The bulk of the literature on the relationship between art and morality is principally concerned with an aesthetic question: Do moral flaws with works of art constitute aesthetic flaws?1 Much less attention has been paid to the ways in which artworks can be morally flawed. There are at least three promising contenders that concern aesthetic education: Artworks can be morally flawed by endorsing immorality, corrupting audiences, and encouraging responses that are bad to have. When it comes to works of fiction, (...) the third suggestion requires what Allan Hazlett calls response moralism—the position that audience reactions to artworks can be morally bad.2 Here, I will put aside issues of aesthetic.. (shrink)

Recent technological innovation has made video doctoring increasingly accessible. This has given rise to Deepfake Pornography, an emerging phenomenon in which Deep Learning algorithms are used to superimpose a person’s face onto a pornographic video. Although to most people, Deepfake Pornography is intuitively unethical, it seems difficult to justify this intuition without simultaneously condemning other actions that we do not ordinarily find morally objectionable, such as sexual fantasies. In the present article, I refer to this contradiction as the pervert’s dilemma. (...) I propose that the method of Levels of Abstraction, a philosophical mode of enquiry inspired by Formal Methods in computer science, can be employed to formulate at least one possible solution to the dilemma. From this perspective, the permissibility of some actions appears to depend on the degree to which they are abstracted from their natural context. I conclude that the dilemma can only be solved when considered at low levels of abstractions, when Deepfakes are situated in the macro-context of gender inequality. (shrink)

Is it ever bad to take pleasure in the suffering of fictional characters? I think so. I attempt to show when and why. I begin with two powerful objections to my view: (1) engaging with fiction is akin to morally unproblematic autonomous fantasy, and (2) since no one is harmed, it is morally unproblematic. I reply to the objections and defend a Moorean view on the issue: It is intrinsically bad to enjoy evil, actual (past, present, or future) and merely (...) imagined. In support, I offer four examples. Then I argue against Moore's claim that it is equally bad to delight in fictional suffering as it is to enjoy actual suffering. Finally, I argue that even though it is bad to enjoy imagined suffering, the power of fiction is often mitigating. The moral problems are more often with the works of fiction than with the audience. (shrink)