This paper appeals to the phenomenon of dreaming to provide a novel defense against arguments from evil. The thrust of the argument is as follows: when we wake up after a nightmare we are often filled entirely with relief, and do not consider ourselves to have actually suffered very much at all; and since it is epistemically possible that this whole life is simply a dream, it follows that it is epistemically possible that in reality there is very little suffering. (...) This epistemic possibility decisively undermines a key premise of both logical and evidential arguments from evil. (shrink)

We offer a new answer to the paradox of tragedy. We explain part of the appeal of tragic art in terms of its acknowledgement of sad aspects of life and offer a tentative explanation of why acknowledgement is a source of pleasure.

Horror is a popular genre or style in many different forms of art. In this essay I propose a definition of horror that is meant to capture our intuitions about the extension of this category over a variety of forms of art. In particular, I claim that horror is individuated by a specific atmosphere and mood, rather than by any singular entity in the horror representation.

I discuss the aesthetic power of painful art. I focus on artworks that occasion pain by “hitting too close to home,” i.e., by presenting narratives meant to be “about us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy.

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)

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)

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)

Response-dependence theories have historically been very popular in aesthetics, and aesthetic response-dependence has motivated response-dependence in ethics. This chapter closely examines the prospects for such theories. It breaks this category down into dispositional and fittingness strands of response-dependence, corresponding to descriptive and normative ideal observer theories. It argues that the latter have advantages over the former but are not themselves without issue. Special attention is paid to the relationship between hedonism and response-dependence. The chapter also introduces two aesthetic properties that (...) lead to wrong kinds of reasons problems for aesthetic response-dependence: insightfulness and the capacity to change one’s perspective. These properties do not have obvious parallels in the ethical domain, and so present an obstacle for response-dependence even in aesthetics. The chapter ends by examining replies on behalf of the response-dependence theorist, ultimately suggesting that a restricted form of response-dependence is the most promising way forward for fans of such theories. (shrink)

In this paper, I identify and provide an explanation for a heretofore unrecognized puzzle in feminist aesthetics and the philosophy of horror. Many horror movie fans have an aversion to rape scenes. This is puzzling because genre fans are not equally bothered by the depiction of other types of violence and cruelty. I argue that we can make sense of this selective aversion by appeal to the notion of ‘distance’, which philosophers of horror use to explain why people are attracted (...) to horror movies in the first place. When we consume horror, we ‘distance’ ourselves from the scary things depicted, which allows other mechanisms to kick in that lead to overall enjoyment. I argue that ‘distance’ often collapses when viewers are confronted with depictions of rape because rape is common in real life and a gendered form of violence that is implicated in social injustice. (shrink)

In Propelled, Elpidorou persuasively argues that the three prima facie undesirable conditions of boredom, frustration and anticipation are, in fact, importantly valuable to human life. His method is an interesting combination of existentialist explorations and reporting of cognitive science research, all written in a style more friendly to the analytic-philosophical tradition. However, I argue, the book’s precision and depth of philosophical analysis have some limitations. This is so in two main respects: first, in the relative lack of discussion of important (...) philosophical antecedents, and secondly, in the relative lack of critical engagement with some of the empirical literature the book discusses. (shrink)

Aesthetic value empiricism claims that the aesthetic value of an object is grounded in the value of a certain kind of experience of it. The most popular version of value empiricism, and a dominant view in contemporary philosophical aesthetics more generally, is aesthetic hedonism. Hedonism restricts the grounds of aesthetic value to the pleasure enjoyed in the right kind of experience. But hedonism does not enjoy any clear advantage over a more permissive alternative version of value empiricism. This alternative is (...) aesthetic liberalism. On this view, an object’s aesthetic value is fully grounded in any value—not just the hedonic value—of a correct and complete experience of its sensory features. To demonstrate the advantages of liberalism over hedonism, I apply both views to analyze the aesthetic value of the Spring Temple Buddha and Anselm Kiefer’s Seraphim. I detail four advantages of liberalism over hedonism, and I conclude by defending liberalism from two kinds of objection. (shrink)

This essay updates Aaron Smuts', 2009 Philosophy Compass piece, “Art and Negative Affect” in light of recent work on the topic. The “paradox of painful art” is the general problem of how it is possible to enjoy or value experiences of art that involve painful emotions. It encompasses both the paradox of tragedy and the paradox of horror. Section 2 lays out a taxonomy of solutions to the paradox of painful art and argues that we should opt for a pluralistic (...) approach rather than seeking a unified solution. Section 3 surveys recent work on the topic, with an emphasis on views holding that it is possible for an experience of art to be pleasant partly in virtue of involving painful emotion. Section 4 suggests a range of phenomena that are not usually considered under the umbrella of the paradox of painful art but that offer promising directions for further research. (shrink)

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)

Four main issues have occupied center stage in the analytic-cognitivist work on horror: (1) What is horror? (2) What is the appeal of horror? (3) How does it frighten audiences? and, (4) is it irrational to be scared of horror fiction?

Are horror films immoral? Gianluca Di Muzio argues that horror films of a certain kind are immoral because they undermine the reactive attitudes that are responsible for human agents being disposed to respond compassionately to instances of victimization. I begin with this argument as one instance of what I call the Argument from Reactive Attitudes (ARA), and I argue that Di Muzio’s attempt to identify what is morally suspect about horror films must be revised to provide the most persuasive interpretation (...) of the ARA. I then argue that the ARA provides a compelling standard for evaluating the moral permissibility of creating and viewing horror films, yet I note that it is an exceedingly difficult practical task evaluating the risk that these films create for our reactive attitudes. My conclusion is that the ARA provides a useful way or orienting ourselves to the complicated details of evaluating the moral status of horror films. (shrink)

There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...) broadly, how can there be works of art whose very success requires the experience of boredom? Our goal in this paper is threefold. After offering a brief survey of kinds of boring art, we: i) derive a set of questions that we argue constitutes the philosophical problem of boring art; ii) elaborate an empirically informed theory of boredom that furnishes the philosophical problem with a deeper sense of the affect at the heart of the phenomenon; and iii) conclude by offering and defending a solution to the problem that explains why and how artworks might wish to make the experience of boredom key to their aesthetic and artistic success. (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)

This article advances an account of the nonhedonic values of horror fiction (including film). It is motivated by cases in which consuming horror fosters what theorists of education call "transformative learning" in adult students, which is a more shocking and disturbing experience than pleasurable. I first present two cases in which Polanski's Repulsion (1968) and Browning's Freaks (1932) disrupted and modified two students' experience of madness and abnormality respectively. Then I draw on Dewey's "aesthetic experience", Foucault's "experience book" and O'Leary's (...) approach to the value of fiction to give the transformative experience in question a philosophical underpinning. In the second half of the paper, I offer a close reading of Bloch's Psycho (1959), with the aim of demonstrating that it has the potential to transform the everyday experience of madness in readers. (shrink)

This article advances an account of the nonhedonic values of horror fiction (including film). It is motivated by cases in which consuming horror fosters what theorists of education call “transformative learning” in adult students, brought to my attention through teaching a course titled “Horror Film and Fiction.” Transformative learning refers to the process by which students’ critical consciousness is activated in a way that they examine, question, and revise certain existing perceptions shaped by their experiences. The process is more a (...) shocking and disturbing experience than pleasurable. In this article, I focus on two cases in which two students underwent such a transformation on studying Roman Polanksi’s Repulsion (1968) and Tod Browning’s Freaks (1932), respectively. In the first case, the student’s experience of madness is modified, while, in the second, the student’s experience of abnormality is disrupted. To give the transformation in question a philosophical underpinning, I draw on Dewey’s concept of “aesthetic experience” in Art as Experience, Foucault’s concept of “experience book,” and O’Leary’s approach to the value of fiction developed in his Foucault and Fiction and contend that the works of horror effectuated what O’Leary calls “transformative experience” in the students. In the second half of the paper, I extend my account beyond the classroom context by offering a close reading of Robert Bloch’s Psycho (1959), with the aim of demonstrating that it has the potential to transform the everyday experience of madness of the American readers in Bloch’s times, and probably the experience of normality of the worldwide readers thereafter. (shrink)