Stephen Davies – författare

A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century.

Build your child’s reading confidence at home with books at the right levelFollow the trickery and antics of Hyena and Rabbit as they try to out-wit each other in this collection of hilarious traditional tales from West Africa. Emerald/Band 15 books provide a widening range of genres including science fiction and biography, prompting more ways to respond to texts.This book has been quizzed for Accelerated Reader.

The Artful Species explores the idea that our aesthetic responses and art behaviors are connected to our evolved human nature. Our humanoid forerunners displayed aesthetic sensibilities hundreds of thousands of years ago and the art standing of prehistoric cave paintings is virtually uncontested. In Part One, Stephen Davies analyses the key concepts of the aesthetic, art, and evolution, and explores how they might be related. He considers a range of issues, including whether animals have aesthetic tastes and whether art is not only universal but cross-culturally comprehensible. Part Two examines the many aesthetic interests humans take in animals and how these reflect our biological interests, and the idea that our environmental and landscape preferences are rooted in the experiences of our distant ancestors. In considering the controversial subject of human beauty, evolutionary psychologists have traditionally focused on female physical attractiveness in the context of mate selection, but Davies presents a broader view which decouples human beauty from mate choice and explains why it goes more with social performance and self-presentation. Part Three asks if the arts, together or singly, are biological adaptations, incidental byproducts of nonart adaptations, or so removed from biology that they rate as purely cultural technologies. Davies does not conclusively support any one of the many positions considered here, but argues that there are grounds, nevertheless, for seeing art as part of human nature. Art serves as a powerful and complex signal of human fitness, and so cannot be incidental to biology. Indeed, aesthetic responses and art behaviors are the touchstones of our humanity.

Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single type, Davies recognizes a great variety of kinds, and a complementary range of possibilities for their rendition. Among the questions that Davies considers are these: How can expressiveness be in a musical work when music experiences nothing? Is music a language of the emotions? How do recorded pop songs and purely electronic pieces differ from works created for live performance? Is John Cage's silent piece, 4'33"e;, music? To what extent is the performer free to create her own interpretation and to what extent is she constrained by the composer's score? Is training in musical technicalities a prerequisite for a full appreciation of musical works and performances? Is an awareness of the socio-historical setting in which a work is created relevant to its appreciation? How does the value of individual musical works go beyond the worth of an interest in music in general?Stimulating and insightful both as individual discussions and as a coherent argument, these essays will be greatly enjoyed by philosophers, aestheticians, art theorists, and musicologists.

What are musical works? Are they discovered or created? Of what elements are they comprised? How are they specified by notations? What makes a performance of one piece and not another? Is it possible to perform old music authentically? Can ethnic music influenced by foreign sources and presented to tourists genuinely reflect the culture''s musical and wider values? Can recordings substitute faithfully for live performances? These are the questions considered inMusical Works and Performances.Part One outlines the nature of musical works, their relation to performances, and their notational specification. Works for performance differ from ones that are merely for playback, and pieces for live rendition are unlike those for studio performance. Pieces vary in the number and kind of their constitutive properties. The identity of musical works goes beyond their sonic profile and depends on their music-historical context. To be of a given work, a performance must match its contents byfollowing instructions traceable to its creation. Some pieces are indicated via exemplars, but many are specified notationally. Scores must be interpreted in light of notational conventions and performance practices they assume.Part Two considers authenticity in performance, musical traditions, and recordings. A performance should follow the composer''s instructions. Departures from the ideal are tolerable, but faithfulness is central to the enterprise of work performance, not merely an interpretative option. When musical cultures interact, assimilation from within differs from destruction from without. Even music subject to foreign influences can genuinely reflect the musical traditions and social values of a culture,however. Finally, while most works are for live performance, most performances are experienced via recordings, which have their own, distinctive characteristics.This comprehensive and original analysis of musical ontology discusses many kinds of music, and applies its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications of the dominance of recorded over live music.

Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionaryadvantages to doing so? Has art completed the mission that guided its earlier historical development, and if so, what is to become of it now? Should architecture be classified as an art form?Part II turns to the interpretation and appreciation of art. What is the target and purpose of the critic''s interpretation? Is interpretation primarily directed at uncovering artists'' intended meanings? Can apparently contradictory interpretations of a given piece both be true? Are interpretative evaluations entailed by descriptions of a work''s aesthetic and artistic characteristics? In addition to providing fresh answers to these and other central questions in aesthetics, Davies considersthe nature and content of metaphor, and the relation between the expressive qualities of a work of art and the emotions of its creator.

Musical Understandings presents an engaging collection of essays on the philosophy of music, written by Stephen Davies--one of the most distinguished philosophers in the field. He explores a range of topics in the philosophy of music, including how music expresses emotion and what is distinctive to the listener''s response to this expressiveness; the modes of perception and understanding that can be expected of skilled listeners, performers, analysts, and composers and the various manners in which these understandings can be manifest; the manner in which musical works exist and their relation to their instances or performances; and musical profundity. As well as reviewing the work of philosophers of music, a number of the chapters both draw on and critically reflect on current work by psychologists concerning music. The collection includes new material, a number of adapted articles which allow for a more comprehensive, unified treatment of the issues at stake, and work published in English for the first time.

The Artful Species explores the idea that our aesthetic responses and art behaviors are connected to our evolved human nature. Our humanoid forerunners displayed aesthetic sensibilities hundreds of thousands of years ago and the art standing of prehistoric cave paintings is virtually uncontested. In Part One, Stephen Davies analyses the key concepts of the aesthetic, art, and evolution, and explores how they might be related. He considers a range of issues, including whether animals have aesthetic tastes and whether art is not only universal but cross-culturally comprehensible. Part Two examines the many aesthetic interests humans take in animals and how these reflect our biological interests, and the idea that our environmental and landscape preferences are rooted in the experiences of our distant ancestors. In considering the controversial subject of human beauty, evolutionary psychologists have traditionally focused on female physical attractiveness in the context of mate selection, but Davies presents a broader view which decouples human beauty from mate choice and explains why it goes more with social performance and self-presentation. Part Three asks if the arts, together or singly, are biological adaptations, incidental byproducts of nonart adaptations, or so removed from biology that they rate as purely cultural technologies. Davies does not conclusively support any one of the many positions considered here, but argues that there are grounds, nevertheless, for seeing art as part of human nature. Art serves as a powerful and complex signal of human fitness, and so cannot be incidental to biology. Indeed, aesthetic responses and art behaviors are the touchstones of our humanity.

This book fills an important gap in our knowledge of the organization of EU manufacturing industry. At the empirical level, it draws on a newly constructed micro-level database (the European market share matrix) to present the first ever comprehensive picture of the concentration, integration, multinationality, and diversification of EU industry and firms. However, its purpose is not primarily descriptive. At the theoretical level, it develops a new way of integrating the insights of international trade, industrial organization, international business, and corporate strategy.A central thesis is that by understanding the reasons for the industrial structure we observe, much can be understood about the underlying competitive process that generated this structure in the context of current European integration. In this, R&D, advertising, and government intervention each play important and pervasive roles. The insights from an econometric analysis of the various dimensions of industrial structure are applied to address policy-relevant questions such as: is the industrial organization of the member states integrated at the EU level? Are diversification and multinationality random, or do they follow an industrial logic? Which industries and firms pose the most serious potential problems for competition policy? How do the largest EU firms achieve their size? Do certain member states dominate the ownership or location of production?

The book covers the evolution, biology and natural history of the group of flightless birds that includes ostriches, emus, cassowaries and kiwis - the Ratites and their relatives, the Tinamous. It reviews the scientific studies that have been made of their ecology, behaviour, physiology, husbandary, evolution, mythology and conservation. Each of the 55 species is described in detail, with maps of the present known distribution, accounts their food and nesting habits, calls, field identification, habitat and relationship with humans, including farming. It is the first such comprehensive account of the groups since 1877, and the first to bring together comprehensive information about the tinamous, little known birds of the America. It reviews the long debated subject of the evolution of these groups, highlighting new evidence that has turned many old theories on their head. Both the interested amateur and the professional should find it rewarding to read.

The Artful Species explores the idea that our aesthetic responses and art behaviors are connected to our evolved human nature. Our humanoid forerunners displayed aesthetic sensibilities hundreds of thousands of years ago and the art standing of prehistoric cave paintings is virtually uncontested. In Part One, Stephen Davies analyses the key concepts of the aesthetic, art, and evolution, and explores how they might be related. He considers a range of issues, including whether animals have aesthetic tastes and whether art is not only universal but cross-culturally comprehensible. Part Two examines the many aesthetic interests humans take in animals and how these reflect our biological interests, and the idea that our environmental and landscape preferences are rooted in the experiences of our distant ancestors. In considering the controversial subject of human beauty, evolutionary psychologists have traditionally focused on female physical attractiveness in the context of mate selection, but Davies presents a broader view which decouples human beauty from mate choice and explains why it goes more with social performance and self-presentation. Part Three asks if the arts, together or singly, are biological adaptations, incidental byproducts of nonart adaptations, or so removed from biology that they rate as purely cultural technologies. Davies does not conclusively support any one of the many positions considered here, but argues that there are grounds, nevertheless, for seeing art as part of human nature. Art serves as a powerful and complex signal of human fitness, and so cannot be incidental to biology. Indeed, aesthetic responses and art behaviors are the touchstones of our humanity.

Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing so? Has art completed the mission that guided its earlier historical development, and if so, what is to become of it now? Should architecture be classified as an art form?Part II turns to the interpretation and appreciation of art. What is the target and purpose of the critic's interpretation? Is interpretation primarily directed at uncovering artists' intended meanings? Can apparently contradictory interpretations of a given piece both be true? Are interpretative evaluations entailed by descriptions of a work's aesthetic and artistic characteristics? In addition to providing fresh answers to these and other central questions in aesthetics, Davies considers the nature and content of metaphor, and the relation between the expressive qualities of a work of art and the emotions of its creator.

Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing so? Has art completed the mission that guided its earlier historical development, and if so, what is to become of it now? Should architecture be classified as an art form? Part II turns to the interpretation and appreciation of art. What is the target and purpose of the critic's interpretation? Is interpretation primarily directed at uncovering artists' intended meanings? Can apparently contradictory interpretations of a given piece both be true? Are interpretative evaluations entailed by descriptions of a work's aesthetic and artistic characteristics? In addition to providing fresh answers to these and other central questions in aesthetics, Davies considers the nature and content of metaphor, and the relation between the expressive qualities of a work of art and the emotions of its creator.

Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single type, Davies recognizes a great variety of kinds, and a complementary range of possibilities for their rendition.Among the questions that Davies considers are these: How can expressiveness be in a musical work when music experiences nothing? Is music a language of the emotions? How do recorded pop songs and purely electronic pieces differ from works created for live performance? Is John Cage's silent piece, 4'33", music? To what extent is the performer free to create her own interpretation and to what extent is she constrained by the composer's score? Is training in musical technicalities a prerequisite for a full appreciation of musical works and performances? Is an awareness of the socio-historical setting in which a work is created relevant to its appreciation? How does the value of individual musical works go beyond the worth of an interest in music in general?Stimulating and insightful both as individual discussions and as a coherent argument, these essays will be greatly enjoyed by philosophers, aestheticians, art theorists, and musicologists.

What are musical works? Are they discovered or created? Of what elements are they comprised? How are they specified by notations? What makes a performance of one piece and not another? Is it possible to perform old music authentically? Can ethnic music influenced by foreign sources and presented to tourists genuinely reflect the culture's musical and wider values? Can recordings substitute faithfully for live performances? These are the questions considered in Musical Works and Performances. Part One outlines the nature of musical works, their relation to performances, and their notational specification. Works for performance differ from ones that are merely for playback, and pieces for live rendition are unlike those for studio performance. Pieces vary in the number and kind of their constitutive properties. The identity of musical works goes beyond their sonic profile and depends on their music-historical context. To be of a given work, a performance must match its contents by following instructions traceable to its creation. Some pieces are indicated via exemplars, but many are specified notationally. Scores must be interpreted in light of notational conventions and performance practices they assume. Part Two considers authenticity in performance, musical traditions, and recordings. A performance should follow the composer's instructions. Departures from the ideal are tolerable, but faithfulness is central to the enterprise of work performance, not merely an interpretative option. When musical cultures interact, assimilation from within differs from destruction from without. Even music subject to foreign influences can genuinely reflect the musical traditions and social values of a culture, however. Finally, while most works are for live performance, most performances are experienced via recordings, which have their own, distinctive characteristics.This comprehensive and original analysis of musical ontology discusses many kinds of music, and applies its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications of the dominance of recorded over live music.

Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single type, Davies recognizes a great variety of kinds, and a complementary range of possibilities for their rendition. Among the questions that Davies considers are these: How can expressiveness be in a musical work when music experiences nothing? Is music a language of the emotions? How do recorded pop songs and purely electronic pieces differ from works created for live performance? Is John Cage's silent piece, 4'33", music? To what extent is the performer free to create her own interpretation and to what extent is she constrained by the composer's score? Is training in musical technicalities a prerequisite for a full appreciation of musical works and performances? Is an awareness of the socio-historical setting in which a work is created relevant to its appreciation? How does the value of individual musical works go beyond the worth of an interest in music in general? Stimulating and insightful both as individual discussions and as a coherent argument, these essays will be greatly enjoyed by philosophers, aestheticians, art theorists, and musicologists.

Musical Understandings presents an engaging collection of essays on the philosophy of music, written by Stephen Davies--one of the most distinguished philosophers in the field. He explores a range of topics in the philosophy of music, including how music expresses emotion and what is distinctive to the listener's response to this expressiveness; the modes of perception and understanding that can be expected of skilled listeners, performers, analysts, and composers and the various manners in which these understandings can be manifest; the manner in which musical works exist and their relation to their instances or performances; and musical profundity. As well as reviewing the work of philosophers of music, a number of the chapters both draw on and critically reflect on current work by psychologists concerning music. The collection includes new material, a number of adapted articles which allow for a more comprehensive, unified treatment of the issues at stake, and work published in English for the first time.

The Artful Species explores the idea that our aesthetic responses and art behaviors are connected to our evolved human nature. Our humanoid forerunners displayed aesthetic sensibilities hundreds of thousands of years ago and the art standing of prehistoric cave paintings is virtually uncontested. In Part One, Stephen Davies analyses the key concepts of the aesthetic, art, and evolution, and explores how they might be related. He considers a range of issues, including whether animals have aesthetic tastes and whether art is not only universal but cross-culturally comprehensible. Part Two examines the many aesthetic interests humans take in animals and how these reflect our biological interests, and the idea that our environmental and landscape preferences are rooted in the experiences of our distant ancestors. In considering the controversial subject of human beauty, evolutionary psychologists have traditionally focused on female physical attractiveness in the context of mate selection, but Davies presents a broader view which decouples human beauty from mate choice and explains why it goes more with social performance and self-presentation. Part Three asks if the arts, together or singly, are biological adaptations, incidental byproducts of nonart adaptations, or so removed from biology that they rate as purely cultural technologies. Davies does not conclusively support any one of the many positions considered here, but argues that there are grounds, nevertheless, for seeing art as part of human nature. Art serves as a powerful and complex signal of human fitness, and so cannot be incidental to biology. Indeed, aesthetic responses and art behaviors are the touchstones of our humanity.

Price controls across many sectors are currently being hotly debated. New controls in the housing market, more onerous minimum wages, minimum prices for alcohol, and freezes on energy prices are very high up the agenda of most politicians at the moment. Even without any further controls, wages, university fees, railway fares and many financial products already have their prices at least partly determined by politicians rather than by supply and demand in the market. Indeed, barely a sector of the UK economy is unaffected in one way or another by government controls on prices. This book demonstrates why economists do not like price controls and shows why they are widely regarded as being amongst the most damaging political interventions in markets. The authors analyse, in a very readable fashion, the damage they cause. Crucially, the authors also explain why, despite universal criticism from economists, price controls are so popular amongst politicians.

Price controls across many sectors are currently being hotly debated. New controls in the housing market, more onerous minimum wages, minimum prices for alcohol, and freezes on energy prices are very high up the agenda of most politicians at the moment. Even without any further controls, wages, university fees, railway fares and many financial products already have their prices at least partly determined by politicians rather than by supply and demand in the market. Indeed, barely a sector of the UK economy is unaffected in one way or another by government controls on prices. This book demonstrates why economists do not like price controls and shows why they are widely regarded as being amongst the most damaging political interventions in markets. The authors analyse, in a very readable fashion, the damage they cause. Crucially, the authors also explain why, despite universal criticism from economists, price controls are so popular amongst politicians.

The BBC holds a special place in the world of broadcasting. It derives its funding from a compulsory levy on people who may not even use the service. The protection it receives is justified on the grounds that it contributes to national welfare because of its role in ‘public service broadcasting’. The authors of this book argue that the BBC’s funding model is becoming untenable as technology changes. Furthermore, technology has also undermined the justification for government support for public service broadcasting.There is also major concern about bias at the BBC. However, the book concludes that bias is not confined to the BBC, but is common to all media providers. The problem is not bias as such, but the link between the BBC and the government, together with the compulsory funding model which does not allow people to not fund content of which they disapprove.Various options for reform are presented, concluding with a proposal for fullblown privatisation. It is concluded that this is the only way to realise the potential of an organisation that should be international in scope and which, under the current funding model, will become marginalised by media players operating worldwide across a range of platforms.This book is essential reading for anybody involved in public policy or the economics of broadcasting.

The BBC holds a special place in the world of broadcasting. It derives its funding from a compulsory levy on people who may not even use the service. The protection it receives is justified on the grounds that it contributes to national welfare because of its role in ‘public service broadcasting’. The authors of this book argue that the BBC’s funding model is becoming untenable as technology changes. Furthermore, technology has also undermined the justification for government support for public service broadcasting.There is also major concern about bias at the BBC. However, the book concludes that bias is not confined to the BBC, but is common to all media providers. The problem is not bias as such, but the link between the BBC and the government, together with the compulsory funding model which does not allow people to not fund content of which they disapprove.Various options for reform are presented, concluding with a proposal for fullblown privatisation. It is concluded that this is the only way to realise the potential of an organisation that should be international in scope and which, under the current funding model, will become marginalised by media players operating worldwide across a range of platforms.This book is essential reading for anybody involved in public policy or the economics of broadcasting.

Almost every schoolchild learns that Thomas Edison invented the light bulb. But did he? And if he hadn’t invented it, would we be still living in the dark? Acclaimed author Matt Ridley (The Rational Optimist, The Evolution of Everything) explains that at least 20 other people can lay claim to this breakthrough moment. Ridley argues that the light bulb emerged from the combined technologies and accumulated knowledge of the day – it was bound to emerge sooner or later. Based on his 2018 Hayek Memorial Lecture, Ridley contends that innovation – from invention through to development and commercialisation – is the most important unsolved problem in all of human society. We rely on it – but we do not fully understand it, we cannot predict it and we cannot direct it. In How Many Light Bulbs Does It Take to Change the World? Ridley examines the nature of innovation – and how people often fear its consequences. He dispels the myth that automation destroys jobs – and demonstrates how innovation leads to economic growth. And he argues that intellectual property rights, originally intended to encourage innovation, are now being used by big business to defend their monopolies. Ridley concludes that innovation is a mysterious and under-appreciated process that we discuss too rarely, hamper too much and value too little.

Almost every schoolchild learns that Thomas Edison invented the light bulb. But did he? And if he hadn't invented it, would we be still living in the dark? Acclaimed author Matt Ridley (The Rational Optimist, The Evolution of Everything) explains that at least 20 other people can lay claim to this breakthrough moment. Ridley argues that the light bulb emerged from the combined technologies and accumulated knowledge of the day - it was bound to emerge sooner or later. Based on his 2018 Hayek Memorial Lecture, Ridley contends that innovation - from invention through to development and commercialisation - is the most important unsolved problem in all of human society. We rely on it - but we do not fully understand it, we cannot predict it and we cannot direct it. In How Many Light Bulbs Does It Take to Change the World? Ridley examines the nature of innovation - and how people often fear its consequences. He dispels the myth that automation destroys jobs - and demonstrates how innovation leads to economic growth. And he argues that intellectual property rights, originally intended to encourage innovation, are now being used by big business to defend their monopolies. Ridley concludes that innovation is a mysterious and under-appreciated process that we discuss too rarely, hamper too much and value too little.

Almost every schoolchild learns that Thomas Edison invented the light bulb. But did he? And if he hadn't invented it, would we be still living in the dark? Acclaimed author Matt Ridley (The Rational Optimist, The Evolution of Everything) explains that at least 20 other people can lay claim to this breakthrough moment. Ridley argues that the light bulb emerged from the combined technologies and accumulated knowledge of the day - it was bound to emerge sooner or later. Based on his 2018 Hayek Memorial Lecture, Ridley contends that innovation - from invention through to development and commercialisation - is the most important unsolved problem in all of human society. We rely on it - but we do not fully understand it, we cannot predict it and we cannot direct it. In How Many Light Bulbs Does It Take to Change the World? Ridley examines the nature of innovation - and how people often fear its consequences. He dispels the myth that automation destroys jobs - and demonstrates how innovation leads to economic growth. And he argues that intellectual property rights, originally intended to encourage innovation, are now being used by big business to defend their monopolies. Ridley concludes that innovation is a mysterious and under-appreciated process that we discuss too rarely, hamper too much and value too little.

Today should be a Golden Age for free speech - with technology providing more ways of communicating ideas and opinions than ever before. Yet we're actually witnessing a growing wave of restrictions on freedom of thought and expression. In Having Your Say a variety of authors - academics, philosophers, comedians and more - stress the fundamental importance of free speech, one of the cornerstones of classical liberalism. And they provide informed and incisive insights on this worrying trend, which threatens to usher in a new, intolerant and censorious era.

Today should be a Golden Age for free speech - with technology providing more ways of communicating ideas and opinions than ever before. Yet we're actually witnessing a growing wave of restrictions on freedom of thought and expression. In Having Your Say a variety of authors - academics, philosophers, comedians and more - stress the fundamental importance of free speech, one of the cornerstones of classical liberalism. And they provide informed and incisive insights on this worrying trend, which threatens to usher in a new, intolerant and censorious era.

The Covid-19 pandemic was, and remains, a global disaster - claiming countless lives and wreaking economic havoc that still reverberates today. But it could have been worse. Much worse. Author Stephen Davies contends the planet 'dodged a bullet' this time around. But he warns this was no black swan event: The conflicts in the Ukraine and the Middle East already threaten global stability. And the next existential threat to mankind could happen much sooner than we think - with the chances of it happening increasing exponentially. Here he analyses the potential catastrophes - from nuclear war and climate change to further pandemics, the misuse of Artificial Intelligence and more - that could jeopardise our planet and its people. In this fascinating and at times frightening work, he examines how we assess these risks - and what we can do about them. But Davies is no Jeremiah. He firmly believes the ingenuity, imagination and innovation of millions of people around the world will ultimately secure mankind's continued existence.

This volume brings together essays by leading philosophers of art who consider what can be learned from the meaning of art about society, morality, and life in general. This subject inevitably leads to discussion of other issues. Is art distinct from life? Is a concern with art's messages consistent with an appropriately aesthetic appreciation of its works? Is there anything distinctive about the manner in which art communicates its messages, or about the messages it conveys? The topic of art's social and moral importance has always been a central one in aesthetics. However, whereas Plato and Schiller, for instance, viewed art as intimately implicated in a person's moral and social education, modernist theories have argued for art's autonomy and separation from worldly matters. The essays presented here provide a contemporary perspective on this long-standing debate and reveal the recent revitalization of humanist concerns in describing art and its significance.Contributors are Stephen Davies, Susan L. Feagin, T. J. Diffey, Jenefer Robinson, Gregory Currie, Peter Lamarque, Jerrold Levinson, David Novitz, Ismay Barwell, Göran Hermerén, and Richard Shusterman.