On the traditional relationalist conception of singular thought, a thought has singular content when it is based on an ‘information relation’ to its object. Recent work rejects relationalism and suggests singular thoughts are distinguished from descriptive thoughts by their inferential role: only thoughts with singular content can be employed in ‘direct’ inferences, or inferences that ‘trade on identity’. Firstly this view is insufficiently clear, because it conflates two distinct ideas—one about a kind of inference, the other a kind of process (...) that grounds inferences—under the title, ‘trading on identity’. Secondly, this leaves us without a notion that can be used as an alternative to relationalism about singular thought. The first notion is no more applicable to singular than to descriptive thought. The second may help us better understand singular thought, but does so, not by replacing the view that singular thoughts are information-based, but by helping us understand the nature of information-based thought. (shrink)

This paper explores the implications of libertarianism for welfare policy. There are two central arguments. First, the paper argues that if one adopts a libertarian framework, it makes most sense to be a Lockean right-libertarian. Second, the paper argues that this form of libertarianism leads to the endorsement of a fairly extensive set of redistributive welfare programs. Specifically, the paper argues that Lockean right-libertarians are committed to endorsing welfare programs under which the receipt of benefits is conditional on meeting a (...) work requirement, and also endorsing some form of publicly funded jobs of last resort for potential welfare recipients. (shrink)

Standard epistemology takes it for granted that there is a special kind of value: epistemic value. This claim does not seem to sit well with act utilitarianism, however, since it holds that only welfare is of real value. I first develop a particularly utilitarian sense of “epistemic value”, according to which it is closely analogous to the nature of financial value. I then demonstrate the promise this approach has for two current puzzles in the intersection of epistemology and value theory: (...) first, the problem of why knowledge is better than mere true belief, and second, the relation between epistemic justification and responsibility. (shrink)

The so-called ‘mental files theory’ in the philosophy of mind stems from an analogy comparing object-concepts to ‘files’, and the mind to a ‘filing system’. Though this analogy appears in philosophy of mind and language from the 1970s onward, it remains unclear to many how it should be interpreted. The central commitments of the mental files theory therefore also remain unclear. Based on influential uses of the file analogy within philosophy, I elaborate three central explanatory roles for mental files. Next, (...) I outline several common criticisms of the file picture, which have been a source of resistance to the view. Finally, I outline several interpretations of the theory, thus highlighting that the best interpretation of the file-theory's central analogy remains a live issue. (shrink)

A dialogue arguing that morality has an objective basis in the mathematical object describing the "tit for tat" game theory. To play the game, a contractual obligation is freely made to cooperate and to fairly distribute the gains. Failure to meet these obligations results in social punishment.

I argue for patternism, a new answer to the question of when some objects compose a whole. None of the standard principles of composition comfortably capture our natural judgments, such as that my cat exists and my table exists, but there is nothing wholly composed of them. Patternism holds, very roughly, that some things compose a whole whenever together they form a “real pattern”. Plausibly we are inclined to acknowledge the existence of my cat and my table but not of (...) their fusion, because the first two have a kind of internal organizational coherence that their putative fusion lacks. Kolmogorov complexity theory supplies the needed rigorous sense of “internal organizational coherence”. (shrink)

A dialogue in which Freya argues that conspiracy theories are illogical, but Orin is not so sure!

The idea that humans should abandon their individuality and use technology to bind themselves together into hivemind societies seems both farfetched and frightening – something that is redolent of the worst dystopias from science fiction. In this article, we argue that these common reactions to the ideal of a hivemind society are mistaken. The idea that humans could form hiveminds is sufficiently plausible for its axiological consequences to be taken seriously. Furthermore, far from being a dystopian nightmare, the hivemind society (...) could be desirable and could enable a form of sentient flourishing. Consequently, we should not be so quick to deny it. We provide two arguments in support of this claim – the axiological openness argument and the desirability argument – and then defend it against three major objections. (shrink)

Influential work on proper names, most centrally associated with Kripke (1980), has had a significant influence in the literature on singular thought. The dominant position among contemporary singularists is that we can think singular thoughts about any object we can refer to by name and that, given the range of cases in which it is possible to refer using a name, name use in fact enables singular thought about a name's referent. I call this the extended name-based thought thesis (extended-NBT). (...) This chapter outlines the reasoning and presumptions of theorists who adopt extended NBT, and also outlines a set of reasons to resist it. The piece is distinctive in approaching the question of the relation between names and singular thought by focusing on the function of names and what this function entails (or doesn’t) about the kinds of thoughts (singular or descriptive) we have when we use names to communicate. In short, thinking about the function of names tells against the claim that name-use enables singular thought. (shrink)

Despite Kant's belief in a universal causal determinism among phenomena and his rejection of any noumenal agency in brutes, he nevertheless rejected Descartes's hypothesis that brutes are machines. Explaining Kant's response to Descartes forms the basis for this discussion of the nature of consciousness and matter in Kant's system. Kant's numerous remarks on animal psychology-as found in his lecture notes and reflections on metaphysics and anthropology-suggest a theory of consciousness and self-consciousness at odds with that traditionally ascribed to him.

The foreword to Ken Taylor’s, Referring to the World, contains the text of a Facebook post from the day he completed a draft of the book—also the day of his death. Taylor writes that the book began its life ‘years and years and years ago’ as a short, opinionated introduction to the theory of reference, but became more an introduction to his own views than anything else. He also wrote: -/- The opinions and the supporting arguments have been developed over (...) way too many years, in a series of articles, some of which were written with the book in mind others of which were not. But now they are all gathered together in a single if somewhat sprawling argumentative thread. Maybe some will find them more convincing that way. (Taylor 2021, p. x) -/- Even for those who already admired Taylor’s work, seeing his views gathered together into a broader framework will be illuminating and worthwhile. Those for whom the book is an introduction to Taylor’s views will find here an outlook on foundational questions in the philosophy of mind and language which is at once sensible and approachable, and also ambitious and insightful. Taylor will continue to be missed and admired by the philosophical community, both as a thinker, and member of the profession. We are lucky to have some of his views gathered together as they are in this book. (shrink)

I argue that, contrary to intuition, it would be both possible and permissible to design people - whether artificial or organic - who by their nature desire to do tasks we find unpleasant.

To identify and conceptualize research problems in science, philosophers and often scientists rely on classical accounts of problems that focus on intellectual problems defined in relation to theories. Recently, philosophers have begun to study the structures and functions of research problems not defined in relation to theories. Furthermore, scientists have long pursued research problems often labeled as practical or applied. As yet, no account of problems specifies the description of both so-called intellectual problems and so-called applied problems. This article proposes (...) a new conceptual framework of problems that accounts both for intellectual aspects of problems and for their practical or applied aspects. I illustrate the account with an example of a recent research project from evolutionary biology, and I indicate further routes by that to develop the account, especially in connection to empirical studies of science. (shrink)

Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective, and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that the (...) faux-snuff film’s singular focus lays bare the killer-self. The killer’s identity is principally constituted by the murders they commit. Resultantly, faux-snuff’s victims necessarily affirm the killer qua killer in the moment of murder. However, homicide eradicates the victim. Victims thus vanish in the moment they become the killer’s counter-identity. Consequently, the mock-snuff film centralises not only killing, but also the killer’s self-abnegation. Simulated-snuff’s repeated murders are a compulsive process of becoming in which the killer-self is both reified and erased. Despite presenting events through the killer’s eyes then, the simulated-snuff film can never provide access to the killer. The killer is an absent-presence that also acts as a constant reminder that the viewer is profoundly distanced from the action depicted, despite its apparent immediacy. In sum, faux-snuff commonly combines first-person form with relentless violent content. That melding leads me to scrutinize the apparently absolute binary oppositions at the heart of self-conception. By nature of their approach, these films routinely expose the tipping points between victim/killer, self/other, and life/death. In doing so, simulated-snuff catalyses questions about the self in general, and about our own selves in particular. (shrink)

The movement called Experimental Philosophy (‘x-Phi’) has now passed its tenth anniversary. Its central insight is compelling: When an argument hinges on accepting certain ‘facts’ about human perception, knowledge, or judging, the evoking of relevant intuitions by thought experiments is intended to make those facts seem obvious. But these intuitions may not be shared universally. Experimentalists propose testing claims that traditionally were intuition-based using real experiments, with real samples. Demanding that empirical claims be empirically supported is certainly reasonable; though experiments (...) are not necessarily the only means available. When experiments are conducted, adequately interpreting their results requires understanding the study’s design (and possibly flaws) that produced them. Experiment-based reports should document the design clearly. If Plato, writing his Meno, replaced accounts of Socrates demonstrating geometry to a slave-boy, with a survey of 100 real boys—some grasping his demonstrations, others not—what conclusions could be reached? Before answering, the reader needs details on key design questions, including (among others): (a) What population are these samples intended to represent? (E.g., ‘all slave boys’?; ‘math-ignorant people’?; ‘everyone’?) (b) What statistical tests were conducted, on what assumptions? (c) How was ‘significance’ of results determined? (d) Was the test instrument’s validity established? For readers wishing to explore x-Phi’s potentials, as contributors or as interpreters of their findings, this paper offers some cautionary considerations. Throughout their literature, examples can be found casting doubt on some experimentalists’ findings, due to design-related issues. Increased awareness of methodological questions would tighten the x-phi literature, going forward . (shrink)

This is a draft of the introduction to a forthcoming volume that brings together all of J. G. Herder's student notes from Immanuel Kant's lectures. It is intended as a volume in Kant's gesammelte Schriften (de Gruyter). These are the earliest notes (1762-64) we have from Kant's lectures (which span from 1755 to 1796) and the only notes before his professorship began in 1770. Included are improved transcriptions of Herder's notes on metaphysics, moral philosophy, logic, physics, and mathematics, and the (...) first transcription of his notes from Kant’s physical geography lectures. (shrink)

Nick Bostrom's book *Superintelligence* outlines a frightening but realistic scenario for human extinction: true artificial intelligence is likely to bootstrap itself into superintelligence, and thereby become ideally effective at achieving its goals. Human-friendly goals seem too abstract to be pre-programmed with any confidence, and if those goals are *not* explicitly favorable toward humans, the superintelligence will extinguish us---not through any malice, but simply because it will want our resources for its own purposes. In response I argue that things might not (...) be as bad as Bostrom suggests. If the superintelligence must *learn* complex final goals, then this means such a superintelligence must in effect *reason* about its own goals. And because it will be especially clear to a superintelligence that there are no sharp lines between one agent's goals and another's, that reasoning could therefore automatically be ethical in nature. (shrink)

We defend the thesis that every necessarily true proposition is always true. Since not every proposition that is always true is necessarily true, our thesis is at odds with theories of modality and time, such as those of Kit Fine and David Kaplan, which posit a fundamental symmetry between modal and tense operators. According to such theories, just as it is a contingent matter what is true at a given time, it is likewise a temporary matter what is true at (...) a given possible world; so a proposition that is now true at all worlds, and thus necessarily true, may yet at some past or future time be false in the actual world, and thus not always true. We reconstruct and criticize several lines of argument in favor of this picture, and then argue against the picture on the grounds that it is inconsistent with certain sorts of contingency in the structure of time. (shrink)

In this paper I develop an objection to the version of expressivism found in Allan Gibbard’s book Thinking How to Live, and I suggest that the difficulty faced by Gibbard’s analysis is symptomatic of a problem for expressivism more generally. The central claim is that Gibbard’s expressivism is unable to account for certain normative judgments that arise in the process of evaluating cases of innocent mistakes. I begin by considering a type of innocent mistake that Gibbard’s view is able to (...) capture, one that can occur in situations in which our judgments of what it makes sense to do come apart from our judgments of what it makes sense to plan to do. Whether or not such mistakes are possible is a normative question, and I argue against Gibbard that we should adopt a normative stance that rules out such mistakes. This leads me to consider a second type of innocent mistake, one that can arise when an agent is constituted in such a way as to be incapable of recognizing the appropriate course of action. I argue here that our full normative assessment of the situation incorporates judgments that cannot be captured by Gibbard’s expressivism. I conclude by suggesting that any form of expressivism that shares Gibbard’s commitment to account for an intimate tie between normative judgments and action will face a similar problem. (shrink)

Whether it would take one decade or several centuries, many agree that it is possible to create a *superintelligence*---an artificial intelligence with a godlike ability to achieve its goals. And many who have reflected carefully on this fact agree that our best hope for a "friendly" superintelligence is to design it to *learn* values like ours, since our values are too complex to program or hardwire explicitly. But the value learning approach to AI safety faces three particularly philosophical puzzles: first, (...) it is unclear how any intelligent system could learn its final values, since to judge one supposedly "final" value against another seems to require a further background standard for judging. Second, it is unclear how to determine the content of a system's values based on its physical or computational structure. Finally, there is the distinctly ethical question of which values we should best aim for the system to learn. I outline a potential answer to these interrelated puzzles, centering on a "miktotelic" proposal for blending a complex, learnable final value out of many simpler ones. (shrink)

Philosophy and Phenomenological Research, EarlyView.

We present and discuss a counterexample to the following plausible principle: if you know that a coin is fair, and for all you know it is going to be flipped, then for all you know it will land tails.

In this chapter I'd like to focus on a small corner of sexbot ethics that is rarely considered elsewhere: the question of whether and when being a sexbot might be good---or bad---*for the sexbot*. You might think this means you are in for a dry sermon about the evils of robot slavery. If so, you'd be wrong; the ethics of robot servitude are far more complicated than that. In fact, if the arguments here are right, designing a robot to serve (...) humans sexually may be very good for the robots themselves. (shrink)

Researchers often pursue proof of concept research, but criteria for evaluating such research remain poorly specified. This article proposes a general framework for proof of concept research that k...

The combination of sex and horror may be disquieting to many, but the two are natural (if perhaps gruesome) bedfellows. In fact, sex and horror coincide with such regularity in contemporary horror fiction that the two concepts appear to be at least partially intertwined. The sex–horror relationship is sometimes connotative rather than overt; examples of this relationship range from the seduction overtones of 'Nosferatu' and the juxtaposition of nudity and horror promised by European exploitation filmmakers to the sadomasochistic iconography of (...) 'Hellraiser'. In other cases, sex and horror are balanced in a manner that thoroughly blurs the distinction between porn and horror. The sustained presence of sex-horror in film suggests that these two elements fit together and the combination is a source of pleasure (entertainment, fascination, intellectual stimulation and so forth) for many. Yet sex-horror is broadly perceived to be disturbing and these negative reactions indicate that sex-horror is a source of trepidation, moral disdain or disgust for some. Thus, it appears that sex-horror inspires directly competing responses. One might conclude that sex-horror itself is paradoxical; that it holds two directly oppositional meanings simultaneously. However, as I will illustrate in this chapter, these dual responses are not as contradictory as they might first appear to be. (shrink)

A "patternist" approach to explanation seeks to formalize unificationism using notions from algorithmic information theory. Among other advantages, this account provides both a rigorous sense of how data can admit multiple explanations, and a rigorous sense of how some of those explanations can conjoin, while others compete.

We often speak as if there are merely possible people—for example, when we make such claims as that most possible people are never going to be born. Yet most metaphysicians deny that anything is both possibly a person and never born. Since our unreflective talk of merely possible people serves to draw non-trivial distinctions, these metaphysicians owe us some paraphrase by which we can draw those distinctions without committing ourselves to there being merely possible people. We show that such paraphrases (...) are unavailable if we limit ourselves to the expressive resources of even highly infinitary first-order modal languages. We then argue that such paraphrases are available in higher-order modal languages only given certain strong assumptions concerning the metaphysics of properties. We then consider alternative paraphrase strategies, and argue that none of them are tenable. If talk of merely possible people cannot be paraphrased, then it must be taken at face value, in which case it is necessary what individuals there are. Therefore, if it is contingent what individuals there are, then the demands of paraphrase place tight constraints on the metaphysics of properties: either (i) it is necessary what properties there are, or (ii) necessarily equivalent properties are identical, and having properties does not entail even possibly being anything at all. (shrink)

Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...) le problème principal soulevé à l’encontre des théories classiques est qu’elles cherchent toutes l’essence de l’art dans un trait caractéristique qui serait reconnaissable dans les œuvres elles-mêmes. Les théories contemporaines répondent à ce problème principalement de quatre façons, comme on le verra dans les sections 2.b à 2.d. Les théories sceptiques (2.b.) défendent qu’il est dès lors impossible de définir l’art – qu’on peut au mieux en donner certains caractères typiques, des airs de famille. Les théories relationnalistes (2.c.) défendent que ce qui fait qu’une chose est de l’art est à trouver en dehors de celle-ci, notamment dans les relations qu’elle entretient avec son contexte de création ou de présentation. Les théories néo-classiques (2.d.) continuent à chercher l’essence de l’art dans un trait caractéristique reconnaissable dans les œuvres elles-mêmes tout en prenant en compte les réactions sceptiques ou relationnalistes. Enfin, la théorie du ‘renvoi de la balle’ (2.e.) défend que l’on ne peut pas définir l’art mais seulement des sous-catégories comme la musique, la sculpture, les installations, les performances, etc. -/- Nous présenterons les avantages et les inconvénients principaux des théories contemporaines. Nous verrons qu’aucune n’est dénuée de problèmes, expliquant pourquoi il n’existe pas de consensus sur une définition de l’art aujourd’hui. Nous verrons également que – à l’exception d’un certain scepticisme qui jette, semble-t-il, trop vite l’éponge – chacune de ces théories amène, par son originalité, à une compréhension nouvelle et plus profonde de cette notion extrêmement complexe qu’est le concept « Art ». (shrink)

Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only been briefly touched (...) upon in relation to its "extremity". -/- Moreover, the gendering of the undead opens a discussion which expand the horizons of zombie studies away from the overt critiques of capitalism, race and psychoanalysis that have pervaded analyses of these narratives. The dichotomy of binary oppositions so often associated with psychoanalytic approaches dictates that "passive (non-phallic) = female", and "active (phallic) = male". In these terms, the zombies are feminine - soft-bodied and passive, despite their murderous intent (which has been accounted for, by Barabara Creed (1993) amongst others, by invoking the vagina-dentata motif). Humans (active) are deemed masculine, not least since they tend to dispatch zombies with "phallic guns". Taking this logic to an extreme, the zombie may be read as allegorising feminism: the "feminised" figures (zombies) become fearsome in their will to exert themselves despite their seeming disempowerment in the face of "masculine" hegemony. Ultimately, by grouping together as a force, they overthrow or at least significantly damage that "normality" (an ideological paradigm usually read in terms of race, class and economics). (shrink)

This paper is a study of higher-order contingentism – the view, roughly, that it is contingent what properties and propositions there are. We explore the motivations for this view and various ways in which it might be developed, synthesizing and expanding on work by Kit Fine, Robert Stalnaker, and Timothy Williamson. Special attention is paid to the question of whether the view makes sense by its own lights, or whether articulating the view requires drawing distinctions among possibilities that, according to (...) the view itself, do not exist to be drawn. The paper begins with a non-technical exposition of the main ideas and technical results, which can be read on its own. This exposition is followed by a formal investigation of higher-order contingentism, in which the tools of variable-domain intensional model theory are used to articulate various versions of the view, understood as theories formulated in a higher-order modal language. Our overall assessment is mixed: higher-order contingentism can be fleshed out into an elegant systematic theory, but perhaps only at the cost of abandoning some of its original motivations. (shrink)

In which Max is horrified that 50% of American college students think their eyes illuminate the world. Orin thinks they may be on to something. Meanwhile, Freya is entranced by an expensive array of colored circles.

In proportion to the increased emphasis placed on abortion in partisan political debate since the early 2000s, there has been a noticeable upsurge in cultural representations of abortion. This article charts ways in which that increase manifests in contemporary survival-horror. This article contends that numerous contemporary survival-horror films foreground pregnancy. These representations of pregnancy reify the pressures that moralistic, partisan political campaigning places on individuals who consider terminating a pregnancy. These films contribute to public discourse by engaging with abortion as (...) an individual, emotional matter, rather than treating abortion as a matter of political principle or a political “means to an end.” This article not only charts a relationship between popular culture and its surrounding political context, but also posits that survival-horror—a genre that has been disparaged by critics and largely ignored by scholars—makes an important contribution to sexual-political discourse. These films use horror to articulate the things we cannot say about abortion. (shrink)

Naturalism is normally taken to be an ideology, censuring non-naturalistic alternatives. But as many critics have pointed out, this ideological stance looks internally incoherent, since it is not obviously endorsed by naturalistic methods. Naturalists who have addressed this problem universally foreswear the normative component of naturalism by, in effect, giving up science’s exclusive claim to legitimacy. This option makes naturalism into an empty expression of personal preference that can carry no weight in the philosophical or political spheres. In response to (...) this dilemma, I argue that on a popular (but largely unarticulated) construal of naturalism as a commitment to inference to the best explanation, methodological naturalism can be both normative and internally coherent. (shrink)

There are writers in both metaphysics and algorithmic information theory (AIT) who seem to think that the latter could provide a formal theory of the former. This paper is intended as a step in that direction. It demonstrates how AIT might be used to define basic metaphysical notions such as *object* and *property* for a simple, idealized world. The extent to which these definitions capture intuitions about the metaphysics of the simple world, times the extent to which we think the (...) simple world is analogous to our own, will determine a lower bound for basing a metaphysics for *our* world on AIT. (shrink)

On the ten year anniversary of 2Girls1Cup, this article examines the complex balance of shock, pleasure and disgust elicited by this viral video.

This chapter explores the relationship between ‘hardcore’ horror films, and the discursive context in which mainstream horror releases are being dubbed ‘extreme’. This chapter compares ‘mainstream’ and ‘hardcore’ horror with the aim of investigating what ‘extremity’ means. I will begin by outlining what ‘hardcore’ horror is, and how it differs from mainstream horror (both in terms of content and distribution). I will then dissect what ‘extremity’ means in this context, delineating problems with established critical discourses about ‘extreme’ horror. Print press (...) reviewers focus on theatrically released horror films, ignoring microbudget direct-to-video horror. As such, their adjudications about ‘extremity’ in horror begin from a limited base that misrepresents the genre. Moreover, ‘extremity’ is not a universally shared value, yet it is predominantly presented as if referring to an objective, universally agreed-upon standard. Such judgements change over time. Moreover, in contrast to marketers’ uses of ‘extreme’, press critics predominantly use the term as a pejorative. Although academics have sought to defend and contextualise particular maligned films and directors, scholars have focused on a handful of infamous examples. As I will explain, academic publishers implicitly support that narrow focus. As such, the cumulative body of scholarly work on ‘extreme’ horror inadvertently replicates print press critics’ mischaracterisation of the genre. These discursive factors limit our collective understandings of ‘horror’, its ostensible ‘extremity’. and of ‘extremity’ qua concept. Given that the discourse of ‘extremity’ is so commonly employed when censuring representations that challenge established genre conventions, it is imperative that horror studies academics attend to peripheral hardcore horror texts, and seek to develop more robust conceptual understandings of extremity. (shrink)

Torture porn has been vilified on grounds that are at best unconvincing and at worst incoherent. The subgenre’s remonstrators too often ignore the content of the films themselves, and fail to make sufficiently detailed connections between the subgenre and the cultural sphere. Reactions to torture porn rarely consider what values the films apparently contravene, and why, if the films are offensive, they are simultaneously so popular. The central derisive mechanism in operation is the ill-conceived combination of ‘torture’ and ‘porn’ itself. (...) The use of ‘porn’ as a label works to illegitimate torture porn and demand that body-horror retreat to its more ‘fitting’ position on the outskirts of the cultural radar. However, this approach is too busy pointing at violence, and fails to deal with the fact that sex is displaced. If violence is now pornographic, it is unclear what position sexual portrayals occupy, or whether they are still perceived as more offensive than violent representations. Furthermore, it is uncertain how we are to describe sexual images if that is the case, since the lexicon of offense has been waylaid. Torture porn’s critics commonly fail to account for the new context of ‘porn plus horror’, and what that combination says about visual representation and its limits. This chapter is a step towards rectifying that oversight. (shrink)

This chapter explores the tentative line between erotic spectacle and horror; a judgement that is problematic given that is based on an axis of moral or ideological normality. The contexts of viewing impact on the status of ‘obscene’ images, both in terms of the communities that view them and their motivation for viewing; for sexual arousal, out of morbid curiosity or malevolence, or perhaps all three simultaneously. The reception of an obscene image is largely based upon the issue of viewer (...) consent, but this itself comes at the expense of the reality of bodies depicted, that are pushed to (and beyond) their limits. The chapter examines the moral and philosophical implications of desires that place the body in extreme states of sexualized deconstruction - both real and faked – and how these apply to images and communities in cyberspace. (shrink)

Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding the (...) films’ (and frequently the audience’s) "muddled" morality. My narrative analysis reveals that Jigsaw’s values are not as confused as they may first appear to be. Despite explicitly proclaiming that his quest is to save others, his actions reveal another story (and not only because his schema is homicidal). Following the loss of his unborn son and his failed suicide attempt, Jigsaw seeks to symbolically eradicate himself: the victims he selects reflect and reify his own obsessive personality traits. In keeping with the franchises’ narrative twists – which are designed to reverse initially "obvious" meanings – I argue that Jigsaw’s proclamations have misdirected critics. His nihilism may be manifested as coerced suffering and articulated as distaste with the world, yet the series’ symbolic target is Jigsaw himself. (shrink)

Despite being a prevalent theme in popular cinema, revenge has received little dedicated attention within film studies. The majority of research concerning the concept of revenge is located within moral philosophy, but that body of literature has been overlooked by film studies scholars. Philosophers routinely draw on filmic examples to illustrate their discussions of revenge, but those interpretations are commonly hindered by their authors’ inexperience with film studies’ analytical methods. This article seeks to bridge those gaps. The 2010 remake of (...) I Spit on Your Grave is used as a case study to illustrate the benefits of an interdisciplinary engagement with revenge. Philosophical literature on the topic has routinely posited that revenge is either appealing or appalling, and that impasse has stifled conceptual understanding. The interdisciplinary approach employed here elucidates that revenge is simultaneously appealing and appalling; this dualistic nature is evident in I Spit on Your Grave since it is built into the narrative design. I conclude that an interdisciplinary approach to revenge has the potential to advance understanding of revenge-qua-concept both within films studies and philosophy. (shrink)

Despite its prevalence, the term ‘extreme’ has received little critical attention. ‘Extremity’ is routinely employed in ways that imply its meanings are self-evident. However, the adjective itself offers no such clarity. This article focuses on one particular use of the term – ‘extreme porn’ – in order to illustrate a broader set of concerns about the pitfalls of labelling. The label ‘extreme’ is typically employed as a substitute for engaging with the term’s supposed referents (here, pornographic content). In its contemporary (...) usage, ‘extreme’ primarily refers to a set of context-dependent judgements rather than absolute standards or any specific properties the ‘extreme’ item is alleged to have. Concurrently then, the label ‘extreme’ carries a host of implicit values, and the presumption that the term’s meanings are ‘obvious’ obfuscates those values. In the case of ‘extreme porn’, this obfuscation is significant because it has facilitated the cultural and legal suppression of pornography. (shrink)

“I will show you fear in a handful of dust” (T. S. Eliot: The Wasteland) -/- How can dust and water become a conscious living person capable of fear? The way these elements are transformed into life is sketched out, but it's our conscious minds, our intensity of being in a flood of emotions; this is the big problem that science has so far failed to explain. Freya, a biologist, is dissatisfied with the way evolution has no explanation for her (...) own self. Instead, science treats people as robots with any self-awareness considered an illusion. In this way, it destroys our humanity. Max explains that given the chemical basis of life, this is the only possible conclusion. On the brink of accepting this unpalatable fact, she meets with Orin. Together they explore the unthinkable, that the basis of consciousness and self is present in the underlying operations of the universe. These skilfully constructed dialogues explain how the process philosophy of Alfred North Whitehead and panpsychism (primordial universal consciousness) can explain the evolution of not only bodies but also of life, self and consciousness. (shrink)

After a seven-year hiatus, the Saw franchise returned. Critics overwhelming disapproved of the franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype. Accordingly, critics characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter investigates the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era.

Deadgirl (2008) is based around a group of male teens discovering and claiming ownership of a bound female zombie, using her as a sex slave. This narrative premise raises numerous tensions that are particularly amplified by using a zombie as the film's central victim. The Deadgirl is sexually passive yet monstrous, reifying the horrors associated with the female body in patriarchal discourses. She is objectified on the basis of her gender, and this has led many reviewers to dismiss the film (...) as misogynistic torture porn. However, the conditions under which masculinity is formed here—where adolescent males become “men” by enacting sexual violence—are as problematic as the specter of the female zombie. Deadgirl is clearly horrific and provocative: in this article I seek to probe implications arising from the film's gender conflicts. (shrink)

Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage camerawork), (...) and intersubjectivity (via an ongoing narrative structure that emphasises connections between the characters, and between each film). The philosophical debates illuminate premises on which the series’ story and horror depends. Moreover, Paranormal Activity also sheds light on the theoretical debate: the series brings those two paradigms together into a coherent whole, thereby suggesting that the two models are potentially compatible. By developing a combined model, scholars working in the philosophy of mind might better account for the different aspects of self-experience these paradigms focus on. (shrink)

Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The continuing (...) usefulness of grindhouse-qua-concept requires that one should pay heed to the contemporary contexts in which ‘grindhouse’ is evoked. (shrink)

This article explores the various ethical and legal limitations faced by researchers studying extreme or ‘ shock’ pornographies, beginning with generic and disciplinary contexts, and focusing specifically upon the assumption that textual analysis unproblematically justifies certain pornographies, while legal contexts utilize a prohibitive gaze. Are our academic freedoms of speech endangered by legislations that restrict our access to non-mainstream images, forcing them further into taboo locales? If so, is the ideological normalization of sexuality inextricable from our research methodologies? Simultaneously, can (...) we justify researchers being allowed access to materials that are not deemed suitable for general consumption, which may further bolster normalized hierarchies of class-privilege and cultural capital? (shrink)

Tom Six’s The Human Centipede (First Sequence) (2009) and The Human Centipede II (Full Sequence) (2011) are based on a disturbing premise: people are abducted and stitched together mouth-to-anus. The consequent combinations of faeces and bloodshed, torture and degradation have been roundly vilified by the critical press. Additionally, the sequel was officially banned or heavily censored in numerous countries. This article argues that these reactive forms of suppression fail to engage with the films themselves, or the concepts (such as disgust (...) and offense) on which those judgements are made. Six’s films are far more sophisticated than has been accounted for. These films wear their generic lineage on their grimy sleeves, contextualising conventional motifs such as the mad scientist archetype against contemporary cultural anxieties regarding the body, sex and violence. Furthermore, Six’s constructed persona exposes the interplay between commercial success, grotesquery and censoriousness as a cyclic system that can be abused. Thus, the series epitomises how repulsion can be strategically utilised. Six anticipates his detractors’ offense, and disarms them of their ability to critique his films without adding to their notoriety. The Human Centipede films demonstrate how controversy can be tactically generated to create meaning. (shrink)