Humanity has begun to move from the natural world intothe cyber world. Issues surrounding this mentalmigration are debated in philosophical dialogue. Thelead character is Becket Geist, a romantic philosopherwith views tempered by 20th century science. He openswith a monologue in which he argues that loss of theworld in exchange for the cyber world is dark andinevitable. His chief adversary is Fortran McCyborg,a cyborg with leanings toward Scottish philosophy. The moderating force is Nonette Naturski who championsnaturalism, conservation of humanist ideals, andprudent (...) conclusions. The ensuing dialogue examineseight counter-arguments to Geist''s vision. Thearguments and Geist''s replies lead to unanticipatedchanges in position that cascade to a chillingclose. (shrink)

The question of whether the term ”art,” or art as an array of objects, can be defined depends upon the sense of “art” and its extension. The generic sense of “art” is its broadest meaning having its widest extension. I argue that the term is very much like the generic term “science.” Uses of both terms don’t depend upon rigorous definition. Rather, the terms organize an enormous number of varied and sometimes incompatible sub-categories. Most informative topics in art and science (...) are under these sub-categories. As dynamic areas of activity, art and science continue to evolve without an efficacious generic sense. We can dispense with it for these purposes. (shrink)

The task of finding art in the world is presented as a tale of three dynamic forces that have shaped art in recent times. The first is expansion of the domain of art. This is reflected in linguistic change. The term "art" has grown enormously in sense and extension. The second force is the public's subjective response to art writ large. Our commercial culture compels reaction. The third force is the art world's active promotion of the expansion of art's domain (...) and the contextualization of the public's subjective response to it. The aspiration of the paper is to bring some clarity to how we presently identify art, respond to it, understand it, and institutionalize it. The tale concludes with discussion of the future of art in the world today. (shrink)

Ethical fiduciaries in health care lack sufficient criteria for making ethical decisions. The authors introduce criteria from The Theory of Comfort as developed in the nursing literature. According to the theory, comfort is based in observation, measurable, and represents a nearly universal human need and interest. Use of the theory is illustrated through three case studies.