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)

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)

Is there any difference between playing video games in which the player’s character commits murder and video games in which the player’s character commits pedophilic acts? Morgan Luck’s “Gamer’s Dilemma” has established this question as a puzzle concerning notions of permissibility and harm. We propose that a fruitful alternative way to approach the question is through an account of aesthetic engagement. We develop an alternative to the dominant account of the relationship between players and the actions of their characters, and (...) argue that the ethical difference between so-called “virtual murder” and “virtual pedophilia” is to be understood in terms of the fiction-making resources available to players. We propose that the relevant considerations for potential players to navigate concern (1) attempting to make certain characters intelligible, and (2) using aspects of oneself as resources for homomorphic representation. (shrink)

There is, I shall assume, such a thing as moral evil (more on which below). My question is whether is also such a thing as non-moral evil, and in particular whether there are such things as aesthetic evil and epistemic evil. More exactly, my question is whether there is such a thing as moral evil but not such a thing as non-moral evil, in some sense that reveals something special about the moral, as opposed to such would-be non-moral domains as (...) the aesthetic and the epistemic. The philosophical issue at stake here is that of the nature of these different normative domains, and the nature and extent of their difference. (shrink)

This paper addresses two recent debates in aesthetics: the ‘moralist debate’, concerning the relationship between the ethical and aesthetic evaluations of artworks, and the ‘cognitivist debate’, concerning the relationship between the cognitive and aesthetic evaluations of artworks. Although the two debates appear to concern quite different issues, I argue that the various positions in each are marked by the same types of confusions and ambiguities. In particular, they demonstrate a persistent and unjustified conflation of aesthetic and artistic value, which in (...) turn is based on a more general failure to explicitly tackle the demarcation of aesthetic value. As such, the claims of each side are rendered ambiguous in respect of the relation that is supposed to hold between all these types of value and artistic value. These issues are discussed in light of a recent argument proposed by Matthew Kieran, to undermine, to some extent, the conceptual distinction between aesthetic, cognitive-ethical, and artistic values in our appraisal of art works. In rejecting his argument, I defend the conceptual distinction and a pluralistic conception of artistic value that allows for cognitive and ethical values to count as artistic, but not aesthetic, values. (shrink)

Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, (...) the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic-ethical value relation. (shrink)

In this paper I distinguish between different kinds of failures of aesthetic judgements with a view to exploring a form of failure that involves the outright omission of aesthetic judgement. Such omissions come to pass when an object of attention could or ought to have been experienced and judged aesthetically but where such an experience or judgement simply failed to arise, and can be traced back to at least three kinds of reason: (1) lack of aesthetic quality; (2) lack of (...) appropriate ontological status; and (3) lack of aesthetic prominence. I shall examine some aspects of this kind of failure and argue that a missed opportunity to experience an object of attention’s aesthetic character is a missed opportunity to engage with that object’s aesthetic potential where such potential, although not always accessible to us, can nonetheless retroactively be said to pertain to the object in a meaningful sense also under experientially unfavourable conditions. This warrants talk of rehabilitation to some degree. (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)

The idea that there is an important place in philosophical aesthetics for virtues of art is not new, but it is now undergoing a serious re‐examination. Why might this be? What are the principles behind virtue aesthetics? Are there any good arguments for the theory? (I will take virtue aesthetics to be the theory that there is a central place for virtues of art.) What problems does virtue aesthetics face? And what might the implications be of virtue aesthetics both in (...) philosophy and in related disciplines? (shrink)