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Clone

The recent cloning developments have created a large scale debate on the morality and ethics of duplicating humans and other creatures. Enter the reactions section to learn about common cloning misconceptions, views from both sides of the cloning debate, and what the government is doing to prevent human cloning research.

Essays on the Philosophy of Technology

An excellent resource.

Martin Scorsese on MaxiVision

We have rules (frequently ignored) about how quickly any given lens can be panned, or how quickly an object can be allowed to travel from one side of the frame to the other in order to prevent these motion distortions. We are forced to "pan moving objects (which keeps them stationary in the frame) in order to prevent this strobing, or accept these distortions and hope that sound effects will carry the viewer's suspension of disbelief past these visual anomalies. Sometimes these motion distortions are desirable, as in many moments in the opening of Steven Spielberg's "Saving Private Ryan," when they were actually exaggerated for specific aesthetic reasons. But new aesthetic possibilities would emerge if we could do the reverse of that and capture near perfect, lifelike motion and more of the inner life of actor's performances. We could still introduce motion distortions anytime we thought it would add to our creative interpretation, but with MaxiVision48, we would have that choice and new, visually compelling opportunities.

Letter from Europe: Crossing many bridges...

The third time I went across the bridge was to see the Peter Greenaway exhibition, 'Flying over Water,' at MalmÃ¸ Konsthall. The exhibition questions the story of Icarus in Ovid's Metamorphoses. Icarus was the son of Daedalus who built the Labyrinth in Crete for King Minos, where they were later held prisoner. To escape from the Labyrinth, Daedalus constructed wings of feathers that he glued together with wax. In his joy, Icarus flew too close to the sun...the wax melted and he lost his wings and fell into the sea. In the exhibition, Greenaway asks questions like: What kind of birds, and how many died for Icarus' wings? How long would it have taken him to reach another shore? How did the sea receive him? Greenaway invites us to follow our own path in interpreting the myth...Did Icarus really drown or is he still flying over the water preparing for a perfect landing in the new Millennium???

An Interview With Nikolaus Harnoncourt

It was Karajan who, in 1952, picked him from 40 aspirants to play in the Vienna Symphony Orchestra. At the audition, with Alice at the piano, he played the first movement of the Dvorak concerto. "I heard later that Karajan said immediately, 'That one - I like the way he sits down. I'll take him.' " They remained on friendly terms until Karajan took command of Berlin, Salzburg and the Vienna State Opera.

nikoluas harnoncurt

"I still don't understand why our relations went bad," he says. "Perhaps it was due to his advisers. Karajan loved to perform Bach, but every time he produced a choral recording it would be compared to mine, not always favourably. I wrote to him once, and got a very nice reply, but it remained impossible for me to work in Salzburg.".

W. V. Quine, Philosopher Who Analyzed Language and Reality, Dies at 92

Roger F. Gibson Jr. wrote that if Mr. Quine's project could be summed up in a single sentence, that sentence would read, "Quine's philosophy is a systematic attempt to answer, from a uniquely empiricistic point of view, what he takes to be the central question of epistemology, namely, `How do we acquire our theory of the world?' "

Mr. Quine's answer, in a nutshell, began by rephrasing the question to read, "How do we acquire our talk about the world?" In his radically empiricist view, nothing that humans know about the world lies outside the realm of language, and so he insisted that any theory of knowledge depended on a theory of language, which he duly set about developing and which became the framework of his philosophy.

Jazz Gallery

John Coltrane tried to apply Einstein's theory of relativity to his music. Both men were searching for the same thing, what Coltrane called the "essence", the ultimate vibration. I hope you feel that energy, that vision when you gaze at my drawing of him.

Belief without belonging

Brown, who is Reader in History at the University of Strathclyde, argues that Britain's core religious culture has been destroyed. But he challenges the view that secularisation has been a long and gradual process, proposing there has been a catastrophic and abrupt cultural revolution. Personal Christian identity broke down suddenly in the "swinging Sixties" when new media, new gender roles and the moral revolution dramatically ended people's conception that they lived Christian lives. He predicts the same fate faces the whole of western Christianity.

Wilde at heart

If Wilde had been more truly radical, he might have abandoned his Christian piety entirely, for better and for worse, as Nietzsche did. At moments, especially in his essay, Wilde does seem like a dandified Nietzsche, proclaiming the relativity of all moral judgments and the total indifference of art to ethics. But Wilde was never able to move completely beyond good and evil. In De Profundis, he wrote: "I now see that sorrow, being the supreme emotion of which man is capable, is at once the type and test of all great art." He thought it was a new discovery, a rejection of his whole literary ideal. In fact, it was merely a return to the Christian insight of The Happy Prince.

Francis Poulenc (1899 -1963) A Comparative Discography

Poulenc's music has an immediate impact on the listener, but goes beyond a mere surface charm as almost all of his vocal music testifies, whether the Apollinaire or Eluard song cycles, or Aragon's "C", or the composer's only full-length opera, Dialogue des CarmÃ©lites. As Poulenc matured, he developed a religious streak that gave rise to a number of sacred choral works that are often performed, only the late Sept RÃ©ponses de TÃ©nÃ¨bre not yet in favor, perhaps because the solos devolving to a boy soprano are not nearly so juicy as those of the Stabat Mater or the Gloria. This is a work that merits more than the two recordings it has had to date.

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