Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art and (...) philosophy and in the claim that aesthetics is a central area of philosophy. First of all, it is worth noting that, even if the philosophy of art has not played a role in the systems of all the indisputably great philosophers, or even of most of them, it has occupied an important place in the thought of quite a few, among them Plato, Aristotle, Hume, Kant, Schopenhauer, Nietzsche, Hegel and Sartre. And a good number of philosophers of lesser rank—including Croce, Collingwood, Dewey, Bergson, Santayana, Gadamer and, evidently, Schelling, also had a philosophy of art; one finds them perhaps more interested in it than in, say, ethics. Why this natural, even if not inevitable, link between philosophy and art? (shrink)

Hypocrites are often thought to lack the standing to blame others for faults similar to their own. Although this claim is widely accepted, it is seldom argued for. We offer an argument for the claim that nonhypocrisy is a necessary condition on the standing to blame. We first offer a novel, dispositional account of hypocrisy. Our account captures the commonsense view that hypocrisy involves making an unjustified exception of oneself. This exception-making involves a rejection of the impartiality of morality and (...) thereby a rejection of the equality of persons, which we argue grounds the standing to blame others. (shrink)

This article advances and defends three claims: that the proper ethical criticism of environmental art requires a production-oriented approach-an approach that appraises the ethical merits or flaws of the work in terms of how the artwork is created as well as the consequences of its creation; that, depending on contextual factors, ethical flaws in environmental artworks may, but do not necessarily, constitute aesthetic flaws in those works; that, because environmental artworks appropriate part of the environment as an aspect of their (...) identity, an aesthetic flaw in an environmental artwork necessarily also creates aesthetic disvalue in the environment-disvalue that exists in virtue of the creation of the artwork. I conclude with one further, more speculative claim, which deserves further investigation: the aesthetic flaws of an environmental artwork, which result in aesthetic flaws in the natural environment itself, are always ethical flaws of the artwork. This seems to make environmental art distinctive; in the case of non-environmental art, aesthetic flaws do not necessarily constitute ethical flaws. (shrink)

Researchers in moral psychology and social justice have agreed that morality is about matters of harm, rights, and justice. On this definition of morality, conservative opposition to social justice programs appears to be immoral, and has been explained as a product of various non-moral processes such as system justification or social dominance orientation. In this article we argue that, from an anthropological perspective, the moral domain is usually much broader, encompassing many more aspects of social life and valuing institutions as (...) much or more than individuals. We present theoretical and empirical reasons for believing that there are five psychological systems that provide the foundations for the world’s many moralities. The five foundations are psychological preparations for detecting and reacting emotionally to issues related to harm/care, fairness/reciprocity, ingroup/loyalty, authority/respect, and purity/sanctity. Political liberals have moral intuitions primarily based upon the first two foundations, and therefore misunderstand the moral motivations of political conservatives, who generally rely upon all five foundations. (shrink)

_The Ethics of Cultural Appropriation_ undertakes a comprehensive and systematic investigation of the moral and aesthetic questions that arise from the practice of cultural appropriation. Explores cultural appropriation in a wide variety of contexts, among them the arts and archaeology, museums, and religion Questions whether cultural appropriation is always morally objectionable Includes research that is equally informed by empirical knowledge and general normative theory Provides a coherent and authoritative perspective gained by the collaboration of philosophers and specialists in the field (...) who all participated in this unique research project. (shrink)

In this paper, I argue that in at least some interesting cases, the moral value of a narrative work depends on the aesthetic properties of that artwork. It does not follow that a work that is aesthetically bad will be morally bad (or that it will be morally good). The argument comprises four stages. First I describe several different features of imaginative engagement with narrative artworks. Then I show that these features depend on some of the aesthetic properties of those (...) works. Third, I argue that these same features of imaginative engagement are morally salient, by virtue of inviting more or less sophisticated and reflective moral responses. Finally, I show that the overall moral value of an artwork depends in part on whether or not the prescribed response is simple or complex, passive or reflective. (shrink)

Artistic Creation and Ethical Criticism investigates an idea that underpins the ethical criticism of art but is rarely acknowledged and poorly understood - namely, that the ethical criticism of art involves judgments not only of the attitudes a work endorses or solicits, but of what artists do to create the work. The book pioneers an innovative production-oriented approach to the study of the ethical criticism of art, one that will provide a refined philosophical account of this important topic as well (...) as conceptual tools that can guide future philosophizing and criticism. (shrink)

This study experimentally tests a theoretical framework for moral judgment in politics, which integrates two research traditions, Domain-Theory and Sentimentalism, to suggest that moral judgment is bidimensional, with one dimension pertaining to harm and the other to moral emotions. Two experiments demonstrate that priming harm associations and the moral emotion of disgust prior to a political issue facilitates moral conviction on the political issue as well as a harsher moral judgment compared to no-prime and to nonmoral emotional and cognitive negative (...) primes. In addition, harm cues and disgust, but not sadness or damage, interact with the preexisting attitude toward the political issue in affecting moral conviction. (shrink)

This paper argues that debates over art exhibitions that make use of live animals, such as the Guggenheim Museum's 2017 Art and China After 1989: Theater of the World, are reflective of a schism between two general approaches to the ethico-political criticism of art. One of these approaches, the interpretation-oriented approach, is dominant in the art world and its adjacent institutions. The other, the production-oriented approach, is tacitly adopted by art-interested non-specialists. This rift explains why the use of animals in (...) contemporary art—a practice that many art-interested people outside of the art world find bizarre and prima facie unethical—is so rarely discussed critically within art world institutions such as museums and journals. In an attempt to redress this oversight, the paper argues that the production-oriented approach is not only conceptually sound, but rationally preferable to the interpretation-oriented approach in many such cases. (shrink)