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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Zghebi, Salwa S; Mamas, Mamas; Kontopantelis, Evangelos;
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Authors: Fay, Richard J;

    Originally composed by Richard Fay in 2009, and then recorded for the Helix album (2019), this (composition-as-output) work was also included on the Magu Hiraeth (2023) mid-length album.

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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Authors: De Geest, Paul; Droesbeke, Bert; Eguinoa, Ignacio; Gaignard, Alban; +7 Authors

    ro-crate-py is a Python library to create and consume Research Object Crates. It currently supports the RO-Crate 1.1 specification.

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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ The University of Ma...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Simpson-Hargreaves, Rebecca;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ The University of Ma...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Bachelet, Sebastien; Hagan, Maria;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ The University of Ma...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ The University of Ma...arrow_drop_down
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Fay, Richard; Gee, Sam;

    Mid-length CD of original (compositions-as-outputs) works by Richard Fay (2023), produced by Sam Gee.Sleeve note (in Welsh and then English)Nid yma magwyd fy nhad, na’i dad yntau, nid yma magwyd fy mam, a’i thylwyth hithau, ond roedd tiroedd Llŷn yn gyfarwydd iawn iddynt, y tir des i iddo yn y groth trigain mlynedd yn ôl, ac eto ac eto, tymor yn dilyn tymor, coesau’n ymestyn, llygaid gleision gloyw a chroen yn llosgi’n goch, crwydro dros Mynydd Mawr, gwylio’r llanw yn rhuo dros Swnt Enlli, llethrau Anelog wedyn, yr eithin a’r rhedyn, yn fy nghosi a nghrafu am yn ail, y wiber yn torheulo gerllaw, tywod euraidd yn gwichian dan droed, cyn rhedeg fel y gwynt am fy nhe dan yr hen ddresel a’i llestri gleision gloyw.Y tirlun a’r seiniau cyfarwydd, yn fy ngalw o bell, pob eiliad yn tician yn drwm cyn dychwelyd, dieithryn ond nid yn ddiarth, ymwelydd nid twrist, cyfaill, gobeithio i hen wlad dy dadau, a’th famau...a thrwy hyn daw tonau gwlad y gân i fy meddwl, fel y clywi...Rhwng 2007 a 2022 daeth dwy don o gyfansoddi i ymgysylltu dau bentref o boptu Penrhyn Llŷn: Aberdaron fy nghariad cyntaf, y trwyn gorllewinol, yr eglwys o garreg ger y tonnau, llais y bardd o’r pulpud, a’r golau boreol yn llifo drostaf, yn fy meddwl saif crëyr glas yn unig er pwll o ddwl hallt yn y tywod, a’r llanw’n cilio’n dawel. Gwelaf eto sgerbydau hagr-hardd peiriannau Porth Ysgo, ac adar y môr yn gwrlid cecrus dros ynysoedd y bae, ac o Uwchmynydd, Enlli yn codi’n unig, yr hafan olaf, cyn y môr a’r gorwel di-dor; Trefor wedyn, fy nghartref newydd, y porth dwyreiniol a’r môr yn cynio’n barhaus wrth droed Yr Eifl, ac o’r eisteddfa uwchben, gweli Llŷn yn gyfan, (fel gwelodd trigolion Tre’r Ceiri gynt), a’r mynydd wedi’i gerfio yn destament i ganrif o naddu bu’n cynnal y pentref, y band a’r corau, llanwodd y capeli a’r ysgol, a llwythodd y pier.Môr o atgofion yn donnau drwy’r tir hwn, cyffwrdd a phobl, a llefydd, llun a chân cartref fabwysiedig, atgofion a cherddoriaeth.Mae’r dysgwr gorau, y siaradwr newydd, yn baglu o dro i dro, ffordd o ddweud, cystrawen annisgwyl, yr anghyfieithadwy, felly hefyd yr hiraeth mabwysiedig, er wedi ei fagu o’r groth, anghyflawn fydd, weithiau’n bytiog, weithiau’n gysgod drwy’r dail. Er hyn, fe ellir ei synhwyro, a’i gyffwrdd, er gwaethaf y newydd-deb. Hyn ydyw, dim mwy, dim llai. Magu Hiraeth~~~It’s not the land of my father, or his father either, nor the land of my mother and her people, but Pen Llŷn is a land they knew well, the land I first came to sixty years ago in the womb, and came again and again, season upon season, legs lengthening, blue-eyed and burning skin, wandering on Mynydd Mawr, watching the currents ramping round Ynys Enlli, tickled and prickled by the same gorse and brushed by the same damp bracken where the adders hid on Anelog’s slopes, long days squeaking the sands with feet free, a prelude to late tea beneath the porcelain on the dresser.Sights and sounds familiar as the inner metronome calling when I’m away, calling me, an outsider but no stranger, visitor but no tourist, a friend I hope to the land of your fathers and mothers ... and, for all this, the land of song inflects me with music as you hear.Between 2007-2022, two waves of writing connect villages at either end of Pen Llŷn: Aberdaron, my earliest love, westermost tip, its beach-side church of stone and timber filled with sea-light and the remembered voice of the poet-preacher; my mind’s eye settles upon the heron alone in a pool left by the receding tide; and I see again the winding-gear skeletons at Porth Ysgo, the gull-camped islands in the bay, and, from Uwychmynydd, the isolated Ynys Enlli rising from the water, last resting place before the sea becomes the unbroken horizon; and Trefor, my newer home, eastermost gateway by “the etemal eroding sea” at Yr Eifl’s foot (as poet Brian Morris felt it), the heights above surveying all Pen Llŷn (as those at Tre’r Ceiri did before), and the carved mountain testament to a century of stonecraft that kept the village, sustained its band and choirs, filled its chapels and school, and made busy its pier.Myriad memories in and of this land, rippling out, lighting upon places and people, the sights and sounds of adopted home. Memories and music.Even the best of second language users are tricked occasionally by a turn of phrase, a quirk of grammar, an untranslatable; so, too, acquired nostalgia and the yearning for home, even when the learning began in the womb, will always be incomplete, sometimes fragmentary, often phantom. Nonetheless, it can be fully sensed, become embodied, all of this despite being second. It is what it is, no more no less. Magu hiraeth ...----Credits (as released June 6, 2023)Recording and Mixing: Sam GeeMusicians:George Bingham – double bass, percussionJacqueline Fay – cláirseach, violaRichard Fay – boxFabienne Fournelle – drum kitSam Gee – soprano/alto sax, piano, bassoonIdris Jones – violinMabon Jones – violinMéabh Kennedy – violinElana Kenyon-Gewirtz – violinJemima Kingsland – fluteDaniel Mawson – clarinetCaroline Morris – celloHugh Owen – guitarSheila Seal – piano, electric bassAli Vennart – violaPhotography: Liam PriorGraphic Design: Sam GeeMany thanks to Idris Jones for rendering my original text in Welsh.Diolch yn fawr i Idris Jones am addasu fy nhestyn gwreiddiol i’r Gymraeg.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ The University of Ma...arrow_drop_down
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    Authors: Abdullah, Doria; Lim, Miguel Antonio; Tozsa, Reka;

    Sustainable development (SD) refers to development that meets the needs of the present without compromising the ability of future generations to meet their own needs. In 1987 the United Nations (UN) formally recognised SD as a critical agenda, and called for world leaders to respond based on principles of science and research. World leaders signed the UN Millennium Declaration in September 2000, expressing their commitment to resolve eight challenges affecting global citizens through the UN Millennium Development Goals (MDGs). In September 2015 this commitment was renewed through the adoption of the UN 2030 Agenda for SD. The eight challenges set out in the MDGs were refined and presented in the form of the UN Sustainable Development Goals (SDGs), with 17 global goals set for implementation ranging from no poverty (SDG 1) to partnership for success (SDG 17).

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    Authors: Ben, Patrick;

    In this dissertation, I consider a hitherto underexplored concept of ‘human minimum’ as proposed by H. Odera Oruka to obligate responsibility as an approach to tackling extreme poverty in Africa and beyond. I aim to establish, among other things, why it is morally problematic and economically counterproductive to demand equal moral responsibility from all moral agents irrespective of their economic differences to ensure the implementation of the human minimum or the elimination of extreme poverty. To achieve the aforementioned, I attempt to answer two significant questions, to wit: What are some of the moral implications of ensuring that a society attains the human minimum as an approach to fighting extreme poverty? Who has a greater moral responsibility for ensuring the attainment of the human minimum between the government, non-governmental/nonprofit organisations, and individual members of society? In Oruka’s philosophy, enforcement of a global human minimum is the equal moral obligation of all moral agents—all those situated above the poverty line. I will demonstrate why ignoring the economic differences – and inequalities – of those who qualify as moral agents in Oruka’s conceptualisation of extreme poverty, particularly in continental Africa, risks plunging more of those who live a little above the human minimum threshold into poverty. I then argue that a disproportionate distribution of responsibility that is sensitive to the economic disparities that exist among the non-poor population holds a better promise for success in the fight against extreme poverty in Africa.

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    Authors: Bennett, Tom; Geue, Niklas; Timco:, Grigore; Whitehead, George; +9 Authors

    Raw, unprocessed NMR spectra obtained in d-acetone

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    https://doi.org/10.48420/24771...
    Dataset . 2023
    License: CC BY
    Data sources: Datacite
    https://doi.org/10.48420/24771...
    Dataset . 2023
    License: CC BY
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ The University of Ma...arrow_drop_down
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      https://doi.org/10.48420/24771...
      Dataset . 2023
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      https://doi.org/10.48420/24771...
      Dataset . 2023
      License: CC BY
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    Authors: Richards, David; Warner, Sam; Coyle, Diane; Smith, Martin;

    Despite positive initiatives taking place across Whitehall, we must continue asking the fundamental questions about reform, write Sam Warner, Dave Richards, Diane Coyle and Martin Smith.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Zghebi, Salwa S; Mamas, Mamas; Kontopantelis, Evangelos;
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    Authors: Fay, Richard J;

    Originally composed by Richard Fay in 2009, and then recorded for the Helix album (2019), this (composition-as-output) work was also included on the Magu Hiraeth (2023) mid-length album.

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    Authors: De Geest, Paul; Droesbeke, Bert; Eguinoa, Ignacio; Gaignard, Alban; +7 Authors

    ro-crate-py is a Python library to create and consume Research Object Crates. It currently supports the RO-Crate 1.1 specification.

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    Authors: Simpson-Hargreaves, Rebecca;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ The University of Ma...arrow_drop_down
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    Authors: Bachelet, Sebastien; Hagan, Maria;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ The University of Ma...arrow_drop_down
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    Authors: Fay, Richard; Gee, Sam;

    Mid-length CD of original (compositions-as-outputs) works by Richard Fay (2023), produced by Sam Gee.Sleeve note (in Welsh and then English)Nid yma magwyd fy nhad, na’i dad yntau, nid yma magwyd fy mam, a’i thylwyth hithau, ond roedd tiroedd Llŷn yn gyfarwydd iawn iddynt, y tir des i iddo yn y groth trigain mlynedd yn ôl, ac eto ac eto, tymor yn dilyn tymor, coesau’n ymestyn, llygaid gleision gloyw a chroen yn llosgi’n goch, crwydro dros Mynydd Mawr, gwylio’r llanw yn rhuo dros Swnt Enlli, llethrau Anelog wedyn, yr eithin a’r rhedyn, yn fy nghosi a nghrafu am yn ail, y wiber yn torheulo gerllaw, tywod euraidd yn gwichian dan droed, cyn rhedeg fel y gwynt am fy nhe dan yr hen ddresel a’i llestri gleision gloyw.Y tirlun a’r seiniau cyfarwydd, yn fy ngalw o bell, pob eiliad yn tician yn drwm cyn dychwelyd, dieithryn ond nid yn ddiarth, ymwelydd nid twrist, cyfaill, gobeithio i hen wlad dy dadau, a’th famau...a thrwy hyn daw tonau gwlad y gân i fy meddwl, fel y clywi...Rhwng 2007 a 2022 daeth dwy don o gyfansoddi i ymgysylltu dau bentref o boptu Penrhyn Llŷn: Aberdaron fy nghariad cyntaf, y trwyn gorllewinol, yr eglwys o garreg ger y tonnau, llais y bardd o’r pulpud, a’r golau boreol yn llifo drostaf, yn fy meddwl saif crëyr glas yn unig er pwll o ddwl hallt yn y tywod, a’r llanw’n cilio’n dawel. Gwelaf eto sgerbydau hagr-hardd peiriannau Porth Ysgo, ac adar y môr yn gwrlid cecrus dros ynysoedd y bae, ac o Uwchmynydd, Enlli yn codi’n unig, yr hafan olaf, cyn y môr a’r gorwel di-dor; Trefor wedyn, fy nghartref newydd, y porth dwyreiniol a’r môr yn cynio’n barhaus wrth droed Yr Eifl, ac o’r eisteddfa uwchben, gweli Llŷn yn gyfan, (fel gwelodd trigolion Tre’r Ceiri gynt), a’r mynydd wedi’i gerfio yn destament i ganrif o naddu bu’n cynnal y pentref, y band a’r corau, llanwodd y capeli a’r ysgol, a llwythodd y pier.Môr o atgofion yn donnau drwy’r tir hwn, cyffwrdd a phobl, a llefydd, llun a chân cartref fabwysiedig, atgofion a cherddoriaeth.Mae’r dysgwr gorau, y siaradwr newydd, yn baglu o dro i dro, ffordd o ddweud, cystrawen annisgwyl, yr anghyfieithadwy, felly hefyd yr hiraeth mabwysiedig, er wedi ei fagu o’r groth, anghyflawn fydd, weithiau’n bytiog, weithiau’n gysgod drwy’r dail. Er hyn, fe ellir ei synhwyro, a’i gyffwrdd, er gwaethaf y newydd-deb. Hyn ydyw, dim mwy, dim llai. Magu Hiraeth~~~It’s not the land of my father, or his father either, nor the land of my mother and her people, but Pen Llŷn is a land they knew well, the land I first came to sixty years ago in the womb, and came again and again, season upon season, legs lengthening, blue-eyed and burning skin, wandering on Mynydd Mawr, watching the currents ramping round Ynys Enlli, tickled and prickled by the same gorse and brushed by the same damp bracken where the adders hid on Anelog’s slopes, long days squeaking the sands with feet free, a prelude to late tea beneath the porcelain on the dresser.Sights and sounds familiar as the inner metronome calling when I’m away, calling me, an outsider but no stranger, visitor but no tourist, a friend I hope to the land of your fathers and mothers ... and, for all this, the land of song inflects me with music as you hear.Between 2007-2022, two waves of writing connect villages at either end of Pen Llŷn: Aberdaron, my earliest love, westermost tip, its beach-side church of stone and timber filled with sea-light and the remembered voice of the poet-preacher; my mind’s eye settles upon the heron alone in a pool left by the receding tide; and I see again the winding-gear skeletons at Porth Ysgo, the gull-camped islands in the bay, and, from Uwychmynydd, the isolated Ynys Enlli rising from the water, last resting place before the sea becomes the unbroken horizon; and Trefor, my newer home, eastermost gateway by “the etemal eroding sea” at Yr Eifl’s foot (as poet Brian Morris felt it), the heights above surveying all Pen Llŷn (as those at Tre’r Ceiri did before), and the carved mountain testament to a century of stonecraft that kept the village, sustained its band and choirs, filled its chapels and school, and made busy its pier.Myriad memories in and of this land, rippling out, lighting upon places and people, the sights and sounds of adopted home. Memories and music.Even the best of second language users are tricked occasionally by a turn of phrase, a quirk of grammar, an untranslatable; so, too, acquired nostalgia and the yearning for home, even when the learning began in the womb, will always be incomplete, sometimes fragmentary, often phantom. Nonetheless, it can be fully sensed, become embodied, all of this despite being second. It is what it is, no more no less. Magu hiraeth ...----Credits (as released June 6, 2023)Recording and Mixing: Sam GeeMusicians:George Bingham – double bass, percussionJacqueline Fay – cláirseach, violaRichard Fay – boxFabienne Fournelle – drum kitSam Gee – soprano/alto sax, piano, bassoonIdris Jones – violinMabon Jones – violinMéabh Kennedy – violinElana Kenyon-Gewirtz – violinJemima Kingsland – fluteDaniel Mawson – clarinetCaroline Morris – celloHugh Owen – guitarSheila Seal – piano, electric bassAli Vennart – violaPhotography: Liam PriorGraphic Design: Sam GeeMany thanks to Idris Jones for rendering my original text in Welsh.Diolch yn fawr i Idris Jones am addasu fy nhestyn gwreiddiol i’r Gymraeg.

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    Authors: Abdullah, Doria; Lim, Miguel Antonio; Tozsa, Reka;

    Sustainable development (SD) refers to development that meets the needs of the present without compromising the ability of future generations to meet their own needs. In 1987 the United Nations (UN) formally recognised SD as a critical agenda, and called for world leaders to respond based on principles of science and research. World leaders signed the UN Millennium Declaration in September 2000, expressing their commitment to resolve eight challenges affecting global citizens through the UN Millennium Development Goals (MDGs). In September 2015 this commitment was renewed through the adoption of the UN 2030 Agenda for SD. The eight challenges set out in the MDGs were refined and presented in the form of the UN Sustainable Development Goals (SDGs), with 17 global goals set for implementation ranging from no poverty (SDG 1) to partnership for success (SDG 17).

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    Authors: Ben, Patrick;

    In this dissertation, I consider a hitherto underexplored concept of ‘human minimum’ as proposed by H. Odera Oruka to obligate responsibility as an approach to tackling extreme poverty in Africa and beyond. I aim to establish, among other things, why it is morally problematic and economically counterproductive to demand equal moral responsibility from all moral agents irrespective of their economic differences to ensure the implementation of the human minimum or the elimination of extreme poverty. To achieve the aforementioned, I attempt to answer two significant questions, to wit: What are some of the moral implications of ensuring that a society attains the human minimum as an approach to fighting extreme poverty? Who has a greater moral responsibility for ensuring the attainment of the human minimum between the government, non-governmental/nonprofit organisations, and individual members of society? In Oruka’s philosophy, enforcement of a global human minimum is the equal moral obligation of all moral agents—all those situated above the poverty line. I will demonstrate why ignoring the economic differences – and inequalities – of those who qualify as moral agents in Oruka’s conceptualisation of extreme poverty, particularly in continental Africa, risks plunging more of those who live a little above the human minimum threshold into poverty. I then argue that a disproportionate distribution of responsibility that is sensitive to the economic disparities that exist among the non-poor population holds a better promise for success in the fight against extreme poverty in Africa.

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    Authors: Bennett, Tom; Geue, Niklas; Timco:, Grigore; Whitehead, George; +9 Authors

    Raw, unprocessed NMR spectra obtained in d-acetone

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    https://doi.org/10.48420/24771...
    Dataset . 2023
    License: CC BY
    Data sources: Datacite
    https://doi.org/10.48420/24771...
    Dataset . 2023
    License: CC BY
    Data sources: Datacite
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      https://doi.org/10.48420/24771...
      Dataset . 2023
      License: CC BY
      Data sources: Datacite
      https://doi.org/10.48420/24771...
      Dataset . 2023
      License: CC BY
      Data sources: Datacite
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    Authors: Richards, David; Warner, Sam; Coyle, Diane; Smith, Martin;

    Despite positive initiatives taking place across Whitehall, we must continue asking the fundamental questions about reform, write Sam Warner, Dave Richards, Diane Coyle and Martin Smith.

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