The Tragedy of the Commons Author(S): Garrett Hardin Source: Science, New Series, Vol
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Tragedy of the Commons : Th
tragedy of the commons : The New Palgrave Dictionary of Economics http://www.dictionaryofeconomics.com/article?id=pde2008_T000193&pr... tragedy of the commons Elinor Ostrom From The New Palgrave Dictionary of Economics, Second Edition, 2008 Edited by Steven N. Durlauf and Lawrence E. Blume Abstract ‘The tragedy of the commons’ arises when it is difficult and costly to exclude potential users from common-pool resources that yield finite flows of benefits, as a result of which those resources will be exhausted by rational, utility-maximizing individuals rather than conserved for the benefit of all. Pessimism about the possibility of users voluntarily cooperating to prevent overuse has led to widespread central control of common-pool resources. But such control has itself frequently resulted in resource overuse. In practice, especially where they can communicate, users often develop rules that limit resource use and conserve resources. Keywords collective action; common-pool resources; common property; free rider problem; Hardin, G.; open-access resources; private property; social dilemmas; state property; tragedy of the commons Article The term ‘the tragedy of the commons’ was first introduced by Garrett Hardin (1968) in an important article in Science. Hardin asked us to envision a pasture ‘open to all’ in which each herder received large benefits from selling his or her own animals while facing only small costs of overgrazing. When the number of animals exceeds the capacity of the pasture, each herder is still motivated to add more animals since the herder receives all of the proceeds from the sale of animals and only a partial share of the cost of overgrazing. -
Lifeboat Ethics: the Case Against Helping the Poor
Lifeboat Ethics: the Case Against Helping the Poor by Garrett Hardin, Psychology Today, September 1974 Environmentalists use the metaphor of the earth as a "spaceship" in trying to persuade countries, industries and people to stop wasting and polluting our natural resources. Since we all share life on this planet, they argue, no single person or institution has the right to destroy, waste, or use more than a fair share of its resources. But does everyone on earth have an equal right to an equal share of its resources? The spaceship metaphor can be dangerous when used by misguided idealists to justify suicidal policies for sharing our resources through uncontrolled immigration and foreign aid. In their enthusiastic but unrealistic generosity, they confuse the ethics of a spaceship with those of a lifeboat. A true spaceship would have to be under the control of a captain, since no ship could possibly survive if its course were determined by committee. Spaceship Earth certainly has no captain; the United Nations is merely a toothless tiger, with little power to enforce any policy upon its bickering members. If we divide the world crudely into rich nations and poor nations, two thirds of them are desperately poor, and only one third comparatively rich, with the United States the wealthiest of all. Metaphorically each rich nation can be seen as a lifeboat full of comparatively rich people. In the ocean outside each lifeboat swim the poor of the world, who would like to get in, or at least to share some of the wealth. What should the lifeboat passengers do? First, we must recognize the limited capacity of any lifeboat. -
Module-9 Background Prose Readings COMEDY and TRAGEDY
Module-9 Background Prose Readings COMEDY AND TRAGEDY What is comedy? The word ‘Comedy’ has been derived the French word comdie, which in turn is taken from the Greeco-Latin word Comedia. The word comedia is made of two words komos, which means revel and aeidein means to sing. According to Oxford Advanced Learner’s Dictionary, comedy means a branch of drama, which deals with everyday life and humourous events. It also means a play of light and amusing type of theatre. Comedy may be defined as a play with a happy ending. Function of Comedy Though, there are many functions of comedy, yet the most important and visible function of comedy is to provide entertainment to the readers. The reader is forced to laugh at the follies of various characters in the comedy. Thus, he feels jubilant and forgets the humdrum life. George Meredith, in his Idea of Comedy, is of the view that comedy appeals to the intelligence unadulterated and unassuming, and targets our heads. In other words, comedy is an artificial play and its main function is to focus attention on what ails the world. Comedy is critical, but in its scourge of folly and vice. There is no contempt or anger in a comedy. He is also of the view that the laughter of a comedy is impersonal, polite and very near to a smile. Comedy exposes and ridicules stupidity and immorality, but without the wrath of the reformer. Kinds of Comedy 1. Classical Comedy Classical comedy is a kind of comedy, wherein the author follows the classical rules of ancient Greek and Roman writers. -
The Effect of War on Art: the Work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 The effect of war on art: the work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Doland, Elizabeth Leigh, "The effect of war on art: the work of Mark Rothko" (2010). LSU Master's Theses. 2986. https://digitalcommons.lsu.edu/gradschool_theses/2986 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE EFFECT OF WAR ON ART: THE WORK OF MARK ROTHKO A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Elizabeth Doland B.A., Louisiana State University, 2007 May 2010 TABLE OF CONTENTS ABSTRACT…………………………………………………………………iii CHAPTER 1 INTRODUCTION……………………………………………........1 2 EARLY LIFE……………………………………………………....3 Yale Years……………………………………………………6 Beginning Life as Artist……………………………………...7 Milton Avery…………………………………………………9 3 GREAT DEPRESSION EFFECTS………………………………...13 Artists’ Union………………………………………………...15 The Ten……………………………………………………….17 WPA………………………………………………………….19 -
The Tragedy of the Government Created Commons
The Tragedy of the Government Created Commons by Robert B. Kauffman, Ph.D. In terms of the tragedy of the commons, the government and those advocating for larger government have an incentive to purposely create commons and collective harm. It furthers their agenda. [Keywords: tragedy of the commons, Garrett Hardin, tragedy of government created commons] In his classic article published in the December 1968 issue of Science, Garrett Hardin linked the lesson of the commons to the need for government management and the supervision of individuals in order to prevent the tragedy that harm comes to all in the tragedy of the commons. Collectively, individual self- interest leads to collective harm. As part of the lesson of the commons, he demonstrated that moral restraint does not work in the commons and that this justified the need for government intervention in individual's lives to temper the pursuit of self-interest by the individual. The basic paradigm where government is the solution and not the problem needs to be reexamined. In the government created commons, government purposely creates commons to unleash its destructive powers of collective harm. Along with the traditional solutions of rationing, the collective harm justifies the government’s solution to increase the size of the commons and to increase its power and control in an effort to solve the problem. Unfortunately, because the underlying tenets of the commons are not addressed, the problem persists and is exacerbated as is the need for even more governmental involvement to solve the problem it created. The story used to illustrate the tragedy of the commons is sometimes affectionately referred to as the story of Bessy the cow. -
Exclusivity and the Construction of Intellectual Property Markets
The Fable of the Commons: Exclusivity and the Construction of Intellectual Property Markets Shubha Ghosh* TABLE OF CONTENTS INTRODUCTION ................................................................................... 857 I. LOOKING BEYOND THE COMMONS: TURNING HIGH TRAGEDY INTO LOW DRAMA .................................................................... 860 A. The Fable of the Commons................................................. 861 B. Governing the Commons Through the Goals of Distributive Justice ............................................................ 864 II. THE DIMENSIONS OF DISTRIBUTIVE JUSTICE.............................. 870 A. Creators ............................................................................ 871 B. Creators and Users............................................................ 876 C. Intergenerational Justice.................................................... 879 III. DISTRIBUTIVE JUSTICE IN PRACTICE .......................................... 880 A. Fair Use: Allocating Surplus Among Creators and Users .. 881 B. Secondary Liability: Spanning Generational Divides......... 883 C. Antitrust: Natural and Cultural Monopolies and the Limits of Exclusivity in the Marketplace ............................ 886 D. Traditional Knowledge: Expanding Canons and the Global Marketplace ........................................................... 888 CONCLUSION....................................................................................... 889 * Professor of Law, Southern Methodist University, Dedman School -
Symbolism of Surface and Depth in Edvard
MARJA LAHELMA want life and its terrible depths, its bottomless abyss. to hold on to the ideal, and the other that is at the same Lure of the Abyss: – Stanisław Przybyszewski1 time ripping it apart. This article reflects on this more general issue through Symbolist artists sought unity in the Romantic spirit analysis and discussion of a specific work of art, the paint- Symbolism of Ibut at the same time they were often painfully aware of the ing Vision (1892) by Edvard Munch. This unconventional impossibility of attaining it by means of a material work of self-portrait represents a distorted human head floating in art. Their aesthetic thinking has typically been associated water. Peacefully gliding above it is a white swan – a motif Surface and with an idealistic perspective that separates existence into that is laden with symbolism alluding to the mysteries of two levels: the world of appearances and the truly existing life and death, beauty, grace, truth, divinity, and poetry. The Depth in Edvard realm that is either beyond the visible world or completely swan clearly embodies something that is pure and beautiful separated from it. The most important aim of Symbolist art as opposed to the hideousness of the disintegrating head. would then be to establish a direct contact with the immate- The head separated from the body may be seen as a refer- Munch’s Vision rial and immutable realm of the spirit. However, in addition ence to a dualistic vision of man, and an attempt to separate to this idealistic tendency, the culture of the fin-de-siècle the immaterial part, the soul or the spirit, from the material (1892) also contained a disintegrating penchant which found body. -
Chapter 1 Sustainability of Our Planet the Environment
Chapter 1 Sustainability of our planet The environment Everything around you; both living and nonliving things Examples: air, water, sunlight, people, plants, animals Environmental Science The study of how humans interact with the environment. Involves many subjects such as: engineering, biology, chemistry, earth science, economics, political science, ethics, moral judgments Goals of Environmental Science There are 3 goals to studying environmental science. 1. Learn how life on Earth has survived and thrived. 2. Understand how humans interact with the environment. 3. Find ways to deal with environmental problems and live more sustainably. What is sustainability? The ability of Earth’s natural systems that support life to adapt to the changing environmental conditions indefinitely. Scientific factors to sustainability Why has life existed on the planet for about 3.8 billion years? 1. Solar energy - photosynthesis 2. Biodiversity – variety of species, genes, ecosystems on the planet to help with adapting to new environmental conditions 3. Nutrient cycling – when an organism dies, it decays, nutrients go back into ground for another organism Social factors to sustainability How have past decisions on environmental problems effected today’s society? 1. Economics –production and consumption of goods and services 2. Political science – government/politics and how it relates to the environment 3. Ethics – study of right and wrong Natural Capital Natural resources and ecosystem services that keep humans and other species alive and -
Lyric Poetry and the Music of Words
3 The Birth of Tragedy Lyric Poetry and the Music of Words he stylistic role of music in The Birth of Tragedy1 presupposes the Trelation Nietzsche had uncovered between “music and words” in his theory of meter and rhythm in ancient Greek.2 This is Nietzsche’s architectonically 3 quantitative, measured and timed, theory of words and music for his courses on rhythm and meter as well as his discussion of tragedy and music in his first book.4 A recollection of the meaning of the spirit of music also reviews the logical questions of metaphor and truth and invites a parallel with The Gay Science with regard to language and the alchemical art of love, likewise in terms of both music and science. This inquiry entails the purely philosophical questions of knowl- edge and truth yet the discussion to follow takes its point of departure from classical philology, reviewing what Nietzsche himself held to have been his most scientific “discovery” on the terms of his own discipline: a discovery never disputed by Nietzsche’s arch-critic, Ulrich von Wilamowitz-Möllendorff. Indeed, and although we have become ac- customed to view Nietzsche as the perfect embodiment of the academic outsider, his discovery is now taken as the standard in his field (so standard as to be received without fanfare or routine acknowledgment as such).5 What was that discovery? 37 38 Words in Blood, Like Flowers Music and Words: The Influence of Modern Culture I. On Modern Stress and the Language of Ancient Greece Nietzsche had argued against the accent-based or stressed theory of Greek prosody that was the “received view” in nineteenth-century philology. -
Aristotle and the Value of Tragedy Malcolm Heath
Aristotle and the Value of Tragedy Malcolm Heath This article explores Aristotle’s understanding of the value of tragedy. The primarily technical analyses of the Poetics are not sufficient for this purpose: they must be read in the context of Aristotle’s philosophical anthropology. An outline of Aristotle’s understanding of the structure of human motivation provides a framework within which to interpret his discussion of the uses of music, and in particular of music’s status as an intrinsically valuable component of cultivated Downloaded from leisure. Applying that model to tragedy requires an explanation of what motivates engagement with drama that evokes distressing affects. Aristotle’s account of musical katharsis, if read with sufficient attention to its structure and interpreted in the light of his analysis of pleasure, provides a solution. If the importance which Aristotle attaches to intrinsically valuable leisure activities is overlooked, it http://bjaesthetics.oxfordjournals.org/ is not possible to understand his conception of a good human life, or his aesthetics. What motivates human beings to invest time and effort in producing and consuming trag- edies? And how does that investment contribute to a characteristically human way of life? That is, what value attaches to the production and consumption of tragedies? Though Aristotle touches briefly on poetry’s roots in human nature at the beginning of Poetics 4, for the most part the existence of poetry and its diverse kinds is treated in the Poetics, not as an explanandum, but as the starting point for technical analyses of how poems, in their various kinds, are best composed. -
Greek Theory of Tragedy: Aristotle's Poetics
Greek Theory of Tragedy: Aristotle's Poetics The classic discussion of Greek tragedy is Aristotle's Poetics. He defines tragedy as "the imitation of an action that is serious and also as having magnitude, complete in itself." He continues, "Tragedy is a form of drama exciting the emotions of pity and fear. Its action should be single and complete, presenting a reversal of fortune, involving persons renowned and of superior attainments, and it should be written in poetry embellished with every kind of artistic expression." The writer presents "incidents arousing pity and fear, wherewith to interpret its catharsis of such of such emotions" (by catharsis, Aristotle means a purging or sweeping away of the pity and fear aroused by the tragic action). The basic difference Aristotle draws between tragedy and other genres, such as comedy and the epic, is the "tragic pleasure of pity and fear" the audience feel watching a tragedy. In order for the tragic hero to arouse these feelings in the audience, he cannot be either all good or all evil but must be someone the audience can identify with; however, if he is superior in some way(s), the tragic pleasure is intensified. His disastrous end results from a mistaken action, which in turn arises from a tragic flaw or from a tragic error in judgment. Often the tragic flaw is hubris, an excessive pride that causes the hero to ignore a divine warning or to break a moral law. It has been suggested that because the tragic hero's suffering is greater than his offense, the audience feels pity; because the audience members perceive that they could behave similarly, they feel pity. -
Joseph Henry Vogel* of the “Study on Domestic Measures” by Margo A
Peer Review by Joseph Henry Vogel* of the “Study on Domestic Measures” by Margo A. Bagley et al with reference to “Combined Study on Traceability and Databases” by Fabian Rohden et al and “Study on Concept and Scope” by Wael Houssen et al (cc) 2019. Joseph Henry Vogel 29 November 2019, Department of Economics, University of Puerto Rico-Río Piedras [email protected] Key messages: • Can one analyze domestic measures on a term which is (1) undefined, (2) deemed not appropriate, (3) unused in science and (4) universally absent in national legislation? The cart is out of sight of the horse. The inclusive approach--examining whatever DSI could possibly mean---has rendered the study leaden. Frank discussion is needed regarding the cart and the horse. Non-rational behavior is germane to frankness. • Enclose quotations around the first usage of any big idea, thereby signaling that a literature exists. “Bounded openness” and “natural information” are not enclosed or duly attributed in the narrative. The etymology of “digital sequence information” is also absent. Its genesis in “digital biopiracy” sheds light on a modality of ABS that is fair, equitable and efficient. • Whenever possible, difficult-to-locate references should be complemented by similar open- access references. The publications cited on the economics of information and bounded openness are not the most accessible that exist. Preamble: Non-conducive to peer review is the template format. Copyediting may require numbered lines to locate errors in punctuation, spelling and grammar; peer reviews do not. Critique requires narrative. This review is the second in a trilogy that addresses foundational flaws in Decision 14/20.