The Ethical Question asks whether ethical values in artworks determine their aesthetic value and, if so, how. I argue that the question is ambiguous between a direct and an indirect reading. I show how the indirect reading is philosophically uninteresting because it has an obvious answer: a view called ‘immoralism’. I also show how most of the significant figures in the relevant literature address the indirect form of the question anyway—needlessly, if I am right. Finally, I consider whether some version (...) of the indirect question is more philosophically interesting, connecting it to the so-called ‘qua problem’. I attempt to give clarity to the discussion by applying work on the virtues and vices of explanations. (shrink)

According to immoralists, some artworks are better aesthetically in virtue of their immorality. A. W. Eaton recently offered a novel defence of this view, seeking to overcome shortcomings in previous accounts, thereby occasioning a reconsideration of immoralism. Yet, as I argue in this paper, Eaton’s attempt is unsuccessful, insofar as it consists partly of inadequately supported claims, and partly—and more interestingly, albeit paradoxically––of covert moralist assumptions that are, eo ipso, incompatible with immoralism. I then turn to a parallel debate in (...) ethics concerning the possibility of admirable immorality, suggesting that a consideration of the state of that debate further supports my argument against immoralism. I close by suggesting some strategies by which immoralists may offer a rejoinder, although I note that their prospects are rather dim, not least because available defences of immoralism and similar positions all seem to share the same flawed pattern. (shrink)

This chapter introduces the Special Issue and offers an overview of the corpus of work on the topic since the publication of Michael Walzer’s seminal article, ‘Political Action: The Problem of Dirty Hands’.

Moral luck – which seems to appear when circumstances beyond a person’s control influence our moral attributions of praise and blame – is troubling in that modern moral theory has supposed morality to be immune to luck. In business, moral luck commonly influences our moral judgments, many of which have economic consequences that cannot be reversed. The possibility that the chance intervention of luck could influence the way in which we assign moral accountability in business ethics is unsettling. This paper (...) argues that if we cannot explain moral luck away, we should give consideration to moral risk in our moral judgments and the associated assignment of economic rewards regarding episodes in which moral luck plays a role. (shrink)

The position of immoralism in analytic aesthetics and the philosophy of art holds that a work's moral defects can sometimes contribute to its artistic value. This position has suffered massive criticism in recent years. In support of immoralism, I present in this paper a new argument by examining immorality in the artistic genre of transgressive art. I argue that in the category of transgressive art, due to the nature of immorality that is a transgressive and liberating force against morality's authority, (...) being immoral can contribute directly to an artwork's artistic value by contributing to the realization of its artistic aim. (shrink)

It is doubtful that our age can lay claim to having formulated a significant moral ideal, but perhaps the most promising candidate is the ideal of pluralism. It involves rejection of the destructive quest for a summum bonum, and the growing recognition that the legitimate ends of life are many, that there is a wide variety of good and admirable lives, and that there is no blueprint drawn in heaven which would provide those who gained access to it with the (...) knowledge of how to live well. The implications of pluralism are many, and some of them are subversive of widely accepted values. The aim of this essay is to discuss one unsettling consequence of pluralism. Pluralism is a thesis about values, and it is part of this thesis that many values are incommensurable and conflicting. It is usual to interpret the plurality of incommensurable values, and the conflicts thereby produced, as obtaining within morality. Incommensurability is taken to hold between moral values, and the resulting conflicts are regarded as moral. Much has been written about this, and I do not propose to add to it. My interest is in discussing pluralism as it affects a particular type of conflict between moral and nonmoral values. Since it will be central to the discussion, I must now indicate what I mean by “moral” and “nonmoral” values. All values derive from benefits and harms to sentient beings, but I shall ignore other sentient beings here and concentrate on benefits and harms for human beings. (shrink)

Much has been written about the general moral duty to love one’s neighbors. In this article, I explore the specific application of this moral duty in the work setting. I argue from a secular perspective that individuals have the moral duty to love their stakeholders. Loving one’s stakeholders is an affective valuing of the stake-related values these stakeholders pursue and as such is the real recognition of one’s stakeholders as stakeholders and of oneself as a stakeholder of one’s stakeholders. This (...) moral concept of stakeholder love offers promising contributions to stakeholder theory, leadership theories, and ethical theories in general and business ethics theories in particular. (shrink)

What responsibilities do audiences have in engaging with artworks? Certain audience responses seem quite clear: for example, audiences should not vandalize or destroy artworks; they should not disrupt performances. This paper examines other kinds of resisting responses that audiences sometimes engage in, including petitioning the artist to change their works, altering copies of artworks, and creating new artworks in another artist’s fictional world. I argue for five claims: (1) while these actions can sometimes infringe on the rights of artists, the (...) rights of artists are not absolute; (2) the fact that such actions are based on mistaken interpretations of the artworks has no normative weight; (3) there can be reason to object to additions and alterations whose conception of the artwork is morally worse than the original (and so, there can be reason to support additions and alterations whose conception is morally better); (4) petitioning raises special moral problems; and, most important, (5) some of these actions are valuable because they involve creative and aesthetic activity. Those acts of audience resistance that are creative, morally improve on the original work, and that minimize the infringement of the artists’ rights are good, and should be encouraged. (shrink)

Is torturing innocent people ever morally required? I rebut responses to the ticking-bomb dilemma by Slote, Williams, Walzer, and others. I argue that torturing is morally required and should be performed when it is the only way to avert disasters. In such situations, torturers act with dirty hands because torture, though required, is vicious. Conversely, refusers act wrongly, yet virtuously, thus displaying admirable immorality. Vicious, morally required acts and virtuous, morally wrong acts are odd, yet necessary to preserve the ticking-bomb (...) dilemma’s phenomenology, the role of habituation in moral development, the virtue/continence distinction, and morality’s overridingness, consistency, and plausibility. (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)

Suppose, we could take a pill that would turn us into morally better people. Would we have a duty to take such a pill? In recent years, a number of philosophers have discussed this issue. Most prominently, Ingmar Persson and Julian Savulescu have argued that we would have a duty to take such a pill. In this article, I wish to investigate the possible limits of a duty to take moral enhancement drugs through investigating the related question of whether it (...) would be desirable to create a world populated entirely with morally perfect people. I argue, drawing on the work of Bernard Williams, Susan Wolf, and Michael Slote, that we have reason to be grateful that we do not live a world in which everyone is morally perfect, as this would prevent people from dedicating their lives to valuable nonmoral projects. I then argue that this thought should serve as a limitation on attempts to morally improve people through the use of technology. Finally, I explore the implications of this discussion for some of the less ambitious forms of moral enhancement currently being explored in the literature. I argue that these forms of enhancement give us no reason to worry about preventing valuable, morally imperfect ways of life. In fact, by acting as a shortcut to moral development, they might serve as an aid to help people fulfill valuable nonmoral goals in a way that is morally permissible. (shrink)

I provide an explanation of moral understanding. I begin by describing decisions, es- pecially moral ones. I detail ways in which deviations from an ideal of decision-making occur. I link deviations to characteristic critical judgments, e.g. being cavalier, banal, coura- geous, etc. Moral judgments are among these and carry a particular personal gravity. The question I entertain in following chapters is: how do they carry this gravity? In answering the question, I try “external” accounts of moral understanding. I distin- guish (...) between the ideas of a person and a life. The idea of a life essayed is of a network of relations to others. The character of those relations, e.g. friendship, is the object of our understanding of ourselves and our lives. I argue that one’s understanding of oneself conditions the context of decision-making. I elaborate one way of making moral under- standing answerable to truth using Plato’s metaphysics in the Philebus. Truth is valued and truth is essential to the independence of the moral such that seeming right and being right are distinct. However, truth is neither primary nor exhaustive of morality, because we have additional distinct resources for morally judging others. I turn instead to an “internal” account of moral understanding to answer the question regarding the personal gravity of moral criticism. Using Winch’s work on universalizabil- ity and fellowship, I argue that our conception of others must be sufficient to reflect their individuality within our moral understanding. Second, using Gaita’s work on remorse and the lucidity of self-reflection, I argue that the truth about ourselves and the wrong we do others can arrest and constrain our moral understanding and our authority. Moral understanding operates in a social milieu: argument, conversation and rational- ity. Arguments are grounded in meanings with primary (shared) sense, but solicit agree- ment in secondary sense—of what is similar, of what follows. Meaning in the secondary sense can be necessarily practical, creating practical necessities within points of view. Accounting for the consequences and understanding of disagreement is identified as pressing. An original contribution is the idea of critical authority. One’s articulation of moral meaning is controlled via the critical authority expressed using critical vocabulary. Accepting another’s critical authority is based, in differing domains, on our relation to them, e.g. friendship, trust, fellowship. The nature of inter-personal relations are delim- ited by the critical authority characteristic of those relations. Critical authority explains the independent and personal force of moral criticism. To be intelligible depends on accepting some critical authorities, though I allow for the intelligible repudiation of morality in some circumstances. Wronging someone is ex- plained as denying his critical authority, thus denying his relation to oneself, and thereby undermining his place in the moral world. The consequence of wrongdoing is the disinte- gration of the moral world. I defend against Nagel’s realism and Korsgaard’s constructivism. Both are committed to judging individuals but their accounts of morality undermine the intelligibility of the personal gravity of moral criticism. Developing the idea of Moral Consensus, I defend myself against the related charge of relativism. (shrink)

Intrinsic value has traditionally been thought to lie at the heart of ethics. Philosophers use a number of terms to refer to such value. The intrinsic value of something is said to be the value that that thing has “in itself,” or “for its own sake,” or “as such,” or “in its own right.” Extrinsic value is value that is not intrinsic.

Resumen En este artículo, muestro que la parcialidad debidamente justificada hacia nuestros seres queridos es parte del proyecto moral kantiano. A diferencia de los críticos que abogan que la imparcialidad del juicio obliga a no tener en cuenta las relaciones personales cuando se toman decisiones morales, defiendo la hipótesis de que un kantiano puede ser parcial con sus seres queridos, por razones tanto sistemáticas como textuales.In this article I show that duly justified partiality towards our loved ones is part of (...) the Kantian moral project. Unlike the critics who advocate a reading in which the impartiality of the judgment in this ethics forces not to take into account personal relationships when making moral decisions, I defend the hypothesis that a Kantian can be partial with his loved ones, this for systematic and textual reasons. (shrink)