A long‐standing aim of cinema – in particular of ‘extreme’, ‘unwatchable’ or ‘feel‐ bad’ cinema – has been to acquaint viewers with extreme suffering. In this article I first offer an explication of that aim in terms of recent work in philosophy of mind, then exploit the resulting framework to examine claims to the effect that a new technological development, Virtual Reality, provides cinema's best shot at achieving that aim.
According to Michael Thompson's defence of neo‐Aristotelian naturalism in meta‐ethics, (i) ‘[t]he concept life‐form is a pure or a priori, perhaps a logical, concept’, and (ii) ‘[t]he concept human, as we human beings have it, is an a priori concept’ (p. 57). Here I show Thompson's argument for (ii) to be unsound, hoping thereby to shed light on the neglected subject of the a prioricity of concepts more generally.
Seeing total darkness is a peculiar perceptual state: in it, the subject is visually aware of something while seeming to fail to be aware of anything. Recent treatments of the topic (Sorensen , Soteriou ) leave this particular puzzle unsolved. Here, I attempt a solution. Following Dretske, I begin by suggesting that the perceptual report ‘S sees (total) darkness’ is ambiguous between two distinct kinds of perceptual states: epistemic and non‐epistemic. This will lead to an examination of the metaphysics of what is supposed to be seen. I show, on the one hand, the difficulty of reducing the perception of total darkness to the perception of a particular instantiation of a property, and on the other, that it has important similarities with the perception of (non‐particular) ‘stuff’. I propose, finally, that the solution to the puzzle might involve postulating a novel ontological status for total darkness: that of a ‘concrete universal’. Potential implications of interest for particularism and for naïve realism are suggested.
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