According to what I call the Merit Principle, roughly, works of art that attempt to elicit unmerited responses fail on their own terms and are thereby aesthetically flawed. A horror film, for instance, that attempts to elicit fear towards something that is not scary is to that extent aesthetically flawed. The Merit Principle is not only intuitive, it is also endorsed in some form by Aristotle, David Hume, and numerous contemporary figures. In this paper, I show how the principle leads (...) to a novel paradox when applied to an undertheorized class of artworks I call ‘seductive works’. These artworks necessarily invite an unmerited response in order to invite a (merited) repudiation of that response. Thus, according to the Merit Principle, they are necessarily aesthetically flawed, which is counter-intuitive. I consider a number of unsuccessful solutions to the paradox that aim to preserve the Merit Principle, before rejecting that principle as it stands. I discuss what is challenging about seductive artworks, before briefly defending a new principle that appeals to a general way that a work’s aesthetic value is conditioned by the constraints under which it operates. This principle not only resolves the paradox, but explains the competing intuitions that give rise to it. (shrink)

A common view holds that humor and morality are antithetical: Moral flaws enhance amusement, and moral virtues detract. I reject both of these claims. If we distinguish between merely outrageous jokes and immoral jokes, the problems with the common view become apparent. What we find is that genuine morals flaws tend to inhibit amusement. Further, by looking at satire, we can see that moral virtues sometimes enhance amusement. The position I defend is called symmetric comic moralism. It is widely regarded (...) as patently absurd. I hope to correct this mistake. (shrink)

Humor is a surprisingly understudied topic in philosophy. However, there has been a flurry of interest in the subject over the past few decades. This article outlines the major theories of humor. It argues for the need for more publications on humor by philosophers. More specifically, it suggests that humor may not be a well-understood phenomenon by questioning a widespread consensus in recent publications – namely, that humor can be detached from laughter. It is argued that this consensus relies on (...) a cognitivist account of emotion, one that is open to debate, and that it becomes unclear what sorts of phenomena a theory of humor is supposed to explain when one questions this assumption. (shrink)

In this paper, I ask whether there is a defensible philosophical view according to which everybody is beautiful. I review two purely aesthetical versions of this claim. The No Standards View claims that everybody is maximally and equally beautiful. The Multiple Standards View encourages us to widen our standards of beauty. I argue that both approaches are problematic. The former fails to be aspirational and empowering, while the latter fails to be sufficiently inclusive. I conclude by presenting a hybrid ethical–aesthetical (...) view according to which everybody is beautiful in the sense that everybody can be perceived through a loving gaze. I show that this view is inclusive, aspirational and empowering, and authentically aesthetical. (shrink)

In this article, we discuss the importance of emotions for ethical reflection on technological developments, as well as the role that art can play in this. We review literature that argues that emotions can and should play an important role in the assessment and acceptance of technological risk and in designing morally responsible technologies. We then investigate how technologically engagedartcan contribute to critical, emotional-moral reflection on technological risks. The role of art that engages with technology is unexplored territory and gives (...) rise to many fascinating philosophical questions that have not yet been sufficiently addressed in the literature. (shrink)

It may be surprising that the paradox of tragedy is worthy of further attention.1 After all, there are good reasons to assume that at least several of its presuppositions are problematic. Furthermore, it has been questioned whether the paradox forms a problem of its own or if it should be discussed as an issue within the field of pleasurable negative emotions.2 Reasonable objections seem no less important, which regard it as far from self-evident that rational agents merely seek pleasure or (...) flee pain or that emotions have a specific hedonic quality at all.3 If apparently negative emotions, however, do not have to be painful in the first place, it becomes less of a problem why they should ever be.. (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)

In this paper a new resolution to the gamer’s dilemma is presented. The first part of the paper is devoted to strictly formulating the dilemma, and the second to establishing its resolution. The proposed resolution, the grave resolution, aims to resolve not only the gamer’s dilemma, but also a wider set of analogous paradoxes – which together make up the paradox of treating wrongdoing lightly.

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)

ABSTRACT It has been argued that so-called moral disgust is either not really moral or not really disgust. I maintain that sceptics are wrong: there is a distinct emotional response best described as ‘moral disgust’. I offer an account of its constitutive features.

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (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.].