Virtue-based moral cognitivism holds that at least some of the value of some art consists in conveying knowledge about the nature of virtue and vice. We explore here a challenge to this view, which extends the so-called situationist challenge to virtue ethics. Evidence from social psychology indicates that individuals’ behavior is often susceptible to trivial and normatively irrelevant situational influences. This evidence not only challenges approaches to ethics that emphasize the role of virtue but also undermines versions of moral cognitivism, (...) because the value of art cannot consist in teaching us about traits that do not exist. We thus recommend a new account of the cognitive value of art: art teaches how context and character interact to produce action. (shrink)

The problem of fiction and emotion is the problem of how we can be moved by the contemplation of fictional events and the plight of fictional characters when we know that the former have not occurred and the latter do not exist. I will give a general sketch of the philosophical treatment of the issue in the present day, and then turn to the eighteenth century for a solution as effective as the best that are presently on offer. The solution (...) is to be found in the account of ideal presence given by Henry Home, Lord Kames. (shrink)

Popular culture could be understood as a political battleground where conflicting meanings are inscribed into the “ordinary objects” that constitute that public sphere. This is also true for science fiction television series. This article critically examines how political matters and ethical agencies are represented within The Expanse, a series that takes place within a speculative twenty-fourth century milky way. Firstly, I will situate The Expanse within its generic “system of reference.” Then, I will illustrate how political matters are represented as (...) conjoined with the ethical. While the ethical refers to actions of persons, politics refers to fictional conceptions of what Tristan Garcia’s terms we-ourselves, understood as conflicting and overlapping conceptions of “we.” The conjunction between the political and the ethical in The Expanse is spatiotemporal: the characters, the events they are entangled in, and the spaces that connect discrete events develop through fictional and literal time. I argue that the science fictional representations of “we-ourselves,” and the specific spatiotemporal representational capacities of the television series format, can be understood through the application of Mikhail Bakhtin’s concepts of the chronotope and the dialogic. That is, The Expanse’s we-representations are chronotopic and the refractive rhetoric of television is dialogic. (shrink)

Empirical methods interact with moral philosophy in several ways. In this paper I remark the role of experience, as well as formative experience, in moral epistemology. I defend the thesis that abstract reasoning is not sufficient in morality. Experiences are needed for refined moral judgments. In particular, I focus on experience and formative experience through engagement with artworks. I endorse a form of art cognitivism, the thesis that we can learn through experiences of artworks, but here I remain neutral toward (...) whether the cognitive value of artworks contributes to their artistic value. In my view, learning from artworks is not detached from abstract reasoning, but complementary to it. This is needed in order to reply to an objection directed at art cognitivism, one which appeals to the fact that the properties of artworks can improve our moral cognitive capacities, as well as reduce them. I reply to this objection by saying that although art is one resource of moral learning, it is not the only resource. This is why we must not passively endorse insights that are derived from experiences of artworks. We must critically analyse these by comparing them with other beliefs and experiences. Experiences of artworks are a source of moral learning, but insights that are derived from them must be reflective and critically examined. The model is a kind of reflective equilibrium, where various sources of learning interact and support, as well as check, each other for moral learning. (shrink)