You are creditworthy for φ-ing only if φ-ing is the right thing to do. Famously though, further conditions are needed too – Kant’s shopkeeper did the right thing, but is not creditworthy for doing so. This case shows that creditworthiness requires that there be a certain kind of explanation of why you did the right thing. The reasons for which you act – your motivating reasons – must meet some further conditions. In this paper, I defend a new account (...) of these conditions. On this account, creditworthiness requires that your motivating reasons be normative reasons, and that the principles from which you act match normative principles. (shrink)

Someone acts in a morally worthy way when they deserve credit for doing the morally right thing. But when and why do agents deserve credit for the success involved in doing the right thing? It is tempting to seek an answer to that question by drawing an analogy with creditworthy success in other domains of human agency, especially in sports, arts, and crafts. Accordingly, some authors have recently argued that, just like creditworthy success in, say, chess, playing the piano, or (...) archery, creditworthy moral success is a matter of getting things right by way of manifesting a relevant skill. My main aim in this paper is to bring out an important structural difference between moral creditworthiness and creditworthiness in sports, arts, and craft, undermining attempts to use examples of the latter as a model for understanding the former. As an alternative, I propose an account of morally creditworthy action, according to which such action is a matter of manifesting virtue, not skill—a claim that's based on an important, but underappreciated, difference between the sorts of excellences constituting virtues and skills. The paper thus contributes to a more nuanced picture of normative achievements across different domains of human agency, highlighting largely overlooked structural dissimilarities among them. (shrink)

This paper defends an account of moral worth. Moral worth is a status that some, but not all, morally right actions have. Unlike with merely right actions, when an agent performs a morally worthy action, she is necessarily creditworthy for doing the right thing. First, I argue that two dominant views of moral worth have been unable to fully capture this necessary connection. On one view, an action is morally worthy if and only if its agent is motivated by the (...) features of the action that make it right. On the other, an action is morally worthy if and only if its agent is motivated by the action’s rightness itself. Neither of these views captures the connection between moral worth and creditworthiness, because each view leaves room for cases of accidentally doing the right thing. Next, I develop a new account, which I call the Guise of Moral Reasons Account. On my account, morally worthy actions are right actions that are motivated by moral reasons as such. This account rules out cases of accidentally doing the right thing, thus capturing the necessary connection between moral worth and creditworthiness for doing the right thing. (shrink)

Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...) (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)