Three important 20th-century American films prominently feature a hotel as the site for morally ambiguous and sexually charged events depicted in the plot: Orson Welles's Touch of Evil (1958), Alfred Hitchcock's Psycho (1960), and Joel and Ethan Coen's Barton Fink (1991). While all three films have a multiplicity of elements that present how hotel spaces open horizons displaying human behaviors both normal and abnormal, moral and immoral, secret and public, sane and insane, the paper presents an extended argument for seeing (...) these particular cinematic efforts as being built around the same theme: that transgression (of a violent, misogynous nature) is the path to transcendence. (shrink)

In response to recent debates in color ontology, I present an account of color that resolves the issue in a new way by conceiving of colors as properties of appearances. Appearances are both objective and subjective: they are real-world events reducible to psychophysical interactions involving environmental stimuli and experiential states. The case is made for accepting experience as an actual component of colors themselves as well as being the fundamental epistemic evidence for their instantiation.