Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion—ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues are (...) partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. (shrink)

Philosophical aesthetics has recently been expanding its purview—with exciting work on everyday aesthetics, somaesthetics, gustatory aesthetics, and the aesthetics of imperceptibilia like mathematics and human character—reclaiming territory that was lost during the nineteenth and twentieth centuries, when the discipline begun concentrating almost exclusively on the philosophy of art and restricted the aesthetic realm to the distally perceptible. Yet there remains considerable reluctance towards acknowledging the aesthetic character of many of these objects. This raises an important question—partly made salient again by (...) the ongoing expansion of the aesthetic domain, and partly by the fact that many still seem resistant to this aesthetic diversification—which aestheticians seem to avoid: what, if anything, constrains the scope of beauty or the aesthetic? I argue that form, construed as comprising a degree, however minimal, of experienceable complexity, is necessary and sufficient for an object's candidature for the possession of aesthetic properties. Such a condition serves to discriminate between attempts to expand the scope of the aesthetic that are legitimate and those that are not. If correct, my view suggests that the aesthetic realm, though not limitless, is very broad indeed—but this, I think, is as it should be. (shrink)

I argue that the main existing accounts of the relationship between the beauty of environmental entities and their moral standing are mistaken in important ways. Beauty does not, as has been suggested by optimists, confer intrinsic moral standing. Nor is it the case, as has been suggested by pessimists, that beauty at best provides an anthropocentric source of moral standing that is commensurate with other sources of pleasure. I present arguments and evidence that show that the appreciation of beauty tends (...) to cause a transformational state of mind that is more valuable than mere pleasure, but that leads us to falsely represent beautiful entities as being sentient and, in turn, as having intrinsic moral standing. To this extent, beauty is not, then, a source of intrinsic moral standing; it’s a source of a more important anthropocentric value than has hitherto been acknowledged. (shrink)

Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion— ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues (...) are partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. (shrink)

Traditionally, the sense of touch—alongside the senses of taste and smell—has been excluded from the aesthetic domain. These proximal modalities are thought to deliver only sensory pleasures, not the complex, world-directed perceptual states that characterize aesthetic experience. In this paper, I argue that this tradition fails to recognize the perceptual possibilities of haptic touch, which allows us to experience properties of the objects with which we make bodily contact, including their weight, shape, solidity, elasticity, and smoothness. These features, moreover, may (...) be indicative of how well-suited an object is for its function, and in feeling them we can thus feel the positive aesthetic quality of functional beauty. (shrink)

We’ve all heard people say ‘Beauty is only skin-deep’, or ‘Beauty is in the eye of the beholder’: our culture promulgates a conception of beauty as subjective, superficial, and independent of other values like moral goodness or knowledge and understanding. Yet our taste in beauty affects many aspects of our lives, sometimes playing a decisive––and often detrimental––role in areas as wide-ranging as our identity and self-esteem, our morally salient decisions, and our relationship to the environment. This presents us with a (...) choice: we can either ignore the facts––leaving our conception of beauty unchanged and allowing our taste to influence much in our lives while either not acknowledging such influence, or perhaps seeking to reprimand it; or we can take the power of beauty seriously and seek to harmonise our taste with our values. I argue for the latter option, and propose a way of bringing beauty and taste in line with what matters to us using the notion of functional beauty. Adopting this strategy, I suggest, can have a powerful––and positive––impact on our self-esteem and wellbeing, our relationship to others, as well as our attitudes towards the environment. (shrink)

Linda Zagzebski recently put forward a new theory, moral exemplarism, that is meant to provide an alternative to theories like consequentialism and deontology, and which proposes to define key moral terms by direct reference to exemplars. The theory’s basic structure is straightforward. A virtuous person is defined as a person like that, where that points to individuals like Leopold Socha, Confucius, Jesus Christ, and so on. A key component of this theory is the function played by the emotions, specifically the (...) emotion of admiration, which helps us identify moral exemplars, inspires our emulation of them, and grounds moral motivation. In other words, admiration tracks persons like that. The aim of this article is to show that unless moral exemplarism recognises and incorporates an aesthetic dimension to morality, as did, for instance, eighteenth-century sentimentalists by recognising the categories of moral beauty and ugliness, the theory suffers important theoretical difficulties, whilst failing to yield some of the theoretical merits that it boasts. To this end, I will cast doubt on the prominent role accorded to the emotion of admiration for morality, arguing that it has to either be qualified as a specific kind of admiration––namely that which takes the beautiful as its object––or be replaced altogether with the affective response to the beautiful, a mark of which is pleasure or delight in the contemplation of an object. In short, an aesthetics of character is necessary in order to properly theorise the affective and motivational components of morality under an exemplarist framework. (shrink)