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)

In this article, an account of the architecture of the cognitive contamination system is offered, according to which the contamination system can generate contamination represen- tations in circumstances that do not satisfy the norms of contamination, including in cases of mere visual contact with disgusting objects. It is argued that this architecture is important for explaining the content, logic, distribution, and persistence of maternal impression beliefs – according to which fetal defects are caused by the pregnant mother’s experiences and actions (...) – which in turn provide important evidence of the architecture of the cognitive contamination system. (shrink)

Are people with flawed faces regarded as having flawed moral characters? An “anomalous-is-bad” stereotype is hypothesized to facilitate negative biases against people with facial anomalies (e.g., scars), but whether and how these biases affect behavior and brain functioning remain open questions. We examined responses to anomalous faces in the brain (using a visual oddball paradigm), behavior (in economic games), and attitudes. At the level of the brain, the amygdala demonstrated a specific neural response to anomalous faces—sensitive to disgust and a (...) lack of beauty but independent of responses to salience or arousal. At the level of behavior, people with anomalous faces were subjected to less prosociality from participants highest in socioeconomic status. At the level of attitudes, we replicated previously reported negative character evaluations made about individuals with facial anomalies, and further identified explicit biases directed against them as a group. Across these levels of organization, the specific amygdala response to facial anomalies correlated with stronger just-world beliefs (i.e., people get what they deserve), less dispositional empathic concern, and less prosociality toward people with facial anomalies. Characterizing the “anomalous-is-bad” stereotype at multiple levels of organization can reveal underappreciated psychological burdens shouldered by people who look different. (shrink)

In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside as well.

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.

Pathologizing ugliness refers to the framing of unattractive features as a type of disease or deformity. By framing ugliness as pathology, cosmetic procedures are reframed as therapy rather than enhancement, thereby potentially avoiding ethical critiques regularly levelled against cosmetic surgery. As such, the practice of pathologizing ugliness and the ensuing therapeuticalization of cosmetic procedures require an ethical analysis that goes beyond that offered by current enhancement critiques. In this article, I propose using a thick description of the goals of medicine (...) as an ethical framework for evaluating problematic medical practices. I first describe the goals of medicine based on Daniel Callahan's account. I then propose that the goals work best in conjunction with ancillary ethical concepts, namely medical knowledge and skills, standards of practice and medical duties and virtues. Next, I apply the thick description of the goals of medicine in critiquing the practice of framing ugliness as disease. Here, I demonstrate ethical conflicts between aesthetic judgments that underpin the practice of pathologizing ugliness and medical judgments that inform ethical medical practices. In particular, the thick description of the goals of medicine helps reveal ethical conflicts in at least three key domains common to clinical practices, which include (a) disease determination, (b) diagnostic evaluation and (c) establishing clinical indications. My analysis offers a novel way of critiquing the practice of pathologizing ugliness in cosmetic surgery, which tends to be neglected by enhancement critiques. (shrink)

Ugliness is a neglected topic in contemporary analytic aesthetics. This is regrettable given that this topic is not just genuinely fascinating, but could also illuminate other areas in the field, seeing as ugliness, albeit unexplored, does feature rather prominently in several debates in aesthetics. This paper articulates a ‘deformity-related’ conception of ugliness. Ultimately, I argue that deformity, understood in a certain way, and displeasure, jointly suffice for ugliness. First, I motivate my proposal, by locating a ‘deformity-related’ conception of ugliness in (...) aesthetic tradition, offering examples in support, and rejecting related alternative suggestions. Second, I argue that the proposal boasts considerable merits. Not only does it capture much of what we ordinarily think of as ugly, but it also comprises an objective criterion for ugliness, offers unity and comprehensiveness, and is informative and explanatorily potent. Third, I discuss a number of objections, thereby demonstrating that the proposal withstands reflective scrutiny. (shrink)

This second edition features a new 48-page Afterword--1980 updating Professor Beardsley's classic work.

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

One of Hume's most well-known works and a masterpiece of philosophy, A Treatise of Human Nature is indubitably worth taking the time to read.

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one's rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of `appropriate' have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

Values of Beauty discusses major ideas and figures in the history of aesthetics from the beginning of the eighteenth century to the end of the twentieth century. The core of the book features Paul Guyer's essays on the epochal contribution of Immauel Kant, and sets Kant's work in the context of predecessors, contemporaries, and successors including David Hume, Alexander Gerard, Archibald Alison, Arthur Schopenhauer, and John Stuart Mill All of the essays emphasize the complexity rather than isolation of our aesthetic (...) experience of both nature and art; and the interconnection of aesthetic values such as beauty and sublimity on the one hand, and prudential and moral values on the other. Guyer emphasizes that the idea of the freedom of the imagination as the key to both artistic creation and aesthetic experience has been a common thread throughout the modern history of aesthetics, although the freedom of the imagination has been understood and connected to other forms of freedom in a variety of ways. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics. By articulating a deeply embodied notion of aesthetic experience and the art of living, and by providing a compellingly rigorous defense of popular art—crowned by a pioneer study of hip hop—Richard Shusterman reorients aesthetics towards a fresher, more relevant, and socially progressive agenda. The second edition contains an introduction where Shusterman responds to his critics, and it concludes with an added chapter that formulates his novel notion (...) of somaesthetics. (shrink)

'Pain and pleasure are simple ideas, incapable of definition.'In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are experienced as pure emotional arousal, unencumbered by intellectual considerations. In so doing he overturned the Platonic tradition in aesthetics that had prevailed from antiquity until the eighteenth century, and replaced metaphysics with psychology and even physiology as the basis for the subject. Burke's theory of beauty encompasses the female form, nature, art, and poetry, and he analyses our delight in sublime (...) effects that thrill and excite us. His revolution in method continues to have repercussions in the aesthetic theories of today, and his revolution in sensibility has paved the way for literary and artistic movements from the Gothic novel through Romanticism, twentieth-century painting, and beyond. In this new edition Paul Guyer conducts the reader through Burke's Enquiry, focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche. (shrink)

The theistic argument from beauty has what we call an 'evil twin', the argument from ugliness. The argument yields either what we call 'atheist win', or, when faced with aesthetic theodicies, 'agnostic tie' with the argument from beauty.

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to (...) other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

A brief history, overview, and assessment of the thesis that beauty is the object of love.

G.H. Hardy was one of this century's finest mathematical thinkers, renowned among his contemporaries as a 'real mathematician... the purest of the pure'. He was also, as C.P. Snow recounts in his Foreword, 'unorthodox, eccentric, radical, ready to talk about anything'. This 'apology', written in 1940, offers a brilliant and engaging account of mathematics as very much more than a science; when it was first published, Graham Greene hailed it alongside Henry James's notebooks as 'the best account of what it (...) was like to be a creative artist'. C.P. Snow's Foreword gives sympathetic and witty insights into Hardy's life, with its rich store of anecdotes concerning his collaboration with the brilliant Indian mathematician Ramanujan, his idiosyncrasies and his passion for cricket. This is a unique account of the fascination of mathematics and of one of its most compelling exponents in modern times. (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)

Suffering Art Gladly is concerned with the ostensibly paradoxical phenomenon of negative emotions involved in the experience of art: how can we explain the pleasure felt or satisfaction taken in such experience when it is the vehicle of negative emotions, that is, ones that seem to be unpleasant or undesirable, and that one normally tries to avoid experiencing? The question is as old as philosophical reflection on the arts, beginning with Plato and Aristotle, and subsequently addressed by Hume, Burke, Diderot, (...) Kant, and Schopenhauer, among others. Moreover, it is still an important and unresolved question in contemporary philosophy of art, where the discussion has been notably enlivened by recent research on the nature of imagination, cognition, and the emotions. Suffering Art Gladly comprises essays of two kinds, though the division between them is not airtight. The first kind are essays with a primarily historical focus, examining the problem of negative emotion from art as treated by important figures in the history of aesthetic thought, including Aristotle, Hume, Diderot, Kant, and Schopenhauer. The second kind are essays with a primarily contemporary focus, in which the methods and tools of contemporary analytic philosophy are much in evidence. In addition to the thirteen essays forming the heart of the book there is a general introduction by the editor, motivating the basic problem with which the essays are variously concerned and identifying the presuppositions or assumptions that are involved in different solutions to the problem. The individual essays are wide-ranging, dealing with a variety of artforms, negative emotions, and specific works of art, and the contributors, all recognized scholars in the field of aesthetics, are a mixture of junior and senior figures representing seven nationalities. (shrink)

People can be disgusted by the concrete and by the abstract -- by an object they find physically repellent or by an ideology or value system they find morally abhorrent. Different things will disgust different people, depending on individual sensibilities or cultural backgrounds. In _Yuck!_, Daniel Kelly investigates the character and evolution of disgust, with an emphasis on understanding the role this emotion has come to play in our social and moral lives. Disgust has recently been riding a swell of (...) scholarly attention, especially from those in the cognitive sciences and those in the humanities in the midst of the "affective turn." Kelly proposes a cognitive model that can accommodate what we now know about disgust. He offers a new account of the evolution of disgust that builds on the model and argues that expressions of disgust are part of a sophisticated but largely automatic signaling system that humans use to transmit information about what to avoid in the local environment. He shows that many of the puzzling features of moral repugnance tinged with disgust are by-products of the imperfect fit between a cognitive system that evolved to protect against poisons and parasites and the social and moral issues on which it has been brought to bear. Kelly's account of this emotion provides a powerful argument against invoking disgust in the service of moral justification. (shrink)

Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?

The Aesthetics of Natural Environments is a collection of essays investigating philosophical and aesthetics issues that arise in our appreciation of natural environments. The introduction gives an historical and conceptual overview of the rapidly developing field of study known as environmental aesthetics. The essays consist of classic pieces as well as new contributions by some of the most prominent individuals now working in the field and range from theoretical to applied approaches. The topics covered include the nature and value of (...) natural beauty, the relationship between art appreciation and nature appreciation, the role of knowledge in the aesthetic appreciation of nature, the importance of environmental participation to the appreciation of environments, and the connections between the aesthetic appreciation of nature and our ethical obligations concerning its maintenance and preservation. This volume is for scholars and students focussed on nature, landscapes, and environments, individuals in areas such as aesthetics, environmental ethics, geography, environmental studies, landscape architecture, landscape ecology, and the planning and design disciplines. It is also for any reader interested in and concerned about the aesthetic quality of the world in which we live. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Appraisal research based on participants' self-report of emotional experiences is predicated on the assumption that the academic community and the lay public share comparable meanings of the emotion terms used. However, this can be a risky assumption to make, as in the case of the emotion disgust which appears in common usage to reflect irritation, or anger, as often as repulsion. To examine the theoretical versus the lay meaning of disgust, 140 undergraduates were asked to recall a time when they (...) felt either angry, disgust, disgusted, revulsion, or grossed out. Analysis of event recall responses and emotional experience measures suggests that the common understanding of the word disgust reflects a combination of the conceptual meanings of disgust and anger whereas the slang term grossed out more closely captures the theoretical construct of disgust. Implications of these findings for emotion research based on self-report are discussed. (shrink)

In the recent literature on the issue, a number of commentators have argued that Kant’s aesthetic theory commits him to the position that nothing is ugly. For instance, in ‘Why Kant finds nothing ugly’, Shier argues that ‘within Kant’s aesthetics, there cannot be any negative judgments of taste’ (Shier (1998): 413). And in ‘Kant’s problems with ugliness’, Thomson claims that ‘Kant’s aesthetic theory precludes […] ugliness’ (Thomson (1992): 107). In other words, as it is presented in some of the literature, (...) Kant’s account of aesthetic judgment seems to preclude him from accounting for the possibility of ugliness. A number of reasons have been put forward to explain why there can be no ugliness for Kant. Some have to do with his account of experience in general. Others have to do with the very nature of the free play between imagination and understanding. Of course, the real source of the problem is that the Critique of Judgment does not actually discuss ugliness, so commentators are left with the task of filling in the gaps. This paper aims to argue that Kant’s account of aesthetic judgment commits him not only to the existence of the ugly, but to the distinction between two kinds of ugliness. To support this claim, I will start from the premise that if there is to be room for ugliness, it should be defined as the contrary of beauty. However, I will suggest that Kant’s account of beauty can be negated in two ways, one that gives rise to impure ugliness and the other to pure ugliness. I will examine them in turn, first by showing that impure ugliness is the contrary of beauty insofar as it contravenes our interests and produces a desire to dispose of it, whereas beauty is necessarily disinterested for Kant. In the second section, I will use Kant’s definition of judgments of pure beauty to carve a space for an account of pure ugliness. For, it should present all the characteristics that make it “pure” whilst replacing the characteristics that make it beautiful with the ones that make it ugly. On this basis, I will define pure ugliness as the disinterested displeasure caused by the experience of what I will call “foul play” between the imagination and the understanding. (shrink)

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one’s rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of ‘appropriate’ have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

‘Sentimentalism’ is an old-fashioned name for the philosophical suggestion that moral or evaluative concepts or properties depend somehow upon human sentiments. This general idea has proven attractive to a number of contemporary philosophers with little else in common. Yet most sentimentalists say very little about the nature of the sentiments to which they appeal, and many seem prepared to enlist almost any object-directed pleasant or unpleasant state of mind as a sentiment. Furthermore, because battles between sentimentalism and its rivals have (...) tended to be joined over large issues about realism and antirealism, or cognitivism and noncognitivism, some attractive reasons for adopting sentimentalism which are to some extent independent of these issues have been largely ignored in metaethical discussion. This paper aims to motivate sentimentalism, but also to circumscribe its ambitions by rendering explicit some tacit assumptions in moral psychology on which I think the most promising sentimentalism depends. I begin (in section one) by sketching the kind of sentimentalism that I want to defend. Then, in sections two and three, I articulate two positive arguments for a sentimentalist understanding of certain evaluative concepts. The arguments I consider have their origins in the writings of various other authors, I think, but neither they nor their consequences have been clearly articulated before. In section four, I explore just what the sentiments would have to be like in order to play the role required of them in the arguments I develop. I will suggest that these arguments supply a highly specific ‘job description’ for the states to which sentimentalism appeals. Hence, sentimentalists who want to use these arguments, or ones like them, cannot be as casual about what they mean by ‘sentiments’ as many have tended to be. I then investigate a category of ‘natural emotions’ that meets that job description rather nicely, and offer some reasons for doubting that more inclusive categories of.... (shrink)

Statements about a person's good slip into and out of our ordinary discourse about the world with nary a ripple. Such statements are objects of belief and assertion, they obey the rules of logic, and they are often defended by evidence and argument. They even participate in common-sense explanations, as when we say of some person that he has been less subject to wild swings of enthusiasm and disappointment now that, with experience, he has gained a clearer idea of what (...) is good for him. Statements about a person's good present themselves as being about something with respect to which our beliefs can be true or false, warranted or unwarranted. Let us speak of these features as the descriptive side of discourse about a person's good. (shrink)

In a companion volume to his "History of Beauty," the renowned philosopher and cultural critic analyzes our attraction to the gruesome, horrific, and repellant in visual culture and the arts, drawing on abundant examples of painting and sculpture, ranging from antiquity to the works of Bosch, Goya, and others.

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

The paper presents and discusses the so-called Wrong Kind of Reasons Problem (WKR problem) that arises for the fitting-attitudes analysis of value. This format of analysis is exemplified for example by Scanlon's buck-passing account, on which an object's value consists in the existence of reasons to favour the object- to respond to it in a positive way. The WKR problem can be put as follows: It appears that in some situations we might well have reasons to have pro-attitudes toward objects (...) that are not valuable. Or vice versa: we might have reasons not to have pro-attitudes toward some valuable objects. The paper goes through several attempts to solve (or dissolve) the WKR problem and argues that none of them is fully satisfactory. (shrink)

ABSTRACTExperiences that contradict one's core concepts elicit intense emotions. Such schema incongruence can elicit awe, wherein experiences that are too vast...

Disgust is a strong aversion, yet paradoxically it can constitute an appreciative aesthetic response to works of art. Artistic disgust can be funny, profound, sorrowful, or gross. This book examines numerous examples of disgust as it is aroused by art and offers a set of explanations for its aesthetic appeal.

Individuals with trypophobia have an aversion towards clusters of roughly circular shapes, such as those on a sponge or the bubbles on a cup of coffee. It is unclear why the condition exists, given the harmless nature of typical eliciting stimuli. We suggest that aversion to clusters is an evolutionarily prepared response towards a class of stimuli that resemble cues to the presence of parasites and infectious disease. Trypophobia may be an exaggerated and overgeneralised version of this normally adaptive response. (...) Consistent with this explanation, individuals with trypophobia, as well as comparison individuals, reported aversion towards disease-relevant cluster stimuli, but only the trypophobic group reported aversion towards objectively harmless cluster stimuli that had no relevance to disease. For both groups the level of aversion reported was predicted uniquely by a measure of disgust sensitivity. Scaled emotion ratings and open-ended responses revealed that the aversive response was predominantly based on the disease avoidance emotion, disgust. Many open-ended responses also described skin sensations. These findings support the proposal that individuals with trypophobia primarily perceive cluster stimuli as cues to ectoparasites and skin-transmitted pathogens. (shrink)

Sentimentalist theories in ethics treat evaluative judgments as somehow dependent on human emotional capacities. While the precise nature of this dependence varies, the general idea is that evaluative concepts are to be understood by way of more basic emotional reactions. Part of the task of distinguishing between the concepts that sentimentalism proposes to explicate, then, is to identify a suitably wide range of associated emotions. In this paper, we attempt to deal with an important obstacle to such views, which arises (...) from the dominant tradition in the philosophy of emotion. We will be attempting to steer a middle course between the traditional view and some recent, empirically-minded criticism. (shrink)

In autumn 2009, BBC television ran a natural history series, ‘Last Chance to See’, with Stephen Fry and wildlife writer and photographer, Mark Carwardine, searching out endangered species. In one episode they retraced the steps Carwardine had taken in the 1980s with Douglas Adams, when they visited Madagascar in search of the aye-aye, a nocturnal lemur. Fry and Carwardine visited an aye-aye in captivity, and upon first setting eyes on the creature they found it rather ugly. After spending an hour (...) or so in its company, Fry said he was completely ‘under its spell’. A subsequent encounter with an aye-aye in the wild supported Fry's judgment of ugliness and fascination for the creature: ‘The aye-aye is beguiling, certainly bizarre, for some even a little revolting. And I say, long may it continue being so.’. (shrink)