Recently David Best has advanced the claim that sport is not an art form, and that although sport may be aesthetic, it is not artistic. Such a claim is false and runs counter to ordinary usage and sport practice. On behalf of sport practice, let me cite as an example the world-class Canadian skater, Toller Cranston, who thinks there are such things as ‘artistic sports, those being gymnastics, diving, figure skating’. Best claims that athletes like Cranston are conceptually (...) confused and that they endow sport with greater respectability than should be allowed. Ascribing the predicate ‘artistic’ to sport performances reflects ‘barbarous usage’. Why does Best exclude the artistic from the realm of sport? Upon examination of his argument, one finds that this exclusion derives mainly from his concepts of art and sport. He thinks that art has a subject-matter, a content, and that sport does not. Sport is contentless, so ‘sport’ and ‘art’ are two logically distinct regions. But is this so? Are we to accept Best's argument or are we to listen to accomplished, reflective athletes in the area of artistic sports? It seems the most reasonable analytic procedure would be to listen to Cranston's case and decide whether such a piece of intentionalist criticism5 should override Best's premises. (shrink)

The paper attempts to trace the relevance of the work of Slavoj Žižek in the field of practical opera composition, taking as example the Greek contemporary opera Anthony’s Death, which dramatizes a multitude of Žižekian topics and concludes with a sung Žižek text. The paper argues that the tension between the dimensions of Meaning and Voice is constitutive of the genre of opera itself, and exhibits the strategies used by Anthony’s Death to thematize this disjunction. The work’s structure is then (...) examined as an attempt to artistically render several Žižekian topoi and from the point of view of the different uses it subjects Žižek’s text to. The vicissitudes of thought submitted to musical treatment are considered next, and it is argued that a “fall” from Meaning into Sound is inevitable when abstract thought is sung. Finally, the importance of Žižek’s work for contemporary opera is located on the level of operatic form, for which it is asserted that it has the ability to act as a potentially vivifying catalyst. (shrink)

This essay takes a synthetic and critical approach to the scattered pieces of art criticism and aesthetic theory authored by Louis Althusser. Connecting these texts to his larger philosophical and political project, we argue that these reflections make an independent contribution to its worth and that they offer different perspectives on lingering theoretical problems. We piece together the insights that form the core of the Althusserian approach to aesthetics and show how these are formulated and trace how their formulations take (...) shape in relation to the work of different authors and artists. In addition to helping us better understand his overall project, Althusser’s aesthetic theory is, we argue, a powerful and original contribution to Marxist aesthetics. Specifically, it points us to the idea that we need to take aesthetic production seriously as a practice with its own specificity – one that has its own logics of determination, rituals of production, circulation, and consumption, one that commands effects that need to be theorized on their own terms. (shrink)

Purpose: This paper aims to mediate Josef Mitterer's non-dualistic philosophy with the claim that speaking is a process of embodied experience. Approach: Key assumptions of enactive cognitive science, such as the crossmodal integration of speech and gesture and the perceptual grounding of linguistic concepts are illustrated through selected performance pieces of multimedia artist Laurie Anderson. Findings: The analysis of Anderson's artistic work questions a number of dualisms that guide truth-oriented models of language. Her performance pieces demonstrate that language is both (...) sensually enacted and conceptually reflected through the integration of iconic signing (e.g. sound play, dance) with symbolic communication. Moreover, Anderson's artistic practice demonstrates that media such as voice, gesture and recording technologies realize different forms of embodied language. Benefits: Media aesthetics in the vein of embodied cognition can overcome a number of the dualisms that inform analytical philosophy of language, linguistics, and communication studies, such as perceptual/conceptual meaning, iconicity/symbolicity, emotion/cognition, body/technology and voice/script. (shrink)

Book description: Art and Morality is a collection of groundbreaking new papers on the theme of aesthetics and ethics, and the link between the two subjects. A group of distinguished contributors tackle the important questions that arise when one thinks about the moral dimensions of art and the aesthetic dimension of moral life. The volume is a significant contribution to philosophical literature, opening up unexplored questions and shedding new light on more traditional debates in aesthetics. The topics explored include: the (...) relation of aesthetic to ethical judgement; the relation of artistic experience to moral consciousness; the moral status of fiction; the concepts of sentimentality and decadence; the moral dimension of critical practice, pictorial art and music; the moral significance of tragedy; and the connections between artistic and moral issues elaborated in the writings of central figures in modern philosophy, such as Kant, Schopenhauer and Nietzsche. The contributors share the view that progress in aesthetics requires detailed study of the practice of criticism. This volume will appeal both to the philosophical community and to researchers in areas such as literary theory, musicology and the theory of art. (shrink)

Debate over the status of medicine as an Art or Science continues. The aim of this paper is to discuss the meaning of Art and Science in terms of medicine, and to find out to what extent they have their roots in the field of medical practice. What is analysed is whether medicine is an "art based on science"; or, the "art of medicine" has lost its sheen (what with the rapid advancements of science in course of time, which (...) has made present day medicine more sophisticated). What is also analysed is whether the "science of medicine" is a pure one, or merely applied science; or the element of science in it is full of uncertainty, simply because what is accepted as "scientific" today is discarded by medical practitioners tomorrow in the light of newer evidence. The paper also briefly touches upon how, in the field of present medical education, the introduction of medical humanities or humanistic education has the potential to swing the pendulum of medicine more towards the lost "art of medicine". The paper concludes by saying that the art and science of medicine are complementary. For successful practice, a doctor has to be an artist armed with basic scientific knowledge in medicine. (shrink)

This article turns on a curatorial project that Trine Friis Sørensen conducted in relation to the Danish Radio Archive by commissioning two artists, Kajsa Dahlberg and Olof Olsson, to engage with the archive and produce artworks in relation to it. Focusing on the practice of commissioning rather than its outcome, the article proposes to consider commissioning as a curatorial mode of inquiry into the DR Archive and in turn asks why we commission, how the commission works and what kind (...) of thinking the commission engenders. Drawing on Bruno Latour, Michel Foucault and in particular Jacques Derrida, this thinking with and through the practice of commissioning eventually prompts. (shrink)

In this book is the first meeting of Andreĭ Astvat︠s︡aturov the prose writer with Andreĭ Astvat︠s︡aturov the philologist. In this book of essays "Chaos and Symmetry", Astvat︠s︡aturov, as befits a philologist, is a sophisticated researcher and connoisseur of literature: classical Anglo-American and modern Russian. He will explain why in Oscar Wilde's The Canterville ghost" the ghost is an artist, how William Golding's "Lord of the Flies" echoes ancient tragedy, and why Henry Miller peered into the void. He writes about the (...) features of the modern literary process as well as prose by Mikhail Elizarov, Roman Senchin, German Sadulaev, and other famous authors. Personal experience is mixed with literary observations. Biographical details are a continuation (or, conversely, the source) of the writers' work, and all together it forms an elegant mosaic, not devoid of some practical usefulness: it is helpful to look at the tips and tricks of others. (shrink)

In this widely acclaimed work, James Ackerman considers in detail the buildings designed by Michelangelo in Florence and Rome--including the Medici Chapel, the Farnese Palace, the Basilica of St. Peter, and the Capitoline Hill. He then turns to an examination of the artist's architectural drawings, theory, and practice. As Ackerman points out, Michelangelo worked on many projects started or completed by other architects. Consequently this study provides insights into the achievements of the whole profession during the sixteenth century. (...) The text is supplemented with 140 black-and-white illustrations and is followed by a scholarly catalog of Michelangelo's buildings that discusses chronology, authorship, and condition. For this second edition, Ackerman has made extensive revisions in the catalog to encompass new material that has been published on the subject since 1970. (shrink)

The well known English writer Samuel Johnson† lived in the age of Enlightenment when philosophy, understood as the critical activity of the mind, extended its influence to all types of moral and mental activity and occupied the minds of the poet and the dramatist, the artist and the scientist, the pedagogue and the social activist. Both by virtue of the multiplicity of his interests and the circumstances of his life, Johnson was unable to devote himself entirely to philosophy. But, being (...) an encyclopedically educated man, he constantly lived by it and thought about the world around him in a philosophical way. His arguments, which had a philosophical character, were linked with practical precepts of actual life or passed into them. He was concerned not only with the abstract truthfulness of his writings, but also with their immediate utility for his fellow creatures. Human life is the main subject matter of his philosophy, and philosophy was understood by him as the quintessence of life and its vital wisdom. But this wisdom itself, according to Johnson, is not merely an empirical generalization of living observations. It has a more profound basis in theory, in abstract thought, in the comprehension of the whole of existence. (shrink)

This essay takes a synthetic and critical approach to the scattered pieces of art criticism and aesthetic theory authored by Louis Althusser. Connecting these texts to his larger philosophical and political project, we argue that these reflections make an independent contribution to its worth and that they offer different perspectives on lingering theoretical problems. We piece together the insights that form the core of the Althusserian approach to aesthetics and show how these are formulated (in connection with the work of (...) Pierre Macherey as well as the dominant controversies of the time) and trace how their formulations take shape in relation to the work of different authors and artists. In addition to helping us better understand his overall project, Althusser’s aesthetic theory is, we argue, a powerful and original contribution to Marxist aesthetics. Specifically, it points us to the idea that we need to take aesthetic production seriously as a practice with its own specificity - one that has its own logics of determination, rituals of production, circulation, and consumption, one that commands effects that need to be theorized on their own terms. (shrink)

The archive produces a linear time that reaches towards ‘what could be’ by asserting ‘what has been’, providing us reassurance of our existence through the assertion of a reliably past past. But the Anthropocene is an era of uncontained material ramifications, where the past juts into the future and temporality warps as change accelerates unexpectedly. As an ecological and geologic epoch, documentation of the Anthropocene inherently has a relationship to natural history museums and archives. These institutions, however, troublingly rest on (...) what Elaine Graham calls ‘ontological hygiene’ – the separateness of the human subject from ‘nature’. The Anthropocene however, challenges the western post-Enlightenment binary of man vs. nature, as it (supposedly) naturalizes humans into an earth systems force. As such, documentation of this epoch might resist ontological sanitation. This article outlines an artistic research practice to create artefacts of the Anthropocene – one that invites material idiosyncrasies, objects-in-becoming, ephemerality, and decay. I suggest that artistic ‘anarchices’ prioritize process over objects, and resist linear and static representation in lieu of material, embodied and sensory artefacts. These include relational encounters with waste materials, reworked forms of ‘geology’, edible artefacts and multimedia works at landfills and feral sites. The anarchives are interpolated by a rejection of hegemonic logic, positivism and ‘objective’ truths about environmental phenomena; Situated, ambiguous and material knowledges are inwrought into the so-called Anthropocene (and any alternatives to this term). By focusing on waste as an analytical category, I explore some of the ontological breakdowns present in the Anthropocene and question how to unorder systems and disturb materiality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:James S. Mullican DETERMINISM, FATALISM, AND FREE WILL IN HAWTHORNE A recurrent theme in Nathaniel Hawthorne's writing is the relationship between fatalism and free will. His tales, romances, and notebooks contain explicit and implied references to man's freedom of choice and his consequent responsibility for his acts, as well as to "fatalities" that impel men to various courses of action. Much of the ambiguity in Hawthorne's fiction rests on (...) this conflict between the notions of human freedom and responsibility on one hand and fatalism on the other. Although there is no question that this theme was important for Hawthorne, there is much disagreement concerning what Hawthorne himself believed. Critics have taken virtually every position on the spectrum between the poles of complete freedom and complete fatalism. That this disagreement exists should not be surprising. Hawthorne was an artist, not a philosopher or theologian; an important element of his technique, perhaps essential to his vision of life, was his ambiguity. His dual vision of the world, of matter and spirit, of evil and good, and his emphasis now of one, now of the other, engender disagreement concerning his view of life. His alternate fascination with and apparent rejection of Puritanism have led some to believe he was a predestinarían, others to hold that he was a "libertarian," and at least one critic to write that Hawthorne believed in a "modified predestination." Turner argued that Hawthorne's attitude toward reform led him to fatalistic thinking. Since reform movements touched only the surface manifestations of vice, such movements were useless, in Hawthorne's view. The logical conclusion of such a position, reasoned Turner, was fatalism. "Hence reform which would stir only the superficial outcroppings and would leave untouched the real causes underneath would be futile at best. And since the true sources of evil, so Hawthorne thought, lie largely beyond the reach of human efforts, fatalism was the certain end of his thinking." Turner saw evidence for fatalism 91 92Philosophy and Literature in Hawthorne's fiction also: "... there is a clear suggestion that the decisions [by Hester, Dimmesdale, Rappaccini, Ethan Brand, and Hollingsworth] have been inevitable, that the agent responsible is fate rather than Hawthorne's character." This critic concluded that Hawthorne was convinced that "the universe, including man and man's soul, is governed by inexorable law." Some critics have linked Hawthorne's beliefs regarding free will and fatalism to his attitude toward Calvinism. Schneider wrote, "... Hawthorne translated into empirical truths the essential doctrines of Calvinism.... From the popular doctrine of reform, he returned to the Puritan doctrine of divine sovereignty." Schneider suggested that Hawthorne purified the doctrines of the Puritans and returned them to their original purpose, salvation of the soul. "He recovered what Puritans professed but seldom practiced—the spirit of piety, humility, and tragedy in the face of the inscrutable ways of God." Cowley wrote that Hawthorne "believed in predestination, as the Calvinists did." Mills was of the opinion that Hawthorne was the most sympathetic to the Puritans of the writers of his day, but that Calvinist dogma was moderated and softened in Hawthorne: "He did not accept completely the Calvinist doctrine of predestination, nor did he emphasize the supreme sovereignty of God which was the driving force of Calvinism." Other critics have granted some measure of freedom to Hawthorne's characters. Arvin wrote, "... freedom of choice exists, but on so narrow a basis that, once exercised in the wrong direction, it is forever resigned." Fairbanks held that Hawthorne reserved to man the initial moral choice which set up the chain of necessity, and from that notion Fairbanks drew the conclusion that, "Though often called a fatalist, Hawthorne believed in free will." Schwartz, in an unpublished doctoral dissertation, argued from Hawthorne's life and from his writings that he rejected fatalism in favor of free will. Wagenknecht noted that Hawthorne refused "to accept foreordination and total depravity." Still other critics have emphasized a paradoxical element in Hawthorne 's writing, his acceptance of both horns of the dilemma. Waggoner wrote: "He saw man as immersed in a mystery in which responsibility is at odds with fate. His own natural tendency was to emphasize causation at the... (shrink)

Draws upon Taoist wisdom and photographic artistry to provide insight into creativity, spirituality, and awareness training, with black-and-white photographs, passages from ancient Taoist writings, and practical exercises to explain the fundamentals of Taoist photography.

There is a broad consensus, within the interlocking system of art institutions, on the goals viewed as worth achieving. Artists, for example, will strive to realize broadly formalist values in their work; critics will strive to discern and articulate the achievement of such values; dealers will strive to discover and promote artists whose work successfully reflects these standards; and collectors will strive to acquire and exchange such work.The long-range effect of this tightly defended consensus is that the art practitioners who (...) share it determine - through their shared values and practices, and the economic and social factors that determine them - the criteria of critical evaluation for all art that aspires to entry into existing art institutions. I shall describe this as a state of critical hegemony. That is, the socioeconomically determined aesthetic interests of these individuals define not only what counts as "good" and "bad" art, but what counts as art, period. (shrink)

Modern Studies in Philosophy, we are informed on the page facing the title-page, "is a series of anthologies presenting contemporary interpretations and evaluations of the works of major philosophers." The volumes are "intended to be contributions to contemporary debates as well as to the history of philosophy; they not only trace the origins of many problems important to modern philosophy, but also introduce major philosophers as interlocutors in current discussions." In the first of the two volumes on Plato three of (...) the articles chosen by Gregory Vlastos have not appeared elsewhere: Julius Moravcsik, Learning as Recollection; G. E. L. Owen, Plato on Not-Being; David Higgins, Sentence Meaning, Negation, and Plato's Problem of Non-Being. The other studies in Volume One are reprints: R. Robinson and J. D. Denniston, Plato; H. F. Cherniss, The Philosophical Economy of the Theory of Ideas; A. Wedberg, The Theory of Ideas; R. C. Cross and A. D. Woozley, Knowledge, Belief and the Forms; R. Robinson, Hypothesis in the Republic; G. Vlastos, Reasons and Causes in the Phaedo; R. E. Allen, Participation and Predication in Plato's Middle Dialogues; Colin Strang, Plato and the Third Man; J. L. Ackrill, Symplokë eidön; J. L. Ackrill, Plato and the Copula: Sophist 251-259. In Volume Two Terry Penner, "Thought and Desire in Plato" has not been published before. The others have: Paul Shorey, Plato's Ethics; David Sachs, A Fallacy in Plato's Republic; Raphael Demos, A Fallacy in Plato's Republic?; J. D. Mabbott, Is Plato's Republic Utilitarian?; G. Vlastos, Justice and Happiness in the Republic; F. M. Cornford, The Doctrine of Eros in Plato's Symposium; R. A. Markus, The Doctrine of Eros in Plato's Symposium; Glenn R. Morrow, Plato and the Rule of Law; Wayne A. R. Leys, Was Plato Non-Political?; F. E. Sparshott, Plato as Anti-Political Thinker; Renford Bambrough, Plato's Political Analogies; E. R. Dodds, Plato and the Irrational Soul; W. K. C. Guthrie, Plato's Views on the Nature of the Soul; Harold Cherniss, The Sources of Evil According to Plato; W. J. Verdenius, Plato's Doctrines of Artistic Imitation. Obviously, the above listed articles will be welcome to those debating issues in Plato and to historians of twentieth-century philosophy. There are two difficulties, however. The print is too small in the body of the text and is nearly microscopic in the footnotes and diagrams. Reading thus becomes almost painful. Margins to the left, right, top and bottom of the pages are practically nonexistent. On occasion footnote material is misplaced--for example, the comment on Strang's article as originally published elsewhere should be on p. 184, not on p. 187, of Volume One. But a greater problem is the fact that almost all the articles on metaphysics and epistemology are by linguistic analysts. Vlastos in his introductory remarks admits as much: "Volume One is heavily weighted on the 'analytical' side." He reports the statement of an un-named advocate of conceptual analysis "that these [analytic] methods now enable us to understand Plato better than he was ever understood by anyone in history--better than by any of his own contemporaries, even better than by himself!" He disclaims such euphoria but insists "there is an element of truth in it after all" insofar as analytic tools can alert a student to ambiguity and its consequences in some of Plato's sentences. Hence, "if we come across such sentences in Plato, it would be plainly true to say that we can understand them better than he did and even to add that we can, therefore, understand him better, since we can see both what he meant to say and the logical liabilities of his incautious sentences." All this is true enough, but a warning still is in order. Linguistic analysts tend to read only some of Plato's dialogues and, even within them, to concentrate on some passages only. This is understandable in view of their interests and the capacity of the analytic technique. But that selectivity might lead them to believe that the Plato thus revealed is the complete and authentic Plato, which it is not. Hence, in reading and teaching Plato one must complement language- and concept-analysis with other approaches. Vlastos himself is aware of this necessity : [[sic]] "Once we have made full allowance for what modern semantics and logic can do to make Plato more intelligible and alive for us today, we should be quick to concede that borrowings from this quarter must be used with economy and discretion, and that continuing reliance on older linguistic and historical disciplines is as essential now as it has ever been in the past if the object of our inquiries is Plato himself, instead of some mock-up more pleasing to current taste." One could only wish that Vlastos had fostered that reliance on other disciplines by including articles of that sort among those he actually chose.--L. S. (shrink)

Modern Studies in Philosophy, we are informed on the page facing the title-page, "is a series of anthologies presenting contemporary interpretations and evaluations of the works of major philosophers." The volumes are "intended to be contributions to contemporary debates as well as to the history of philosophy; they not only trace the origins of many problems important to modern philosophy, but also introduce major philosophers as interlocutors in current discussions." In the first of the two volumes on Plato three of (...) the articles chosen by Gregory Vlastos have not appeared elsewhere: Julius Moravcsik, Learning as Recollection; G. E. L. Owen, Plato on Not-Being; David Higgins, Sentence Meaning, Negation, and Plato's Problem of Non-Being. The other studies in Volume One are reprints: R. Robinson and J. D. Denniston, Plato; H. F. Cherniss, The Philosophical Economy of the Theory of Ideas; A. Wedberg, The Theory of Ideas; R. C. Cross and A. D. Woozley, Knowledge, Belief and the Forms; R. Robinson, Hypothesis in the Republic; G. Vlastos, Reasons and Causes in the Phaedo; R. E. Allen, Participation and Predication in Plato's Middle Dialogues; Colin Strang, Plato and the Third Man; J. L. Ackrill, Symplokë eidön; J. L. Ackrill, Plato and the Copula: Sophist 251-259. In Volume Two Terry Penner, "Thought and Desire in Plato" has not been published before. The others have: Paul Shorey, Plato's Ethics; David Sachs, A Fallacy in Plato's Republic; Raphael Demos, A Fallacy in Plato's Republic?; J. D. Mabbott, Is Plato's Republic Utilitarian?; G. Vlastos, Justice and Happiness in the Republic; F. M. Cornford, The Doctrine of Eros in Plato's Symposium; R. A. Markus, The Doctrine of Eros in Plato's Symposium; Glenn R. Morrow, Plato and the Rule of Law; Wayne A. R. Leys, Was Plato Non-Political?; F. E. Sparshott, Plato as Anti-Political Thinker; Renford Bambrough, Plato's Political Analogies; E. R. Dodds, Plato and the Irrational Soul; W. K. C. Guthrie, Plato's Views on the Nature of the Soul; Harold Cherniss, The Sources of Evil According to Plato; W. J. Verdenius, Plato's Doctrines of Artistic Imitation. Obviously, the above listed articles will be welcome to those debating issues in Plato and to historians of twentieth-century philosophy. There are two difficulties, however. The print is too small in the body of the text and is nearly microscopic in the footnotes and diagrams. Reading thus becomes almost painful. Margins to the left, right, top and bottom of the pages are practically nonexistent. On occasion footnote material is misplaced--for example, the comment on Strang's article as originally published elsewhere should be on p. 184, not on p. 187, of Volume One. But a greater problem is the fact that almost all the articles on metaphysics and epistemology are by linguistic analysts. Vlastos in his introductory remarks admits as much: "Volume One is heavily weighted on the 'analytical' side." He reports the statement of an un-named advocate of conceptual analysis "that these [analytic] methods now enable us to understand Plato better than he was ever understood by anyone in history--better than by any of his own contemporaries, even better than by himself!" He disclaims such euphoria but insists "there is an element of truth in it after all" insofar as analytic tools can alert a student to ambiguity and its consequences in some of Plato's sentences. Hence, "if we come across such sentences in Plato, it would be plainly true to say that we can understand them better than he did and even to add that we can, therefore, understand him better, since we can see both what he meant to say and the logical liabilities of his incautious sentences." All this is true enough, but a warning still is in order. Linguistic analysts tend to read only some of Plato's dialogues and, even within them, to concentrate on some passages only. This is understandable in view of their interests and the capacity of the analytic technique. But that selectivity might lead them to believe that the Plato thus revealed is the complete and authentic Plato, which it is not. Hence, in reading and teaching Plato one must complement language- and concept-analysis with other approaches. Vlastos himself is aware of this necessity : [[sic]] "Once we have made full allowance for what modern semantics and logic can do to make Plato more intelligible and alive for us today, we should be quick to concede that borrowings from this quarter must be used with economy and discretion, and that continuing reliance on older linguistic and historical disciplines is as essential now as it has ever been in the past if the object of our inquiries is Plato himself, instead of some mock-up more pleasing to current taste." One could only wish that Vlastos had fostered that reliance on other disciplines by including articles of that sort among those he actually chose.--L. S. (shrink)

Living artworks created with biotechnology raise a range of ethical questions, some of which are unprecedented, others well known from other contexts. These questions are often discussed within the framework of bioethics, the ethics of the life sciences. The basic concern of institutionalised bioethics is to develop and implement ethical guidelines for ethically responsible handling of living material in technological and scientific contexts. Notably, discussions of ethical issues in bioart do not refer to existing discourses on art and morality from (...) the field of aesthetics. The latter framework is primarily concerned with how the moral value of an artwork affects its artistic value. The author argues that a successful integration of these two frameworks will make possible an ethics of bioart that is adequate to its subject matter and relevant for practice. Such an integrated approach can give increased depth to understandings of ethical issues in bioart, inspire new ways of thinking about ethics in relation to art in general and give novel impulses to bioethics and technology assessment. Artworks by the Tissue Culture and Art Project and their reception serve as the empirical starting point for connecting perspectives in art with those of bioethics, developing an ethics for bioart. The author suggests that consideration of the effect of these artworks is vital in validating ethically problematical applications of biotechnology for art. It is argued that the affective, visceral qualities of living artworks may spur the audience to adjust, revise or develop their personal ethical framework. (shrink)

We explore briefly Foucault's ideas about the care of the self, creating ourselves and what he meant by ethics. We then examine the work of five artists–Mark Rothko, Cindy Sherman, Helena Hietanen, Samuel Beckett, and Betty Goodwin–to help us begin to think very differently about illness and human suffering. Taking our lead from Beckett, we regard reason as being given too much responsibility for the work of a caring knowledge, and that it is through the arts that new ideas about (...) bioethics can emerge. (shrink)

Unlock the secrets of the art world and unleash your creative potential with this innovative and inspiring book. Drawing on the principles of vital art education, this book offers a fresh approach to art instruction that emphasizes the importance of creativity, experimentation, and personal expression. Full of practical tips, engaging exercises, and stunning examples of art, this book is a must-read for artists of all levels and backgrounds. This work has been selected by scholars as being culturally important, and is (...) part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The artist's house is a prism through which to view not only the artistic practice of its inhabitant, but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work, Kirsty Bell looks at the house as receptacle, vehicle, model, theater, or dream space. In-depth analyses of these contemporary (...) examples—including Jorge Pardo, Mirosław Bałka, Danh Vo, Gregor Schneider, Frances Stark, Marc Camille Chaimowicz, Dominique Gonzalez-Foerster, Paweł Althamer, Mark Leckey, Monika Sosnowska, Gabriel Orozco, Rirkrit Tiravanija, and Andrea Zittel—are contextualized by key artists of the twentieth century such as Kurt Schwitters, Alice Neel, Edward Krasiński, Carlo Mollino, and Louise Bourgeois. A two-way flow from the domestic arena to the exhibition space becomes apparent, in which the everyday has a significant role to play in the merging of such developments as installation art, relational aesthetics, expanded collage, and performance art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. 327 Callie Danae Hirsch pandemic daydreams Artist’s Statement I am a painter who works in oils and acrylics on canvas and found objects. I am also a photographer as part of my daily practice. My work is an exploration of everything that surrounds me in my daily life, observing the overlooked, honing in and reimagining it. I (...) seek out discarded items on the streets, in parks, and on the beaches around the five boroughs of New York City and imagine their reincarnation. This series, pandemic daydreams, explores my subconscious in a time of profound anxiety. I sometimes drift off into sleep and, upon waking, remember clearly for a moment the scenario the dreamlet contained. A dream fragment during the day, or as I reframe it here as a daydream, allows my subconscious to float to the surface of consciousness. What is revealed is not always easily understood, but now it is the plague that plagues my sleeping life. Strange ideas emerge; comical, nightmarish, filled with chaos and disruption, the invisible made visible, interpreted from brush to canvas. The paintings serve as a visual diary of my psyche during the coronavirus outbreak, created using acrylic on canvas, measuring from 24 by 20 inches to 44 by 36 inches. My quarantine cocoon strolls include Green-Wood Cemetery in Brooklyn, where newly dug soil can be seen on numerous fresh graves as I make my way through the hills seeking fresh air and exercise. Rising smoke from the crematorium is a constant reminder of those we have lost. Migrating birdsong fills my ears, but death hovers in the whirlwind 328 Callie Danae Hirsch around us. Who are we losing today? What will remain of our pre-COVID life and society when this is over? When can we hug each other again? As the pandemic hit, I felt the desire to connect and reflect with others about what we are all losing: our elders, our community members, our friends, our family, and our “IRL” connections with each other. I look forward to the day when this chapter is a distant memory, but for now I will investigate the discomfort of our present moment.  All images shown in this art essay courtesy of Callie Danae Hirsch: Pandemic daydreams i– xvii, 2020. Acrylic on canvas, variable dimensions.  Pandemic daydreams vii, 24 × 36 × 1 inches. left to right  Pandemic daydreams i, 20 × 24 × ½ inches.  Pandemic daydreams xvii, 20 × 24 × ½ inches. this page, top to bottom  Pandemic daydreams xiii, 20 × 24 × ½ inches.  Pandemic daydreams xvi, 20 × 24 × ½ inches. opposite, top to bottom  Pandemic daydreams v, 20 × 24 × ½ inches.  Pandemic daydreams xv, 44 × 36 × 1 ½ inches. left to right  Pandemic daydreams ix, 16 × 20 × ½ inches.  Pandemic daydreams xii, 20 × 30 × 1 ½ inches. left to right  Pandemic daydreams xi, 20 × 24 × ½ inches.  Pandemic daydreams ii, 20 × 24 × ½ inches.  Pandemic daydreams viii, 20 × 24 × ½ inches.  Pandemic daydreams xiv, 20 × 24 × ½ inches. previous page  Pandemic daydreams vi, 20 × 28 × 1 ½ inches.  Pandemic daydreams iii, 20 × 24 × ½ inches.  Pandemic daydreams x, 48 × 36 × 1 ½ inches.... (shrink)

Today, new artistic practices incorporate scientific techniques linked to medical research that modify the body’s biological performance in vivo, transforming it into a singular laboratory object. In this way, some artists are making works of their bodies by subjecting them to various biotechnological procedures, often invasive. Augmented, the biological body of these performance artists becomes a site for experimentation. DIY (Do It Yourself) enthusiasts or accompanied by biologists and doctors, are these ‘bio-artists’ evidence of the changes brought about by a (...) new mechanisation of the human body, the complexity of which we are only just beginning to understand? Could there be, in the name of art, reasons that justify the creation of utopian bodies that are not eschatological, and that could make us believe in the worst or the best of all worlds? Based on performances by Stelarc, Yann Marussich, Marion Laval-Jeantet and the Quimera Rosa duo, our aim is to analyse what is at stake in this new fabrication of the body outside its biological limits. (shrink)

This article introduces a novel use of technologies to visualize space and temporary structures in public space as a critical and speculative method for artistic research. Imitation and iconification have been vital in visual culture since civilization began. Science has become proficient in picturing invisible matter and numerical data. However, we are limited to visualizing these data in an iconic, ‘understandable’ way, that is, to some extent, reductionist. A non-naturalistic artistic visualization (NNAVi) method is proposed to discover and present the (...) underlying context of objects and space. First, this article discusses the representational function of artistic images and the artistic use of emerging technologies to represent invisible information. Following the discussion, the case study of the virtual reality (VR) artwork The Last Recreational Land shows how NNAVi can be applied. The case study starts with an exploration of the pandemic’s context and nature and then moves to an explanation of the multisensory and immersive setting of the artwork. Interweaving case studies and theoretical references, the article elaborates on how the VR experience is used as a device to respond to the pandemic. By deconstructing the relationship between visualization, imitation and iconification, the article theorizes NNAVi as a new methodology for artistic research that provides tangible insights into the nature of the pandemic. (shrink)

Plato's dialogues frequently criticize traditional Greek myth, yet Plato also integrates myth with his writing. Daniel S. Werner confronts this paradox through an in-depth analysis of the Phaedrus, Plato's most mythical dialogue. Werner argues that the myths of the Phaedrus serve several complex functions: they bring nonphilosophers into the philosophical life; they offer a starting point for philosophical inquiry; they unify the dialogue as a literary and dramatic whole; they draw attention to the limits of language and the limits of (...) knowledge; and they allow Plato to co-opt cultural authority as a way of defining and legitimating the practice of philosophy. Platonic myth, as a species of traditional tale, is thus both distinct from philosophical dialectic and similar to it. Ultimately, the most powerful effect of Platonic myth is the way in which it leads readers to participate in Plato's dialogues and to engage in a process of self-examination. (shrink)

Contemporary development of research methods and tools is often conducive to ambitious art studies, in which the research methodology and study protocol are the result of negotiations between creative and research strategies. The article discusses the key sources, possibilities, and threats of interdisciplinary projects often referred to as practice-as-research. The following comparison of the orders of the scientific methodology and the artistic convention allows one to show the similarities and potential points of contact between science and art, which are (...) independent of the different values and methods of evaluation in both of these areas. The research-based practice model by Pil Hansen and Bruce Barton is also presented as a solution that takes these issues into account. It is also used to present the project of Interdisciplinary Center for New Technologies of the Nicolaus Copernicus University in Toruń and the Art & Science Research Foundation om—organisms and machines in culture (FUNom) the project "Neurophysiology of the Artist in Performance", which is a bold example of the transdisciplinary activities of scientists and researchers. Its content is analyzed through the reports of artists, researchers, and participants taking part in public presentations of the project. (shrink)

Visual representation of instruments and musical practice has long been integral to the study of the iconology and archaeology of early music. Critical to any assessment of such evidence is an understanding of the authority of the artist, and his/her knowledge and degree of participation in musical culture. Contemporary sources reveal that music played a variety of roles in the lives and public perception of the Renaissance artists. Its most tangible manifestation was that of the artist-musician, of whom Leonardo (...) da Vinci is one of the best-known examples. An association with courtliness was one of several markers of status conferred by musical practice. This chapter investigates the domestic setting of the artist, whether in a courtly environment or in a republic, to develop themes of the social elevation of the artist, entertainment and performance, as well as creativity. (shrink)

Antonio Gramsci dedicated a lot of his attention in his writings to the analysis of the cultural practices and their function in the socio-historical processes. An important segment of his work included the analysis of art and literature of modern times which was indirectly incorporated into the discussion of the problem of usefulness of historical materialism as a philosophical and social practice, social power and its cultural and historical appearances, cultural and political emancipation of subaltern classes etc. Mostly focusing (...) on the explication of socio-cultural, political and historical dimensions of Italian literature of Renaissance and the modern period, Gramsci elaborated a sketch of his own version of Marxist aesthetic proposing specific interpretations of the problem of social function of artistic practices, the nature of artistic action and artwork and the consumption of artistic artifacts. In this paper we will discuss Gramsci?s thought on art in the context of his comprehensive theoretical, philosophical and historical research aiming at elaborating a Gramscian model of analysis of music practices of modern and postmodern times. One of our results should be the examination of the possibilities of the analysis of music based on Gramsci?s theory as well as the critical review of the application of its main concepts in the existing body of research on music. (shrink)

Kant famously insists that free will is a condition of morality. The difficulty of providing a demonstration of freedom has left him vulnerable to devastating criticism: critics charge that Kant's post-Groundwork justification of morality amounts to a dogmatic assertion of morality's authority. My paper rebuts this objection, showing that Kant offers a cogent demonstration of freedom. My central claim is that the demonstration must be understood in practical rather than theoretical terms. A practical demonstration of x works by bringing x (...) into existence, and what the demonstration of freedom brings into existence is a moral will, a will regulated by the moral law and capable of acting in accordance with it. Since to act morally is to act freely, bringing a moral will into existence actualizes our capacity for freedom and demonstrates that we possess it. To confirm the viability of such a demonstration, Kant must establish that agents can regulate their wills by practical principles, and that practical judgments are efficacious of themselves (i.e., that non-Humean motivational internalism is true). Kant, I argue, is successful on both counts. (shrink)

In this book, international experts from Europe and the United States address Lullism as a remarkable and distinctive method of thinking and experimenting. The origins and impact of Ramon Llull's oeuvre as a modern thinker are presented, and their interdisciplinary and intercultural implications, which continue to this day, are explored. Ars combinatoria, generative and permutative generation of texts, the epistemic and poetic power of algorithmic systems, plus the principle of unconditional dialogue between cultural groups and their individual members, are the (...) most important coordinates of this combinatorial-dialogical media and communication theory, which appeared very early in the history of science, technology, and art. It was developed in the work of Ramon Llull during the transition from the thirteenth to the fourteenth century when Arab-Islamic, Jewish, and Christian cultures intersected. The legacy of Lullism lives on in poetry and in the visual and electronic-based arts, as well as in research on the history of informatics, formal logic, and media archaeology. The primary idea of Llull's teachings--to enable rational and therefore trustworthy dialogue between cultures and religions through a universally valid system of symbols--is today still topical and of great relevance, especially in the tensions prevailing in globalized spaces of possibility. (shrink)

Where has the Western attraction to the study and practice of shamanic techniques brought us? Where might it take us? In what ways have our Western biases and philosophical underpinnings influenced and changed how shamanism is practiced, both in the West and in the traditional cultures out of which they emerged? Is it time to stop using the umbrella term “shamanism” to refer to such diverse cross-cultural practices? What are our responsibilities, both as researchers and as spiritual seekers? In (...) this conversation, researcher-authors Stephan Beyer, Stanley Krippner, and Hillary S. Webb discuss their work in field and consider some of the ramifications of the Western world's intellectual and spiritual fascination with shamanic practices. Special attention is paid to the language used to describe these techniques and their practitioners, the developing relationship between researchers and cultural participants, and the ethical implications of merging what are often very distinct worldviews. (shrink)

This article addresses cultural memory’s ability to address past and present injustices by focusing on the artistic-political practices displayed by the professional actresses of Roma descent from the independent theater the Giuvlipen in Bucharest. The founders of this Romani women-centered theater also have ‘invented’ the word ‘Giuvlipen’ – ‘feminism’ in the Romani language – because there had previously been no word to connote both the forms of oppression and the consciousness raising politics performed by Romani women. By applying the lens (...) of intersectional feminism, the argument this article aims to put forth is that Giuvlipen’s artistic performances can foster the awareness raising of the Romani women’s ‘double jeopardy’. At the same time, the artistic performances displayed by the Giuvlipen Theater challenge the habits of historical remembering and its politics of oblivion, which can in turn promote experiential forms of knowledge and new structures and archives of feelings. (shrink)

Robert Jackson examines the work of the German artist Florian Slotawa. Beginning with his first works, “Hotelarbeiten”, Slotawa recomposes and reconfigures the order of ordinary objects – in this case, the furniture of hotel rooms. In reconstructing these rooms in another order without altering these objects in any way, photographing them, and then subsequently restoring them to their previous configuration, the artist reveals the ordinary function of the objects and by withdrawing from their function shows their material and factual character. (...) To elucidate the specificity of Slotawa’s intervention, Jackson critiques Heidegger’s conception of facticity in its exclusive account of Dasein and its being-in-the world, in contrast to the factuality of “things-within-the world.” Drawing on Harman’s extension of finitude beyond Dasein to all things, he encourages us to see Slotawa as engaged in “facticity of things” that is characterized by dispossession, lack of reason, and radical contingency. As Jackson argues, Slotawa is trying to find a way to dwell in a world that has no room or possibility for the given coordinates of dwelling; a world that is a fact without reason. In concluding he explores a reading of Slotawa that explores the intersecting yet radically different approaches to thinking about a speculative realism in the work of Harman and Meillassoux, and their differing attitudes to the finite and the infinite, facticity and factiality, contingency and necessity, without presuming to assume that either of these accounts cover the speculative facticity of things revealed in Slotawa’s work. (shrink)

Brecht’s Life of Galileo provides elements for elaborating what I call “a theory of the encounter of practices”. The concept of the encounter pushes back against teleological theories that predestine modern science to operate as an instrument of domination. I argue that Life of Galileo stages the missed encounters in modernity between science, politics, and art at the same time as it foregrounds the emancipatory power of science. I trace the encounter of practices from the play’s opening scenes – highlighting (...) what I call Galileo’s “double life”. Then, I turn to the most important scene of the play, Scene 10, in which political and artistic practices repurpose Galileo’s novel inventions for their emancipatory desires. In the virtual potentialities of this encounter, that is, despite the missed encounter between Galileo and “the people”, Brecht’s Life of Galileo continues to be fruitful for theorizing the emancipatory power of science. (shrink)

Hip hop artists are early adopters of digital media in the township areas of Grahamstown. This article describes the emergence of particular media ecologies that depend on a do-it-yourself ethic where young people are always ‘hustling’ to get hold of data bundles, software and computer parts, and assembling them in novel ways. This mobile-first generation are increasingly adopting desktop and laptop computers to supplement their media production, and could provide insights into the evolution of low-income digital media practices and the (...) transition from mobile-only to mobile-first (computer-second) practices, as well as how the computer’s increased affordances for production influence such digital media practices. Living in backyard shacks made from corrugated iron and mud, where there are makeshift electrical connections criss-crossing the roof and no flowing water inside, here there is indeed Internet connectivity, although exclusively through the mobile phone. These hip hop artists are supported by various digital service providers, such as WAP-site designers who hack together sites that function both to promote and distribute local media as well as pirated content, to backyard computer repairers who cannibalize parts from discarded old PCs to create workable township machines. This article will provide a digital ethnography of these young people and how they work collectively to record and mix music, design posters, album covers and avatars, and then distribute these through their phones via Bluetooth and online social media. The article will tie these digital practices to the identity formation of these young people, who resist ­succumbing to the despair of unemployment through embracing notions of themselves as artists, hustlers and ‘explorers of technology’, identities they attribute to the local culture of hip hop music production and its values of consciousness, creativity and resilience. (shrink)

Iboga's Travel is the title of a global project which was conceived after a Gabonese initiation into ‘Bwiti’. The Bwiti is one of the few secret shamanic practices forced to open itself to the outside world by the disappearance of the Equatorial forest. Its traditions remain alive in Gabon, but it has to adapt to the changes brought by cultural globalization. The Bwiti is a rite in which the sacred and revealing plant called ‘iboga’ plays a central role. It leads (...) to visions supposed to widen the power of consciousness. Iboga's Travel can be analysed both in its political and spiritual dimensions. What questions the current globalization process is the author's very unusual presence in the Bwiti, and also when she obtained access to their traditional knowledge. This globalization has contradictory aspects, since it endangers the forest-based healing and initiation traditions on the one hand, and opens it up to the outside world on the other. This experience turned out to be a lot more than the political act that it was in the beginning. It showed us another way of comprehending our world. Making art about it was the author's own way of documenting this experience. (shrink)

This article explores the implications of Bernard Stiegler’s concept of the Neganthropocene, coined to reconfigure the entropic and apocalyptic conditions of the Anthropocene, for the artistic project Air Morphologies. Created by a London-based duo, Matterlurgy, the interactive Virtual Reality research project investigates the materiality and composition of air pollution particles, their causes, effects and morphological agency. Matterlurgy’s project, which locates viewers in the Virtual Reality environment and engages them in participatory activities, becomes a techno-ethical practice of nurturing ways to (...) think and care for the more-than-human world essentially transformed and dominated by the anthropogenic factors. The artistic practice indicates that we need to think collectively, not about but with nature, technology, history, objects and theories. As the article shows, with such strategies, we will be able to acknowledge more-than-human interconnections, human-nature-technics connections and rework the conventional patterns of knowledge production to heal the adverse outcomes of the Anthropocene. (shrink)

Most traditional art forms around the planet are an expression of the spiritual dimension of a culture’s cosmology and the spiritual experiences of individuals. Religious art and iconography often reveal the hidden aspects of spirit as glimpsed through the filter of cultural significance. Moreover, traditional art, although often highly abstract, may actually describe sensory experiences derived in alternative states of consciousness . This article analyzes the often fuzzy concepts of “art” and “spirit” and then operationalizes them in a way that (...) makes them useful for cross-cultural transpersonal research. The fact of the universally abstract nature of traditional art is analyzed and used as a clue to the function of art in expressing and penetrating to the spiritual domain. A “continuum of representational-associational abstraction” model is introduced and described. These concepts are then applied to the author’s experiences with Navajo art and the relation between art and the important Navajo philosophical concept of hozho . A perspective on art and spirit is developed that essentially supports Wassily Kandinsky’s contention that abstract art is the expression of an “inner necessity” of spirit. The article argues for a greater sensitivity among researchers and theorists for the sublime nature of spiritual art.be induced by very different means, including contemplative practices and chemical substances, and yet have different after-effects. Taken together, these ideas lead to the cautious conclusion that some psychedelics can induce genuine mystical experiences sometimes in some people, and that the current tendency to label these chemicals as entheogens may be appropriate. (shrink)

Abstract:This article conducts a close textual analysis of "A Painting of a Rice Cake (Gabyō)," a key fascicle in the Shōbōgenzō that reveals the significance of artistic creation as a metaphor for realizational practice. By analyzing the multiple meanings of "gabyō," it is shown that artistic creation can clarify the nonduality of practice and enlightenment in Dōgen's thought, inasmuch as enlightenment is a constant practice as if making an evanescent and cocreative painting of enlightenment with the entire (...) world as Buddha-nature. For Dōgen, enlightenment involves a deeply personal attunement to and a concrete actualization of the dharma that is not reducible to the purely theoretical understanding of Buddhist texts, and the metaphor of "painting rice cakes" demonstrates the importance of expressive activities in manifesting one's understanding of the dharma. (shrink)

Antibiotic allergies are commonly reported among patients, but most do not experience reactions on rechallenge with the same agents. These reported allergies complicate management of infections in patients labelled as having penicillin allergy, including serious infections where penicillin-based antibiotics are the first-line (most effective and least toxic) treatment option. Allergy labels are rarely questioned in clinical practice, with many clinicians opting for inferior second-line antibiotics to avoid a perceived risk of allergy. Reported allergies thereby can have significant impacts on (...) patients and public health, and present major ethical challenges. Antibiotic allergy testing has been described as a strategy to circumvent this dilemma, but it carries limitations that often make it less feasible in patients with acute infections or in community settings that lack access to allergy testing. This article provides an empirically informed ethical analysis of key considerations in this clinical dilemma, usingStaphylococcus aureusbacteraemia in patients with penicillin allergies as a case study. We argue that prescribing first-line penicillin-based antibiotics to patients with reported allergies may often present a more favourable ratio of benefits to risks, and may therefore be more ethically appropriate than using second-line drugs. We recommend changes to policy-making, clinical research and medical education, in order to promote more ethically acceptable responses to antibiotic allergies than the status quo. (shrink)

Working with current methodologies of art, biology, and genetic technologies, the stated aims of artists working in this area include attempts both to critique the implications and outcomes of genetic technologies and to forge a new art practice involved in creating living beings using those technologies. It is this last ambition, the development of a new art practice involved in creating living beings, that this essay will particularly take to task by questioning the ethics of that goal and (...) the uses of biotechnology in reaching it. (shrink)

This paper brings together the work of Nicholas Wolterstorff and William Alston in speech-act theory with the aim of providing a deeper understanding of the nature of divine speaking through the medium of Scripture. Despite the fecundity of Wolterstorff's seminal work on the philosophical theology of Scripture, aspects of his speech-act centric account are underdeveloped and would benefit from the contributions of William Alston. In particular, his account of divine speech-acts could be fruitfully expanded by incorporating the concept of ‘taking (...) responsibility’ that is central to Alston's analysis of the nature of illocutionary acts. This would elucidate both the way in which readers of Scripture encounter divine practical authority in the reading process and the nature of the response of faith that is demanded of them. (shrink)

This paper brings together the work of Nicholas Wolterstorff and William Alston in speech-act theory with the aim of providing a deeper understanding of the nature of divine speaking through the medium of Scripture. Despite the fecundity of Wolterstorff's seminal work on the philosophical theology of Scripture, aspects of his speech-act centric account are underdeveloped and would benefit from the contributions of William Alston. In particular, his account of divine speech-acts could be fruitfully expanded by incorporating the concept of ‘taking (...) responsibility’ that is central to Alston's analysis of the nature of illocutionary acts. This would elucidate both the way in which readers of Scripture encounter divine practical authority in the reading process and the nature of the response of faith that is demanded of them. (shrink)

Background: Ethics support services are growing in Europe to help doctors in dealing with ethical difficulties. Currently, insufficient attention has been focused on the experiences of doctors who have faced ethical difficulties in these countries to provide an evidence base for the development of these services.Methods: A survey instrument was adapted to explore the types of ethical dilemma faced by European doctors, how they ranked the difficulty of these dilemmas, their satisfaction with the resolution of a recent ethically difficult case (...) and the types of help they would consider useful. The questionnaire was translated and given to general internists in Norway, Switzerland, Italy and the UK.Results: Survey respondents ranged in age from 28 to 82 years, and averaged 25 years in practice. Only a minority reported having access to ethics consultation in individual cases. The ethical difficulties most often reported as being encountered were uncertain or impaired decision-making capacity , disagreement among caregivers and limitation of treatment at the end of life . The frequency of most ethical difficulties varied among countries, as did the type of issue considered most difficult. The types of help most often identified as potentially useful were professional reassurance about the decision being correct , someone capable of providing specific advice , help in weighing outcomes and clarification of the issues . Few of the types of help expected to be useful varied among countries.Conclusion: Cultural differences may indeed influence how doctors perceive ethical difficulties. The type of help needed, however, did not vary markedly. The general structure of ethics support services would not have to be radically altered to suit cultural variations among the surveyed countries. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Artist and the Trinity: Dorothy L. Sayers’ Theology of Work by Christine M. FletcherElise M. EdwardsThe Artist and the Trinity: Dorothy L. Sayers’ Theology of Work Christine M. Fletcher eugene, or: pickwick publications, 2013. 162 pp. $19.00.The Artist and the Trinity provides a comprehensive yet concise presentation of Dorothy L. Sayers’s contribution to social ethics and theology, advancing it into a thoughtful, compelling theology of work and (...) vocation. Sayers, a twentieth-century British novelist, playwright, and essayist, highlighted within her writings a consistent set of ideas about work, grounded in deep commitments to the Trinitarian orthodoxy of the Athanasian Creed and the author’s lived experiences as an artist. Christine Fletcher integrates Sayers’s insights into a cohesive theology addressing contemporary problems about work: separation of roles by gendered norms, differentiation of Christian vocation and secular work, and dehumanizing work. [End Page 220]Fletcher skillfully demonstrates that although Sayers was not a professional theologian, apologist, or ethicist, her understanding of the nature of human work and vocation offered a meaningful contribution to Christian social ethics. Early chapters of The Artist and the Trinity feature a well-researched review of Sayers’s works and the ethical themes presented in them. These chapters might capably introduce Sayers to a reader unfamiliar with her work, but the scope and specificity of Fletcher’s discussion of the authors’ characters and plots suggest that this book would best accompany a study of the primary texts. Despite including some literary jargon, Fletcher’s analysis of Sayers’s work is engaging and informative. It exposes the elements of social criticism in Sayers’s fiction and the experiences that informed her analogy for the Trinity. Fletcher offers a thorough description of Sayers’s understanding of the Trinity through an analogy of the artistic process and adeptly explains how it informs Sayers’s conception of good work. Later chapters of the book not only explain “Sayers’ idea that human beings bear the image of God in their ability to create” (xx) but also incorporate this assertion into a compelling human ethic of work that values creativity, initiative, and the individual person’s unique set of skills and interests.The book convincingly argues that good work is an integral part of a fulfilling life for all persons, regardless of gender, because of the universal human capacity to create in the image of God. However, the book lacks any comparison between Sayers’s views on vocation and that of others in the Christian tradition, such as Martin Luther or John Calvin. The omission is striking because Sayers’s belief that the laity’s “secular work is their divine vocation” (120) figures so centrally to her argument about humanity’s desire and ability to make things. But Fletcher effectively contextualizes Sayers’s fiction and wartime speeches, placing her within the tradition of Anglican social ethics, and also skillfully connects her work to contemporary scholarship in theological anthropology, Trinitarian theology, and virtue ethics.The Artist and the Trinity complements other books about Sayers’s theology by Laura Simmons (Creed without Chaos: Exploring Theology in the Writings of Dorothy L. Sayers, Baker Academic, 2005) and Ann Loades (Dorothy L. Sayers: Spiritual Writings, SPCK, 1993). While those works explicate her theological contributions, this study focuses more on the ethical implications of Sayers’s theology. Fletcher’s theology of good work expertly addresses limitations in Sayers’s theology with elements from Alasdair MacIntyre’s philosophical accounts of practices, internal and external goods, and institutions, resulting in an original proposal of work and care. This book is nuanced yet accessible for advanced undergraduates and nonspecialists interested in topics as varied as Trinitarian theology, feminist studies in religion, labor and economics, and Christianity and the arts. While Sayers’s narratives and essays are already valued by religion scholars engaged in the arts and [End Page 221] literature, this study persuasively illuminates the relevance of her work for ethicists pursuing questions about human relationality, gender roles, and the meaning of work.Elise M. EdwardsBaylor UniversityCopyright © 2016 Society of Christian Ethics... (shrink)