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Set in nineteenth century Europe, InSEXts tells the story of Lady Bertram and Mariah, two women in a romantic relationship who can transform into insects in order to defend their nascent family. In the second arc of the series , The Necropolis, Lady Bertram, and Mariah are joined by Phoebe (a Black, transgender artist) whose friends are being transformed into art by members of the patriarchal art community, who value women only as silent and beautiful Muses. Allying with 'Medusa', a misidentified Javanese goddess who has been forcibly brought to Europe, Lady Bertram and Mariah thus enter a narrative replete with Greek and Roman mythology. In this paper, the author sets out to demonstrate that, through the receptions of Pygmalion and Medusa , InSEXts : The Necropolis effectively reflects Cixous' 'Laugh of the Medusa', replicating the empowerment of female creativity which Cixous suggests. By mirroring these Ovidian intertexts and becoming 'writing women' themselves, comics creators Bennett and Kristantina allow their own characters to re-write and subvert traditional narratives, to tell their own stories that represent elements of Ovidian narrative to respond to and embody the kind of female creativity advocated by Cixous. [ABSTRACT FROM AUTHOR]

According to Hegel, art in its ‘supreme task’ is engaged in ‘bringing to our minds and expressing the Divine, the deepest interests of mankind, and the most comprehensive truths of the spirit’. Raymond Geuss, in a highly illuminating paper, has connected Hegel’s conception of art’s supreme task with the project of theodicy. In this paper I explore Hegel’s aesthetics of comedy through this theodicy-based framework Geuss has proposed, and I consider what light this framework can shed on comedy and, reciprocally, what light comedy can shed on it. In particular, invocation of a theodicy can give the impression of art as a kind of defense of the status quo. Yet Hegel’s brief, but pivotal remarks on comedy complicate this picture in an interesting way. The best comedy does reassure us about the basic rationality and goodness of the world. Yet Aristophanic comedy—the sort Hegel lauds as the best and the most truly comic—has a strongly social-critical streak that Hegel notes with great admiration. Hegel’s theory of comedy says as much about him as it does about the genre. But if we are attentive to Hegel’s remarks on comedy, they will offer us a point of resistance against overly Panglossian interpretations of the Hegelian supreme task of art and will help us better understand in what way active social criticism through art is compatible with that higher calling. [ABSTRACT FROM PUBLISHER]

Street art has exploded: it pervades our back alleys, surrounds us at bus-stops, covers billboards, competes with advertising and generally serves as urban wallpaper in most cities. But what is street art? A far cry from mere graffiti, street art has gained some social acceptance, but it remains neither officially sanctioned like public art, nor institutionally condoned, like its more traditional artistic cousins in museums. Somewhere in between these two extremes, street art has emerged, occupying a metaphysically suspect grey area between illegal activity and bona fide art. This paper explores the nature of this emerging art form and draws out some of the differences between street art, public art and 'mere' graffiti. [ABSTRACT FROM AUTHOR]

This paper offers an interpretation of Nietzsche’s well known unpublished remark, ‘Truth is ugly. We possess art lest we perish of the truth.’ I argue that it is not helpful to construe this remark as a claim to the effect that art falsifies the truth by, for example, peddling lies or deceptions. Rather, I suggest, the remark should be taken to refer to the various ways in which art can present us with the truth in such a manner that we do not perish of it. And of these ways, I argue, the most interesting is that in which art facilitates awareness of putatively ugly truths while actually abolishing their ugliness: a striking discussion of this possibility is to be found in Nietzsche’s first book, The Birth of Tragedy. I conclude that, overall, Nietzsche is best understood as a conditional cognitivist—as someone who thinks of truth as valuable, but not as valuable no matter what; and I suggest that what makes his position interesting and distinctive is the alethic pessimism (‘Truth is ugly’) that runs through his version of cognitivism. [ABSTRACT FROM PUBLISHER]

This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual culture in philosophical thought. The bibliography for the course comprised a list of basic texts in aesthetic education, from Friedrich Schiller to Nelson Goodman. In class we linked the range of philosophical views examined to the artistic exploration of themes (mainly in contemporary and local art). The course also incorporated guest speakers who presented their own projects relating to different meeting points of art and education, including social-activist artists, curators, philosophers of education and school architects. The article presents the rationale for the course, its method and a sample of its content. [ABSTRACT FROM AUTHOR]

This paper will focus on three galleries in the Netherlands that once specialized in decorative arts and crafts. The period of study is between the years 1898 and roughly 1930. In all three galleries women played an important role. The discussion includes how these galleries can be linked to the gendering of art forms, interaction between 'high' and 'low' decorative art, and the notion of cross-culturalism. The three galleries explored concentrated on different aspects of the European decorative arts' reform movement: 'high' Arts and Crafts made by trained artist-designers, non- Western crafts coming from areas in the Far East, and home-made domestic folk arts and crafts from Northern and Central Europe. In addition to considering the actual employment of women as designers and gallery managers--which in itself was an important development--the issue of gender is addressed in a broader context. The discussion extends to rationality and notions of Nature with regard to primitiveness, femininity and masculinity. I hope to show that constructions of gender ideologies can correlate with an actual historical situation. Although the galleries reflect the Dutch case at the time, they can be seen to exemplify a more general trend. [ABSTRACT FROM AUTHOR]

The arts are often considered to be at the periphery of the community development process and only a minor player in regenerating areas. Despite increasing globalization, communities are beginning to recognize their own identity, culture, traditional art forms and the value of working together at a local level. This paper is based on a recent study which shows that the arts have a role in regeneration and at a local level can be used as a tool within a wider community development programme. [ABSTRACT FROM PUBLISHER]

This article aims to explore the potential of art to create alternatives to hegemonic narratives in post-traumatic societies and the role of art in the re-politicization of both the artist and the audience. It discusses the role of art in constructing the ethics and memory of Never Again through the visual artworks of Guillermo Núñez (1930) and Ariel Dorfman's (1942) play Death and the Maiden (1990). Such artistic productions enable the re-participation of the traumatized body in political life not only through the represented story but also through the active reflection and agency of the art producer and the viewer. In this way, they contribute to making visible the passive remembering that is often underestimated in the battle of memories, and to transforming abstract and generalizing facing practices in transitional periods into individual and specific 'face-ings.' [ABSTRACT FROM AUTHOR]

A literary criticism of Ralph Ellison's novel "Three Days Before the Shooting..." is presented. Topics discussed include Ellison's conception of art as the essence of humanity & extending beyond traditional aesthetic practice; his ambivalence toward the politicization of art; the intertwining of aesthetics and politics; and the critical assessment of modern aesthetics, particularly in the context of cinema's impact on society.

The article explores the creation and use of cheap art for creative activism. Topics discussed include the impact of cheap art on the relationship of artists with the audience and the legislation of aesthetic standards by art critics, the perspective offered by artist Adrian Piper on the accessibility of cheap art, highlights of the cheap art manifesto written by theatre director Peter Schumann, the characteristics of cheap art acknowledged by art critics Arthur Danto, George Dickie, and Catherine Abell, and the social and political impact of cheap art which contributes to its goal of achieving social change.

This article traces the history of 'community art' on the Aylesbury Estate, a mass municipal housing development in inner-city London. Established by local artists soon after the Aylesbury's opening in 1974, the Walworth and Aylesbury Community Arts Trust (WACAT) ran a multifaceted arts project on the estate until the early 1990s. Through an examination of WACAT's changing aims, outputs and engagements with tenants, this article presents new ways of thinking about life on an inner urban estate. For many participants, the project was not only a focus of sociability and creative expression, but a way of making sense of rapidly changing material and social circumstances. The article further shows how art-making was used to both facilitate and oppose the estate's ongoing demolition, and of contesting stereotypical representations of the estate that went hand in hand with the process of state-led 'regeneration'. [ABSTRACT FROM AUTHOR]

The article discusses Iñigo Manglano-Ovalle's Tele-Vecindario, a collaborative project that was part of the "Culture in Action" exhibition in Chicago, Illinois. The project involved working with young people in West Town, Chicago to produce videos addressing issues within the community. The project received acclaim for its ability to use art and urbanism to reinforce each other and its contribution to the discourse on the spatial dynamics of contemporary urban streets.

The article focuses on the philosophy behind British art appreciation and aesthetics. The author bases his opinions on the paper "Quality in Art," by Jeffrey Wieand, who discusses the way in which the two differing ideas of the facts of art status and artistic value can be accommodated in aesthetics. Facts argued include that both these ideas are based on decisions by those considered to be the right people such as artists, critics, and gallery owners. Also discussed is the argument of Wieand that it is rational to believe art is worthy of appreciation, and that there exists a contrast between historical objects and aesthetic works.

Comments on the rise and fall of the American Art-Union in the context of the social role of art and artists in the antebellum North. Management of the organization; Other institutions in New York City for promotion and exhibition of fine art; Reasons for the downfall of the American Art-Union.

& w. illus. 575 col. illus. £90. I Collecting Spain: Coleccionismo de artes decorativas españolas en Gran Bretaña y España/Collecting Spanish decorative arts in Britain and Spain. i Madrid, Polifemo, 2022. isbn 978-84-16335-78-7. 404 pp. 69 illus. €30. London, Bloomsbury Publishing, 2023. isbn 978-1-5013-5278-2. 336 pp. 27 col. illus. 53 b. [Extracted from the article]

Around 1962, 'formalism' could indicate methodological purity in the realms of both art and science. With camps in both disciplines attempting to minimize human intervention in the realm of decision‐making, 'formalism' could take on mechanical overtones, thereby linking art and science in profound ways. This essay considers the ways in which the austere abstract paintings of Morris Louis from the years surrounding 1960 bring these dual formalisms into focus. When viewed through the criticism of Clement Greenberg and the near‐unwavering faith President Kennedy's administration placed in new technocratic ways of waging war, Louis's paintings can be seen as beatified expressions of a mechanical rationality that also brought the world to the brink of nuclear apocalypse. Through deep engagement with Greenberg's criticism and media archives, the essay forges links between Greenberg's version of Louis and the dark sides of this rationality. The article concludes by locating ways to consider Louis's paintings outside of the Greenbergian straitjacket – recapturing the strangeness and chaotic nature of the painter's practice. [ABSTRACT FROM AUTHOR]

The Computer Arts Society, founded in 1969 as a BCS Special Interest Group and still going strong in its 51st year, has seen the ebb and flow of interest in various digital artforms, writes Dr Nick Lambert, Chair of the BCS Computer Arts Society SG. [ABSTRACT FROM AUTHOR]

Since the 1990s the trade painting industry in Dafen in south China has flourished. Yet the dominant commentary in the Euro-American media has sardonically characterized its success as a market for lacklustre copies. Instead of engaging in a connoisseurial exercise with products, this essay explores what the production of copies for an eager market can reveal about conflicting popular attitudes toward art and originality. Consideration of the Dafen artists’ ‘copy’ techniques, the artists’ understanding of their practice, and the different types of ‘copy’ services their customers prefer, shows the agency of the copy in mediating the interaction between art and society. By satisfying the appearance and social expectations of original art while also allowing art its commodity identity, Dafen represents society’s ironic subversion of its anxiety for the original via the copy. [ABSTRACT FROM AUTHOR]

In the decades between the world wars, painting was propelled to the centre of debates about the health of American public life and cultural democracy. Stuart Davis participated in the ensuing attempts to transform and democratize the art world by coupling his high-profile role as a public intellectual and activist to his efforts to produce a modern art capable of communicating shared experiences and collective values to a broad audience. This article brings greater clarity and coherence to Davis’s career by situating his paintings within a revised history of public art and in the terrain that lies between the symbolic realm of the fine arts and the institutions of civil society. A close examination of Davis’s 1932 exhibition at the Downtown Gallery, which asserted his position within the emerging American scene movement, offers a revealing instance of Davis’s efforts make of the fine arts an effective catalyst within the public sphere. [ABSTRACT FROM AUTHOR]

In this article, the author explores the level of anger that can be directed towards the creators of artistic content. Particular focus is given to the author's examination of the relationships between artist, art and audience. It is suggested that fans of artworks often feel an intimate emotional connection to them, thus resulting in a feeling of ownership. Several artworks are explored in this context including the Sherlock Holmes series of short stories by Arthur Conan Doyle, the Star Wars film series by George Lucas and the film "Blade Runner," directed by Ridley Scott.

Recent literature credits community art spaces with both enhancing social interaction and engagement and generating economic revitalization. This article argues that the ability of art spaces to realize these outcomes is linked to their role as public spaces and that their community development potential can be expanded with greater attention to this role. An analysis of the public space characteristics is useful because it encourages consideration of sometimes overlooked issues, particularly the effect of the physical environment on outcomes related to community development. I examine the relationship between public space and community development at various types of art spaces including artist cooperatives, ethnic-specific art spaces, and city-sponsored art centers in central city and suburban locations. This study shows that through their programming and other activities, art spaces serve various public space roles related to community development. However, the ability of many to perform as public spaces is hindered by facility design issues and poor physical connections in their surrounding area. This article concludes with proposals for enhancing the community development role of the art spaces through their function as public spaces. [ABSTRACT FROM PUBLISHER]

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Karl Mannheim and Erwin Panofsky took Alois Riegl's concept of Kunstwollen as their point of departure in the development of the sciences of cultural interpretation. This article seeks to elucidate the very different readings of Riegl made by Mannheim and Panofsky, and to show how the sociological appropriation and transformation of the concept of Kunstwollen was central to the development of Mannheim's sociology of knowledge, and in particular to the analysis of ‘styles of thought’ in his classic study Conservative Thought (1927). The limited reception of Mannheim's synthesis of sociology and art history is interpreted in the intellectual context of Britain immediately after the 1939–45 war. [ABSTRACT FROM AUTHOR]

Prokofiev began his opera on Tolstoy's novel War and Peace (1941-52) soon after the out-break of the Second World War in the Soviet Union. The completed work was found by the authorities to be incommensurate with the requirements of wartime mobilization, and under supervision the composer began what would become a long process of revision. This article traces the genesis of Prokofiev's opera within contemporary history, politics, and aesthetics, showing how developments in ideology and subsequent demands on the mass arts made a direct impact on the evolution of the opera. What was originally an intimate work, closely tied to Tolstoy, ended as a grand opera to suit Stalinist taste. Particular attention is given to the presentation of Field Marshal Mikhail Kutuzov, a role that was measured—in the opera as in parallel media and propaganda—against the Stalin cult. The article concludes with the suggestion that Prokofiev's original opera, which exists in manuscript form, may be due for reevaluation. [ABSTRACT FROM AUTHOR]

This essay presents an exploration into the concepts of Balinese art aesthetics for the benefit of a western non-scholastic observer. The author aims to explore the cultural differences between Balinese culture and its interaction with the arts. Special focus is given to the relation of art to religion, community, competition and novelty.

The article examines the circumstances of the creation of British Film Institute (BFI) in the early 1930, the postwar transformation and its impact on the development of a national film culture in Great Britain. The first 15 years of BFI's existence was concerned with the promotion of film as a modern means of instruction. At the same time, BFI was removed from the early manifestations of a British film culture which emerged since the late 1920s. During the World War II years, BFI was criticized for its conservatism and incompetence. That pushed BFI to refocus its activities on the development of public appreciation of film as an art form through the National Film Library, film criticism, network of film societies, and the collection of information about films.

At the start of the twenty-first century artists and art works are increasingly mobile and dispersed within global networks and cultural flows. This essay considers the career of an artist (Gonkar Gyatso) who has travelled from his homeland (in Tibet) via a key centre for Tibetan exiles (in India) to his current location in London (where he successfully sought asylum). In each of these physical domains he and his work have been reconfigured, inspiring new ways of depicting the land he vacated: Tibet. A new type of analysis is required in order to chart such transnational dimensions in contemporary art, one which acknowledges that artists are subject to influences well beyond the places they physically inhabit and which gives due prominence to imaginative territories. However, this case study also notes the persistence of ‘location’ as a determining factor in interpretation and reception. [ABSTRACT FROM AUTHOR]

The problems presented by recognition of cultural difference and alterity have long been recognized as presenting substantial challenges to traditional assumptions about the scope and limits of art history. This article examines some of the arguments that have emerged in relation to this issue, focusing in particular on ways in which anthropology and, specifically, the work of Alfred Gell, might contribute to debates. It argues that Gell's theory of the art nexus offers new possibilities for the cross-cultural study of art, which can be applied not only to the art of small-scale oral societies but also to Western art history. In so doing, it suggests that the art-historical engagement with anthropology should imply more than the promotion of difference as a value; rather, it suggests alternative methods of analysis that examine the role of art within social transactions. [ABSTRACT FROM AUTHOR]

The article discusses fetishism and its role in debates concerning the social role of photography and creation of progressive photographic practice. The article refers on the debates surrounding the issue in Russia in the 1920's. The author suggests the combination of the formalist approach with a way that emphasizes progressive content. He also suggests the combination would be sound with the recognition given to the struggles for meanings that are formed in discussions which highlights text and subject. The author also offers his view on modernist discourse to which he thinks limits the categories of art in terms of a medium. He thinks that a representational practice within the confines of an intersemiotic and intertextual context should be considered.

Analyzes the tensions between identity and authority in the work of two Prussian artists of opposing political ideologies in the context of the revolutions in the German territories that were sparked by the February 1848 uprising in Paris, France. Menzel of the Berlin school and Hasenclaver of the Dusseldorf school; Realism of images; Revolutionary themes.

Explores the paradoxical relation of abstract expressionism with the United States society. Relationship of abstract expressionism with labor and visual language; Unresolved difficulties that characterized the position of abstract expressionists; Period developments in political economy that form the context for the position of abstract expressionism advocate Meyer Schapiro.

The article presents information on the continuous controversy over the proper distribution of social and economic resources in China during Han empire. Oftentimes opinions were expressed in public debate, sometimes in memorials about the conspicuous products of material wealth such as architecture, sculpture which cited in debates as emblems of extravagant consumption. The fact should be given attention that the mingling of social responsibility and artistic taste is by no means a practice peculiar to early China.

The article discusses modernity in Japanese painting. It is reported that in the late eighteenth century professional distinctions between those who did work for the official samurai class and lesser social orders were increasingly blurred. The condition of a genuine modern painting outside Europe is that there should be a rich enough painting tradition and widely based art world which precedes contact to be able to survive it. Moreover, the way the art world developed within the developing Japan allowed for an increase in the size of its audience at the same time as it allowed room for movements against the official salons.

The article presents information related to artist Joseph Mallord William Turner's well-known painting of 1805, The Shipwreck. Owing to several causes, many a times this painting has fallen victim to a failure of historical perspective. This painting with critical expectations are wholly exotic to a modern spectator. This article attempts to provide a more convincing explanation of the genesis and success of the painting. Very often, Turner conducts sea journeys in the pursuit of his art. These journeys helped him to offer a special insight into the seaman's life and the behavior of the waters.

The article presents the author's views about the painting "The Sacrifice of Isaac," by Rembrandt Harmensz van Rijn. In this article the author studies not only the formal structures that this painting shares with others of the artist's late works, but also the ways in which its forms and meanings reflect his Protestant religious convictions. This painting provides a good measure of his Protestant aesthetics. Rembrandt's approach to antithesis differs from other contemporary artists, but his perspective is in some ways more eccentric.

The article presents information on early sixteenth-century Venetian art. It discusses about the Italian painting "Tempesta." The Tempesta is a painting about love, without being about the inspiring qualities of love. The Tempest is the most enigmatic painting of Italian artist Giorgione. It is a master piece of detective work in the history and sociology of culture that stresses the function of Giorgione's art. The article also presents information about the painting "Assunta," in which artist Titian made one of the greatest leaps of imagination in the whole history of art.

The article presents information on the Venetian Renaissance paintings and painters. The Renaissance artists are termed as the painters of second generation and do not deal in narrative paintings. Artists of this class includes Gentile Bellini and are Giovanni Mansueti. The taste of these artists described ambient setting further obscured the narrative point of the enterprise by embedding it in circumstantial detail. In order to render faithfully the visible world in all of its complexity and contingency, the Venetian artists simply lost the narrative thread.

The article reports that the original paintings and drawings completed during Captain James Cook's three voyages to the Pacific still remain little known and little used as basic documents for the study of Pacific ethnohistory. The artists who traveled with Cook during his three voyages to the Pacific between 1768 and 1781, include Alexander Buchan and Sydney Parkinson on the first voyage, William Hodges on the second and John Webber on the third. They faced the main problem during these journey was of ethnic portraiture of the native people.

The article discusses the author's opinion on the paintings of Jasper Johns of Great Britain. The authors opine that a series of pictures which Johns painted, like Corpse and Mirror of 1974 , The Barber's Tree, The Dutch Wives and others are all primarily composed of cross-hatchings, a motif which according to John was derived from a paint-job on a car which once passed by him. The authors feel that John was the first person to use this technique of cross-hatching. The authors, through his paintings are searching of those social, cultural and psychological substructures which are among the real conditions and locations of production of Johns' work.

The article deals with the psychic and ideological formation of a phantasy played out around sculpture and the sculptural in modern culture. The phantasy has a regressive dimension, projecting a desire for a return to a mythic oneness with things. A little skit written by Jean-Jacques Rousseau focuses on the archetypical fable phantasising the ideal sculptural object, the Pygmalion legend. Johann Gottfried Herder's essay states that sculpture offered a fundamental experience than painting because it was the art of feeling and touch rather than optical appearances. For him, the factors that made sculpture the more powerfully immediate art also rendered it problematic as an art form in the modern world.

The article examines the political activities of artists in France in 1848. It reveals that artists turned towards the state in the expectation of greater justice an 'equality of opportunity', consisting of free access to the Salon and the awarding of commissions on the basis of open competition and selection by a democratically elected jury. Many of the republicans turned towards artists and attempted to satisfy their grievances, moved by a generous impulse for social improvement and a belief in the messianic capacity of art.

The article discusses the social issues involving French art criticism in 1831. It explains that the currents of French art criticism react to the transformations of French society and to the changing conditions of artistic production and their relationship to the public. This article also examines the cases where the notion of a transitional period explicitly refers to art. It gives emphasis on fashion and art as well as the issue of individualism, which according to the critics of aristocracy and legitimist clergy, are synonyms for egoism and anarchy.

The article states that "The Literary Magnet of the Belles Letters, Science, and the Fine Arts," which George C. Boase describes as a monthly, was actually published in fifty, sixteen-page weekly numbers before it became a monthly. Boase's error is understandable, however, because it is a monthly's format that is suggested by the focus of the magazine's contents on "Essays, Fictions, Sketches of Character," and reviews of books "with copious Extracts." Nonetheless, in the Preface to Volume One, the editors speak proudly of the magazine being the "center of attraction in the hebdomadal press of the most enlightened and flourishing city of the world.

The article discusses connections between creativity, excellence, and originality in art. The author distinguishes between art and other branches of knowledge where these concepts may also apply. He asserts that it is the specificity of the subject or ensemble that stimulates artistic creativity. It is stressed that only that particular individual or ensemble could have made a particular work of art. It is also asserted that art adds to our global sense of the meaning of things, unlike other areas of creativity.

The article looks at the difficulties of acceptance of the aesthetics of popular art and mass culture. Listed are the factors involved in defending popular art against reportedly intellectual critics. In the opinion of the author, one of the prime complaints against popular art is the lack of aesthetic challenge and induction of passive response. Focus is given to the key elements that cause active aesthetic response, which include function, form, and funk. Reportedly required is adoption by European intellectual aristocrats of the open American attitude.

The article presents an analysis of the differences between popular art and high art. The author explains that popular art includes multimedia work such as films and television programmes, as well as magazines and rock music, and high art includes sculptures, paintings, plays, and poems. Included in the discussion is the start of this distinction in the late 19th century in Europe, the politics of the differences, and the fall of high art due to the change from artistic values to economic ones. The conclusion reached by the author is that the distinction between popular and high art is a social one, and the character of art is based on the society in which it is developed.

The article reflects on the achievements and shortcomings of sociological theoretization of artistic practice, which are discussed in Janet Wolff's 1983 book "Aesthetics and the Sociology of Art." The author examines Wolff's contention that the sociology of art has demonstrated the contingent nature of art and aesthetic experience, by arguing that sociology itself is subject to the same ideological critique. The author also examines the claim that aesthetic theoretization has moved in the direction of sociological analysis, focusing on the sociology of aesthetic value.

The article presents the author's opinions on the main concerns in the book "Aesthetics and the Society of Art," by Janet Wolff. The author argues that the possibility of an idealist aesthetics to be aware of art in society is not allowed. It discusses the characteristics of art, art and philosophy, and aesthetics as a discipline. The author inferred that people should look deep into philosophical formulation before stating that some problems are sociological.