Content: Wingo contrasts the traditional Western approaches to art classification with some African traditions in which what gives art its status is the social context in which it is situated, the community that art creates. He reviews some of the ways in which art is approached in those cultures, focusing on its functional, everyday character and sensual nature. Art is not meant for disinterested intellectual contemplation, but for sense experience, and should have the capacity to really move its audience. Similarly, the forms of African art are often different, including mask and costume making and dance. Wingo offers an overview of ways in which such works can be embedded in other cultural practices, and discusses how they are commonly perceived and approached.

Abstract: I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” a future that unfortunately rests upon the same outdated foundation as the concept “art.”.

Abstract: This examination of the concept “work of art” has been prompted by the desire to find a starting point for aesthetic inquiry which, to begin with at any rate, will arouse no dispute. A claim for general agreement such as Clive Bell's: “The starting point for all systems of aesthetics must be the personal experience of a pecular emotion”, is countered by I. A. Richards's “the phantom aesthetic state”, and any attempt to claim “beauty” as the central concept is straightway confused by the varied contexts in which “beauty” and “beautiful” may function. We hear much more often of a beautiful stroke in cricket than in painting, and many of our moral judgments have an aesthetic flavour. An action may be bold, dashing, mean, underhanded, unimaginative, cringing, fine, as well as right or wrong. Aesthetic adjectives and adverbs may occur in any context, and part of our job is to separate out the various uses and establish their inter-relationships.

Publisher's note: From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that stretch from modern often sensational works, back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. She also guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor. It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art.

Publisher's note: This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.

Content: The first three sections of this paper offer a very useful overview of modern definitions of art. Most major types of definitions are introduced and explained in a succinct way, followed by a discussion of selected objections they face. First, Abell introduces functionalism and discusses its problems with extensional adequacy. Second, procedural theories including Dickie’s institutional and Levinson’s historical definitions are discussed, and criticized for their circularity and inability to account for art’s value. Next, Abell considers two mixed theories, formulated by Robert Stecker and David Davies. She shows how they can overcome the difficulties discussed above, but run into their own problems. Finally, Berys Gaut’s cluster account is introduced and criticized for its circularity and difficulties in determining all sufficiency conditions for being an artwork. In the remainder of the paper Abell focuses on developing her own version of the institutional theory.

Abstract: I address questions about values in model-making in engineering, specifically: Might the role of values be attributable solely to interests involved in specifying and using the model? Selected examples illustrate the surprisingly wide variety of things one must take into account in the model-making itself. The notions of system , and physically similar systems are important and powerful in determining what is relevant to an engineering model. Another example illustrates how an idea to completely re-characterize, or reframe, an engineering problem arose during model-making.I employ a qualitative analogue of the notion of physically similar systems. Historical cases can thus be drawn upon; I illustrate with a comparison between a geoengineering proposal to inject, or spray, sulfate aerosols, and two different historical cases involving the spraying of DDT . The current geoengineering proposal is seen to be like the disastrous and counterproductive case, and unlike the successful case, of the spraying of DDT. I conclude by explaining my view that model-making in science is analogous to moral perception in action, drawing on a view in moral theory that has come to be called moral particularism.

Publisher’s Note: Publisher: Truth, Trust and Medicine investigates the notion of trust and honesty in medicine, and questions whether honesty and openness are of equal importance in maintaining the trust necessary in doctor-patient relationships. Jackson begins with the premise that those in the medical profession have a basic duty to be worthy of the trust their patients place in them. Yet questions of the ethics of withholding information and consent and covert surveillance in care units persist. This book boldly addresses these questions which disturb our very modern notions of a patient's autonomy, self-determination and informed consent.

Publisher’s Note: Publisher: How, in a secular world, should we resolve ethically controversial and troubling issues relating to health care? Should we, as some argue, make a clean sweep, getting rid of the Hippocratic ethic, such vestiges of it as remain? Jennifer Jackson seeks to answer these significant questions, establishing new foundations for a traditional and secular ethic which would not require a radical and problematic overhaul of the old. These new foundations rest on familiar observations of human nature and human needs. Jackson presents morality as a loose anatomy of constituent virtues that are related in different ways to how we fare in life, and suggests that in order to address problems in medical ethics, a virtues–based approach is needed. Throughout, attention is paid to the role of philosophy in medical ethics, and how it can be used to clarify key notions and distinctions that underlie current debates and controversial issues. By reinstating such concepts as justice, cardinal virtue, and moral duty, Jackson lays the groundwork for an ethics of health care that makes headway toward resolving seeming dilemmas in medical ethics today. This penetrating and accessible book will be invaluable to students of sociology and health care, as well as those who are interested in the ethical uncertainties faced by the medical world.

Abstract: