Comic immoralism is the view that sometimes funny things are funny due to their having immoral properties of some sort. Immoralism has many proponents and detractors. The purpose of this paper is twofold. First, I clarify the scope and content of comic immoralism as a general thesis in the philosophy of humor. I will argue that the debate about immoralism has unduly excluded certain categories of humor from inclusion, and that the language which immoralists sometimes use can be misleading. Second, (...) I argue for my own version of immoralism, which I call ridicule immoralism. Ridicule immoralism holds that sometimes things are funny due to their being ridiculous, and that things are often ridiculous due to being morally flawed. It follows from this that a version of comic immoralism is true. (shrink)

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

In contemporary analytic philosophy of art, the intentionalist debate is about whether the author’s intention is relevant to the interpretation of her work. Various positions have been proposed, and in this paper I defend what I call hypothetical author-hypothetical intentionalism, the position that interpretation is based on the intention attributed to the author constructed from the work. There are three aims to achieve: (1) to give a general account of hypothetical author-hypothetical intentionalism; (2) to present a moderate version of hypothetical (...) author-hypothetical intentionalism; (3) to defend the moderate version of hypothetical author-hypothetical intentionalism against actual intentionalism and actual author-hypothetical intentionalism. Against the current trend that focuses on actual authors, I hope to show that the hypothetical author account is still a sustainable contender in the intentionalist debate. (shrink)

In this introduction, I explain the notion of higher-order evidence and explore its bearing on aesthetic judgement. I start by illustrating how reflection on cases involving higher-order evidence engages with well-established concerns in aesthetics—specifically, how it might reveal tensions within and between widely recognized aesthetic ideals governing aesthetic judgement. Next, I show how attention to higher-order evidence in relation to aesthetic judgement might expose limitations or assumptions of theories in epistemology, where the nature and significance of higher-order evidence with respect (...) to belief is the focus of much recent attention. The aim is not to resolve the issues but to demonstrate the significance of higher-order evidence in aesthetics and, in doing so, encourage work on the topic in and across aesthetics and epistemology. (shrink)

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

According to Ted Nannicelli, ethical disputes about art today often concern not the controversial attitudes expressed by the works but the ways in which they have been created, that is, as well as interpretation-oriented ethical criticism of art, we find production-oriented ethical criticism. The main question that I explore in this article is: are the interpretation- and production-oriented approaches to ethical art criticism essentially disconnected or can there be a connection between them? I argue that in the disjunctivist view, the (...) two approaches are disconnected, for ethical flaws in the production of artworks are never conditioned by ethical flaws in the attitudes expressed by those works and vice versa. I show that disjunctivism is mistaken and defend what I call contextual conjunctivism. In this view, the two approaches can be connected since attitudinal ethical flaws in artworks can indeed cause ethical flaws in their production and vice versa depending on context. I support this view using several examples of controversies about contemporary art. (shrink)

This article is to be a bridge between Kant’s aesthetics and contemporary art – not by being a paper on Kant and contemporary art, but rather by being on Kant and contemporaryphilosophy of art. I claim that Kant’s views on the appreciation of art can accommodate contextualism as well as ethicism. I argue that not only does contextualism fit Kant’s views on the appreciation of art; in §§51–3 of the thirdCritique, Kant’s appreciation of art is in accordance with contextualism. I (...) go on to argue that not only does ethicism fit Kant’s views on the appreciation of art; in §§51–3, Kant’s appreciation of art is in accordance with ethicism. (shrink)

Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and the (...) attribution of art-relevant properties or characterisations to works of art, very often involves the notion of trust; in such cases—perhaps most or even, implicitly, all—the question ‘Do I trust the artist (or art-maker)?’, is inescapable. (shrink)

This chapter offers an overview of issues posed by the problem of immoral artists, artists who in word or deed violate commonly held moral principles. I briefly consider the question of whether the immorality of an artist can render their work aesthetically worse (making connections to chapters in the Theory section of the handbook), and then turn to questions about what the audience should do and feel in response to knowledge of these moral failings. I discuss questions such as whether (...) audiences have reason not to purchase or consume work by these artists, whether their shows and exhibitions should be canceled, and how fans might grapple with the emotional turmoil they feel when artists whom they love act or speak in ways that are morally condemnable. (shrink)

The position of immoralism in analytic aesthetics and the philosophy of art holds that a work's moral defects can sometimes contribute to its artistic value. This position has suffered massive criticism in recent years. In support of immoralism, I present in this paper a new argument by examining immorality in the artistic genre of transgressive art. I argue that in the category of transgressive art, due to the nature of immorality that is a transgressive and liberating force against morality's authority, (...) being immoral can contribute directly to an artwork's artistic value by contributing to the realization of its artistic aim. (shrink)

Contemporary comedy audiences are accused by some comedians of being too morally sensitive to appreciate humor. To get closer to an idea of what this means, I will first briefly present the argument over audience sensitivity as found in the non-philosophical literature. Second, I then turn to the philosophical literature and begin from the idea that “funny” is a response-dependent property. I present a criticism of this response-dependence account of “funny” based in the claim that funniness is not de- termined (...) by what normal audiences actually laugh at, but by what merits laughter. Third, I argue that excessive or deficient moral sensitivity distorts audience receptivity to humor. Fourth, I turn to candidates for ideally sensitive audiences. I conclude by returning to the particular cases of supposed oversensitivity or undersensitivity to jokes to see how we might judge them. (shrink)

ABSTRACT In ‘Scorekeeping in a Pornographic Language Game’, Rae Langton and Caroline West borrow ideas from David Lewis to attempt to explain how pornography might subordinate and silence women. Pornography is supposed to express certain misogynistic claims implicitly, through presupposition, and to convey them indirectly, through accommodation. I argue that the appeal to accommodation cannot do the sort of work Langton and West want it to do: Their case rests upon an overly simplified model of that phenomenon. I argue further (...) that, once we are clear about why Langton and West's account fails, a different and more plausible account of pornography's influence emerges. (shrink)

Can artworks be morally good or bad? Many philosophers have thought so. Does this moral goodness or badness bear on how good or bad a work isas art?This is very much a live debate.Autonomistsargue that moral value is not relevant to artistic value;interactionistsargue that it is. In this paper, I argue that the debate between interactionists and autonomists has been conducted unfairly: all parties to the debate have tacitly accepted a set of constraints which prejudices the issue against the interactionist. (...) I identify two demands which are routinely placed on arguments seeking to establish interaction and argue that they are, in fact, mutually conflicting.There are two upshots. First, in light of this, it is unsurprising that arguments for interaction have failed to meet with everybody’s satisfaction. The constraints are such that no argument can meet them. Second, recognizing this helps us uncover a new, promising, but hitherto overlooked strategy for establishing artistic-ethical interaction. (shrink)

Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead (...) to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons. (shrink)

This essay is an overview of recent research aimed at establishing a link between environmental aesthetics and environmental ethics. I review the work of several prominent environmental philosophers and environmental aestheticians, spelling out some of the difficulties confronting various attempts to find such a link. While I argue that a case can be made for a connection between environmental aesthetics and environmental ethics concerning human‐created and human‐influenced environments, I find that there are a number of problems facing attempts to establish (...) a similar connection for natural or pristine environments. I examine some attempts to support such a connection, including each of two different accounts of the aesthetic appreciation of nature in contemporary Western environmental aesthetics as well as the union of these two accounts, sometimes called ecoaesthetics. I briefly discuss two Western versions of ecoaesthetics and then turn to research by Chinese aestheticians, who defend a more robust version of ecoaesthetics. I suggest that this latter work may succeed in connecting environmental aesthetics and environmental ethics, although not in exactly the way in which such a link has been pursued by Western philosophers. (shrink)

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

To what extent does a person who prefers hip-hop rather than opera have legitimate reasons for doing so? Should we immediately classify such a judgment as incompetent because it runs counter to the verdicts of experts, including professional art critics? These questions are often associated with the problem of aesthetic akrasia, a concept taken from the vocabulary of ethics, which involves acting against one’s better judgment, that is, demonstrating irrationality by failing to react in what is, theoretically, the most appropriate (...) way. In ethical terms, it would be analogous to failing to help a person in distress when we know very well that it is immoral not to... (shrink)

The Platonic view that art is incapable of providing us with knowledge is sufficiently widely held as to merit a serious attempt at refutation. Once it is acknowledged that there are alternative forms of knowledge other than propositional, then it is possible to establish the truth of the claim that the knowledge which art affords has a value on a par with that provided by other disciplines. Art, it is argued, has a unique potential to provide imaginative insights by reference (...) to which we may understand what it is like to experience and to feel, in ways very different from those with which we may be familiar. It is shown to be instrumental in enabling us to refine our moral concepts as well as in determining what is salient from the moral point of view. As a powerful tool in the education of the emotions, artworks have the power to increase our moral sensitivity and to sharpen our perception of what is required of us inways that are otherwise unobtainable. (shrink)

There is, I shall assume, such a thing as moral evil (more on which below). My question is whether is also such a thing as non-moral evil, and in particular whether there are such things as aesthetic evil and epistemic evil. More exactly, my question is whether there is such a thing as moral evil but not such a thing as non-moral evil, in some sense that reveals something special about the moral, as opposed to such would-be non-moral domains as (...) the aesthetic and the epistemic. The philosophical issue at stake here is that of the nature of these different normative domains, and the nature and extent of their difference. (shrink)

Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.

Philosophy & Architecture special number of philosophy@LISBON (International eJournal) 5 | 2016 edited by Tomás N. Castro with Maribel Mendes Sobreira Centro de Filosofia da Universidade de Lisboa ISSN 2182-4371.

This chapter explores the interaction between the moral value and aesthetic value of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, this chapter considers food as art, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately this chapter argues against both food autonomism (the view that food's moral value is unconnected to its aesthetic value) and Carolyn Korsmeyer's food moralism (the (...) view that moral flaws can only make food aesthetically worse). Instead, it argues for the position of food immoralism: sometimes a moral flaw can make an item of food aesthetically better. This chapter concludes by drawing out broader implications of this position for discussions on the ethics of food and discussions on the interaction between the moral and aesthetic values of art. (shrink)

Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, (...) the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic-ethical value relation. (shrink)

<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...) poetry, and both German romanticism and Heidegger owe a deep debt to Plato. The study goes on to defend the view that Heidegger was influenced by romanticism. The author’s project is thus both historical, showing the specificity of the romantic and Heideggerean works, and systematic, defending aspects of their alternative mode of thinking while also pointing to their weaknesses. </P>. (shrink)

This paper has three aims: to define autonomism clearly and charitably, to offer a positive argument in its favour, and to defend a larger view about what is at stake in the debate between autonomism and its critics. Autonomism is here understood as the claim that a valuer does not make an error in failing to bring her moral and aesthetic judgements together, unless she herself values doing so. The paper goes on to argue that reason does not require the (...) valuer to make coherent her aesthetic and moral evaluations. Finally, the paper shows that the denial of autonomism has realist commitments that autonomism does not have, and concludes that issues of value realism and irrealism are relevant to the debates about autonomism in ways that have not hitherto been recognized. (shrink)

Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.

The (im)moral character of art works often affects how we respond to them. But should it affect our evaluation of them as art? The article surveys the contemporary debate whilst outlining further lines of argument and enquiry. The main arguments in favour of aestheticism, the claim that there is no internal relation between artistic value and moral character, are considered. Nonetheless the connection between art's instructional aspirations and artistic value, as well as the ways in which works solicit responses from (...) us, underwrite the claim that a work's moral character can be directly relevant to a work's value as art. Various competing accounts of how the relationship goes, ethicism, moderate moralism and immoralism, are considered. The article goes on to elaborate novel considerations in favour of a suitably qualified cognitive immoralism and suggests avenues of further enquiry with respect to the moral character of art works. (shrink)

In this paper I argue that there is good reason to believe that we can be influenced by fictions in ways that matter morally, and some of the time we will be unaware that we have been so influenced. These arguments fall short of proving a clear causal link between fictions and specific changes in the audience, but they do reveal rather interesting and complex features of the moral psychology of fiction. In particular, they reveal that some Platonic worries about (...) the dangers of art cannot be dismissed lightly. (shrink)

The goal of this paper is methodological. It offers a comprehensive mapping of the theoretical positions on the ethical criticism of art, correcting omissions and inadequacies in the conceptual framework adopted in the current debate. Three principles are recommended as general guidelines: ethical amenability, basic value pluralism, and relativity to ethical dimension. Hence a taxonomy distinguishing between different versions of autonomism, moralism, and immoralism is established, by reference to criteria that are different from what emerging in the current literature. The (...) mapping is then proved capable of (1) locating the various theories that have been proposed so far and clarifying such theories’ real commitments, (2) having the correct relationship with actual art making and art criticism practices, and (3) showing the real weight of the alleged counter-example to a moralist position of a work that succeeds artistically because of its immorality. (shrink)

To write Narrative Justice, one would need to be expert in the philosophy of fiction, in criminology, in crime, and in military history. Hence, possibly only someone with exactly Rafe McGregor's background could have done it. Aside from the truly interdisciplinary nature of the book, several other virtues stand out. I will mention in particular the rigorous argumentation and the clarity of the writing. McGregor does not shelter behind obfuscation; everything is there in plain sight. Indeed, his occasional glosses of (...) some of the rather more self-indulgent writing of his interlocutors are most welcome.There is much in the book that is... (shrink)

In this paper the potential in film for ethics education is considered, and the theory of educational ethicism is defended. Some key features of ethicism are firstly outlined. Bery’s Gaut’s argument about how artworks may teach ethics in an aesthetically meritorious way is also discussed. Two objections (from Matthew Kieran and Andrea Sauchelli) to Gaut’s position are then considered. It is argued that Gaut’s ethicism is not well placed to overcome these objections. However, I draw upon Paul Hirst to explain (...) why a refined species of ethicism (educational ethicism) can surmount these objections. Educational ethicism holds that artworks with ethical themes be regarded as starting points for conversations about ethics rather than conveyers of definite ethical teachings that only a normatively specified audience can grasp. Three ways that film can possess potential for ethics education are also documented: through the moral growth of the audience, by helping them to deepen understanding of an aspect of ethical experience, and in developing theoretical understanding. (shrink)

The paper proposes a distinction between ethical problems internal to the practice of a discipline and ethical problems external to it. It argues that ethical problems encountered in architecture are typically of the former kind, in contrast, for example, to bioethical problems. From this point of view, it discusses the state of other arts and surveys various 19th and 20th century positions concerning ethics in architecture. It illustrates that, where architecture is concerned, ethics is closely related to aesthetics and frequently (...) tied to a philosophy of history, a point which is explained with the help of the above-mentioned distinction. (shrink)

The ethical criticism of art has recently begun to address the subject of immoral artists, with two questions seeming to dominate discussion. How does moral misconduct on the part of artists affect their work’s aesthetic value? How should the art world respond to cases of artists who have been accused of morally outrageous behaviour? Such value and policy debates are important, but they leave aside a pressing question towards which this article proposes a reorientation: What is the possible impact of (...) an artist’s moral ill repute on how we understand the meaning of their work? I argue in this paper that an artist’s bad moral reputation can lead (i) to participatory resistance to an art work, as viewers abstain from a response to the work’s illocutionary force, (ii) to the isolation of the work from the ‘quality context’ that normally allows propositions expressed by the work to be taken as sincere, (iii) to the reinterpretation of the work’s propositional content against the background of new knowledge about the author, and (iv) to the perception of the work as a lie. To illustrate, I look at works by Chuck Close and Jan Fabre, contemporary artists whose reputation has been affected by a scandal. (shrink)

Subtlety is a concept as deeply intertwined with aesthetic judgements as virtually any other. But it is not clear what makes subtlety a good property of an artwork, or indeed if it is one. In this paper, I explore this under-discussed issue. First, I spend some time setting out hallmarks of subtlety and discussing different ways in which subtlety might be valuable. I then go on to defend a particular view about why subtlety is aesthetically valuable, by thinking through why (...) heavy-handedness is aesthetically bad. In essence, subtlety is valuable because it promotes active engagement with the artwork, and heavy-handedness is bad because it forces us into too passive a role. I connect this to the role of agency and autonomy in artistic experience. Finally, I discuss some related aesthetic concepts, and expand the view of subtlety to cover borderline art forms, nature, and people themselves. (shrink)

A dealbreaker, in the sense developed in this essay, is a relationship between a person's psychology and an aspect of an artwork to which they are exposed. When a person has a dealbreaking aversion to an aspect of a work, they are blocked from embracing the work's aesthetically positive features. I characterize dealbreakers, distinguish this response from other negative responses to an artwork, and argue that the presence or absence of a dealbreaker is in some cases an appropriate target of (...) moral evaluation. I then use the concept of dealbreakers to develop a new approach to the question of our moral obligations with respect to the work of immoral artists, arguing that there is no general obligation binding us to cultivate or eliminate a dealbreaking aversion to their work. I conclude by suggesting several other philosophical debates that could benefit from a focus on dealbreakers. (shrink)

What is objectionable about “blacking up” or other comparable acts of imagining involving unethical attitudes? Can such imaginings be wrong, even if there are no harmful consequences and imaginers are not meant to apply these attitudes beyond the fiction? In this article, we argue that blackface—and imagining in general—can be ethically flawed in virtue of being oppressive, in virtue of either its content or what imaginers do with it, where both depend on how the imagined attitudes interact with the imagining’s (...) context. We explain and demonstrate this using speech act theory alongside a detailed case study of blackface. (shrink)

The thesis contends that education and literary studies can make a valuable contribution to ethics and ethical development of persons, their relations with others and with the world. It promotes an approach to ethics education through dialogic enquiry based on theories and practices associated with comparative literature and philosophical enquiry. These involve students sharing experiences and meanings as they participate in interpretive communities and communities of philosophical enquiry. There are two main components to the research: ethically focused studies of literary (...) texts and the design, implementation and evaluation of a module in Ethics Education using literature and film as stimuli for Dialogic Enquiry. The literary analyses are influenced by reader-response theory. While recognizing the importance of the author or the contexts of production and receptions of texts, reader-response theory focuses on the experience of the reader as she/he responds to literary texts, and on her/his role in actively co-authoring the meaning of texts. Readers may form or join interpretive communities that share an ethos of practice. The literary narrative fictions studied include fairy tale, contemporary European cinema and neo-Western crime drama, each of which offers a valuable way of thinking about education. The module in ethics education, designed for Transition Year students, is based on movements in Philosophy with Children. Students formulate and explore ethical questions raised in response to themes or issues of literary texts. Dialogic communities of ethical inquiry may emerge from this. Students, participating in these dialogic communities of ethical inquiry, get to test out and develop their moral sense, understood in terms of reason, feeling, memory and imagination. The literary analyses demonstrate the ethically educative promise of literary texts, and the responses of students to this course and the growth of their ethical engagement suggest that this is a promising approach to ethics education. Such an educational experience may be ethical in matter, theory and practice and continue to find expression as praxis beyond the covers of books and walls of classrooms. (shrink)

The Ethical Question asks whether ethical values in artworks determine their aesthetic value and, if so, how. I argue that the question is ambiguous between a direct and an indirect reading. I show how the indirect reading is philosophically uninteresting because it has an obvious answer: a view called ‘immoralism’. I also show how most of the significant figures in the relevant literature address the indirect form of the question anyway—needlessly, if I am right. Finally, I consider whether some version (...) of the indirect question is more philosophically interesting, connecting it to the so-called ‘qua problem’. I attempt to give clarity to the discussion by applying work on the virtues and vices of explanations. (shrink)

In recent years, a number of philosophers have suggested that the aesthetic value sometimes depends on moral value. In this paper, I motivate and defend the inverse position: the view that aesthetic value sometimes partially grounds moral value. I appeal to Grand Budapest Hotel and The Lovely Bones to show that maudlin treatments of morally serious subject matter are sometimes disrespectful, in part because they are maudlin; I appeal to Madame Bovary to show that lyrical treatments of morally serious subject (...) matter are compassionate, in part because they are lyrical. I go on to clarify that aesthetic value and descriptive facts about the subject matter of an artwork jointly ground its moral value, and I conclude by considering and rejecting a number of potential objections to the aestheticist thesis. (shrink)

According to what Robert Stecker dubs the “ethical-aesthetic interaction” thesis, the ethical defects of a literary work can diminish its aesthetic value. Both the thesis and the only prominent argumentative strategy employed to support it the affective response argument have been hotly debated; however, Stecker has recently argued that the failure of the ARA does not undermine the thesis, since the argument “fails to indentify the main reason [the thesis] holds, when it in fact does.” I critically examine Stecker’s objection (...) to the familiar versions of the affective response argument and the line of support for ethical-aesthetic interaction he proposes to install in their place. I conclude that neither is compelling; however, an important insight can be salvaged from his positive proposal, and I argue that the insight does, in fact, point toward a novel defense of the thesis. (shrink)

Bill Cosby’s immorality has raised intriguing aesthetic and ethical issues. Do the crimes that he has been convicted of lessen the aesthetic value of his stand-up and, even if we can enjoy it, should we? This article first discusses the intimate relationship between the comedian and audience. The art form itself is structurally intimate, and at the same time the comedian claims to express an authentic self on stage. After drawing an analogy between the question of the moral character of (...) comedians and the aesthetic value of their stand-up and the debate over the ethical criticism of art, this article argues that it is reasonable to find a comedian’s performance less funny, because stand-up’s artistic success relies on this intimacy. It contrasts the comedy of Bill Cosby with that of Louis C.K. C.K.’s moral flaws are much more present in his comedy, and it is therefore more difficult to find him funny. Last, it is ethically permissible to enjoy their comedy, if no harm to others results, both because it does not corrupt the audience’s character and because amusement is valuable. (shrink)

Animal beauty provides a significant aesthetic reason for protecting nature. Worries about aesthetic discrimination and the ugliness of predation might make one think otherwise. Although it has been argued that aesthetic merit is a trivial and morally objectionable basis for action, beauty is an important value and a legitimate basis for differential treatment, especially in the case of animals. While the suffering and death of animals due to predation are important disvalues that must be recognized, predation’s tragic beauty has positive (...) aesthetic value that can be appropriately aesthetically appreciated. (shrink)