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)

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.].

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)

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)

This paper concerns the conditions under which realism is an artistic merit in perceptual narratives, and its consequences for the practice of non-traditional casting. Perceptual narratives are narrative representations that perceptually represent at least some of their contents, and include works of film, television, theatre and opera. On certain construals of the conditions under which realism is an artistic merit in such works, non-traditional casting, however morally merited, is often artistically flawed. I defend an alternative view of the conditions under (...) which realism is an artistic merit in perceptual narratives. I identify the two forms of realism at issue in debates about the artistic merits of non-traditional casting, and identify the artistic norms that determine the conditions under which each constitutes an artistic merit. I argue that, independently of the relation between moral merits and artistic merits, non-traditional casting violates these norms less often than is sometimes assumed. Moreover, in certain circumstances, non-traditional casting affects realism in artistically meritorious ways. I conclude by considering the implications of my view for the practice of whitewashing. (shrink)

This paper concerns the conditions under which realism is an artistic merit in perceptual narratives, and its consequences for the practice of non-traditional casting. Perceptual narratives are narrative representations that perceptually represent at least some of their contents, and include works of film, television, theatre and opera. On certain construals of the conditions under which realism is an artistic merit in such works, non-traditional casting, however morally merited, is often artistically flawed. I defend an alternative view of the conditions under (...) which realism is an artistic merit in perceptual narratives. I identify the two forms of realism at issue in debates about the artistic merits of non-traditional casting, and identify the artistic norms that determine the conditions under which each constitutes an artistic merit. I argue that, independently of the relation between moral merits and artistic merits, non-traditional casting violates these norms less often than is sometimes assumed. Moreover, in certain circumstances, non-traditional casting affects realism in artistically meritorious ways. I conclude by considering the implications of my view for the practice of whitewashing. (shrink)

Works of art can be difficult in several ways. One important way is by making us face up to unsettling truths. Such works typically receive praise. I maintain, however, that sometimes they deserve moral censure. The crux of my argument is that, just as we have a right to know the truth in certain contexts, so too we have a right not to know it. Provided our ignorance does not harm or seriously endanger others, the decision about whether to know (...) the truth ought to be left to us. Within this limit, therefore, difficult art is morally problematic if it intentionally targets those who have chosen not to know. To illustrate the problem, I discuss the literary writings of Søren Kierkegaard, which aim to deceive readers into seeing unpleasant truths about themselves that they seek to ignore. (shrink)