781479810918
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479892709.001.0001
- Subject:
- Religion, Church History
Religion in Vogue provides readers with a unique approach to the study of popular culture and American religion. Through its analysis of numerous primary sources ranging from fashion magazines to ...
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Religion in Vogue provides readers with a unique approach to the study of popular culture and American religion. Through its analysis of numerous primary sources ranging from fashion magazines to runway shows, the book traces how Christian symbols and imagery became an increasingly prominent part of the fashion industry and designer apparel. Examining this trajectory illuminates the longstanding and evolving relationship between Christianity and fashion. To capture this complexity, each chapter focuses on a specific element of fashion that mediates Christian ideas and images, including print articles, advertisements, jewelry, and fashion designs. Religion in Vogue examines in-depth religious elements in fashion advertisements, the popularity of cross jewelry, Catholic inspirations in designer collections, and, of course, the appearance of the divine on designer garments. Chronicling this trajectory highlights how the fashion industry constructs a vibrant textual, visual, and material discourse on Christianity that exists alongside and intersects with more dominant and familiar religious narratives. This fashionable religion, an aestheticized Christianity, offers spiritual seekers a way to be simultaneously stylish and religious. In doing so, the world of fashion both shapes and reflects trends toward religious individualism and religious eclecticism that have dominated the religious landscape of the United States in the latter half of the twentieth century and the first quarter of the twenty-first. Religion in Vogue helps us better understand the changing American religious landscape in a novel and fascinating way.Less
Religion in Vogue provides readers with a unique approach to the study of popular culture and American religion. Through its analysis of numerous primary sources ranging from fashion magazines to runway shows, the book traces how Christian symbols and imagery became an increasingly prominent part of the fashion industry and designer apparel. Examining this trajectory illuminates the longstanding and evolving relationship between Christianity and fashion. To capture this complexity, each chapter focuses on a specific element of fashion that mediates Christian ideas and images, including print articles, advertisements, jewelry, and fashion designs. Religion in Vogue examines in-depth religious elements in fashion advertisements, the popularity of cross jewelry, Catholic inspirations in designer collections, and, of course, the appearance of the divine on designer garments. Chronicling this trajectory highlights how the fashion industry constructs a vibrant textual, visual, and material discourse on Christianity that exists alongside and intersects with more dominant and familiar religious narratives. This fashionable religion, an aestheticized Christianity, offers spiritual seekers a way to be simultaneously stylish and religious. In doing so, the world of fashion both shapes and reflects trends toward religious individualism and religious eclecticism that have dominated the religious landscape of the United States in the latter half of the twentieth century and the first quarter of the twenty-first. Religion in Vogue helps us better understand the changing American religious landscape in a novel and fascinating way.
Kristine Jørgensen
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780262026864
- eISBN:
- 9780262319065
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262026864.001.0001
- Subject:
- Computer Science, Game Studies
Digital games tend to follow one of two trends when presenting game information to the player. The game may present game information in a naturalistic way as part of the imaginary universe presented ...
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Digital games tend to follow one of two trends when presenting game information to the player. The game may present game information in a naturalistic way as part of the imaginary universe presented by the game, avoiding symbolic or abstract representations that seem alien to the fictional world. Alternatively, the game may use graphical augmentations such as superimposed information, menus, and icons that points directly to important information. In Gameworld Interfaces, Kristine Jørgensen investigates different approaches to designing the game interface. She argues that gameworlds are not governed by the pursuit of fictional coherence but by the logics of game mechanics, and that this is a characteristic that distinguishes gameworlds from traditional fictional worlds. For this reason, one approach to interface design is not superior to the other as long as relevant game information is effectively communicated in a way that makes sense to the particular game situation. Gameworld Interfaces is a study of audiovisual computer game interfaces and how they interact with the gameworld. The book presents a theory of game user interfaces and considers the implications of this theory for game design based on interviews with game interface design teams, extensive interviews and observations of players, and many hours of gameplay.Less
Digital games tend to follow one of two trends when presenting game information to the player. The game may present game information in a naturalistic way as part of the imaginary universe presented by the game, avoiding symbolic or abstract representations that seem alien to the fictional world. Alternatively, the game may use graphical augmentations such as superimposed information, menus, and icons that points directly to important information. In Gameworld Interfaces, Kristine Jørgensen investigates different approaches to designing the game interface. She argues that gameworlds are not governed by the pursuit of fictional coherence but by the logics of game mechanics, and that this is a characteristic that distinguishes gameworlds from traditional fictional worlds. For this reason, one approach to interface design is not superior to the other as long as relevant game information is effectively communicated in a way that makes sense to the particular game situation. Gameworld Interfaces is a study of audiovisual computer game interfaces and how they interact with the gameworld. The book presents a theory of game user interfaces and considers the implications of this theory for game design based on interviews with game interface design teams, extensive interviews and observations of players, and many hours of gameplay.
Eric von Hippel
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780262035217
- eISBN:
- 9780262335461
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035217.001.0001
- Subject:
- Business and Management, Innovation
This book integrates new theory and research findings into the framework of a “free innovation paradigm.” Free innovation, as the book defines it, involves innovations developed by consumers who are ...
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This book integrates new theory and research findings into the framework of a “free innovation paradigm.” Free innovation, as the book defines it, involves innovations developed by consumers who are self-rewarded for their efforts, and who give their designs away “for free.” It is an inherently simple grassroots innovation process, unencumbered by compensated transactions and intellectual property rights. Free innovation is already widespread in national economies and is steadily increasing in both scale and scope. Today, tens of millions of consumers are collectively spending tens of billions of dollars annually on innovation development. However, because free innovations are developed during consumers' unpaid, discretionary time and are given away rather than sold, their collective impact and value have until very recently been hidden from view. This has caused researchers, governments, and firms to focus too much on the Schumpeterian idea of innovation as a producer-dominated activity. Free innovation has both advantages and drawbacks. Because free innovators are self-rewarded by such factors as personal utility, learning, and fun, they often pioneer new areas before producers see commercial potential. At the same time, because they give away their innovations, free innovators generally have very little incentive to invest in diffusing what they create, which reduces the social value of their efforts. The best solution, this book argues, is a division of labor between free innovators and producers, enabling each to do what they do best. The result will be both increased producer profits and increased social welfare—a gain for all.Less
This book integrates new theory and research findings into the framework of a “free innovation paradigm.” Free innovation, as the book defines it, involves innovations developed by consumers who are self-rewarded for their efforts, and who give their designs away “for free.” It is an inherently simple grassroots innovation process, unencumbered by compensated transactions and intellectual property rights. Free innovation is already widespread in national economies and is steadily increasing in both scale and scope. Today, tens of millions of consumers are collectively spending tens of billions of dollars annually on innovation development. However, because free innovations are developed during consumers' unpaid, discretionary time and are given away rather than sold, their collective impact and value have until very recently been hidden from view. This has caused researchers, governments, and firms to focus too much on the Schumpeterian idea of innovation as a producer-dominated activity. Free innovation has both advantages and drawbacks. Because free innovators are self-rewarded by such factors as personal utility, learning, and fun, they often pioneer new areas before producers see commercial potential. At the same time, because they give away their innovations, free innovators generally have very little incentive to invest in diffusing what they create, which reduces the social value of their efforts. The best solution, this book argues, is a division of labor between free innovators and producers, enabling each to do what they do best. The result will be both increased producer profits and increased social welfare—a gain for all.
Brooke Erin Duffy
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780300218176
- eISBN:
- 9780300227666
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300218176.001.0001
- Subject:
- Society and Culture, Media Studies
Profound transformations in our digital society have brought many enterprising women to social media platforms—from blogs to YouTube to Instagram—in hopes of channeling their talents into fulfilling ...
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Profound transformations in our digital society have brought many enterprising women to social media platforms—from blogs to YouTube to Instagram—in hopes of channeling their talents into fulfilling careers. This book draws much-needed attention to the gap between the handful who find lucrative careers and the rest, whose “passion projects” amount to free work for corporate brands. The book offers fascinating insights into the work and lives of fashion bloggers, beauty vloggers, and designers. It connects the activities of these women to larger shifts in unpaid and gendered labor, offering a lens through which to understand, anticipate, and critique broader transformations in the creative economy. At a time when social media offers the rousing assurance that anyone can “make it”—and stand out among freelancers, temps, and gig workers—the book asks us all to consider the stakes of not getting paid to do what you love.Less
Profound transformations in our digital society have brought many enterprising women to social media platforms—from blogs to YouTube to Instagram—in hopes of channeling their talents into fulfilling careers. This book draws much-needed attention to the gap between the handful who find lucrative careers and the rest, whose “passion projects” amount to free work for corporate brands. The book offers fascinating insights into the work and lives of fashion bloggers, beauty vloggers, and designers. It connects the activities of these women to larger shifts in unpaid and gendered labor, offering a lens through which to understand, anticipate, and critique broader transformations in the creative economy. At a time when social media offers the rousing assurance that anyone can “make it”—and stand out among freelancers, temps, and gig workers—the book asks us all to consider the stakes of not getting paid to do what you love.
Anca I. Lasc
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526113382
- eISBN:
- 9781526138781
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526113382.001.0001
- Subject:
- Art, Art History
This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. ...
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This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. It argues that the increased presence of the modern, domestic interior in the visual culture of the nineteenth century enabled the profession to take shape. Upholsterers, cabinet-makers, architects, stage designers, department stores, taste advisors, collectors, and illustrators, came together to “sell” the idea of the unified interior as an image and a total work of art. The ideal domestic interior took several media as its outlet, including taste manuals, pattern books, illustrated magazines, art and architectural exhibitions, and department store catalogs. The chapters outline the terms of reception within which the work of each professional group involved in the appearance and design of the nineteenth-century French domestic interior emerged and focus on specific works by members of each group. If Chapter 1 concentrates on collectors and taste advisors, outlining the new definitions of the modern interior they developed, Chapter 2 focuses on the response of upholsterers, architects, and cabinet-makers to the same new conceptions of the ideal private interior. Chapter 3 considers the contribution of the world of entertainment to the field of interior design while Chapter 4 moves into the world of commerce to study how department stores popularized the modern interior with the middle classes. Chapter 5 returns to architects to understand how their engagement with popular journals shaped new interior decorating styles.Less
This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. It argues that the increased presence of the modern, domestic interior in the visual culture of the nineteenth century enabled the profession to take shape. Upholsterers, cabinet-makers, architects, stage designers, department stores, taste advisors, collectors, and illustrators, came together to “sell” the idea of the unified interior as an image and a total work of art. The ideal domestic interior took several media as its outlet, including taste manuals, pattern books, illustrated magazines, art and architectural exhibitions, and department store catalogs. The chapters outline the terms of reception within which the work of each professional group involved in the appearance and design of the nineteenth-century French domestic interior emerged and focus on specific works by members of each group. If Chapter 1 concentrates on collectors and taste advisors, outlining the new definitions of the modern interior they developed, Chapter 2 focuses on the response of upholsterers, architects, and cabinet-makers to the same new conceptions of the ideal private interior. Chapter 3 considers the contribution of the world of entertainment to the field of interior design while Chapter 4 moves into the world of commerce to study how department stores popularized the modern interior with the middle classes. Chapter 5 returns to architects to understand how their engagement with popular journals shaped new interior decorating styles.
Miguel Sicart
- Published in print:
- 2009
- Published Online:
- August 2013
- ISBN:
- 9780262012652
- eISBN:
- 9780262255134
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262012652.001.0001
- Subject:
- Computer Science, Game Studies
Despite the emergence of computer games as a dominant cultural industry (and the accompanying emergence of computer games as the subject of scholarly research), we know little or nothing about the ...
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Despite the emergence of computer games as a dominant cultural industry (and the accompanying emergence of computer games as the subject of scholarly research), we know little or nothing about the ethics of computer games. Considerations of the morality of computer games seldom go beyond intermittent portrayals of them in the mass media as training devices for teenage serial killers. This exploration of the subject addresses broader issues about the ethics of games, the ethics of playing the games, and the ethical responsibilities of game designers. It argues that computer games are ethical objects, that computer game players are ethical agents, and that the ethics of computer games should be seen as a complex network of responsibilities and moral duties. Players should not be considered passive amoral creatures; they reflect, relate, and create with ethical minds. The games they play are ethical systems, with rules that create gameworlds with values at play. Drawing on concepts from philosophy and game studies, the book proposes a framework for analyzing the ethics of computer games as both designed objects and player experiences. After presentin core theoretical arguments and offering a general theory for understanding computer game ethics, the book offers case studies examining single-player games (using Bioshock as an example), multiplayer games (illustrated by Defcon), and online gameworlds (illustrated by World of Warcraft) from an ethical perspective. It explores issues raised by unethical content in computer games and its possible effect on players.Less
Despite the emergence of computer games as a dominant cultural industry (and the accompanying emergence of computer games as the subject of scholarly research), we know little or nothing about the ethics of computer games. Considerations of the morality of computer games seldom go beyond intermittent portrayals of them in the mass media as training devices for teenage serial killers. This exploration of the subject addresses broader issues about the ethics of games, the ethics of playing the games, and the ethical responsibilities of game designers. It argues that computer games are ethical objects, that computer game players are ethical agents, and that the ethics of computer games should be seen as a complex network of responsibilities and moral duties. Players should not be considered passive amoral creatures; they reflect, relate, and create with ethical minds. The games they play are ethical systems, with rules that create gameworlds with values at play. Drawing on concepts from philosophy and game studies, the book proposes a framework for analyzing the ethics of computer games as both designed objects and player experiences. After presentin core theoretical arguments and offering a general theory for understanding computer game ethics, the book offers case studies examining single-player games (using Bioshock as an example), multiplayer games (illustrated by Defcon), and online gameworlds (illustrated by World of Warcraft) from an ethical perspective. It explores issues raised by unethical content in computer games and its possible effect on players.
Timothy R. Whisler
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198290742
- eISBN:
- 9780191684838
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198290742.003.0006
- Subject:
- Business and Management, Business History
This chapter believes that engineering was the Achilles' heel of the British-owned motor sector. Provided with generous development budgets throughout the post-war era, the engineers occasionally ...
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This chapter believes that engineering was the Achilles' heel of the British-owned motor sector. Provided with generous development budgets throughout the post-war era, the engineers occasionally released pioneering products and process designs. However, they consistently failed to perform the mundane, yet essential functions of designing products, components, and processes precisely and accurately within designated development periods and budgets. The ‘practical designer’ was born with the sector and persisted into the 1980s. The institution of car manufacturing was burdened with an absolute shortage of design personnel following the war and the relatively simple automotive technological requirements. This continued until the mid-1960s. As a result, mechanical aptitude was prized over theoretical knowledge.Less
This chapter believes that engineering was the Achilles' heel of the British-owned motor sector. Provided with generous development budgets throughout the post-war era, the engineers occasionally released pioneering products and process designs. However, they consistently failed to perform the mundane, yet essential functions of designing products, components, and processes precisely and accurately within designated development periods and budgets. The ‘practical designer’ was born with the sector and persisted into the 1980s. The institution of car manufacturing was burdened with an absolute shortage of design personnel following the war and the relatively simple automotive technological requirements. This continued until the mid-1960s. As a result, mechanical aptitude was prized over theoretical knowledge.
Pamela Burnard
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199583942
- eISBN:
- 9780191740671
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199583942.003.0009
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter investigates an understanding of user-generated and collective creativities, which are related to how audio designers work with musicians. It presents accounts of two audio designers who ...
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This chapter investigates an understanding of user-generated and collective creativities, which are related to how audio designers work with musicians. It presents accounts of two audio designers who create video game soundtracks and music scores for well-known computer games. This helps show how the many forms of creativity co-exist in their work, as well as its interplay between individual and social creativities.Less
This chapter investigates an understanding of user-generated and collective creativities, which are related to how audio designers work with musicians. It presents accounts of two audio designers who create video game soundtracks and music scores for well-known computer games. This helps show how the many forms of creativity co-exist in their work, as well as its interplay between individual and social creativities.
Ruth Deech and Anna Smajdor
- Published in print:
- 2007
- Published Online:
- January 2009
- ISBN:
- 9780199219780
- eISBN:
- 9780191713002
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199219780.003.0004
- Subject:
- Law, Medical Law
The development of IVF has enabled clinicians to gather facts about an embryo's genetic make-up before it is implanted in the uterus. This in turn enables parents and clinicians to make choices about ...
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The development of IVF has enabled clinicians to gather facts about an embryo's genetic make-up before it is implanted in the uterus. This in turn enables parents and clinicians to make choices about the characteristics they want to select. This chapter discusses the use of pre-implantation genetic diagnosis to identify embryos that will suffer from disease. A case of parents seeking to choose deaf embryos is explored, and the difficulties of establishing reasonable parameters are highlighted. The possibility of choosing trivial characteristics such as hair or eye colour is considered, and the dangers of eugenics are discussed. Case studies involving sex selection, and the selection of an embryo as a tissue match for an existing child are also analysed.Less
The development of IVF has enabled clinicians to gather facts about an embryo's genetic make-up before it is implanted in the uterus. This in turn enables parents and clinicians to make choices about the characteristics they want to select. This chapter discusses the use of pre-implantation genetic diagnosis to identify embryos that will suffer from disease. A case of parents seeking to choose deaf embryos is explored, and the difficulties of establishing reasonable parameters are highlighted. The possibility of choosing trivial characteristics such as hair or eye colour is considered, and the dangers of eugenics are discussed. Case studies involving sex selection, and the selection of an embryo as a tissue match for an existing child are also analysed.
Paul Bloom
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780199557028
- eISBN:
- 9780191701719
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199557028.003.0006
- Subject:
- Religion, Religious Studies, Philosophy of Religion
This chapter discusses how religious belief emerges as a by-product of ‘highly structured’ systems, or pre-existing adaptations in the social world. It starts by presenting evidence that argues that ...
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This chapter discusses how religious belief emerges as a by-product of ‘highly structured’ systems, or pre-existing adaptations in the social world. It starts by presenting evidence that argues that the universals of religion exist because of the general habits of the human mind: the thought of having ‘agents and designers’ of everything, and having a common-sense dualism (bodies and souls are distinct). It further explains the implications of these habits of thinking.Less
This chapter discusses how religious belief emerges as a by-product of ‘highly structured’ systems, or pre-existing adaptations in the social world. It starts by presenting evidence that argues that the universals of religion exist because of the general habits of the human mind: the thought of having ‘agents and designers’ of everything, and having a common-sense dualism (bodies and souls are distinct). It further explains the implications of these habits of thinking.
Michael R. Graham, Julien S. Baker, Peter Evans, and Bruce Davies
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195326697
- eISBN:
- 9780199864874
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195326697.003.0007
- Subject:
- Neuroscience, Molecular and Cellular Systems
Anabolic-androgenic steroids (AASs) can be used to increase muscle mass and strength in adult males. Despite successful detection and convictions by sporting anti-doping agencies, they are still ...
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Anabolic-androgenic steroids (AASs) can be used to increase muscle mass and strength in adult males. Despite successful detection and convictions by sporting anti-doping agencies, they are still being used to increase physical performance and improve appearance. The adverse side effects and potential dangers of AAS use are well documented. Recent epidemiological research has identified that the designer drugs growth hormone (GH) and insulin are also being used because of the belief that they improve sporting performance. This chapter summarizes the classification of AASs, GH, and insulin as well as their prevalence and patterns of use. The physiology of GH and its pathophysiology in the disease states of deficiency and excess and in catabolic states are discussed and a distinction is made on the different effects between therapeutic use in replacement and abuse in a sporting context. The history, physiology, and pathophysiology of insulin in therapeutic replacement and its abuse in a sporting context are also described. A suggestion is made on potential mechanisms of the effects of GH and insulin.Less
Anabolic-androgenic steroids (AASs) can be used to increase muscle mass and strength in adult males. Despite successful detection and convictions by sporting anti-doping agencies, they are still being used to increase physical performance and improve appearance. The adverse side effects and potential dangers of AAS use are well documented. Recent epidemiological research has identified that the designer drugs growth hormone (GH) and insulin are also being used because of the belief that they improve sporting performance. This chapter summarizes the classification of AASs, GH, and insulin as well as their prevalence and patterns of use. The physiology of GH and its pathophysiology in the disease states of deficiency and excess and in catabolic states are discussed and a distinction is made on the different effects between therapeutic use in replacement and abuse in a sporting context. The history, physiology, and pathophysiology of insulin in therapeutic replacement and its abuse in a sporting context are also described. A suggestion is made on potential mechanisms of the effects of GH and insulin.
Fred Dallmayr
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813125718
- eISBN:
- 9780813135397
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813125718.003.0004
- Subject:
- Political Science, International Relations and Politics
William James presented his Gifford Lectures on The Varieties of Religious Experience in Edinburgh in 1901–1902. As concrete states of mind, made up of a feeling plus a specific sort of object, ...
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William James presented his Gifford Lectures on The Varieties of Religious Experience in Edinburgh in 1901–1902. As concrete states of mind, made up of a feeling plus a specific sort of object, religious emotions are psychic entities distinguishable from other concrete emotions—although there is no ground to assume a uniform sense of religious emotion. To the extent it persisted, religious belief—rather than finding the sacred in the world—now construed it as a transcendent principle, relegating God to the role of a distant “designer” or architect of the world.Less
William James presented his Gifford Lectures on The Varieties of Religious Experience in Edinburgh in 1901–1902. As concrete states of mind, made up of a feeling plus a specific sort of object, religious emotions are psychic entities distinguishable from other concrete emotions—although there is no ground to assume a uniform sense of religious emotion. To the extent it persisted, religious belief—rather than finding the sacred in the world—now construed it as a transcendent principle, relegating God to the role of a distant “designer” or architect of the world.
Jonathan Glover
- Published in print:
- 2006
- Published Online:
- September 2010
- ISBN:
- 9780199290925
- eISBN:
- 9780191710452
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199290925.003.0004
- Subject:
- Philosophy, Moral Philosophy
This chapter focuses on genetic enhancement, or ‘designer babies’, where genes are chosen not on medical grounds but with the aim of giving other kinds of benefit. It argues that crossing the ...
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This chapter focuses on genetic enhancement, or ‘designer babies’, where genes are chosen not on medical grounds but with the aim of giving other kinds of benefit. It argues that crossing the boundary between medical intervention and enhancement is hard to rule out in principle. But genetic enhancement raises huge problems about its impact on society. There are problems about justice and about genetic competitiveness. Perhaps the deepest issue is whether there are parts of human nature that should be protected from the consequences of genetic choices. This is linked to the ancient philosophical question of what a good human life is.Less
This chapter focuses on genetic enhancement, or ‘designer babies’, where genes are chosen not on medical grounds but with the aim of giving other kinds of benefit. It argues that crossing the boundary between medical intervention and enhancement is hard to rule out in principle. But genetic enhancement raises huge problems about its impact on society. There are problems about justice and about genetic competitiveness. Perhaps the deepest issue is whether there are parts of human nature that should be protected from the consequences of genetic choices. This is linked to the ancient philosophical question of what a good human life is.
Michael Nitsche
- Published in print:
- 2008
- Published Online:
- August 2013
- ISBN:
- 9780262141017
- eISBN:
- 9780262255110
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262141017.003.0018
- Subject:
- Computer Science, Game Studies
This chapter discusses the concept of rules in video game spaces. It considers instances when players make or exploit the rules of a game. It also discusses how some game designers have embraced rule ...
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This chapter discusses the concept of rules in video game spaces. It considers instances when players make or exploit the rules of a game. It also discusses how some game designers have embraced rule bending and offer what might appear to be a bug as a conscious playable feature of the game space. In massively multiplayer online titles, the clearly marked boundaries become negotiable within the game design. The surprises are still implemented via a rule system, but one that seems to have multiple layers at odds with each other.Less
This chapter discusses the concept of rules in video game spaces. It considers instances when players make or exploit the rules of a game. It also discusses how some game designers have embraced rule bending and offer what might appear to be a bug as a conscious playable feature of the game space. In massively multiplayer online titles, the clearly marked boundaries become negotiable within the game design. The surprises are still implemented via a rule system, but one that seems to have multiple layers at odds with each other.
Zara Anishanslin
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780300197051
- eISBN:
- 9780300220551
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300197051.001.0001
- Subject:
- History, Cultural History
Through the story of a portrait of a woman in a silk dress, this book embarks on a fascinating journey, exploring and refining debates about the cultural history of the eighteenth-century British ...
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Through the story of a portrait of a woman in a silk dress, this book embarks on a fascinating journey, exploring and refining debates about the cultural history of the eighteenth-century British Atlantic world. While most scholarship on commodities focuses either on labor and production or on consumption and use, this book unifies both, examining the worlds of four identifiable people who produced, wore, and represented this object: a London weaver, one of early modern Britain's few women silk designers, a Philadelphia merchant's wife, and a New England painter. Blending macro and micro history with nuanced gender analysis, the book shows how making, buying, and using goods in the British Atlantic created an object-based community that tied its inhabitants together, while also allowing for different views of the Empire. Investigating a range of subjects including self-fashioning, identity, natural history, politics, and trade, the book makes major contributions both to the study of material culture and to our ongoing conversation about how to write history.Less
Through the story of a portrait of a woman in a silk dress, this book embarks on a fascinating journey, exploring and refining debates about the cultural history of the eighteenth-century British Atlantic world. While most scholarship on commodities focuses either on labor and production or on consumption and use, this book unifies both, examining the worlds of four identifiable people who produced, wore, and represented this object: a London weaver, one of early modern Britain's few women silk designers, a Philadelphia merchant's wife, and a New England painter. Blending macro and micro history with nuanced gender analysis, the book shows how making, buying, and using goods in the British Atlantic created an object-based community that tied its inhabitants together, while also allowing for different views of the Empire. Investigating a range of subjects including self-fashioning, identity, natural history, politics, and trade, the book makes major contributions both to the study of material culture and to our ongoing conversation about how to write history.
Paul S. Goodman
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199738656
- eISBN:
- 9780199895069
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199738656.003.0009
- Subject:
- Business and Management, Organization Studies
The purpose of this chapter is to identify critical design issues that are likely to arise during the establishment of new colleges and universities. Design represents the process of planning and ...
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The purpose of this chapter is to identify critical design issues that are likely to arise during the establishment of new colleges and universities. Design represents the process of planning and discovery, which leads to the development of a product or system. In this case, the end product is an innovative educational system. There are a set of critical questions that organize this chapter. They include: What are the conditions that indicate whether a designer should or should not engage in the development of a new educational project, what are the relevant decision criteria necessary to build a successful design team, and what are some approaches for designing an OLC, curriculum courses, and non-course learning activities? This chapter is written for designers who are to be the owners of a new institution and designers who are assisting in the process but not owners.Less
The purpose of this chapter is to identify critical design issues that are likely to arise during the establishment of new colleges and universities. Design represents the process of planning and discovery, which leads to the development of a product or system. In this case, the end product is an innovative educational system. There are a set of critical questions that organize this chapter. They include: What are the conditions that indicate whether a designer should or should not engage in the development of a new educational project, what are the relevant decision criteria necessary to build a successful design team, and what are some approaches for designing an OLC, curriculum courses, and non-course learning activities? This chapter is written for designers who are to be the owners of a new institution and designers who are assisting in the process but not owners.
Bruce Haynes
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780195189872
- eISBN:
- 9780199864218
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195189872.003.12
- Subject:
- Music, History, Western
If music is to remain a living art, the concept of performer as arranger/co-composer must be revived. We should share the sense of freedom that musicians felt at the time, not just in arranging their ...
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If music is to remain a living art, the concept of performer as arranger/co-composer must be revived. We should share the sense of freedom that musicians felt at the time, not just in arranging their own and other people's compositions, but in writing new ones. However, it will be something of a miracle to overcome our habitual canonic thinking, which constrains us to play the same pieces over and over again, like cover bands. The modern cover band typically imitates one of the famous rock groups of the late 1960s, like the Beatles or Led Zeppelin. Cover bands may wear the same clothes and hairdos, or act the same way as their models. The basic attribute of cover bands, however, is that they play someone else's music. This chapter discusses the cover band mentality, the border between composing and performing, improvisation by the performer, style-copying in composing, Period composition, the genius barrier, and designer labels.Less
If music is to remain a living art, the concept of performer as arranger/co-composer must be revived. We should share the sense of freedom that musicians felt at the time, not just in arranging their own and other people's compositions, but in writing new ones. However, it will be something of a miracle to overcome our habitual canonic thinking, which constrains us to play the same pieces over and over again, like cover bands. The modern cover band typically imitates one of the famous rock groups of the late 1960s, like the Beatles or Led Zeppelin. Cover bands may wear the same clothes and hairdos, or act the same way as their models. The basic attribute of cover bands, however, is that they play someone else's music. This chapter discusses the cover band mentality, the border between composing and performing, improvisation by the performer, style-copying in composing, Period composition, the genius barrier, and designer labels.
