We can work on Specific and recent healthcare technology

Option 1: The first option is to name and describe in detail a key specific and recent healthcare technology. What are at least two key moral problems this technology creates? What are the proper moral guidelines for dealing with it in your view? Compare your approach to what an utilitarian and ethical egoist would say (each independently).
Option 2: In the second option, name and describe in detail a key specific and recent social technology. What are at least two key moral problems this technology creates? What are the proper moral guidelines for dealing with it in your view? Compare your moral approach to what an utilitarian and social contract ethicist would say (each independently).
Option 3: John Doe, Patient One, is in late stage of kidney disease. If he does not receive a new kidney, then he is predicted to die within a week. Doe is 45, single, and has no children. Doctors theorize that Doe damaged his kidney by not following a low-salt diet. Doe inherited one million dollars and is known for giving money to charity. Without a transplant, he will probably be forced to spend all his money searching for a kidney outside of the usual legal channels. Patient Two is Jane Doe (no relation to John). Patient Two is a mother of two children (ages 21 and 24). She is divorced and 55 years old. She developed kidney problems due to eating a high-fat and high-sugar diet. If she does not receive a kidney within one month, doctors believe she will die. Patient Three is an orphan. This orphan lives in a state facility. She was born with a genetic condition that constantly damages her kidney. The only known approach to her condition is to provide her with a kidney transplant every so often. She is 11 and has already undergone two kidney transplants. She will perish in two months if she does not receive another transplant.
All three patients are at the same hospital. The hospital only has one kidney to give out. The orphan’s birth parents were known to be of a religion that is opposed to organ donation. The other patients come from religions that do not oppose organ donation. Who should get the kidney? Why should that candidate receive it over the others? Devise a course of social action and a solution for this case by using the ethics of egoism and then utilitarianism to a key moral conflict involving health care in this case. Appraise the interests of diverse populations (in terms of ethnicity, race, religion, sexual orientation, etc.) and how they relate to the case.

Sample Solution

Often classified as a film in the genre of the Cinema du Look, Amélie’s carefully constructed cinematic aesthetic is reflective of the voyeuristic values of the contemporary capitalist society, or to use Debord’s term: the society of the spectacle. With a background in advertising, Jeunet’s aesthetic vision in Amélie is extremely attractive, as attractive as an ad. In understanding the value of aesthetics in the contemporary era, Jeunet’s modus operani resides within the visuals of Amélie; he embeds his message within the surface of his film. Film, defined as movable images marking the recording of history in space-and-time and sight-and-sound, is an extension of the human consciousness, occupying our imaginative capabilities. In the words of Marx and Engels, “the class which is the ruling material force of society, is at the same time its ruling intellectual force…For each new class which puts itself in the place of one ruling before it, is compelled…to represent its interest as the common interest of all the members of society… it has to give its ideas the form of universality”. Film, as a medium, enhances and exacerbates this framing of universality, as the medium also functions to-in the case of American media imperialism-hypnotise global audiences into mass cultural homogenisation. “The spectacle is not a collection of images, but a social relation among people, mediated by images.” As Hollywood movies dominated the European market, the audience would increasingly become conditioned to the indulgence of the submissive experience of Hollywood cinema as Hollywood aims to represent the audience as if they are the characters in the movies. This approach causes the failure of audiences to recognise the film as a medium while also eliciting an unconscious identification between the spectators and the characters. As Canadian ‘media-guru’ Marshall McLuhan proclaims: American media imperialism hypnotises global audiences into homogenisation through the use of advanced technologies to conceal the technological medium, resulting in popular and entertaining films that promote the capitalist ideology. Congruent with the value of entertainment, cinema supports the ideological motives of Hollywood and Hollywood’s homogenisation of culture, as the visual attractions>

Often classified as a film in the genre of the Cinema du Look, Amélie’s carefully constructed cinematic aesthetic is reflective of the voyeuristic values of the contemporary capitalist society, or to use Debord’s term: the society of the spectacle. With a background in advertising, Jeunet’s aesthetic vision in Amélie is extremely attractive, as attractive as an ad. In understanding the value of aesthetics in the contemporary era, Jeunet’s modus operani resides within the visuals of Amélie; he embeds his message within the surface of his film. Film, defined as movable images marking the recording of history in space-and-time and sight-and-sound, is an extension of the human consciousness, occupying our imaginative capabilities. In the words of Marx and Engels, “the class which is the ruling material force of society, is at the same time its ruling intellectual force…For each new class which puts itself in the place of one ruling before it, is compelled…to represent its interest as the common interest of all the members of society… it has to give its ideas the form of universality”. Film, as a medium, enhances and exacerbates this framing of universality, as the medium also functions to-in the case of American media imperialism-hypnotise global audiences into mass cultural homogenisation. “The spectacle is not a collection of images, but a social relation among people, mediated by images.” As Hollywood movies dominated the European market, the audience would increasingly become conditioned to the indulgence of the submissive experience of Hollywood cinema as Hollywood aims to represent the audience as if they are the characters in the movies. This approach causes the failure of audiences to recognise the film as a medium while also eliciting an unconscious identification between the spectators and the characters. As Canadian ‘media-guru’ Marshall McLuhan proclaims: American media imperialism hypnotises global audiences into homogenisation through the use of advanced technologies to conceal the technological medium, resulting in popular and entertaining films that promote the capitalist ideology. Congruent with the value of entertainment, cinema supports the ideological motives of Hollywood and Hollywood’s homogenisation of culture, as the visual attractions>

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