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CIM's Matt Spencer has published two new open access papers exploring interdisciplinarity in cyber security.

The first, in the conference proceedings for the New Security Paradigms Workshop (NSPW), explores opportunities to bring a sociological framing to bear on security economics; the second, in Information, Communication and Society introduces a Special Issue focused on 'the fix' as a trope for interdisciplinary cyber security.

Current student Noor Syed (LLB 3 year) has received the 鈥楬onorary Private Law Submission Prize鈥� for his article on the challenges posed by artificial intelligence and algorithmic contracting to the common law of contract.

Professor Diarmuid Costello has been awarded a Leverhulme Research Fellowship (2023-4) to work on his next book project, a collection of essays provisionally titled Spurs to Thought: Philosophical Engagements with Contemporary Art.

Professor Costello says: "The goal of this research is two-fold: to demonstrate the remarkable capacity of selected works of contemporary art to function as spurs to philosophical reflection, if approached in the right spirit; and, in so doing, to establish the value of what I call 鈥減hilosophical criticism鈥� as an alternative to currently dominant methodologies in the philosophy of art, whether analytic or continental. The project brings this method to bear on the kind of contemporary works that often elicit hostility or confusion, so as to make clear the challenge that such works may implicitly pose to our unreflective understanding of normative concepts we make use of every day".

Professor Costello's previous, recently completed monograph, Aesthetics after Modernism will appear in 2024 with Oxford University Press (NYC) in No毛l Carroll and Jesse Prinz鈥檚 鈥楾hinking Art鈥� series.

"Aesthetics after Modernism argues for the ongoing relevance of aesthetics to appreciating art after modernism. It aims to show that even the hardest of 鈥渉ard cases鈥� remain amenable to aesthetic analysis on an adequate conception of the latter. The book traces the contrary view of much recent art criticism and theory to Clement Greenberg鈥檚 success in recruiting Kant鈥檚 aesthetics to underwrite a formalist conception of aesthetic value. This has led later theorists to miss the resources in the third Critique for understanding our cognitive relation to the kinds of art in which they are interested. It is widely assumed that Kant鈥檚 aesthetics cannot speak to the semantic dimension of art; I provide an interpretation of Kant鈥檚 theory of art, taking Conceptual Art as my test case, that suggests otherwise. If it can be shown that Kant鈥檚 aesthetics can accommodate the appreciation of art with no sensible features, then it should in principle be able to accommodate any kind of art".