Open science is good for both epistemic and social reasons, but in nonobvious ways, it can have detrimental epistemic side effects. Drawing on case studies and the social epistemology of science, I show how practices intended to increase transparency, communication, and information sharing in science can backfire. We should not reject Open Science, just implement it carefully. I argue that we can do so by treating openness as a governing value in science, and thus, that our pursuit of openness needs to be balanced against our pursuit of the whole scheme of values that govern science.

In this article, I develop a neglected aspect of the value of hope in Kant’s philosophy. I do so by homing in on Section III of the 1793 essay “On the Common Saying.” In my interpretation, Kant argues that if one recognizes obligations to help future generations while also encountering people who violate these obligations, one is more likely to isolate oneself from society—what Kant calls the hatred of humanity or misanthropy. Thus, the article argues that hope is valuable for combating misanthropy, especially in the pursuit of intergenerational moral goals.

Perceptualism is a prominent theory analyzing emotions as perceptual experiences of value. A long-standing challenge to perceptualism says that emotions cannot be perceptual because they are subject to normative assessments in terms of reasons and rationality, while perceptual experiences are not. I defend perceptualism from this charge. My argument begins by distinguishing two forms of normative assessment: fundamental and non-fundamental. Perceptualism is compatible with the latter (i.e., non-fundamental reasons and rationality); even sensory experiences are so assessable. I next argue that emotions are only non-fundamentally assessable. Following this argument, I outline a perceptualist-friendly theory of emotions as non-fundamentally normatively assessable.

I will clarify when and how a tension arises between epistemic environmentalism (a new focus on assessing and improving the epistemic environment) and respect for epistemic autonomy (allowing, empowering, and requiring people to each govern their own beliefs). Using the example of participatory conceptual engineering (improving the linguistic environment through rational discussion with broad participation), I will also identify an option for avoiding the tension—namely, participatory environmentalism. This means a new focus on how people can each contribute to improving the shared epistemic environment through rational deliberation and thereby govern their own beliefs that are shaped by that environment.

Existential happiness is happiness that one has a basic life at all. Having a basic life, as I understand it, involves being the subject of experiences and being an agent in some minimal sense. As I argue, existential happiness is a fitting response to having a basic life. To make this argument, I look at two possible accounts of the fittingness of existential happiness: the value of a basic life and attachment to the constitutive elements of one’s life. I also consider a few possible sources of existential happiness, including encounters with death, counterfactual thinking, and hedonically positive feelings of awe directed toward one’s own consciousness.

Comics are one of the paradigmatic forms of hybrid media, and coming up with a satisfactory definition for it has been difficult. Cowling, S. & Wesley D. C. (2022) take a functional approach and offer an Intentional Picture-Reading View which defines comics as something that is “aptly intended to be picture-read.” I show that the view is extensionally inadequate as is because formally ambitious prose and concrete poetry, too, are aptly intended to be picture-read. The way forward, I argue, is to look at more medium-specific non-depictive images (such as speech balloons and panels) to set comics apart from other hybrid media.

Depicting transgender persons in comics without falling into visual caricature and thereby perpetuating harmful stereotypes can be a delicate task. In this discussion, I draw upon the notion of picture-reading to argue that, despite this fact, comics as a medium is particularly well-suited—both formally and in terms of production-relevant factors—toward capturing and communicating the complexities of transgender experience.

We develop and defend a novel interpretation of mainstream Marvel Comics—an interpretation we call the Fictional Journalism Interpretation. We then show how this interpretation of Marvel comics (i) challenges standard accounts of the manner in which fictional truths are generated by fictions and (ii) provides us with novel, interesting, and in some cases simpler explanations of, and understandings of, phenomena within these comics that are hard to deal with adequately on more traditional accounts, including both contradictions in the fiction and various metafictional storytelling strategies. We conclude by defending the view from a number of objections.

According to Charles Travis, Frege’s principle to “always to sharply separate the psychological from the logical, the subjective from the objective” involves a move called “the fundamental abstraction.” I try to explain what this abstraction is and why it is interesting. I then raise a problem for it, and describe what I think is a better way to understand Frege’s principle.

Blind review is ubiquitous in contemporary science, but there is no consensus among stakeholders and researchers about when or how much or why blind review should be done. In this essay, we explain why blinding enhances the impartiality and credibility of science while also defending a norm according to which blind review is a baseline presumption in scientific peer review.

Roderick Chisholm (1916–1999) was among the most creative and influential figures in twentieth-century American philosophy. This essay considers how Chisholm’s cartooning contributed to his philosophical charisma.

I argue that Charles Travis’s interpretation of Frege, in Frege: The Pure Business of Being True, as consistent with Travis’s conception of occasion-sensitivity does not in fact require any modal notions, and so is consistent with the amodalist interpretation of Frege I elaborate in Necessity Lost.

I examine Alan Moore and Kevin O’Neill’s adaptation of Margaret Cavendish’s Blazing World in the comic series The League of Extraordinary Gentlemen. I interpret philosophical aspects of Cavendish’s fictional landscape, including her vitalist materialism and naturalized talking animals, as they appear in series The League of Extraordinary Gentlemen, rendered through 3-D images and corresponding 3-D glasses worn by readers. Through this world adaptation, Moore and O’Neill onboard themes of naturalness, experimentation, technology-aided perceptual processes, and travel to intersecting worlds to enhance The League of Extraordinary Gentlemen’s commentary on the formative influence of fiction on authors and audiences.

In Helen Bannerman’s Little Black Sambo, the text describes its main character as witty, brave, and resourceful. The drawings of the story’s main character which accompany this text, however, present a unique kind of harm that only becomes clear when the work is read as a collection of single-panel comics rather than an illustrated book. In this chapter, I show what happens when we read drawings in books as textless comics, and, based on how things turn out from this reading, motivate why we have some substantive reason to read both Little Black Sambo and other books with drawings-as-comics.

Fictional realism is the view that creatures of fiction exist. Mythical realism is the view that creatures of myth and mistaken theories exist. Call the combined view “Ecumenical Realism.” We critically evaluate three arguments for Ecumenical Realism and argue they are unsound because fictional storytelling differs from mistaken theorizing in important ways. We think these considerations support a more conservative view, “Sectarian Realism,” which results from subtracting “creatures of mistaken theorizing” from Ecumenical Realism. We close by considering an important challenge to Sectarian Realism involving immigrants in fiction.

Comics can be ordered in a range of ways, most overtly by issue number for works within a series, and by page number for pages within works. The internal elements of a comic can also be ordered by formal details found within pages. We identify four kinds of formal details specific to comics pages or two-page spreads: how their elements are arranged, how they are viewed, what events they represent, and when information about those events is presented.

On the report model of appreciating fiction, one imagines learning about a fictional world through a report: reading or viewing someone’s account or listening to them tell their story. On the transparency model, one simply imagines the things that are fictional in the story, without imagining anything about how that information is acquired. It is argued that the transparency model is the default, in literature and cinema, but in comics, it is the report model that is the default.

Many comics are aesthetically trashy: They are immediately grasped and easily available. Historically, this trashiness is lobbed as an aesthetic defect of many comics, a defect for both their production and their appreciation. To defend these comics, some point to non-aesthetic values, like sociality. I argue that there is aesthetic value to these comics, and that it lies precisely in their trashy characteristics: their immediacy and availability. Many comics have these characteristics because many comics are cartooned. The immediacy of cartooning is precisely what makes so many ordinary comics beautiful in an ordinary way.

In this paper, I consider a peculiar feature of the aesthetics of collecting comics: collecting to complete a narrative. Unlike other forms of narrative engagement, comics are often read out of narrative sequence, and so collectors hunt for missing issues to fill in an incomplete story, leading to a “gappy” experience of the narrative. This “gappy” experience, I argue, has its own aesthetic quality and value, and I connect my analysis of the experience to both classical Kantian aesthetics and contemporary neuropsychology.

Genetically complete yet authorless artworks seem possible, yet it is hard to understand how they might really be possible. A natural way to try to resolve this puzzle is by constructing an account of artwork completion on the model of accounts of artwork meaning that are compatible with meaningful yet authorless artworks. However, I argue that such an account of artwork completion is implausible. Therefore, I leave the puzzle unresolved.