This thesis looks at fundamental disagreements about the role of society in the delivery of health care services. In particular, it develops an argument for viewing health care as a human right, and in doing so, argues that society is at least partially responsible for the health of its members. In the first section of the thesis, I argue that health is a human need, and that the institutional goal of health care is to restore to an individual their health. As an institution, health care is a primary social good and, as such, it ought to be afforded the same institutional protections as other primary social goods, and encoded as a “human right.” In the second section, I tackle the “Difficult Costs” objection, noting that while there is high financial cost associated with the provision of health care services, the moral and social cost of not providing health care and viewing it as a human right far outweighs the financial costs. With another appeal to Rawlsian principles, by way of reflective equilibrium, I argue that the design of an institution is paramount to the cost-effective distribution of health care resources in accordance with the view that health care is a human right. In the final section, I acknowledge that the objections to health care as a human right should be taken seriously, and that they form the basis of the limits to this right. I argue that any right to health care cannot be extended beyond the restoration of basic, species-typical normal human function. I acknowledge that the Rawlsian ideal has difficulty rendering decisions where priority is a central concern. Finally, I suggest that these limitations can be overcome when the right to health care is viewed as progressively realizable, in conjunction with other basic human rights.

May the state, from a liberal point of view, operate laws and institutions that impede the mobile lifestyle of nomadic Roma and Travellers, or should the state take steps to accommodate their nomadic way of life? This is the essence of the problem of Roma and Traveller itinerancy and the question that is at the heart of this three-partite dissertation. The first part of the dissertation looks at public policy in France and the United Kingdom and describes the six public policy problems that constitute the problem of Roma and Traveller itinerancy. These problems concern the education of children, the French travel permits system, the legal conditions for voter registration and for GP registration, the housing benefits system, and the public provision of halting sites. The second part looks at liberal political theory. It suggests that contemporary liberalism divides into two strands that take different views on the entitlements of cultural and religious minorities, and it provides a detailed outline of the prime articulations of each approach, namely the multiculturalist liberalism of Kymlicka and the classic neutrality liberalism of Barry. The third part investigates what the two said liberalisms imply for the six policy problems from part 1. These analyses suggest that the two liberalisms have slightly diverging implications for the halting sites problem, the housing benefits problem and the problem of GP registration. They suggest furthermore that the two accounts converge on the question of voter registration and agree that the voter registration system must accommodate nomads, and may not make the possession of a fixed residence an absolute condition for voter registration. And the analyses suggest finally that the two liberalisms also converge over the education question and the travel permits question, but here support polices that are potentially inimical to Roma and Traveller itinerancy. The broader implications of these findings are that liberalism is potentially, but not necessarily and not intrinsically, inimical to Roma and Traveller nomadism, and that the disagreement between classic neutrality liberalism and multiculturalist liberalism is weak insofar as public policy is concerned.

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T13:00:28Z (GMT). No. of bitstreams: 1 Castellani_FelipeMerker_M.pdf: 34231257 bytes, checksum: bc31cb58b5109989106920c3c78537a4 (MD5) Previous issue date: 2010 / Resumo: Abordamos no presente trabalho a noção de gesto musical circunscrita às poéticas dos compositores Luciano Berio e Brian Ferneyhough. O que as liga é a tomada de consciência de que os gestos musicais não devem ser entendidos como unidades fechadas e prontas para serem utilizadas, não importando o contexto em que serão inseridas. Seja por sua utilização como parte de um processo de significação musical, ou como parte de uma atitude composicional, o mais importante é sua possibilidade de desconstrução e reconstrução. Portanto, este é o principal foco deste trabalho.Nos escritos de Luciano Berio, a noção de gesto musical está interligada a outros aspectos como o virtuosismo, presente na prática instrumental e a teatralidade, produzida por uma relação entre corpo físico do instrumentista e o corpo sonoro gerado pelas ações do mesmo. Para ele os gestos são jogos de representação e significação, que ocorrem em função das convenções históricas e culturais. Por outro lado, para Ferneyhough, o gesto é o resultado de um trabalho paramétrico, que atua tanto com um enfoque tradicional, nas operações que manipulam as alturas e os ritmos, como em formas mais diferenciadas, nos modos de articulação e dedilhados instrumentais. O que o define não é um trabalho isolado, mas a interação entre os diversos procedimentos presentes em um contexto composicional que convergem em direção a um efeito global.Contextualizamos e integramos as questões teóricas através das análises das seguintes obras: as Sequenze de Luciano Berio e Second String Quartet, Time and Motion Study I, Time and Motion Study II e o quinto movimento de Kurze Schatten II, todas de autoria de Brian Ferneyhough.Além das investigações teórica e analítica, também propomos uma experiência prática composicional, que permite a ampliação e complementação de nosso campo problemático. Desta forma, apresentamos um relato de procedimentos composicionais trabalhado simultaneamente com o estudo da poética de Luciano Berio e Brian Ferneyhough / Abstract: In this work we approach the notion of musical gesture circumscribed to the poetic of the composers Luciano Berio and Brian Ferneyhough. What connects them is the awareness of the musical gestures that should not be regarded as closed units and ready for use, no matter the context in which they are inserted. Whether for its use as part of a process of musical signification, or as part of a compositional approach, the most important is its potential to deconstruction and reconstruction, so this is the main focus of this work. In the writings of Luciano Berio, the notion of musical gesture is interconnected to other aspects such as the virtuosity, present in the instrumental practice and the theatricality, produced by a relationship between the physical body and the sonorous body generated his the actions. For the composer the gestures are games of representation and meaning, which occur due to the historical and cultural conventions. On the other hand, for Ferneyhough, the gesture is the result of a parametric work, which operates both with a traditional approach, in the operations that manipulate pitches and rhythms, as in a more differentiated ways, in the modes of articulation and instrumental fingerings. What defines this gesture, it's not an isolated work, but the interaction between the various procedures found in a compositional context that converges toward a global effect. We contextualize and integrate the theoretical issues through the analysis of the following works: the Luciano Berio's Sequenze and Brian Ferneyhough's Second String Quartet, Time and Motion Study I, Time and Motion Study II and the fifth movement of Kurze Schatten II. In addition to the analysis, we also propose a practical compositional experience, which allows the expansion and complementation of our problematic field. Thus, we present a description of the compositional procedures worked simultaneously with the study of the poetics of Luciano Berio and Brian Ferneyhough / Mestrado / Processos Criativos / Mestre em Música

This work describes the utilisation of the tape recorder as an instrument, the methods derived by musique concrète and the evolution of these practices. This leads on to its application that opened different creativity streams to many genres of music that we listen to today. This dissertation dives in the further to talk about to the album ‘My Life in the Bush of Ghosts’ by Brian Eno and David Byrne its cult status, revolutionary production and opens doors to discussing cultural appropriation and copyright infringement.

This study sought to explore the leadership styles and theories employed throughout the existence of the National Association for Stock Car Auto Racing (NASCAR). The research examines the decision process and subsequent outcomes, exploring how they ultimately affected the business and trajectory of the sport. NASCAR is the product of unique and specific characteristics of racing enthusiasts who turned their passion into an international empire. This illustrates how leadership styles, specifically dictatorial leadership, successfully managed decisions of the business. Through the use of qualitative research to review historical accounts of events, this study strives to explain how leadership guided the business from small beginnings to a worldwide phenomenon. Data collected included document review, observations, and an interview. Synthesis of the data showed that each of the four primary leaders (Bill France Sr., Bill France Jr., Brain France, and Jim France) used the autocratic/dictatorial leadership style as they directed the sport. Historical evidence shows that this style of leadership was required to build the sport and move it to its current recognized level. Recommendation for further study encourage future scholars to revisit the long-term impact of Brian France’s leadership once more time has passed since his negatively charged removal from the leadership position. Researchers would need to also examine the leadership of Jim France because at the time of this study he has been in his leadership position for less than two years.

When Brian Friel’s play The Freedom of the City premiered in 1973, just a year after the events of Bloody Sunday, it was met with harsh criticism and called a work of propaganda. In the play, three peaceful protestors flee a civil rights demonstration turned violent and end up trapped inside the Guildhall in Derry, Northern Ireland. By the end of the play, they are shot dead. These three protestors, disoriented by violence as well as the aftereffects of life-long poverty, on the surface are not emblems of morality. However, this thesis employs Ami Harbin’s theorization of disorientation and moral action to challenge traditional virtue ethics and showcase that even in the midst of all-encompassing disorientation, moral action can easily emerge, even from the most unexpected person. Specifically, I look at the character Skinner, a flippant hooligan who leads the other trapped protestors through a series of games ultimately meant to encourage them to embrace their disorientation as he has. Within Friel’s drama, accepting and embracing disorientation as opposed to fighting it, I conclude, is what frees one from the bounds of disorientation, and in this case, allows a person to more fully perpetuate moral action.

From the ancient Greek theater, through the dawn of the Renaissance, beyond the development of Shakespearean theater, to the Broadway theater boon in the 1920s, sound reinforcement within the theater remained virtually unchanged. Through Broadway's Golden Age, directors and producers relied on architectural acoustics to carry sound throughout the theaters. This is not surprising given that most of the theaters were built in the early 1900s, before the invention of any electric sound reinforcement technology. Moreover, early attempts at amplification in the 1940s yielded dismal results. Eventually, the maturation of the integrated book musical and the invasion of the rock musical in the late 1960s demanded more than architectural acoustics alone could provide. Abe Jacob, the sound designer of Hair and Jesus Christ Superstar, led the efforts to create a modern approach to sound design. Relying on his rock-and-roll touring experience and the introduction of technological advancements within the recording industry, Jacob and others forged a modern approach to sound design specifically within the framework of the Broadway musical, which helped restore the fading industry of the Broadway musical in the late 1960s. These new approaches served well the human irony and concept musicals of the 1970s by Sondheim and other emerging composers. Sound design was critical to the successful mounting of the mega-musicals of the 1980s (Cats, Les Miserables, Starlight Express, The Phantom of the Opera, Miss Saigon, etc.). Now, modern day composers collaborate early in the creation process with sound designers and create original works with the power of modern sound design in mind, such that today, sound design is a fundamental design discipline employed in every Broadway musical–from the initial show concept conversations all the way through opening night.

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Decoding algorithms for brain machine interfaces map neural firing times to the underlying biological output signal through dynamic tuning functions. In order to maintain an accurate estimate of the biological signal, the state of the tuning function parameters must be tracked simultaneously. The evolution of this system state is often estimated by an adaptive filter. Recent work demonstrates that the Bayesian auxiliary particle filter (BAPF) offers improved estimates of the system state and underlying output signal over existing techniques. Performance of the BAPF is evaluated under both ideal conditions and commonly encountered spike detection errors such as missed and false detections and missorted spikes. However, this increase in neuronal signal decoding accuracy is at the expense of an increase in computational complexity. Real-time execution of the BAPF algorithm for neural signals using a sequential processor becomes prohibitive as the number of particles and neurons in the obs / Electrical and Computer Engineering

Chapter one: A perennial (if controversial) concern in both theology and philosophy of religion is whether religious belief is ‘reasonable’. Austin Farrer (1904-1968) is widely thought to affirm a positive answer to this concern. Chapter One surveys three interpretations of Farrer on ‘the believer’s reasons’ and thus sets the stage for our investigation into the development of his religious epistemology. Chapter two: The disputed question of whether Farrer became ‘a sort of fideist’ is complicated by the many definitions of fideism. Chapter two thus sorts through these issues so that when ‘fideism’ appears in subsequent chapters a precise range of meanings can be given to it, and the ‘sort of fideist’ Farrer may have become can be determined more accurately. Chapter three: Although Farrer’s constant goal was to develop ‘a viable and sophisticated natural theology,’ an early moment of philosophical illumination involved recognising the limits of reason. Chapter three begins with a sketch of Farrer’s life, looks at his undergraduate correspondence where some ‘fideistic’ themes are first articulated, and then focuses on his classic text of ‘rational theology,’ *Finite and Infinite* (1943). Chapter four: In subsequent years, Farrer became increasingly open to placing a greater emphasis on faith. And yet, he continued to press the question: ‘Can reasonable minds still think theologically?’ Chapter four argues that, stimulated by Diogenes Allen’s doctoral dissertation and citing it explicitly, Farrer’s *Faith and Speculation* (1967) attempts to blend Allen’s more fideistic position with a continuing concern for legitimate philosophical critique. Chapter five: The fifth chapter evaluates the significance of Farrer’s final position in the context of contemporary religious epistemology and the current wide-spread interest in spirituality. In conclusion, Farrer finally seems to locate theistic evidence not primarily in nature or reason, but in holy lives and our own attempts to live by faith: ‘It is solved by sacrifice’.