For over 2000 years, the sublime has been a source of fascination for philosophers, artists, and even the general public at times. We have written hundreds of treatises on the subject, put forth innumerable definitions and explanations, and even tried to reproduce it in art and literature. But, despite our efforts, our understanding of the sublime remains elusive. In this paper, the sublime is explored as a potential human experience that can be evoked by an image. Drawing upon concrete experiences, (...) the phenomenon of sublimity suggests a compelling, embodied response to the visual object that can evoke a fundamental change of being. (shrink)

In this article I propose an ethical analysis of information warfare, the warfare waged in the cyber domain. The goal is twofold: filling the theoretical vacuum surrounding this phenomenon and providing the conceptual grounding for the definition of new ethical regulations for information warfare. I argue that Just War Theory is a necessary but not sufficient instrument for considering the ethical implications of information warfare and that a suitable ethical analysis of this kind of warfare is developed when Just War (...) Theory is merged with Information Ethics. In the initial part of the article, I describe information warfare and its main features and highlight the problems that arise when Just War Theory is endorsed as a means of addressing ethical problems engendered by this kind of warfare. In the final part, I introduce the main aspects of Information Ethics and define three principles for a just information warfare resulting from the integration of Just War Theory and Information Ethics. (shrink)

This paper explores the significance of Adam Smith's ideas for defending non-cognitivist theories of aesthetic appreciation of nature. Objections to non-cognitivism argue that the exercise of emotion and imagination in aesthetic judgement potentially sentimentalizes and trivializes nature. I argue that although directed at moral judgement, Smith's views also find a place in addressing this problem. First, sympathetic imagination may afford a deeper and more sensitive type of aesthetic engagement. Second, in taking up the position of the impartial spectator, aesthetic judgements (...) may originate in a type of self-regulated response where we stand outside ourselves to check those overly humanizing tendencies which might lead to a failure in appreciating nature as nature. (shrink)

Wonder’s significance is a recurrent theme in the history of philosophy. In the Theaetetus, Plato’s Socrates claims that philosophy begins in wonder (thaumazein). Aristotle echoes these sentiments in his Metaphysics; it is wonder and astonishment that first led us to philosophize. Philosophers from the Ancients through Wittgenstein discuss wonder, yet scant recent attention has been given to developing a general systematic account of emotional wonder. I develop an account of emotional wonder and defend its connection with apparent or seeming value. (...) Recently, several philosophers invoke wonder to back non-eudaimonistic value judgments. I introduce methods to incorporate these judgments into a eudaimonistic moral framework. On the analysis presented, wonder requires its object to seem valuable, but whether the object is in fact valuable remains an open question. Wonder enraptures us with objects that might be of true or merely illusory value, grounded either in our own well-being or in non-eudaimonistic value. (shrink)

The moral potential of works of art, for good or ill, has been recognised from philosophical antiquity: on the assumption that the moral effects of art are invariably negative, Plato advised the exclusion of artists from any rationally ordered state. Arguably, however, the problem of the moral status of art has become yet more acute in contexts of post-Romantic and other modern artistic exploration of moral ambiguity, and even of some apparent contemporary celebration of the immoral and amoral. Indeed, some (...) tension between commitment to liberal-democratic openness and freedom, on the one hand, and fear about the potential literary and artistic corruption of the young, on the other, is evident in latter-day moralistic trends in children’s literature. However, in the light of some basic exploration of conceptual relationships between the artistic, the aesthetic and the moral, this paper argues that such moralising trends in particular and arguments for artistic censorship in general are mostly wrongheaded and unsustainable. (shrink)

In a reading of René Descartes's The Passions of the Soul, Luce Irigaray explores the possibility that wonder, first of all passions, can provide the basis for an ethics of sexual difference because it is prior to judgment, and thus nonhierarchical. For Descartes, the passion of generosity gives the key to ethics. I argue that wonder should be extended to other differences and should be combined with generosity to form the basis of an ethics.