Raymond Kolcaba

The regulative ideal of being educated is construed through features associated with the conduct and aspirations of faculty in higher education. These features include autonomy of mind and its presuppositions in self-knowledge and ability to inquire. These features as well cover having the identity of an educated person, implying evaluation of the products of the mind in logic and language, motivation to maintain an education, and the deep convictions and attitudes characteristic of the academic, humanist, and scientist. Finally, these features encompass knowing how to apply professional methods in reading and evaluating professional literature, identifying what is potentially educative, seeking a deepening of values through value inquiry, and the application of values in a constructive manner. However, the most promising motivation is commitment to oneself. Other motivators, such as love of learning and curiosity, will be transitory. Commitment can be to prescriptions based on the features associated with the regulative ideal. These prescriptions would in turn comprise a rudimentary ethics for being educated.

Is machine autonomy the same as human autonomy? Answers to this question are developed inphilosophical dialogue. Becket Geist, a romanticphilosopher with scientific leanings, is irked by thearrogance of Fortran McCyborg – a Model 2000 cyborg. Nonette Naturski, a champion of naturalistic views,joins Becket in playing devil''s advocate by arguingthat Fortran''s actions are voluntary, not chosen byhim, and lacking the freedom caused by deliberatedesire. With the attempts to reduce Fortran''s status,Fortran ups the ante by arguing for yet higher status– that he is an angel. The dialogue with therealization that the conversation which denied Fortranautonomous status presupposed it on some level. Angelic Machines picks up where Loss of theWorld leaves off.

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

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

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