We can infer moral conclusions from nonmoral evidence using a three-step procedure. First, we distinguish the processes generating belief so that their reliability in generating true belief is statistically predictable. Second, we assess the processes’ reliability, perhaps by observing how frequently they generate true nonmoral belief or logically inconsistent beliefs. Third, we adjust our credence in moral propositions in light of the truth ratios of the processes generating beliefs in them. This inferential route involves empirically discovering truths of the form (...) “Process P, which generates belief in moral proposition M, has truth ratio T", and using them to discover probabilities for moral propositions. The inferential route is noncircular, and progress along it is driven fundamentally by induction. (shrink)

Welfarism is a theory of value (or the good) simpliciter. Theories of value are fundamentally concerned with explaining what makes some possible worlds better than others. Welfarism is the view according to which the relative value of possible worlds is fully determined by how individuals are faring—or, in other words, by the facts about well-being that obtain—in these worlds. This entry begins by distinguishing between various forms of welfarism (pure vs. impure welfarism, and then narrow vs. wide welfarism). It then (...) outlines some of the key attractions of welfarism. Finally, it surveys some of the most serious objections to welfarism (including malicious pleasure, the well-being of the wicked, great works of art, the non-identity problem, human extinction, transitivity of betterness, and distribution). (shrink)

Welfarism is the view that morality is centrally concerned with the welfare or well-being of individuals. The division between welfarist and non-welfarist approaches underlies many important disagreements in ethics, but welfarism is neither consistently defined nor well understood. I survey the philosophical work on welfarism, and I offer a suggestion about how the view can be characterized and how it can be embedded in various kinds of moral theory. I also identify welfarism's major rivals, and its major attractions and weaknesses.

The bulk of the literature on the relationship between art and morality is principally concerned with an aesthetic question: Do moral flaws with works of art constitute aesthetic flaws?1 Much less attention has been paid to the ways in which artworks can be morally flawed. There are at least three promising contenders that concern aesthetic education: Artworks can be morally flawed by endorsing immorality, corrupting audiences, and encouraging responses that are bad to have. When it comes to works of fiction, (...) the third suggestion requires what Allan Hazlett calls response moralism—the position that audience reactions to artworks can be morally bad.2 Here, I will put aside issues of aesthetic.. (shrink)

I argue that the strongest form of consequentialism is one which rejects the claim that we are morally obliged to bring about the best available consequences, but which continues to assert that what there is most reason to do is bring about the best available consequences. Such an approach promises to avoid common objections to consequentialism, such as demandingness objections. Nevertheless, the onus is on the defender of this approach either to offer her own account of what moral obligations we (...) do face, or to explain why offering such a theory is ill-advised. I consider, and reject, one attempt at the second sort of strategy, put forward by Alastair Norcross, who defends a 'scalar' consequentialism which eschews the moral concepts of right, wrong and obligation, and limits itself to claims about what is better and worse. I go on to raise some considerations which suggest that no systematic consequentialist theory of our moral obligations will be plausible, and propose instead that consequentialism should have a more informal and indirect role in shaping what we take our moral obligations to be. (shrink)

In this paper I argue for the following conclusions: 1. The widely shared beliefs that in utilitarianism and consequentialism (a) the good has priority over the right and (b) the right is derived from the good, are both false. 2. The most plausible components of utilitarianism that are used to present it as an intuitively compelling moral theory - welfarism, consequentialism and maximization - do not in fact support utilitarianism because they do not establish that the best state of affairs (...) is the one with the highest sum total of the non-moral good. These components cannot determine which state of affairs is the best and therefore leave it entirely open whether one should opt for distribution-insensitive utilitarianism or a distribution-sensitive welfarist consequentialism. Since this is left open, it is not the case that distribution-insensitive utilitarianism is the default option and every deviation from it towards a more just distribution needs to be defended against utilitarianism. Rather, in light of our moral intuitions and the persistence of the objection from justice against utilitarianism, it seems to be the other way round, that distribution-sensitivity is the default option and any deviation from it bears the burden of proof. (shrink)

Is it ever bad to take pleasure in the suffering of fictional characters? I think so. I attempt to show when and why. I begin with two powerful objections to my view: (1) engaging with fiction is akin to morally unproblematic autonomous fantasy, and (2) since no one is harmed, it is morally unproblematic. I reply to the objections and defend a Moorean view on the issue: It is intrinsically bad to enjoy evil, actual (past, present, or future) and merely (...) imagined. In support, I offer four examples. Then I argue against Moore's claim that it is equally bad to delight in fictional suffering as it is to enjoy actual suffering. Finally, I argue that even though it is bad to enjoy imagined suffering, the power of fiction is often mitigating. The moral problems are more often with the works of fiction than with the audience. (shrink)