Humans come prepared to recognize two fundamental features of our surroundings: animate objects and agents. This recognition begins early in ontogeny and pervades our ecological and social space. This cognitive capacity reveals an important adaptation and sets the conditions for pervasive shared experiences. One feature of our species and our evolved cephalic substrates is that we are prepared to recognize self-propelled action in others. Our cultural evolution is knotted to an expanding sense of shared experiences.

Innovation processes are extremely complex and opaque, which makes it tough or even impossible to govern them. Innovators lack control of large parts of these developments and lack of foreknowledge about the possible consequences of emerging technologies. Because of these features some scholars have argued that innovation processes should be structurally reformed and the agent-centered model of responsibility for innovation should be dismissed altogether. In the present article it will be argued that such a structural idea of responsible research and (...) innovation presumes rational agents who can be motivated by reasons. Instead of dismissing the agent-centered approach to responsibility for innovation processes a virtue ethical approach will be developed. Virtues should be considered as the intellectual and moral dispositions presumed for good decision making. It will be shown that creativity and eagerness are creditable character traits that have a distinct positive value for managing the opaqueness of innovation processes. Such traits are mandatory for change and betterment. Furthermore, it will be argued that the notion of responsibility of innovators should not be understood merely as means for constraining them but also as a tool to perpetuate their integrity and happiness. Through discussing the captivating examples of Steve Jobs and the protagonist of Mary Shelley’s Frankenstein it will be shown how to apply this virtue ethical framework for innovators in practice. (shrink)

In paragraph 48 of the Critique of Judgment, Immanuel Kant claimed that ‘only one kind of ugliness cannot be represented in accordance with nature without destroying all aesthetic satisfaction, hence artistic beauty, namely that which arouses disgust.’ However, from Baudelaire to Damien Hirst, there have been artists who delight in arousing disgust through their works, and many of these disgusting works, such as Baudelaire's Une Charogne, have high aesthetic merit. In her splendid new book, Savoring Disgust, Carolyn Korsmeyer rejects Kant's (...) suggestion and argues that there is something called ‘aesthetic disgust,’ that is, ‘the arousal of disgust in an audience, a spectator, or a reader, under circumstances where that emotion both apprehends artistic properties and constitutes a component of appreciation.’. (shrink)

ABSTRACTAlthough formative of modern value theory, the moral beauty view—which states that moral virtue is beautiful and moral vice is ugly—is now mostly neglected by philosophers. The two contemporary defences of the view mostly capitalize on its intuitive attractiveness, but to little avail: such considerations hardly convince sceptics of what is nowadays a rather unpopular view. Historically, the view was supported by thought experiments; and although these greatly increase its plausibility, they also raise empirical questions, which they leave unanswered. Here, (...) I offer a novel defence of the moral beauty view, capitalizing on empirical evidence and arguing via an inference to the best explanation. (shrink)

There is a tendency in contemporary (analytic) aesthetics to consider- ably restrict the scope of things that can be beautiful or ugly. This peculiarly modern tendency is holding back progress in aesthetics and robbing it of its potential contribution to other domains of inquiry. One view that has suffered neglect as a result of this tendency is the moral beauty view, whereby the moral virtues are beautiful and the moral vices are ugly. This neglect stems from an assumption to the (...) effect that virtues and vices simply cannot be beautiful or ugly. The aim of this paper is twofold. First, it develops an account of form, under which, it argues, possession of form suffices for an object’s candidature for beauty and ugliness. Second, it argues that, under the foregoing proposal, the moral beauty view turns out to be a coherent position, and so should be taken seriously in both aesthetics and ethics. (shrink)

In this article I explore Eve Garrard's recent account of evil and some work of Colin McGinn's on the same topic. I argue that neither provides a satisfactory account of evil. In doing so, I discuss the role of conscience, sadism and indifference to the suffering of others in evil-doing. I argue that the evil-doer can be admirable and I explore the relation between agent and action in the evil deed.The idea that evil is mysterious is considered and I conclude (...) with some comments on the relation between evil and the idea of a fellowship amongst human beings. (shrink)

Can the experience of great art play a role in our coming to understand the ethical framework of another person? In this article I draw out three themes from Iris Murdoch’s ‘The Sovereignty of Good’ in order to show the role that communal attention to works of art can play in our ethical lives. I situate this role in the context of Murdoch’s wider philosophical views.

What is the point of art, and why does it matter to us human beings? The answer that I will give in this paper, following on from an earlier paper on the same subject, is that art matters because our being actively engaged with art, either in its production or in its appreciation, is part of what it is to live well. The focus in the paper will be on the dispositions—the virtues of art production and of art appreciation—that are (...) necessary for this kind of active engagement with art. To begin with, I will argue that these dispositions really are virtues and not mere skills. Then I will show how the virtues of art, and their exercise in artistic activity, interweave with the other kinds of virtue which are exercised in ethical and contemplative activity. And finally, I will argue that artistic activity affords, in a special way, a certain kind of emotional sharing that binds us together with other human beings. (shrink)

In this article I seek a more complete understanding of evil action. To this end, in the first half of the article I assess the conceptual strengths and weaknesses of the most compelling theories of evil action found in the contemporary philosophical literature. I conclude that the theories that fall under the category I call ‘‘Nuanced Harm Accounts’’ successfully identify the necessary and sufficient conditions of the concept. However, necessary and sufficient conditions are not coextensive with significant features, and Nuanced (...) Harm Accounts are incomplete even if they are correct. In order to supplement them, in the second half of the article I examine the normative relation that obtains between perpetrators and victims of evil and find them to be parties to a relation of asymmetrical power in which the vulnerability of the weaker party is exploited by the stronger party for its advantage, pleasure, or otherwise to achieve its aims. Moreover, the parties in the relation reciprocally enable each other’s role relative to one another. The strength of the more powerful party emerges out of the states of vulnerability of the victims, and the victims are vulnerable relative to the power(s) of the perpetrator. (shrink)

This paper defends a cognitive theory of those emotional reactions which motivate and constrain moral judgment. On this theory, moral emotions result from mental faculties specialized for automatically producing feelings of approval or disapproval in response to mental representations of various social situations and actions. These faculties are modules in Fodor's sense, since they are informationally encapsulated, specialized, and contain innate information about social situations. The paper also tries to shed light on which moral modules there are, which of these (...) modules we share with non-human primates, and on the (pre-)history and development of this modular system from pre-humans through gatherer-hunters and on to modern (i.e. arablist) humans. The theory is not, however, meant to explain all moral reasoning. It is plausible that a non-modular intelligence at least sometimes play a role in conscious moral thought. However, even non-modular moral reasoning is initiated and constrained by moral emotions having modular sources. (shrink)

Pour contrer le scepticisme au sujet de la connaissance des valeurs, la plupart soutiennent avec John Rawls qu’une croyance comme celle qu’une action est bonne est justifiée dans la mesure où elle appartient à un ensemble de croyances cohérent, ayant atteint un équilibre réfléchi. Christine Tappolet s’inspire des travaux de Max Scheler et d’Alexius von Meinong pour défendre une conception opposée au cohérentisme. La connaissance des valeurs est affirmée dépendre de nos émotions, ces dernières étant conçues comme des perceptions des (...) valeurs. (shrink)