Ticking Time Bomb Scenario

The ticking time bomb scenario is a thought experiment that has been used in the ethics debate over whether torture can ever be justified.

Simply stated, the consequentialist argument is that nations, even those that legally disallow torture, can justify its use if they have a terrorist in custody who possesses critical knowledge, such as the location of a time bomb or a weapon of mass destruction that will soon explode and cause great loss of life. Opponents to the argument usually begin by exposing certain assumptions that tend to be hidden by initial presentations of the scenario and tend to obscure the true costs of permitting torture in "real-life" scenarios—e.g., the assumption that the person is in fact a terrorist, whereas in real life there usually remains uncertainty about whether the person is in fact a terrorist—and rely on legal, philosophical/moral, and empirical grounds to reaffirm the need for the absolute prohibition of torture.

Read more about Ticking Time Bomb Scenario:  Background, Views in Favor of Accepting Torture in Emergencies, Views Rejecting Torture Under All Circumstances, Effect of Fiction

Famous quotes containing the words ticking, time, bomb and/or scenario:

    The death clock is ticking slowly in our breast, and each drop of blood measures its time, and our life is a lingering fever.
    Georg Büchner (1813–1837)

    An old French sentence says, “God works in moments,”M”En peu d’heure Dieu labeure.” We ask for long life, but ‘t is deep life, or grand moments, that signify. Let the measure of time be spiritual, not mechanical.
    Ralph Waldo Emerson (1803–1882)

    [A] Dada exhibition. Another one! What’s the matter with everyone wanting to make a museum piece out of Dada? Dada was a bomb ... can you imagine anyone, around half a century after a bomb explodes, wanting to collect the pieces, sticking it together and displaying it?
    Max Ernst (1891–1976)

    This is the essential distinction—even opposition—between the painting and the film: the painting is composed subjectively, the film objectively. However highly we rate the function of the scenario writer—in actual practice it is rated very low—we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.
    Sir Herbert Read (1893–1968)