 There are certainly connections between artistic integrity and the moral integrity of artists, which in turn is connected to the moral features of artworks themselves. Novitz (1990, 16), for example, argues that the values we bring to art are social ones, and that so-called pure aesthetic values are themselves socially induced. At the very least, the moral values which artworks suggest or promote are relevant to considerations of artistic integrity. On the one hand, artistic integrity and moral integrity can overlap, particularly if the standards of artistic integrity are high. On the other hand, artistic and moral integrity can come apart in situations of great pressure. Circumstances also vary, and with them both the difficulty of pursuing integrity, and our assessment of its merit. Stewart Sutherland (1996) argues that the case of Dimitri Shostakovich creates difficulties for an account of integrity developed in terms of consistency. The idea is that Shostakovich demonstrated equal if not greater integrity than other more artistically consistent composers writing in more congenial circumstances by coding his works with anti-Stalinist irony. More plausibly, however, one might argue that Shostakovich showed considerable strength of character in difficult circumstances whilst also admitting to his many artistic compromises, compromises which affected his integrity as an artist. Thus, one might rate his moral integrity more highly than his artistic integrity. Expectations of artistic integrity have to be tempered by understanding of the conflicts and pressures, both commercial and political, involved in pursuing artistic values.