This book presents a multidisciplinary perspective on chance, with contributions from distinguished researchers in the areas of biology, cognitive neuroscience, economics, genetics, general history, law, linguistics, logic, mathematical physics, statistics, theology and philosophy. The individual chapters are bound together by a general introduction followed by an opening chapter that surveys 2500 years of linguistic, philosophical, and scientific reflections on chance, coincidence, fortune, randomness, luck and related concepts. A main conclusion that can be drawn is that, even after all this time, we still cannot be sure whether chance is a truly fundamental and irreducible phenomenon, in that certain events are simply uncaused and could have been otherwise, or whether it is always simply a reflection of our ignorance. Other challenges that emerge from this book include a better understanding of the contextuality and perspectival character of chance (including its scale-dependence), and the curious fact that, throughout history (including contemporary science), chance has been used both as an explanation and as a hallmark of the absence of explanation. As such, this book challenges the reader to think about chance in a new way and to come to grips with this endlessly fascinating phenomenon.

Jeff Morgan argues that both Immanuel Kant and Soren Kierkegaard think of conscience as an individual's moral self-awareness before God, specifically before the claim God makes on each person. This innovative reading corrects prevailing views that both figures, especially Kant, lay the groundwork for the autonomous individual of modern life - that is, the atomistic individual who is accountable chiefly to themselves as their own lawmaker. This book first challenges the dismissal of conscience in 20th-century Christian ethics, often in favour of an emphasis on corporate life and corporate self-understanding. Morgan shows that this dismissal is based on a misinterpretation of Immanuel Kant's practical philosophy and moral theology, and of Soren Kierkegaard's second authorship. He does this with refreshing discussions of Stanley Hauerwas, Oliver O'Donovan, and other major figures. Morgan instead situates Kant and Kierkegaard within a broad trajectory in Christian thought in which an individual's moral self-awareness before God, as distinct from moral self-awareness before a community, is an essential feature of the Christian moral life.

'Place in garden, lawn, to beautify landscape.' When Don Featherstone's plastic pink flamingos were first advertised in the 1957 Sears catalogue, these were the instructions. The flamingos are placed on the cover of this book for another reason: to start us asking questions. That's where philosophy always begins. Introducing Aesthetics and the Philosophy of Art is written to introduce students to a broad array of questions that have occupied philosophers since antiquity, and which continue to bother us today-questions like: - Is there something special about something's being art? Can a mass-produced plastic bird have that special something? - If someone likes plastic pink flamingos, does that mean they have bad taste? Is bad taste a bad thing? - Do Featherstone's pink flamingos mean anything? If so, does that depend on what Featherstone meant in designing them? Each chapter opens using a real world example - such as Marcel Duchamp's signed urinal, The Exorcist, and the ugliest animal in the world - to introduce and illustrate the issues under discussion. These case studies serve as touchstones throughout the chapter, keeping the concepts grounded and relatable. With its trademark conversational style, clear explanations, and wealth of supporting features, Introducing Aesthetics and the Philosophy of Art is the ideal introduction to the major problems, issues, and debates in the field. Now expanded and revised for its second edition, Introducing Aesthetics and the Philosophy of Art is designed to give readers the background and the tools necessary to begin asking and answering the most intriguing questions about art and beauty, even when those questions are about pink plastic flamingos.

Information Security and Ethics: Social and Organizational Issues brings together examples of the latest research from a number of international scholars addressing a wide range of issues significant to this important and growing field of study. These issues are relevant to the wider society, as well as to the individual, citizen, educator, student and industry professional. With individual chapters focusing on areas including web accessibility; the digital divide; youth protection and surveillance; Information security; education; ethics in the Information professions and Internet voting; this book provides an invaluable resource for students, scholars and professionals currently working in information Technology related areas.

What are the basic building blocks of the world? This book presents a naturalistic theory saying that the universe and everything in it can be reduced to three fundamental entities: a field, a set of values that can be actualized at different places in the field, and an actualizer of the values. The theory is defended by using it to answer the main questions in metaphysics, such as: What is causality, existence, laws of nature, consciousness, thinking, free will, time, mathematical entities, ethical values, etc.? The theory is compared with the main alternatives and argued to solve problems better than the existing theories. Several new theories are suggested, such as how to understand mental causation, free will and the truth of ethics and mathematics.

Since the 1980s the number of women regularly directing films has increased significantly in most Western countries: in France, Claire Denis and Catherine Breillat have joined Agnes Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the Thinking Cinema series draws on feminist theorists and critics from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities.Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency,and avoiding the most important questions about how cinema can 'do justice' to female subjectivity: Kate Ince suggests that the films of independent women directors are progressively redressing the balance, and thereby reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to cast a new veil over such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank; and includes a timeline ofdevelopments in women's film-making and feminist film theory from 1970 to 2011.