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Surgeons carefully assess the risks and benefits of treatment before consenting to perform operative interventions. They are influenced by objective findings and by affective factors such as courage and the determination to survive expressed by their patients. They manage risks, doubts, and fears-both their patients' and their own-relying on trust and commitment on both sides to ensure the success of the surgical mission. The trust of their patients has a strong influence on the surgeons' decisions and actions.

Nelson Goodman's distinction between autographic and allographic arts is appealing, we suggest, because it promises to resolve several prima facie puzzles. We consider and rebut a recent argument that alleges that digital images explode the autographic/allographic distinction. Regardless, there is another familiar problem with the distinction, especially as Goodman formulates it: it seems to entirely ignore an important sense in which all artworks are historical. We note in reply that some artworks can be considered both as historical products and as formal structures. Talk about such works is ambiguous between the two conceptions. This allows us to recover Goodman's distinction: art forms that are ambiguous in this way are allographic. With that formulation settled, we argue that digital images are allographic. We conclude by considering the objection that digital photographs, unlike other digital images, would count as autographic by our criterion; we reply that this points to the vexed nature of photography rather than any problem with the distinction.

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