 The case of digital cinema is perhaps a useful starting point for work in the philosophy of digital art. Digital cinema is a multi-media art form, after all, involving 2D and 3D moving images as well as sound, and with the potential for robust interactivity, whereby audiences select story events or otherwise modify a movie’s screening in prescribed ways (Gaut 2010: 224–43). Many of the digital tools developed by the movie and video game industries are now available more widely to artists interested in making other forms of digital art, including net art, digital sound installations, and virtual reality art (Grau 2003; Chalmers 2017; Tavinor 2019). In terms of how the use of these tools affects proper appreciation, there are important continuities between the movie-making context and the wider digital art world. In addition, the philosophy of film is a well-established subfield in aesthetics, one that engages with both film theory and cognitive science in order to explicate the nature of film as a mass art (Thomson-Jones 2014, Other Internet Resources). For many of the standard topics in the philosophy of film, interesting and important questions arise when we extend the discussion from analog to digital cinema. There is a question, for example, about the kinds and significance of realism that can be achieved with traditional celluloid film as compared with manipulated digital imagery (Gaut 2010: 60–97). The philosophy of film can provide some of the initial terms of analysis for artworks in a broad range of digital media. At the same time, it is important to approach the digital arts on their own terms under the assumption that the digital is an artistically significant category.