The Oxford Handbook of Philosophy of Love offers a wide array of original essays on the nature and value of love. The editors, Christopher Grau and Aaron Smuts, have assembled an esteemed group of thinkers, including both established scholars and younger voices. The volume contains thirty-three essays addressing both issues about love as well as key philosophers who have contributed to the philosophy of love, such as Plato, Kierkegaard, Schopenhauer, and Murdoch. The topics range from central issues about (...) the nature and variety of love, the possibility of its rational justification, and whether it is an emotion, to the significance of love for law, economics, morality, and free will. The volume also contains an introduction to the subject as well as essays on love’s relation to jealousy, biotechnology, religion, knowledge, and several other topics. This wide-ranging handbook will be a key resource for specialists working on the philosophy of love, and a helpful guide for those looking to learn more about the area. (shrink)

I defend the theory that one's life is meaningful to the extent that one promotes the good. Call this the good cause account (GCA) of the meaning of life. It holds that the good effects that count towards the meaning of one's life need not be intentional. Nor must one be aware of the effects. Nor does it matter whether the same good would have resulted if one had not existed. What matters is that one is causally responsible for the (...) good. I argue that the best theory of the meaning of life should clearly distinguish between subjective fulfillment and objective meaningfulness. The GCA respects the distinction. And it is superior to its leading rivals in the recent literature, most notably those of Erik Wielenberg and Susan Wolf. (shrink)

Most philosophers since Sidgwick have thought that the various forms of pleasure differ so radically that one cannot find a common, distinctive feeling among them. This is known as the heterogeneity problem. To get around this problem, the motivational theory of pleasure suggests that what makes an experience one of pleasure is our reaction to it, not something internal to the experience. I argue that the motivational theory is wrong, and not only wrong, but backwards. The heterogeneity problem is the (...) principal source of motivation for this, otherwise, highly counterintuitive theory. I intend to show that the heterogeneity problem is not a genuine problem and that a more straightforward theory of pleasure is forthcoming. I argue that the various experiences that we call pleasures all feel good. (shrink)

I distill three somewhat interrelated approaches to the ethical criticism of humor: (1) attitude-based theories, (2) merited-response theories, and (3) emotional responsibility theories. I direct the brunt of my effort at showing the limitations of the attitudinal endorsement theory by presenting new criticisms of Ronald de Sousa’s position. Then, I turn to assess the strengths of the other two approaches, showing that that their major formulations implicitly require the problematic attitudinal endorsement theory. I argue for an effects-mediated responsibility theory , (...) holding that the strongest ethical criticism that can be made of our sense of humor is that it might indicate some omission on our part. This omission could only be culpable in so far as a particular joke could do harm to oneself or others. In response to Ted Cohen’s doubts that such a mechanism of harm is forthcoming, I argue that the primary vehicle of the harmful effects of humor is laughter. (shrink)

Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to the (...) paradox: conversion, control, compensatory, meta-response, catharsis, and rich experience theories. (shrink)

Although I reject his argument, I defend Bernard Williams’s claim that we would lose reason to go on if we were to live forever. Through a consideration of Borges’s story "The Immortal," I argue that immortality would be motivationally devastating, since our decisions would carry little weight, our achievements would be hollow victories of mere diligence, and the prospect of eternal frustration would haunt our every effort. An immortal life for those of limited ability will inevitably result in endless frustration, (...) since the number of significant projects that one is capable of completing is finite, but the span of time is infinite. (shrink)

In this article I defend innocuousism– a weak form of Epicureanism about the putative badness of death. I argue that if we assume both mental statism about wellbeing and that death is an experiential blank, it follows that death is not bad for the one who dies. I defend innocuousism against the deprivation account of the badness of death. I argue that something is extrinsically bad if and only if it leads to states that are intrinsically bad. On my view, (...) sometimes dying may be less good than living, but it is never bad to die. (shrink)

I argue that genuine moral flaws never enhance amusement, but they sometimes detract.I argue against comic immoralism--the position that moral flaws can make attempts at humor more amusing.Two common errors have made immoralism look attractive.First, immoralists have confused outrageous content with genuine moral flaws.Second, immoralists have failed to see that it is not sufficient to show that a morally flawed joke is amusing; they need to show that a joke can be more amusing because of the fact that it is (...) morally flawed.I argue that the immoralist lacks a plausible account of how this could be the case.I reject immoralism and argue for comic moralism—the position that moral flaws can make attempts at humor less amusing. (shrink)

Many of the most popular genres of narrative art are designed to elicit negative emotions: emotions that are experienced as painful or involving some degree of pain, which we generally avoid in our daily lives. Melodramas make us cry. Tragedies bring forth pity and fear. Conspiratorial thrillers arouse feelings of hopelessness and dread, and devotional religious art can make the believer weep in sorrow. Not only do audiences know what these artworks are supposed to do; they seek them out in (...) pursuit of prima facie painful reactions.Traditionally, the question of why people seek out such experiences of painful art has been presented as the paradox of tragedy. Most solutions to the paradox of tragedy assume that the reason we seek out tragedies, horror films, melodramas, and the like is because they afford pleasureful experiences. From there, theorists attempt to account for the source of this pleasure, a pleasure assumed to be had from representations of events from which we do not derive pleasure in real life. I argue that this assumption is suspect: the motive for seeking out devotional religious art, melodrama, tragedy, and some horror is not clearly to find pleasure. (shrink)

_Welfare, Meaning, and Worth_ argues that there is more to what makes a life worth living than welfare, and that a good life does not consist of what is merely good for the one who lives it. Smuts defends an objective list theory that states that the notion of worth captures matters of importance for which no plausible theory of welfare can account. He puts forth that lives worth living are net high in various objective goods, including pleasure, meaning, (...) knowledge, and loving relationships. The first part of the book presents a theory of worth, a mental statist account of welfare, and an objectivist theory of meaning. The second part explores the implications for moral theory, the popularity of painful art, and the viability of pessimism about the human condition. This book offers an original exploration of worth as a combination of welfare and meaning that will be of interest to philosophers and ethicists who work on issues in well-being and positive psychology. (shrink)

Are there normative reasons for love? More specifically, is it possible to rationally justify love? Or can we at best provide explanations for why we love? In Part I of this entry, I discuss the nature of love, theories of emotion, and what it takes to justify an attitude. In Part II, I provide an overview of the various positions one might take on the rational justification of love. I focus on the debate between defenders of the no-reasons view and (...) the reasons view. Along the way, I discuss the significance of falling in love, the problem of trading up, and the notion of irreplaceability. I evaluate attempts to justify love based on the intrinsic and the relational properties of the beloved. (shrink)

I argue that by any major definition of art many modern video games should be considered art. Rather than defining art and defending video games based on a single contentious definition, I offer reasons for thinking that video games can be art according to historical, aesthetic, institutional, representational and expressive theories of art. Overall, I argue that while many video games probably should not be considered art, there are good reasons to think that some video games should be classified as (...) art. I also show that the debates over the artistic status of chess and sports offer some insights into the status of video games. (shrink)

In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on the issue: It (...) is wrong to enjoy evil whether real or merely fiction. I develop my position through an examination of the controversially song "Mind of a Lunatic" (1990) by the Houston based rap group Geto Boys. (shrink)

I evaluate four historically precedented tests for what makes a life worth living: (1) The Suicide Test (Camus), (2) The Recurrence Test (Schopenhauer and Nietzsche), (3) The Extra Life Test (Cicero and Hume), and (4) The Preferring Not to Have Been Test (Job and Williams). I argue that all four fail and tentatively defend the heuristic value of a fifth, The Pre-Existence Test for what makes a life worth living: (5) A life worth living is one that a benevolent caretaker (...) with foreknowledge would allow. A life worth avoiding is one that a benevolent caretaker would disallow. This test usefully tracks the general extension of the concept of what makes a life worth living. I consider three objections and note that there appears to be an indeterminate middle category of lives worth neither. Ultimately, I argue that any plausible test will risk circularity or will require a theory of worth to be viable. (shrink)

The "ethics of imagination" or the "ethics of fantasy" encompasses the various ways in which we can morally evaluate the imagination. This topic covers a range of different kinds of imagination: (1) fantasizing, (2) engaging with fictions, and (3) dreaming. The clearest, live ethical question concerns the moral value of taking pleasure in undeserved suffering, whether willfully imagined, represented, or dreamed. Much of this entry concerns general theoretical considerations and how they relate to the ethics of fantasy. In the final (...) sections I walk through the three types of imagination and point out some of the open questions concerning each type. (shrink)

The Oxford Handbook of the Philosophy of Love offers a wide array of original essays on the nature and value of love. The editors, Christopher Grau and Aaron Smuts, have assembled an esteemed group of thinkers, including both established scholars and younger voices. The volume contains thirty-three essays addressing both issues about love as well as key philosophers who have contributed to the philosophy of love, such as Plato, Kierkegaard, Schopenhauer, and Murdoch. The topics range from central issues (...) about the nature and variety of love, the possibility of its rational justification, and whether it is an emotion, to the significance of love for law, economics, morality, and free will. The volume also contains an introduction to the subject as well as essays on love’s relation to jealousy, biotechnology, religion, knowledge, and several other topics. This wide-ranging handbook will be a key resource for specialists working on the philosophy of love, and a helpful guide for those looking to learn more about the area. (shrink)

I argue that the term "interactive" should be considered a general-purpose term that indicates something about whatever it is applied to, whether that is art, artifact, or nature. I base my definition in the notion of "interacting with" something. First, I look for essential features of this relation, and then using these features, I develop a notion of interactivity that can help distinguish the interactive from non-interactive arts. Although I am skeptical of the benefits interactivity affords, interactive artworks are significant (...) in that they are the first instances of mass art to be truly "concreative." Prior to building a definition of interactivity, I provide a novel reading of Collingwood in order to revive his notion of "concreativity" for contemporary application. In order to develop my theory of interactivity as mutual responsiveness, I analyze four problematic definitions of interactivity: (1) the control theory, (2) the making use theory, (3) the input/output theory, (4) Dominic McIver Lopes' modifiable structure theory, and (5) Janet Murray's procedural/participatory theory. In each case, I reveal a problem that my final notion solves. After presenting a definition of interactivity, I defend the viability of my theory against skeptical remarks that interactivity is a useless concept. To highlight the significance of my analysis, I analyze an argument against the value of concreative art—that interactivity is incompatible with narrative immersion. (shrink)

Although we can try to explain why we love, we can never justify our love. Love is neither based on reasons, nor responsive to reasons, nor can it be assessed for normative reasons. Love can be odd, unfortunate, fortuitous, or even sadly lacking, but it can never be appropriate or inappropriate. We may have reasons to act on our love, but we cannot justify our loving feelings. Shakespeare's Bottom is right: "Reason and love keep little company together now-a-days." Indeed, they (...) keep none and they never kept any: there are no justifying reasons for love. (shrink)

Are there normative reasons for love? More specifically, is it possible to rationally justify love? Or can we at best provide explanations for why we love? In Part I of this entry, I discuss the nature of love, theories of emotion, and what it takes to justify an attitude. In Part II, I provide an overview of the various positions one might take on the rational justification of love. I focus on the debate between defenders of the no-reasons view and (...) the reasons view. Along the way, I discuss the significance of falling in love, the problem of trading up, and the notion of irreplaceability. I evaluate attempts to justify love based on the intrinsic and the relational properties of the beloved. (shrink)

David Benatar argues that being brought into existence is always a net harm and never a benefit. I disagree. I argue that if you bring someone into existence who lives a life worth living, then you have not all things considered wronged her. Lives are worth living if they are high in various objective goods and low in objective bads. These lives constitute a net benefit. In contrast, lives worth avoiding constitute a net harm. Lives worth avoiding are net high (...) in objective bads and low in objective goods. It is the prospect of a LWA that gives us good reason to not bring someone into existence. Happily, many lives are not worth avoiding. Contra Benatar, many are indeed worth living. Even if we grant Benatar his controversial asymmetry thesis, we have no reason to think that coming into existence is always a net harm. (shrink)

In this essay, I discuss a few ways in which songs are used, ways in which listeners engage with and find meaning in music. I am most interested in sad songs—those that typically feature narratives about lost love, separation, missed opportunity, regret, hardship, and all manner of heartache. Many of us are drawn to sad songs in moments of emotional distress. The problem is that sad songs do not always make us feel better; to the contrary, they often make us (...) feel worse. So, why do we listen to sad songs? I argue that we seek out sad songs, partly, to intensify distress, which helps us reflect on situations of profound personal significance. (shrink)

According to the standard analysis, humor theories can be classified into three neatly identifiable groups:incongruity, superiority, and relief theories. Incongruity theory is the leading approach and includes historical figures such as Immanuel Kant, Søren Kierkegaard, and perhaps has its origins in comments made by Aristotle in the Rhetoric. Primarily focusing on the object of humor, this school sees humor as a response to an incongruity, a term broadly used to include ambiguity, logical impossibility, irrelevance, and inappropriateness. The paradigmatic Superiority theorist (...) is Thomas Hobbes, who said that humor arises from a “sudden glory” felt when we recognize our supremacy over others. Plato and Aristotle are generally considered superiority theorists, who emphasize the aggressive feelings that fuel humor. The third group, Relief theory, is typically associated with Sigmund Freud and Herbert Spencer, who saw humor as fundamentally a way to release or save energy generated by repression. In addition, this article will explore a fourth group of theories of humor: play theory. Play theorists are not so much listing necessary conditions for something’s counting as humor, as they are asking us to look at humor as an extension of animal play. (shrink)

The central thesis of this book is that there is more to what makes a life worth living than welfare. I argue that the notion of worth captures matters of importance that no plausible theory of welfare can account for. Worth is best thought of as a higher-level kind of value. I defend an objective list theory (OLT) of worth¬—lives worth living are net high in various objective goods. Not only do I defend an list of some of the goods, (...) I also defend a set of bads, a set of things that detract from the worth of a life. -/- I defend a theory of worth, a theory of welfare, and a theory of meaning. I devote a chapter to each form of value before exploring the implications for moral theory and the viability of pessimism about the human condition. (shrink)

Any analysis of "In the Company of Men" is forced to answer three questions of central importance to the ethics of humor: What does it mean to find sexist humor funny? What are the various sources of humor? And, can moral flaws with attempts at humor increase their humorousness? I argued that although merely finding a joke funny in a neutral context cannot tell you anything reliable about a person's beliefs, in context, a joke may reveal a great deal about (...) one’s social attitudes, or feelings of insecurity. Especially in its portrayal of Howard, the film exposes the role of insecurity as a source of humor. Not only can insecurity make one more prone to laugh, but it can also make someone seem funnier in some contexts. I contended that this shows that a strong version of the superiority theory of humor is clearly wrong. Furthermore, the disparate audience reactions to Chad's jokes showed that the morally sensitive who were aware of the purpose of his jokes would see them as ethically flawed. Rather than making the jokes more amusing, the fact that the jokes were considered to be ethically flawed made them less funny. Hence, immoralism is most likely false. (shrink)

Although it seems plausible to say that the same story can be retold in different media, it is difficult to say exactly what this would entail. The primary difficulty is in coming up with an acceptable theory of story identity. In this article I present several theories of story identity and explore their weaknesses. I argue that in the end we are left with two unattractive options: a strict theory that implies that the same story can almost never be retold (...) and a lenient theory that has trouble differentiating between a general story type and the same story. (shrink)

It seems better to love virtue than vice, pleasure than pain, good than evil. Perhaps it's also better to love virtuous people than vicious people. But at the same time, it's repugnant to suggest that a mother should love her smarter, more athletic, better looking son than his dim, clumsy, ordinary brother. My task is to help sort out the conflicting intuitions about what we should love. In particular, I want to address a problem for the no-reasons view, the theory (...) that love cannot be rationally justified. Since it seems better to love good people rather than evil villains, it appears that there are indeed reasons for (or, at least, against) love. Is it coherent to talk this way and deny that love can be justified? I think so and will explain how. (shrink)

My goal in this article is to provide support for the claim that moral flaws can be detrimental to an artwork's aesthetic value. I argue that moral flaws can become aesthetic flaws when they defeat the operation of good-making aesthetic properties. I do not defend a new theory of aesthetic properties or aesthetic value; instead, I attempt to show that on both the response-dependence and the supervenience account of aesthetic properties, moral flaws with an artwork are relevant to what aesthetic (...) properties obtain. I provide a description of the main features of both theories of aesthetic properties, and then explain how moral flaws can become aesthetic flaws on either account. I address several objections to moralism about art including the "moralistic fallacy.". (shrink)

A common view holds that humor and morality are antithetical: Moral flaws enhance amusement, and moral virtues detract. I reject both of these claims. If we distinguish between merely outrageous jokes and immoral jokes, the problems with the common view become apparent. What we find is that genuine morals flaws tend to inhibit amusement. Further, by looking at satire, we can see that moral virtues sometimes enhance amusement. The position I defend is called symmetric comic moralism. It is widely regarded (...) as patently absurd. I hope to correct this mistake. (shrink)

In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...) is bad for us. Accordingly, we may rightly wonder if it rational for people to watch melodramas or to listen to love songs. One might think that we should generally avoid unpleasant works of art. This implication flirts with absurdity. I show how it can be avoided by making a distinction between well-being and worth. (shrink)

I argue for a position close to what Paisley Livingston calls the bold thesis of cinema as philosophy. The bold thesis I defend is that films can make innovative, independent philosophical contributions by paradigmatic cinematic means. I clarify the thesis before presenting what Livingston thinks is a fatal problem for any similar position—the problem of paraphrase. As an example in defense of the bold thesis, I offer the "For God and Country" sequence in Sergei Eisenstein’s October (1928). I argue that (...) this scene offers an analogical argument similar in form to what some think Nietzsche presents in the Genealogy of Morality. Moreover, I argue that the argument presented in October is independent, could have been innovative, and is presented via the paradigmatic cinematic means of montage. (shrink)

The bulk of the literature on the relationship between art and morality is principally concerned with an aesthetic question: Do moral flaws with works of art constitute aesthetic flaws?1 Much less attention has been paid to the ways in which artworks can be morally flawed. There are at least three promising contenders that concern aesthetic education: Artworks can be morally flawed by endorsing immorality, corrupting audiences, and encouraging responses that are bad to have. When it comes to works of fiction, (...) the third suggestion requires what Allan Hazlett calls response moralism—the position that audience reactions to artworks can be morally bad.2 Here, I will put aside issues of aesthetic.. (shrink)

What is suspense and how is it created? An answer to this question constitutes a theory of suspense. I propose that any theory of suspense needs to be able to account for three curious features: (1) Suspense is seldom felt in our daily lives, but frequently felt in response to works of fiction and other narrative artworks. [Narrative Imbalance] (2) It is widely thought that suspense requires uncertainty, but we often feel suspense in response to narratives when we have knowledge (...) of the outcome. [Paradox of Suspense] (3) The amount of suspense felt in response to a narrative typically diminishes on repeated encounters. [Diminishing Returns] I offer a theory of suspense that can explain these three features. I argue for a theory called the Desire-Frustration Theory of Suspense, which holds that suspense results when our desire to effect the outcome of an imminent event is frustrated. (shrink)

Many think that love would be a casualty of free will skepticism. I disagree. I argue that love would be largely unaffected if we came to deny free will, not simply because we cannot shake the attitude, but because love is not chosen, nor do we want it to be. Here, I am not alone; others have reached similar conclusions. But a few important distinctions have been overlooked. Even if hard incompatibilism is true, not all love is equal. Although we (...) have only minimal control over love, it can be more or less authentic. I develop my position by considering the fictional trope of love potions and the implications of a futuristic psychotropic, Lovezac—Viagra for the heart. But I am not as optimistic as some. Even though free will skepticism would not jeopardize love-the-feeling, there are reasons to think that loving relationships might not be immune. (shrink)

Can any being worthy of worship make others worship it? I think not. By way of an analogy to love, I argue that it is perfectly coherent to think that one could be made to worship. However, forcing someone to worship violates their autonomy, not because worship must be freely given, but because forced worship would be inauthentic—much like love earned through potions. For this reason, I argue that one cannot be made to worship properly; forced worship would be unfitting. (...) My principal claim is that no being worthy of worship could exercise the power to make others worship it, since the act of making another worship would necessarily make one unworthy of worship. (shrink)

The question Wings of Desire (Wim Wenders, 1987) forces us to answer is whether we too would be willing to renounce immortality? Or, to put it conversely, would we be wise to exchange our current mortal existence for immortality? If a state of senseless, inefficacious existence is undesirable, the question of the value of immortality becomes one of the conceivably of an alternative to the angels' form of existence. By contemplating the existence of the angels in Wings of Desire, we (...) can see that they do not simply exemplify one possible eternal existence, but that the negative aspects of their being are perhaps essential features of the immortal. I begin by exploring another argument for the undesirableness of immortality that has taken center stage in the debate, then turn my attention to the film and present a novel argument against the value of immortality. (shrink)

The Haunting, Directed by Robert Wise MGM/Argyle, 1963.

It’s a Wonderful Life (Capra, 1946) presents a plausible theory of the meaning of life: One's life is meaningful to the extent that it promotes the good. Although this theory is credible, the movie suggests a problematic refinement in the Pottersville sequence. George's waking nightmare asks us to compare the actual world with a world where he did not exist. It tells us that we are only responsible for the good that would not exist had we not existed. I argue (...) that this is a bad test. It fails when there are redundant causes. (shrink)

Three questions have occupied much of the philosophical literature on cinematic horror: What is horror? How is it able to frighten and disgust? Why do we seek out horror if it horrifies? Although there are numerous other important topics, this entry will focus on these three general questions, since they motivate the overwhelming majority of the philosophical writing on cinematic horror.

While working to build his aesthetic theory from the qualities of normal, healthy experience, John Dewey diagnoses a rarely recognized experiential ailment -- what might be called the anesthetic malady. This illness generally results when experience is deprived of meaning due to the poverty of the predominant forms of activity available in one's environment. In Dewey's theory of aesthetic experience lies an easily overlooked social/political approach that predates, by almost half a century, recent social theoretical concerns in phenomenology and everyday (...) aesthetics. Dewey takes notice of experience and prompts inquiry into sometimes obviously important, but often dismissed as irrelevant and mundane, paths. (shrink)

I attempt to explain the lasting effectiveness and critical success of Robert Wise’s The Haunting (1963) by roughly sketching the role that spectator belief might play in a revised version of the so-called “Thought Theory” of emotional response to fiction. I argue that The Haunting engages viewers in a process of “disbelief mitigation”—the sheltering of nontrivial, tenuously held beliefs required for optimal viewer response—that helps make the film work as horror, and prevents it from sliding into comedy. Haunted house films (...) do not have to extend much effort to keep us from walking away, since most viewers come to the theater ready to entertain the idea that haunted houses exist. Using the experiential philosophy of John Dewey, I propose that this willingness has to do with a fundamental aspect of our relationship with space. It is common to speak of places as “charged” or “tense,” to get feelings of dread or nostalgia from certain spots. Some haunted house films make use of this experiential characteristic to fuel the horror, and without it, the subgenre would probably not exist. (shrink)

The ultimate success of Hollywood blockbusters is dependent upon repeat viewings. Fans return to theaters to see films multiple times and buy DVDs so they can watch movies yet again. Although it is something of a received dogma in philosophy and psychology that suspense requires uncertainty, many of the biggest box office successes are action movies that fans claim to find suspenseful on repeated viewings. The conflict between the theory of suspense and the accounts of viewers generates a problem known (...) as the paradox of suspense, which we can boil down to a simple question: If suspense requires uncertainty, how can a viewer who knows the outcome still feel suspense? (shrink)

Theories of well-being tell us what makes a life good for the one who lives it. But there is more to what makes a life worth living than just well-being. We care about the worth of our lives, and we are right to do so. I defend an objective list theory of the worth of a life: The most worthwhile lives are those high in various objective goods. These principally include welfare and meaning. By distinguishing between worth and welfare, we (...) can capture the intuitive pull of broad theories of welfare without their liabilities. (shrink)

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...) right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (shrink)

The move for greater inclusion of transwomen in women’s sports through the adoption of increasingly less stringent criteria has progressed very quickly, faster than public consensus, and seemingly without much debate. In an effort to further rational discussion of this issue, I want to lay out clear versions of the best arguments in favor of greater inclusion. Versions of these arguments have been appearing in a variety of merged and mangled forms in popular and social media. Hence, my task is (...) twofold: untangle the arguments and re-present them in the most compelling versions. (shrink)

The most cursory look at video games raises several interesting issues that have yet to receive any consideration in the philosophy of art, such as: Are videogames art and, if so, what kind of art are they? Are they more closely related to film, or are they similar to performance arts, such as dance? Perhaps they are more akin to competitive sports and games like diving and chess? Can we even define “video game” or “game”? We often say that video (...) games are interactive, but what is interactivity and what are the effects of interactivity on eliciting emotional responses from players? (shrink)