 it: (W x L x P) / (T x O); where W = whether the agent is the wrongdoer; L = the number of lives that will be lost if the information is not provided; P = the probability that the agent has the relevant knowledge; T = the time available before the disaster will occur; O = the likelihood that other inquires will forestall the risk. They claim that “torture should be permitted where the application of the variables exceeds the threshold level.”
There are numerous problems with this idea. For one thing, although Bagaric and Clark admit that the formula is hardly exact and insist that this is not an argument against the proposal, not only is it inexact but most of the variables are simply unknowable. In most cases, it would be impossible to know whether the agent is the wrongdoer or the probability that the agent has relevant knowledge. In most cases it is impossible to even know that a disaster is going to occur, much less the time until it happens. Nor does the formula take into account the likelihood that torture will succeed. After all, even if the agent is definitely a wrongdoer with relevant knowledge about a disaster that will kill millions and is going to occur any minute, if torture will not be effective, clearly it is pointless. And who would use the equation? Would we really trust the government not only to know these virtually unknowable variables, but also to make the decision to apply them?
Additionally, the formula does not and cannot take into account the effects of using torture- not only on the victim, but also on the torturer and the entire society that condones it. Maybe if we were robots the proposal would be a good idea, but as humans, we cannot coldly calculate the morality of torture.
To me, this was one of the most disturbing things I found in all the research I did for this project, or for any of the other papers I’ve done on torture. The idea of using an equation to calculate whether torture is justified is chilling to me.Photographer Jem Southam makes rural landscape images that document man’s intervention in nature. Photographing the same locations over months and years with a large format camera, Southam records transitions as they unfold. In “The Pond at Upton Pyne” series, taken from 1996 to 2001, Southam captures the maintenance and neglect of a pond that was once a manganese mine in the 1700s. More recently, Southam has photographed the cliffs of the English Channel in majestic large-scale works like Senneville-sur-Fecamp, April 2006 (2006).
Societe Generale Securities Services in Italy (SGSS S.p.A.) has been selected again as the provider of the custody and trustee services by Inarcassa, Italy’s National Social Assistance Fund for Self-Employed Engineers and Architects, after the conclusion of the European-level tender procedure.
SGSS S.p.A. thus consolidates its leading position in the social security system in Italy, where it accompanies social insurance companies and pension funds.
"We are very proud to have been picked for the second time in a row, thanks to the recognized quality of our services and the experience of our team of dedicated professionals. SGSS S.p.A. thus confirms its commitment in accompanying Inarcassa and its clients in an ever-changing regulatory environment."
SGSS S.p.A., Societe Generale’s Italian subsidiary, provides post-trade services to institutional investors such as custody and settlement, depositary bank services, fund administration services, risk & performance management, liquidity management and transfer agent services.
Established initially in 1958 as a national public body, Inarcassa is, since 1995, a private organization that provides social assistance to self-employed engineers and architects. In 2017, Inarcassa had over 9 billion euros of assets under management and around 168,000 fund subscribers, among whom 35% are under 40 and 28,000 are retirees.
<issue_start><issue_comment>Title: CSV Export
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As a blog owner, I would like to export posts and their associated data in CSV file format.At the risk of repeating ourselves, there’s only so much time a person can spend binge-watching television or learning to bake bread, before a desire for other, more creative outlets emerges. As we’ve been reporting within the pages of MMR these past many months, certain MI segments have benefited from enforced or voluntary pandemic-related lockdowns.
Home digital keyboards are one such instrument category, with sales soaring last spring and maintaining a steady clip ever since. We recently spoke with officers from five of the biggest digital keyboard brands to get their insight on trends of the past year, learn what specific models are selling the most, and get their opinions on what the future may hold.
With increased “at-home time” during the past year, certain instrument categories have been seeing sustained spikes in sales. How have Home Digital Keyboards fared during the pandemic and related lockdowns?
Luciano Minetti: We have seen our Home Digital Keyboard sales rise and maintain well over the last year, certainly in-part due to the increase in at-home time.
Stephen Schmidt: Since the onset of the pandemic, people have been seeking creative outlets to help relax and fill their time at home. We’ve seen this shift reflected in our sales over the past year. There truly has never been a better time to take up a new hobby or revisit an old one than during this time at home, and people seem to be gravitating towards music. Not only have hobbyists been more active than ever before, artists have also been incredibly creative this past year, innovating new ways to connect with fans. One of our favorite trends we’ve seen is that digital pianos from our Privia and CDP lines are being used for outdoor “driveway concerts” due to their portability and battery power option. They have been a great choice for artists needing a socially distant way to play. Parents are also finding new ways to occupy and inspire their kids, and our portable keyboards provide an ideal alternative to screen time. Our digital keyboards, specifically our Castiotone keyboards, are a great tool for beginners given the sound quality and prices. Due to these trends, our digital pianos have fared very well throughout the pandemic, and we’re very pleased to have been able to spread some joy during these difficult times. While there have been many drawbacks this past year, seeing people of all skillsets embrace music has been a highlight for sure.
Bill Erlandson: Pianos are a “hot item” during the pandemic as people look for activities that are both fun and fulfilling. Many people experienced some level of piano lessons as a child and with many online learning options (or just getting the old piano books out again) many people are now discovering, or rediscovering, the joys of piano playing!
Ben Harrison: The Home Digital Keyboard category surged in the spring of 2020 to holiday season levels. While demand has cooled off recently, it most certainly sustained at higher than normal levels through the fall and holiday.
Cory Callies: Our home digital pianos have sold incredibly well during the pandemic, especially our ES and CA digital piano series. In fact, we’ve seen increases in sales among our entire line of acoustic, digital, and hybrid pianos. This surge in sales has undoubtedly resulted from people spending more time at home, along with easy access to live virtual piano lessons and online music courses.
For your brand, what are the hottest models of Home Digital Keyboards?
SS: Our best-sellers have been our Casiotone portable keyboards, CDP-S and Privia digital pianos. Our portfolio of digital pianos includes an option for every player, no matter the skill level. A lot of new players gravitate towards our Casiotone keyboards while our CDP-S and Privia pianos tend to attract more skilled players. No matter the model, consumers know that any Casio digital piano can match the sound quality of a regular piano, giving users an authentic experience with all the benefits of a digital instrument.
CC: Entry-level instruments like our ES Series pianos (ES920, ES520, and ES110) have seen the most significant increase in raw numbers, but numbers are up across all categories. Our CA series that feature wooden keys have resonated with consumers.
BH: Customers of all levels looked at “stay-at-home” as an opportunity to begin or further their musical journey. The “I’ve always wanted to learn how to play” customer was motivated to get started. The “I wish I had more time to play” customer had their wish come true. This said, the hottest models seemed to be all of them. Of course our normal most popular models remained that way, but none of our models experienced down or flat demand. Everything got a lift this year.
BE: All the Roland piano models have been doing exceptionally well during the pandemic, but our award-winning FP-30 (street price $699.99) has been an exceptional seller. We introduced the replacement model for the FP-30 at NAMM Believe in Music Week. The new FP-30X is also receiving a record numbers of orders and its enhanced feature set consisting of even more on-board sounds, line outputs, Bluetooth audio (already had Bluetooth MIDI) and more, has only raised its street price slightly, up to $749.99.