In this paper, we assess the impact of extended reality technologies as they relate to sexual forms of harassment. We begin with a brief history of the nature of sexual harassment itself. We then offer an account of extended reality technologies focusing specifically on psychological and hardware elements most likely to comprise what has been referred to as “the metaverse”. Although different forms of virtual spaces exist (i.e., private, semi-private, and public), we focus on public social metaverse spaces. We do (...) this to better explain how the concept of sexual harassment must be adjusted to such spaces and how approaches aimed at mitigating harassment must be sensitive to the type of metaverse spaces users utilize. We then offer a typology of sexual harassment for the metaverse focusing on three distinct forms of sexual harassment: (1) invariant (2) mixed variance or modified and (3) unique or metaverse specific. Although existing normative and legal frameworks may function well with respect to the first and, possibly, second forms of harassment, we argue such frameworks will not helpfully address metaverse-specific harassment. Ultimately, the changing nature of privately owned public spaces (POPS) which metaverses are likely to represent pose distinct ethical and regulatory challenges. (shrink)

Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create a “great”character,theauthor cannot (...) just endowher with certain attributes; she must actively work to overcome her audience’s tendency to import structures of oppression into the story, and she must wrestle against the conventions of the genre. In doing so, however, authors risk setting their stories in a wholly different genre. (shrink)

In the Critique of the Power of Judgment, Immanuel Kant characterizes the sublime as a negative pleasure derived from the encounter with something absolutely great. Some scholars have claimed that Kant’s notion of the sublime only applies to objects in nature (Abaci 2008, 239). Others contend that the object that provokes the sublime experience is not confined to objects of nature since the sublime is an experience in the mind (Clewis 2010, 169). This paper argues that Kant’s Critique and the (...) Grateful Dead’s song “The Other One” provide a framework for understanding the artistic mathematical sublime in music, wherein the pleasure and displeasure experienced when engaging with music can be identified as instances of the sublime. Beginning with an elucidation of Kant’s concepts of judgments of taste and the sublime, the paper explores their similarities and differences. Notably, his theory of the sublime is less developed than his theory of the beautiful. This provides an opportunity to interrogate arguments surrounding which objects can elicit the sublime and how artworks represent or present it to their viewers. After demonstrating a textual disparity of the role of music in Kant’s Critique, I show how music without words, also known as jams, can fit the definition of free beauty and can be classified as art. The discussion further delineates the process of experiencing the mathematical sublime and describes indicators in music theory for discerning the sublime in musical compositions. I use the Grateful Dead’s performance of “The Other One” on April 7, 1972, to illustrate how particular works of art manifest the mathematical sublime. The paper concludes by reflecting on how the qualitative description of the piece highlights why “The Other One” should be seen as both artistic (because, while the piece is coherent, there is no discernible concept that seems to unify it) and sublime (because it is mind-blowingly complex). How we engage with music like the Grateful Dead can allow us to discuss why particular works of art are meaningful to us. (shrink)

The standard position in psychiatry maintains that delusions are beliefs. However, the features of delusions often diverge from those typically associated with belief. This discrepancy has given rise to what I refer to as the doxastic status debate, which concerns whether delusions are best characterized as “beliefs.” Despite efforts, there has been little progress in settling this debate. I argue that the debate has been stymied because it’s largely a verbal dispute (Chalmers, 2011). I then attempt to advance the debate (...) into substantive territory by putting forward the hetero-dynamic property cluster (HDPC) model. According to the HDPC model, delusions are mental states characterized by an odd and unstable cluster of features, which, when manifested, gives delusions the appearance of straddling the line between two distinct types of attitudes. (shrink)

Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so very (...) much better off? The film uses the failures of Leonard’s system to raise doubts about the effectiveness of our own psychological capacities for grasping the past. However, memory does more than allow us to retain information. As Richard Wollheim showed, it also enables the past to control our present, by perpetuating, while modifying, its affective hold over us. This is something wholly denied Leonard. By implicitly contrasting his position with ours in this respect, the film also explores this second role that memory plays in our lives. (shrink)

It is rare to find a book in political philosophy whose arguments successfully utilize both ideal and non-ideal theory. Rarer still does one find a book in political philosophy that takes seriously the proposition that the oppressed are not merely passive victims to injustice, but rather rational and moral agents, capable of making meaningful and informed choices concerning those things they have reason to value. Dark Ghettos does both.

To Shape a New World, ShelbyTommie and TerryBrandon. Cambridge, MA: Harvard University Press, 2018. Pp. x + 449.

I defend an empirically-oriented approach to the analysis and remediation of social injustice. My springboard for this argument is a debate—principally represented here between Tommie Shelby and Elizabeth Anderson, but with much deeper historical roots and many flowering branches—about whether racial-justice advocacy should prioritize integration (bringing different groups together) or community development (building wealth and political power within the black community). Although I incline toward something closer to Shelby’s “egalitarian pluralist” approach over Anderson’s single-minded emphasis on integration, many (...) of Shelby’s criticisms of integrationism are misguided, and his handling of the empirical literature is profoundly unbalanced. In fact, while both Shelby and Anderson defend the importance of social science to their projects, I’ll argue that each takes a decidedly unempirical approach, which ultimately obscures the full extent of our ignorance about what we can and ought to do going forward. A more authentically empirical tack would be more epistemically humble, more holistic, and less organized around what I’ll call prematurely formulated “Grand Unified Theories of Social Change.” I defend a more “diversified experimentalist” approach, which rigorously tests an array of smaller-scale interventions before trying to replicate and scale up the most promising results. (shrink)

Drawing on the work of Charles W. Mills and considering the case of reparations to Black Americans, this article defends the “structural turn” in the philosophical reparations scholarship. In the Black American context, the structural turn highlights the structural and institutional operations of a White supremacist political system and a long chronology of state-sponsored injustice, as opposed to enslavement as a standalone historical episode. Here, the question whether distributive justice is more appropriate than reparative justice is particularly pressing, since structural (...) racial inequalities form part of the basis for reparations. Derrick Darby’s pragmatic argument for non-race-specific redistributive policies and Tommie Shelby’s principled defense of distributive justice are both considered, as well as the challenge to the structural turn that comes from Carlton Waterhouse’s argument for reparations for enslavement rather than “legacy of slavery” reparations. (shrink)

I argue that racism is essentially a civic character trait: to be a racist is to have a character that rationally reflects racial supremacist sociopolitical values. As with moral vice accounts of racism, character is my account’s primary evaluative focus: character is directly evaluated as racist, and all other racist things are racist insofar as, and because, they cause, are caused by, express or are otherwise suitably related to racist character. Yet as with political accounts of racism, sociopolitical considerations provide (...) my account’s primary evaluative standard: satisfying the sociopolitical standard of racial supremacy is what makes racist character racist. (shrink)

Philosophers have highlighted a dilemma for the criminal law. Unjust, racist policies in the United States have produced conditions in which the dispossessed are more likely to commit crime. This complicity undermines the standing of the state to blame their offenses. Nevertheless, the state has reason to punish those crimes in order to deter future offenses. Tommie Shelby proposes a way out of this dilemma. He separates the state’s right to condemn from its right to punish. I raise doubts (...) about Shelby’s proposed resolution. So long as punishment is widely and reasonably understood to condemn crime, Shelby’s proposal does not resolve the dilemma. Moreover, there is reason to think the blaming aspect of punishment plays a role in the justification of its hard treatment. I conclude by considering some other ways out of the dilemma, focusing especially on how the United States might take responsibility for its complicity. (shrink)