Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, (...) the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic-ethical value relation. (shrink)

explanation is of course that Arnheim was working against the assumption that film cannot be art because it is mere mechanical recording. Thus what he needed to emphasize were all the ways in which film fails to accurately reproduce reality.

https://plato.stanford.edu/entries/digital-art/.

This article surveys the current debate among analytic philosophers and film narratologists about the logic and phenomenology of cinematic narration. Particular attention is given to the question of whether every film that represents a fictional narrative also represents a narrator's fictional narration.

This volume advances the contemporary debate on five central issues in the philosophy of film. These issues concern the relation between the art and technology of film, the nature of film realism, how narrative fiction films narrate, how we engage emotionally with films, and whether films can philosophize. Two new essays by leading figures in the field present different views on each issue. The paired essays contain significant points of both agreement and disagreement; new theories and frameworks are proposed at (...) the same time as authors review the current state of debate. Given their combination of richness and clarity, the essays in this volume can effectively engage both students, undergraduate or graduate, and academic researchers. (shrink)

Even though philosophy of film is a relatively small and relatively young philosophical subfield, I argue that it is well worth a dedicated undergraduate course. I outline such a course below, with reference to particular anthologies of readings and a corresponding list of central topics. I recommend adopting a broad conception of film, to include moving image works in a range of formats and technological media, as well as an inclusive approach to philosophizing about film, one that draws on the (...) history of film theory, both the analytic and the continental philosophical traditions, critical race theory, and feminist theory. The aim of a philosophy of film course is to hone students’ philosophical skills in the service of a deeper appreciation of the art of moving images. (shrink)

Even though philosophy of film is a relatively small and relatively young philosophical subfield, I argue that it is well worth a dedicated undergraduate course. I outline such a course below, with reference to particular anthologies of readings and a corresponding list of central topics. I recommend adopting a broad conception of film, to include moving image works in a range of formats and technological media, as well as an inclusive approach to philosophizing about film, one that draws on the (...) history of film theory, both the analytic and the continental philosophical traditions, critical race theory, and feminist theory. The aim of a philosophy of film course is to hone students’ philosophical skills in the service of a deeper appreciation of the art of moving images. (shrink)

Image in the Making examines the ways in which digital technology changes our understanding of and engagement with the visual arts. At the current stage of development in digital technology, we cannot always tell, just by looking, that an image was made with digital - versus analog - tools. But a case can be made for fully appreciating an image only in terms of its underlying digital structure and technology.

This paper reveals an ulterior motive for insisting on the necessary presence of narrators in film: the desire to fit film into a literary paradigm. Despite important theoretical links between film and literature, the assumption that films must be like novels in always having narrators is unsound. By moving beyond literature in the comparison of narrative media, and focusing specifically on cases of ‘breaking the fourth wall’ in film and theatre, we find that the presence and function of a cinematic (...) narrator depends as much on the features of a specific work as it does on the nature of narrative. (shrink)

Leading young scholars present a collection of wide-ranging essays covering central problems in meta-aesthetics and aesthetic issues in the philosophy of mind, as well as offering analyses of key aesthetic concepts, new perspectives on the history of aesthetics, and specialized treatment of individual art forms.

I begin by distinguishing two notions of model, the notion of a truth-making structure and the notion of a mathematical model (in one specific sense). I then argue that although the models of the semantic view have often been taken to be both truth-making structures and mathematical models, this is in part due to a failure to distinguish between two ways of truth-making; in fact, the talk of truth-making is best excised from the view altogether. The result is a version (...) of the semantic view which is better supported by the direct evidence offered for it, better equipped to achieve its avowed aims, and, I think, closer to the intentions of the original proponents of the view in many ways, despite some of their own declarations to the contrary. (shrink)

Call a bit of scientific discourse a description of a missing system when (i) it has the surface appearance of an accurate description of an actual, concrete system (or kind of system) from the domain of inquiry, but (ii) there are no actual, concrete systems in the world around us fitting the description it contains, and (iii) that fact is recognised from the outset by competent practitioners of the scientific discipline in question. Scientific textbooks, classroom lectures, and journal articles abound (...) with such passages; and there is a widespread practice of talking and thinking as though there are systems which fit the descriptions they contain perfectly, despite the recognition that no actual, concrete systems do so—call this the face value practice. There are, furthermore, many instances in which philosophers engage in the face value practice whilst offering answers to epistemological and methodological questions about the sciences. Three questions, then: (1) How should we interpret descriptions of missing systems? (2) How should we make sense of the face value practice? (3) Is there a set of plausible answers to (1) and (2) which legitimates reliance on the face value practice in our philosophical work, and can support the weight of the accounts which are entangled with that practice? In this paper I address these questions by considering three answers to the first: that descriptions of missing systems are straightforward descriptions of abstract objects, that they are indirect descriptions of “property-containing” abstracta, and that they are (in a different way) indirect descriptions of mathematical structures. All three proposals are present in the literature, but I find them wanting. The result is to highlight the importance of developing a satisfactory understanding of descriptions of missing systems and the face value practice, to put pressure on philosophical accounts which rely on the practice, and to help us assess the viability of certain approaches to thinking about models, theory structure, and scientific representation. (shrink)

Inquiries into the nature of scientific modeling have tended to focus their attention on mathematical models and, relatedly, to think of nonconcrete models as mathematical structures. The arguments of this article are arguments for rethinking both tendencies. Nonmathematical models play an important role in the sciences, and our account of scientific modeling must accommodate that fact. One key to making such accommodations, moreover, is to recognize that one kind of thing we use the term ‘model’ to refer to is a (...) collection of propositions. (shrink)

Each chapter covers one topic and largely consists of brief summaries of arguments for and against various themes. The topic of the first chapter is whether and on what basis a film can be considered art. Photography is used as an analogy. The arguments range from considering the mechanical form of cinema as an obstacle to arthood to arguments considering cinema’s mechanical nature as essential to its arthood; the former by those who ground art in human agency, the latter by (...) those who ground art in some conception of verisimilitude. Those worried by the former argument, emphasize editing and montage effects as the essential aspects of cinema, the idea being that the less representational veracity a film presented, the more it could be classified as art. On the other hand, for those who equate the art of film with verisimilitude, it is argued that the realism of film is superior to the realism of the other representational arts due to film’s retrieval of images as opposed to merely representing them. (shrink)

Purpose Cybercrime is a prevalent and serious threat to publicly traded companies. Defending company information systems from cybercrime is one of the most important aspects of technology management. Cybercrime often not only results in stolen assets and lost business but also damages a company’s reputation, which in turn may affect the company’s stock market value. This is a serious concern to company managers, financial analysts, investors and creditors. This paper aims to examine the impact of cybercrime on stock prices of (...) a sample of publicly traded companies. Design/methodology/approach Financial data were gathered on companies that were reported in news stories as victims of cybercrime. The market price of the company’s stock was recorded for several days before the news report and several days after. The percentage change in the stock price was compared to the change in the Dow Jones Industrial average to determine whether the stock price increased or decreased along with the rest of the market. Findings Stock prices were negatively affected in all time periods examined, significantly so in one period. Practical implications This paper describes cases concerning cybercrime, thereby bringing attention to the value of cybersecurity in protecting computers, identity and transactions. Cyber security is necessary to avoid becoming a victim of cybercrime. Specific security improvements and preventive measures are provided within the paper. Preventive measures are generally less costly than repairs after a cybercrime. Originality/value This is an original manuscript that adds to the literature regarding cybercrime and preventive measures. (shrink)

Australasian Journal of Philosophy, Volume 89, Issue 3, Page 567-570, September 2011.

The moving frame of a tracking or crane shot, or of a camera tilt or pan, can affect the way we engage with a film narrative. In this paper, I argue that certain uses of the moving frame in narrative fiction film prescribe us to imagine ourselves moving through the world of the film. The existence of such an imaginative prescription ultimately threatens the necessity of the cinematic narrator. In light of the standard indeterminacy of our means of access to (...) fictions, the prescription to imagine moving is not accompanied by a prescription to imagine a narrator providing us with a moving view. (shrink)

Abstract In this paper I suggest a way that an already promising view on ethical art criticism can account for the value of mediocre artworks which endorse morally commendable perspectives. In order for the view I call prescriptive ethicism to deal with such cases of critical ambivalence, it must take account of the interaction between moral content and form in art. Such interaction is seen in the way the aesthetic features of an artwork partly determine its moral value, or success (...) in providing ethical insight. I argue that if a work lacks the kind of moral value which is determined by the interaction between form and content, then we have little reason to engage with that work. When a work expresses an otherwise commendable moral attitude in a clumsy or trite manner, while it is clearly compromised aesthetically, it is also compromised ethically. For such a work forfeits the ability to reveal new aspects of ethical life. (shrink)

1Department of Moral Philosophy, University of St Andrews, Fife KY16 9AL, Scotland, UKTolstoy on Aesthetics: What is Art? H.O. Mounce Aldershot, UK Ashgate 2001 v + 115 Hardback£35.00, $59.95.

Bowers et al. express skepticism about deep neural networks (DNNs) as models of human vision due to DNNs' failures to account for results from psychological research. We argue that to fairly assess DNNs, we must first train them on more human-like tasks which we hypothesize will induce more human-like behaviors and representations.

We contribute to the literature on ethics in the professions by theorizing how global mobility precipitates professional insecurity and constrained moral agency. We present our findings of a study of accountants migrating to Canada. Using postcolonial theory and relational/poststructuralist theories of identity and ethics, we contrast the experiences of marginalized and privileged migrant accountants to show how those with “diverse” social identities are not recognized by professionals in Canada and must seek recognition from Canadian colleagues, employers, and clients to reconstitute (...) their professional identities and moral agency. We discuss the implications of the exclusion and marginalization of professionals for migrants, the profession, and society more generally. (shrink)

Many are calling for concrete mechanisms of oversight for health research involving artificial intelligence (AI). In response, institutional review boards (IRBs) are being turned to as a familiar model of governance. Here, we examine the IRB model as a form of ethics oversight for health research that uses AI. We consider the model's origins, analyze the challenges IRBs are facing in the contexts of both industry and academia, and offer concrete recommendations for how these committees might be adapted in order (...) to provide an effective mechanism of oversight for health‐related AI research. (shrink)

Book Information Art and Morality. Art and Morality José Luis Bermùdez and Sebastian Gardener , London : Routledge , 2003 , 303 , £50 ( cloth ) By José Luis Bermùdez. and Sebastian Gardener. Routledge. London. Pp. 303. £50 (cloth:).

Multimodal prehabilitation is increasingly recognized as an important component of the pre-operative pathway in oncology. It aims to optimize physical and psychological health through delivery of a series of tailored interventions including exercise, nutrition, and psychological support. At the core of this prescription is a need for considerable health behavior change, to ensure that patients are engaged with and adhere to these interventions and experience the associated benefits. To date the prehabilitation literature has focused on testing the efficacy of devised (...) exercise and nutritional interventions with a primary focus on physiological and mechanistic outcomes with little consideration for the role of behavioral science, supporting individual behavior change or optimizing patient engagement. Changing health behavior is complex and to maximize success, prehabilitation programs should draw on latest insights from the field of behavioral science. Behavioral science offers extensive knowledge on theories and models of health behavior change to further advance intervention effectiveness. Similarly, interventions developed with a person-centered approach, taking into consideration individual needs and preferences will increase engagement. In this article, we will provide an overview of the extent to which the existing prehabilitation literature incorporates behavioral science, as well as studies that have explored patient's attitudes toward prehabilitation. We will go on to describe and critique ongoing trials in a variety of contexts within oncology prehabilitation and discuss how current scientific knowledge may be enhanced from a behavioral science perspective. We will also consider the role of “surgery schools” and detail practical recommendations that can be embedded in existing or emerging clinical settings. (shrink)