This chapter offers an overview of issues posed by the problem of immoral artists, artists who in word or deed violate commonly held moral principles. I briefly consider the question of whether the immorality of an artist can render their work aesthetically worse (making connections to chapters in the Theory section of the handbook), and then turn to questions about what the audience should do and feel in response to knowledge of these moral failings. I discuss questions (...) such as whether audiences have reason not to purchase or consume work by these artists, whether their shows and exhibitions should be canceled, and how fans might grapple with the emotional turmoil they feel when artists whom they love act or speak in ways that are morally condemnable. (shrink)

The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we (...) should not always reflexively turn away from them. In turn, these responses reveal that moral value is not autonomous from aesthetic value, and neither dominates the other. The secondary aim of this chapter is to explore the ramifications of this revelation. I argue that, in addition to an ethics of media consumption, we need an aesthetics of media consumption that is fundamentally social rather than solitary. (shrink)

A dealbreaker, in the sense developed in this essay, is a relationship between a person's psychology and an aspect of an artwork to which they are exposed. When a person has a dealbreaking aversion to an aspect of a work, they are blocked from embracing the work's aesthetically positive features. I characterize dealbreakers, distinguish this response from other negative responses to an artwork, and argue that the presence or absence of a dealbreaker is in some cases an appropriate target of (...) moral evaluation. I then use the concept of dealbreakers to develop a new approach to the question of our moral obligations with respect to the work of immoral artists, arguing that there is no general obligation binding us to cultivate or eliminate a dealbreaking aversion to their work. I conclude by suggesting several other philosophical debates that could benefit from a focus on dealbreakers. (shrink)

Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for (...) the artists, which can lead to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons. (shrink)

I argue that biographical information is akin to other non-aesthetic, social, historical, or political information. As such, artist’s biographies are always relevant and important when interpreting art. While the meaning and value of a piece of art is not determined by any single piece of contextual information, neither is its meaning and value ever entirely separated from context. In some cases, however, a piece of art that is technically magnificent may be experienced as repugnant when the artist has committed egregious (...) acts. (shrink)

Bill Cosby’s immorality has raised intriguing aesthetic and ethical issues. Do the crimes that he has been convicted of lessen the aesthetic value of his stand-up and, even if we can enjoy it, should we? This article first discusses the intimate relationship between the comedian and audience. The art form itself is structurally intimate, and at the same time the comedian claims to express an authentic self on stage. After drawing an analogy between the question of the moral character of (...) comedians and the aesthetic value of their stand-up and the debate over the ethical criticism of art, this article argues that it is reasonable to find a comedian’s performance less funny, because stand-up’s artistic success relies on this intimacy. It contrasts the comedy of Bill Cosby with that of Louis C.K. C.K.’s moral flaws are much more present in his comedy, and it is therefore more difficult to find him funny. Last, it is ethically permissible to enjoy their comedy, if no harm to others results, both because it does not corrupt the audience’s character and because amusement is valuable. (shrink)

Does immorality necessarily involve irrationality? The question is often taken to be among the deepest in moral philosophy. But apparently deep questions sometimes admit of deflationary answers. In this case we can make way for a deflationary answer by appealing to dualism about rationality, according to which there are two fundamentally distinct notions of rationality: structural rationality and substantive rationality. I have defended dualism elsewhere. Here, I’ll argue that it allows us to embrace a sensible – I will not say (...) boring – moderate view about the relationship between immorality and irrationality: roughly, that immorality involves substantive irrationality, but not structural irrationality. I defend this moderate view, and argue that many of the arguments for less moderate views turn either on missing the distinction between substantive and structural rationality, or on misconstruing it. (shrink)

Non-naturalist realists are committed to the belief, famously voiced by Parfit, that if there are no non-natural facts then nothing matters. But it is morally objectionable to conditionalise all our moral commitments on the question of whether there are non-natural facts. Non-natural facts are causally inefficacious, and so make no difference to the world of our experience. And to be a realist about such facts is to hold that they are mind-independent. It is compatible with our experiences that there are (...) no non-natural facts, or that they are very different from what we think. As Nagel says, realism makes scepticism intelligible. So the non-naturalist must hold that you might be wrong that your partner matters, even if you are correct about every natural, causal fact about your history and relationship. But to hold that conditional attitude to your partner would be a moral betrayal. So believing non-naturalist realism involves doing something immoral. (shrink)

In a recent article, Krauss (2017) raises some fundamental questions concerning (i) what the desiderata of a definition of lying are, and (ii) how definitions of lying can account for partial beliefs. This paper aims to provide an adequate answer to both questions. Regarding (i), it shows that there can be a tension between two desiderata for a definition of lying: 'descriptive accuracy' (meeting intuitions about our ordinary concept of lying), and 'moral import' (meeting intuitions about what is wrong with (...) lying), vindicating the primacy of the former desideratum. Regarding (ii), it shows that Krauss' proposed 'worse-off requirement' meets neither of these desiderata, whereas the 'comparative insincerity condition' (Marsili 2014) can meet both. The conclusion is that lies are assertions that the speaker takes to be more likely to be false than true, and their distinctive blameworthiness is a function of the extent to which they violate a sincerity norm. (shrink)

Unlike other ethical arguments for veganism, the argument advanced is not predicated on the wrongness of speciesism, nor does it depend on your believing that all animals are equal or that all animals have a right to life, nor is it predicated on some highly contentious metaethical theory which you reject. Rather, it is predicated on your beliefs. Simply put, the argument shows that even those of you who are steadfastly committed to valuing humans over nonhumans are nevertheless committed to (...) the immorality of eating meat and other animal products, given your other beliefs. (shrink)

In the 5th century a number of sophists challenged the orthodox understanding of morality and claimed that practicing injustice was the best and most profitable way for an individual to live. Although a number of responses to sophistic immoralism were made, one argument, in fact coming from a pair of sophists, has not received the attention it deserves. According to the argument I call Immortal Repute, self-interested individuals should reject immorality and cultivate virtue instead, for only a virtuous agent can (...) win the sort everlasting reputation that makes a life truly admirable and successful. (shrink)

In contemporary Western moral philosophy literature that discusses the Chinese ethical tradition, it is a commonplace practice to use the Chinese term daode 道德 as a technical translation of the English term moral. The present study provides some empirical evidence showing a discrepancy between the terms moral and daode. There is a much more pronounced difference between prototypically immoral and prototypically uncultured behaviors in English (USA) than between prototypically bu daode 不道德 and prototypically bu wenming 不文明 behaviors in Mandarin (...) Chinese (Mainland China). If the Western concept of immorality is defined in contraposition to things that are matters of etiquette or conventional norms and thus tied to a more or less tangible moral / conventional distinction, then we are dealing with a different structure in Mandarin Chinese – the prototypically bu daode and bu wenming behaviors seem to largely overlap. We also discuss whether bu lunli 不倫理 and bu hefa 不合法 can be considered adequate candidates for translation of immorality and we answer in the negative. (shrink)

In this paper, I argue the practice of procreation is immoral regardless of the consequences of human presence such as climate change and overpopulation; the lack of consent, interests and moral desert on the part of nonexistent individuals means someone could potentially suffer in the absence of moral justification. Procreation is only morally justified if there is some method for acquiring informed consent from a non-existent person; but that is impossible; therefore, procreation is immoral.

In my article "Even if the fetus is not a person, abortion is immoral: The impairment argument" (this journal), I defended what I called “The impairment argument” which purports to show that abortion is immoral. Bruce Blackshaw (2019) has argued that my argument fails on three accounts. In this article, I respond to his criticisms.

In the realm of pixels and virtual spaces, the art of placemaking transcends physical confines, weaving a digital mosaic of voices and visions. Feminist digital placemaking emerges as a vibrant brushstroke on this canvas, painting online environments with the hues of inclusion, safety, and empowerment. The "Woman, Life, Freedom" movement in Iran, mirrored in the "Year of Hope" digital exhibition, showcases the transformative power of feminist digital placemaking in amplifying voices, knitting solidarity, and challenging oppressive narratives. The "Woman, Life, Freedom" (...) movement, sparked by the tragic demise of Mahsa (Jina) Amini, unfolds like a poignant narrative, with women scripting the chapters of resistance. This movement, a collage of courage and defiance, has found a digital stage in the "Year of Hope" exhibition, where each artwork tells a story, each pixel a testament to the unyielding spirit of Iranian women. (shrink)

Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their (...) work to their audience's appreciative capacities. What I call the steadfast stance recommends that activist artists have reason to use their privilege of artistic exceptionalism to challenge their audience's expectations, even if this leads to misunderstanding. I claim that a middle position that I call liberal conciliation best balances the demands for actual change placed on activism and the experimental means that artists bring to activism. (shrink)

Some argue that procreation is immoral due to its negative environmental impact. Since living an “eco-gluttonous” lifestyle of excessive resource consumption is wrong in virtue of the fact that it increases greenhouse gas emissions and environmental impact, then bringing another human being into existence must also be wrong, for exactly this same reason. I support this position. It has recently been the subject of criticism, however, primarily on the grounds that such a position (1) is guilty of “double-counting” environmental (...) impacts, and (2) that it over-generalizes to condemn other clearly permissible behaviors, such as saving lives, or certain instances of adoption and immigration. Here, I will defend the environmental argument against procreation from these criticisms. I will do this, first, under the assumption that our individual consumption and emissions cause significant harm. I will then address the problem of causal impotence, and argue that, even if our individual contributions to environmental problems ultimately make no difference to the amount of harm that occurs, procreation is still immoral for many, if not most, of those living in the developed world. (shrink)

This paper critically explores the ethical dimensions of Behavioral Public Policy (BPP), a domain grounded in the understanding that human rationality is bounded and that this limitation often leads to behaviors deemed irrational. By applying the behavioral lens, which posits that people operate under bounded rationality, BPP aims to craft interventions that safeguard individuals against their biases. However, this approach raises significant ethical concerns, both in the scientific underpinnings of BPP and its application through policy interventions. Accordingly, this paper examines (...) two distinct ethical dimensions of BPP, both as a scientific discipline and through its intervention methodologies. The analysis of the first dimension argues that, viewing bounded rationality as only instrumental in decision-making processes, risks oversimplifying ethical complexities. Such simplification may ignore the moral and value-based rationalities underlying decisions, potentially misattributing instances of immorality and akrasia (the failure to act according to one's judgment) to mere deficiencies in rational thinking. Secondly, the paper examines the impact of BPP on moral behavior and character development, addressing ethical concerns like the evidentiary basis of BPP research, the bounded rationality of choice architects themselves, and the morality of behavior changes induced by policy. Overall, this article provides a much-needed examination of the moral considerations associated with behavioral strategies in public policy and its epistemological foundations, contributing to a more comprehensive understanding of their ethical implications . (shrink)

The proposition that “promises ought to be kept is one of the most important normative ideas or value judgements in our daily lives. But what about “illegal promises”? That is to say, what about promises that are, legally or morally speaking, malum in se or inherently wrongful, such as voluntary exchanges that are inherently immoral or wrongful, like bribes, blackmail, murder, etc.? In short, what moral obligations, if any, do such promises impose? Although many of the greatest thinkers in (...) Western civilization have offered a wide variety of theories to explain the source of promissory obligations, it turns out there is a blind spot in this centuries-old conversation, for few theorists have given the problem of illegal or immoral promises any sustained thought. Nevertheless, illegal or immoral promises should be of theoretical interest to us because such promises may help us delimit the outer boundaries of promissory obligations. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that (...) in order to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are (...) also not disinterested or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

The history of philosophy is replete with attempts at invoking rationality as a means of directing and even subduing human desire and emotion. Understood as that which moves human beings to action, desire and emotion come to be associated with human freedom and rationality as a means of curbing that freedom. Plato, for instance, takes for granted a separation between thought and action that drives a wedge between our rational ability to exercise self-discipline and the free expression of desire and (...) emotion. Hobbes, on the other hand, replaces our internal ability for rational self-control with the external authority of the political State. So long as freedom and control are pitted against one another, human beings are incapable of attaining a symbiosis of these two elements of human action so essential to realizing true democracy. Unlike Plato, John Dewey sees in democracy the greatest potential for individual and social life. The purpose of this dissertation is to demonstrate how the educational philosophy of Dewey, which culminates in an educational aesthetic, appeals to and makes the most of the symbiosis of freedom and self-control, emotion and reason. Dewey’s educational aesthetic not only offers an alternative to traditional methods of education, but also demonstrates how the goal of a democratic way of life is made feasible by means of intelligently guided self-discipline—a form of self-control guided by intelligence that is not a constraint upon freedom, but instead embodies greater opportunity for freedom. I trace the basis for this synthesis, in the social-political and pedagogical principles of John Locke and Jean-Jacques Rousseau. Both Locke and Rousseau offer educational theories that begin turning our attention toward the essential partnership required of rationality and emotion. Dewey's educational aesthetic is then considered as a response to alienating forms of education that continue to pit control and freedom against one another, and which thwart the intellectual and emotional development necessary for autonomy and democratic forms of social organization. (shrink)

A plausible explanation of the wrongfulness of threatening, advanced most explicitly by Mitchell Berman, is that the wrongfulness of threatening derives from the wrongfulness of the act threatened. This essay argues that this explanation is inadequate. We can learn something important about the wrongfulness of threatening (with implications for thinking about coercion) by comparing credible threats to some other claims of impending harm. A credible bluff threat to do harm is likely to be more and differently wrongful than making intentionally (...) false warnings about other sources of harm. This essay surveys some examples to secure this point, shows that Berman's moralized account of their wrongfulness is wanting, and offers the outline of an approach better suited to explain the wrongfulness of threatening.1. (shrink)

Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one cultural (...) and one physical. Rather than having fixed ”natures” that remain stable for any purpose other than numerical identity, artworks and selves have ”careers” due to their cultural evolution that change with the course and flux of history, interpretation and reinterpretation. The question for this essay is how a Margolisian encultured artist, who is also an individual ”self," can construct an identifiable ”career” that is both from culture and develops culture constructively in a way that involves an individual, as well as collective, contribution. In answering this question I will provide a theory that shows how Margolis’ work on the artist as cultural agent leaves room for creative innovators within a cultural context. In short, I claim that Margolis’ idea that a person is a thinking-and-doing practitioner that emerges from and works within a cultural context does allow for the agent to use that same context to acquire the tools and skills necessary to make something new. I will then consider how this innovation might be possible by making recourse to some theories of creativity from neuroscience and psychology. This essay will focus on Margolis’ theory of the creative artist as cultural agent as supplemented with an account of the nature of the human being as a raw set of genetic materials and capacity for acquiring cultural competence. My claim is that this is the site for an adequate account of how some encultured persons are able to create exceptional innovations in artistic domains and others are not. I agree with Margolis that it is true that innovation is not possible by any pre- or non-encultured self but I also think that extremes of cultural mastery and innovation, as in the case of highly creative and innovative artists, are not possible without an inborn potentiality to develop to a high level of cultural ability under the right conditions. This is not to deny Margolis’ theory of artists as cultural agents. Indeed, I accept Margolis’ view of the deep importance of culture to the development of the self and to the creative artist wholeheartedly. I also agree that this is a crucial aspect of artistic agency and creativity that has been given short shrift in analytic aesthetics. My intention here is only to answer one question that is still left unanswered after understanding and acknowledging the importance of culture: How do we account for the disparity in ability in cultural agents and artists that cannot be attributed to cultural training and socio-historical factors? How do we account for the existence of the exceptionally creative artist in a situation where the cultural and socio-historical factors are roughly equivalent for others who demonstrate lesser amounts of creativity? (shrink)

What is it for a person to have style? Philosophers working in action theory, ethics, and aesthetics are surprisingly quiet on this question. I begin by considering whether theories of artistic style shed any light on it. Many philosophers, artists, and art historians are attracted to some version of the view that artistic style is the expression of personality. I clarify this view and argue that it is implausible for both artistic style and, suitably modified, personal style. In fact, (...) both theories of style crack along the same line, which suggests that they can indeed be mutually illuminating. I articulate and defend a view of personal style according to which, roughly, having style is a matter of expressing one’s ideals. I show how this illuminates the widely neglected value of personal style and propose a new, analogous theory of individual artistic style: artistic style is the expression of the ideals the artist has for her art. (shrink)

How does a coloured bird end up on a TUGboat? This is the story of an artist who studied philosophy and combined her skills in a PhD at the University of Amsterdam (NL). In order to write her dissertation, she had to learn the LaTeX typesetting programme. Many years later, she still makes art and still writes down her thoughts in LaTeX, with the Memoir class and XeLaTeX as first choice. Always trying to stretch the limits of the programme to (...) her convenience. -/- This essay is not a technical article written by a developer conjuring up ingenious innovations to the LaTeX programme. By contrast, it discusses the relationship between LaTeX, art (photography) and the concept of 'measurability' from the perspective of a philosophising artist. (shrink)

In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of artistic expression. Restricting (...) the discussion to the art of painting, I sketch a partial psychological model for the exrtistic expression of feelipression of feeling. Although the feeling-emotion contrast is seldom made clear in their writings, I stress that many, or even most of the eminent pre-1960’s voices in aesthetics and art criticism—Croce, Dewey, Langer, Bosanquet, Berenson and others—would more or less agree that feeling is no less important for expression than emotion, and indeed can be interpreted as anticipating many points that I set forth. (shrink)

Since its existence, art objects have always been different from other objects in terms of perception and interpretation and have preserved their mystery for both the artist and the audience. This mystery was tried to be supported by various theories by the artist and the audience, and defined and defined with concepts such as spiritual development, spirituality and intuition. There is an ambiguity especially regarding intuition. The concept of intuition seems to be trapped in a bridge between the physical world (...) and the superphysical world. The concept of intuition has been interpreted together with the teachings of Theosophy and Buddhism and turned into an educational theory in today's art-based studies. In our age, interpretations beyond reality are increasing and unfortunately faced with the danger of losing the ground of reality. Art is a type of knowledge and knowing. Due to this feature, the compatibility of surreal discourses with this type of knowledge is discussed in this article, and on the other hand, it is tried to show how concepts such as synesthesia and intuition become possible on the basis of reality, based on the artistic experiences of world-famous artists. (shrink)

What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of something intrinsically (...) negative. The second part emphasizes the importance of various distinctions within the realm of the negative. We must distinguish between adversity (which is non-mental) and negative mental states, and between negative thoughts (or attitudes) and negative affect. Within the realm of negative affect, we must distinguish between negative emotions and moods, on the one hand, and negative affective perspectives on the other, and then between mildly negative affective perspectives and severely negative ones (for which I reserve the term ‘suffering’). These distinctions matter greatly, since different types of negative experience have very different degrees of prudential disvalue. Although many types of negative experience may be “worth it”—because their positive extrinsic value outweighs their negative value—this is rarely true of severe suffering. (shrink)

Having positive moral traits is central to one’s sense of self, and people generally are motivated to maintain a positive view of the self in the present. But it remains unclear how people foster a positive, morally good view of the self in the present. We suggest that recollecting and reflecting on moral and immoral actions from the personal past jointly help to construct a morally good view of the current self in complementary ways. More specifically, across four studies (...) we investigated the extent to which people believe they have changed over time after recollecting their own moral or immoral behaviors from the personal past. Our results indicate that recollecting past immoral actions is associated with stronger impressions of dissimilarity and change in the sense of self over time than recollecting past moral actions. These effects held for diverse domains of morality (i.e., honesty/dishonesty, helping/harming, fairness/unfairness, and loyalty/disloyalty), and they remained even after accounting for objective, calendar time. Further supporting a motivational explanation, these effects held when people recollected their own past actions but not when they recollected the actions of other people. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a replacement of (...) the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (shrink)

This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level.

Much of the discussion surrounding the ethics of abortion has centered around the notion of personhood. This is because many philosophers hold that the morality of abortion is contingent on whether the fetus is a person - though, of course, some famous philosophers have rejected this thesis (e.g. Judith Thomson and Don Marquis). In this article, I construct a novel argument for the immorality of abortion based on the notion of impairment. This argument does not assume that the fetus is (...) a person - indeed, I concede (for the sake of argument) that the fetus is not a person - and hence the morality of abortion is not contingent on whether the fetus is a person. I finish by answering a plethora of objections to my argument, concluding that none of them are successful. (shrink)

Technical reproduction in general, and photography in particular have changed the status and practices of art. Similarly, the expansion of Web 2.0 interactive spaces presents opportunities and challenges to artistic communities. Present study focuses on artistic activism: socially sensitive artists publish their creation on the internet on its most interactive space – social media. These artworks carry both artistic and social messages. Such practices force us to reinterpret some elements of the classical art paradigm: its autonomy, authorship, uniqueness (as (...) opposed to copies and series), and the social role of art. The analysis is aimed at Hungarian and Romanian online artistic projects from Transylvania region of Romania, relevant as intercultural communication endeavours. Our research question is the way they differ from the traditional artistic paradigm. (shrink)

How should academics respond to the work of immoral intellectuals? This question appears to be one that is of increasing concern in academic circles but has received little attention in the academic literature. In this paper, we will investigate what our response to immoral intellectuals should be. We begin by outlining the cases of three intellectuals who have behaved immorally or at least have been accused of doing so. We then investigate whether it is appropriate to admire an (...) immoral person for their intellectual contributions. We will argue that such admiration can be a fitting response to the intellectual achievements of an immoral person but only if the person has indeed done something important. However, we then identify two moral reasons against openly admiring immoral intellectuals. First, that such admiration may give the appearance of condoning the immoral acts of the intellectual. Second, that such admiration may lead to emulation of the intellectual’s problematic ideals. This may be enough to persuade us of the moral reasons to avoid engaging with the work of unimportant and easily replaceable intellectuals in our research and our teaching. However, for more important intellectual figures we have weighty educational reasons to cite them and include them in our courses. This leads to a tension, which we attempt to resolve by proposing ways to accommodate the moral reasons against admiring immoral intellectuals and the intellectual reasons to include them in our courses, though we conclude on the pessimistic note that this tension may not be entirely resolvable. (shrink)

We are living in an increasingly complex world. How are we able to cope with this complexity and the difficulties that arise from it? Can philosophy and art, classified as the two utmost useless and pointless disciplines, have any (positive) influence on the urgent and pressing problems at hand? And, related to this, if the two have more than just their uselessness in common, how, then, are philosophy and art related? In this article, I will argue that although ‘useless’ disciplines (...) such as philosophy and art have no direct influence on our complex world, they are nonetheless the most important ones, because those working within them practice their insights in an indirect way. Indirect influence may take a little longer, but the impact is much stronger, affecting our thinking and our attitudes from within, as it were. This indirect approach has everything to do with the sort of questions philosophers and artists occupy themselves with. I will show how both address, albeit each in their own way, fundamental questions, and thereby make use of thought experiments. Intuition and imagination play a decisive part in the creative processes that are involved in thought experiments and thinking. It is argued that we all are able to learn a ‘delayed unconscious thinking’ that leads to an artistic attitude; one that will activate an artistic turn. (shrink)

This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.

In this essay, I briefly review ten of the best bio flicks of artists. After laying out my criteria for assessing biographical films about artists, I review my ten choices. These films are: The Agony and the Ecstasy; Frida; Local Color; The Moon and Sixpence; Girl with the Pearl Earring; Pollock; Rembrandt; Moulin Rouge; Modigliani; and Lust for Life. For each film, I try to explain the ways in which the directors were able to show the artist’s creative (...) processes and personal challenges. (shrink)

The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The approach adopted in this (...) paper is as follows. First, I say what creativity is and what an artistic merit is. Second, I identify reasons to doubt that creativity is an artistic merit. A good explanation of the merit of creativity should address these doubts. Third, I develop a theory of artistic merit that appeals to the final value of acting excellently – for example, virtuously or skilfully. Finally, I argue that this enables us to explain why creativity is an artistic merit. This account also enables us to argue that artistic merits give some things final value, and not merely instrumental value. It also provides reason to believe that ethical qualities of artworks enhance their artistic merit for the same reason creativity does. (shrink)

Henry Molaison, aged eighty-two, died at the end of 2008, and just after noon on exactly the first anniversary of his death, December 2, 2009, scientists began slicing his brain into 2,500 tissue samples. Known primarily in his lifetime as only H.M., he left his brain to science so that it could be dissected and digitally mapped – a gift much beloved by many scientists. An amnesiac in life, H.M. first rose to prominence in 1962 when Dr. Brenda Milner, a (...) pioneer in the field of neuropsychology, demonstrated that though H.M. was severely amnesic and could not remember past activities, he could nevertheless learn certain habits. The experiment involved the now famous mirror drawing. This article, written by a philosopher/artist and a neuroscientist/neuroaesthetician, argues that artists are unable to verbally articulate thoughts about their own art practice for reasons similar to why H.M. could not. All memories are not stored in the same part of the brain. Different categories of memories i.e., semantic memory or procedural memory, are stored in different parts of the brain. We argue that the procedural memory is not readily accessible to semantic memory. (shrink)

This article is basically an artist's statement published in connection with a major interdisciplinary art project currently in development (completion date estimated to be 2020).

Since 1900, debates about the justification of punishment have also been debates about the cause of crime. In the early twentieth century, the rehabilitative ideal of punishment viewed mental illness and dysfunction in individuals as the cause of crime. Starting in the 1970s, retributivism identified the immorality of human agents as the source of crime, which dovetailed well with the “tough-on-crime” political milieu of the 1980s and 1990s that produced mass incarceration. After surveying these historical trends, Wirts argues for a (...) social critical view that crime is best understood as a product of an unjust society, not faulty human beings. This view should take the lessons learned by the critiques of rehabilitation, however, and resist the tendency to reduce human beings to recipients of social services. (shrink)

When fat people are depicted in popular media, we often take their behavior to be representative of all fat people. How one fat person acts becomes representative of a broader pattern of behavior that all fat people are presumed to share, shaping the way we understand fatness. This way of generalizing presents fatness as a singular experience, reducing fat people to a monolithic narrative that often reinforces anti-fat bias. How do we avoid this reduction? How can we responsibly depict fat (...) characters without perpetuating negative stereotypes about real fat people? Using the case of “Fat Thor” from Avengers: Endgame, I propose the beginnings of an account of responsible artistic agency which can be used to improve the ways that marginalized communities are depicted in art, with a particular focus on fat communities. Central to this account are two features: inclusion of and deference to members of the communities depicted from a variety of backgrounds throughout the production process, and mindfulness of the preexisting narrative web built around the communities depicted. I will use this discussion to highlight the need for a drastic shift in how we consider marginalized populations in art—in reimagining both who tells their stories, and what stories are told on their behalf. (shrink)

In cases in which we must choose between either (i) preventing a woman from remaining unwillingly pregnant or (ii) preventing a fetus from being killed, we should prevent the fetus from being killed. But this suggests that in typical cases abortion is wrong: typical abortions involve preventing a woman from remaining unwillingly pregnant over preventing a fetus from being killed. So abortion is typically wrong—and this holds whether or not fetuses are persons.

In recent years numerous questions were raised about the morality of killing and eating animals. Do animals have right to live and not made to suffer? Should people stop eating animal meat? Should laws be enacted to protect animal rights? This essay suggests the following two theses. 1) Animal rights arguments are not logically conclusive; 2) Someone may develop reasons in the future, but for now, there is no morally compelling reason to stop eating animal meat. I shall address various (...) major arguments for animal rights and their weaknesses. (shrink)