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)

According to immoralists, some artworks are better aesthetically in virtue of their immorality. A. W. Eaton recently offered a novel defence of this view, seeking to overcome shortcomings in previous accounts, thereby occasioning a reconsideration of immoralism. Yet, as I argue in this paper, Eaton’s attempt is unsuccessful, insofar as it consists partly of inadequately supported claims, and partly—and more interestingly, albeit paradoxically––of covert moralist assumptions that are, eo ipso, incompatible with immoralism. I then turn to a parallel debate in (...) ethics concerning the possibility of admirable immorality, suggesting that a consideration of the state of that debate further supports my argument against immoralism. I close by suggesting some strategies by which immoralists may offer a rejoinder, although I note that their prospects are rather dim, not least because available defences of immoralism and similar positions all seem to share the same flawed pattern. (shrink)

Michael Walzer’s foundational essay on dirty hands raises the very possibility of a good person in politics. Dilemmas in the context of high stakes situations sometimes require politicians to compromise their morality and character for the sake of the greater good by choosing the lesser evil. Much has been written about dirty hands, but little has been said about Walzer’s implicit virtue ethics. This essay sketches this implicit virtue ethics, which is central to Walzer’s argument. These are “dirty” virtues, however, (...) that allow one to choose the lesser evil in a dilemma while recognizing that, although evil was mitigated, and some degree of good achieved, wrong done is still wrong done. For this to work, Walzer argues the politician must be and feel guilty, making this an odd virtue ethics that requires a degree of suffering from the politician. The essay further develops this notion of dirty virtue through comparison with Lisa Tessman’s “burdened virtue,” arguing at the end that the guilt and instrumental suffering, which are so central to Walzer’s virtue ethic, may be more corrosive to practical reasoning and character than Walzer allows for. (shrink)