Sixth, if erotic art and pornography are not mutually exclusive, why is there not more art that qualifies as both? Van Brabandt and Prinz (2012) address this question in relation to cinema. Despite the many resemblances between art films and pornographic films—jump cuts, long takes, “Brechtian” acting, a cinema vérité-like grittiness, arousal of strong emotions, an exploration of the extremes of human experience and of the margins of society—they argue that market forces are mainly to be blamed for the lack of overlap between the two. Mari Mikkola (2013), by contrast, builds on recent work in the ontology of artifacts to speculate about the possibility of porno-art—a new class of objects growing out of the extant categories of pornography and art, without being reducible to either one.