This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic (...) value is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.

In this book, McMahon argues that a reading of Kant’s body of work in the light of a pragmatist theory of meaning and language leads one to put community reception ahead of individual reception in the order of aesthetic relations. A core premise of the book is that neo-pragmatism draws attention to an otherwise overlooked aspect of Kant’s "Critique of Aesthetic Judgment," and this is the conception of community which it sets forth. While offering an interpretation of Kant’s aesthetic theory, (...) the book focuses on the implications of Kant’s third critique for contemporary art. McMahon draws upon Kant and his legacy in pragmatist theories of meaning and language to argue that aesthetic judgment is a version of moral judgment: a way to cultivate attitudes conducive to community, which plays a pivotal role in the evolution of language, meaning, and knowledge. (shrink)

Excerpt from Science and Ethics: Being a Series of Six Lectures Delivered Under the Auspices of the Natural Law Research League And abroad (germany, France, America, but although within the circumscribed limits of these lectures I have not. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst (...) repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Art has not always had the same salience in philosophical discussions of ethics that many other elements of our lives have. There are well-defined areas of "applied ethics" corresponding to nature, business, health care, war, punishment, animals, and more, but there is no recognized research program in "applied ethics of the arts" or "art ethics." Art often seems to belong to its own sphere of value, separate from morality. The first questions we ask about art are usually not about its (...) moral rightness or virtue, but about its beauty or originality. However, it is impossible to do any serious thinking about the arts without engaging in ethical questions. (shrink)

This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume include: Can (...) art be morally enlightening and, if so, how? If a work of art is morally better does that make it better as art? Is morally deficient art to be shunned, or even censored? Do subjects of artworks have rights as to how they are represented? Do artists have duties as artists and duties as human beings, and if so, to whom? How much tension is there between the demands of art and the demands of life? (shrink)

In Third Digital Documentary: A Theory and Practice of Transmedia Arts Activism, Critical Design and Ethics Anita Chang offers a theory and methodology of transmedia arts activism within the technocultural and sociopolitical landscape of expanded documentary production, distribution, reception and participation. Through a detailed analysis of her transmedia project on indigenous and minority language endangerment and revival that consists of the feature-length documentary Tongues of Heaven, and the companion web application Root Tongue: Sharing Stories of Language Identity and Revival, she (...) reveals the layers and depths that comprise a critical arts practice when confronted with complex sociopolitical issues while working with multiple communities across territorial/national boundaries. In the context of the growing field of transmedia documentaries, Chang discusses the potentials and benefits of a critical design practice and production ethics that can transform this field to pilot new collaborations in documentary and digital media platforms towards a third digital documentary. (shrink)

_Art and Morality_ is a collection of groundbreaking new papers on the theme of aesthetics and ethics, and the link between the two subjects. A group of distinguished contributors tackle the important questions that arise when one thinks about the moral dimensions of art and the aesthetic dimension of moral life. The volume is a significant contribution to philosophical literature, opening up unexplored questions and shedding new light on more traditional debates in aesthetics. The topics explored include: the (...) relation of aesthetic to ethical judgement; the relation of artistic experience to moral consciousness; the moral status of fiction; the concepts of sentimentality and decadence; the moral dimension of critical practice, pictorial art and music; the moral significance of tragedy; and the connections between artistic and moral issues elaborated in the writings of central figures in modern philosophy, such as Kant, Schopenhauer and Nietzsche. The contributors share the view that progress in aesthetics requires detailed study of the practice of criticism. This volume will appeal both to the philosophical community and to researchers in areas such as literary theory, musicology and the theory of art. (shrink)

To "look good" and to "be good" have traditionally been considered two very different notions. Indeed, philosophers have seen aesthetic and ethical values as fundamentally separate. Now, at the crossroads of a new wave of aesthetic theory, Marcia Muelder Eaton introduces this groundbreaking work, in which a bold new concept of merit where being good and looking good are integrated into one.

The book analyzes the intertwining of aesthetics and ethics in experiences characterized by a break of representational capabilities, such as encounters with nature and art. It also notes that the prerequisite for such an experience concerns expectations and authenticity, and the aftermath engenders wonderment and sublimity, as a common root to aesthetic and ethics. Various philosophical positions and interpretation and contextualization of material is achieved via sections with art examples.

Abstract In this paper I suggest a way that an already promising view on ethical art criticism can account for the value of mediocre artworks which endorse morally commendable perspectives. In order for the view I call prescriptive ethicism to deal with such cases of critical ambivalence, it must take account of the interaction between moral content and form in art. Such interaction is seen in the way the aesthetic features of an artwork partly determine its moral (...) value, or success in providing ethical insight. I argue that if a work lacks the kind of moral value which is determined by the interaction between form and content, then we have little reason to engage with that work. When a work expresses an otherwise commendable moral attitude in a clumsy or trite manner, while it is clearly compromised aesthetically, it is also compromised ethically. For such a work forfeits the ability to reveal new aspects of ethical life. (shrink)

This book reconsiders the relationship between aesthetics and theological ethics. The primary question it seeks to answer is whether artistic creativity is a morally relevant activity. Drawing on the work of Jonathan Edwards and Thomas Aquinas, Choi argues that the arts are the cultural medium through which we can better understand what is morally possible, and that aesthetic objects can serve as snapshots of a particular community's perspectives on the good life. Art, in other words, offers glimpses not only into (...) competing moral visions within society but also the extent to which these contested moral views are understood. The arts, in Choi's view, provide a way of assessing the limits and possibilities of moral reasoning, the contextuality of moral discernment, and the need for moral thinking that is dialogical and dialectical. (shrink)

This volume celebrates the work of Laszlo Zsolnai, a leading researcher and scholar in the field of the ethical and spiritual aspects of economic life, who has made significant contributions to the connection between ethics, spirituality, aesthetics and economic theory. The book offers a selection of essays concerned with the ethical, spiritual and aesthetic context within which economics as a social studies discipline should be situated in order to avoid the sort of dehumanising consequences that theories based on (...) utility maximisation and rational choice necessarily entail. It presents the economic activities of human beings not as some sort of preordained obedience to universal laws that operate independently of other human concerns, but, rather, as a part of the human desire for the Aristotelian good life. It looks at the various considerations –moral, spiritual and aesthetic – that take part in the formation of economic decisions in sharp contrast with theories that purport to explain economic phenomena solely on the basis of utility maximisation. (shrink)

Images and Power: Rock Art and Ethics addresses the distinctive ways in which ethical considerations pertain to rock art research within the larger context of the archaeological ethical debate. Marks on stone, with their social and religious implications, give rise to distinctive ethical concerns within the scholarly enterprise as different perceptions between scholars and Native Americans are encountered in regard to worldviews, concepts of space, time, and in the interpretation of the imagery itself. This discourse addresses issues (...) such as the conflicting paradigms of oral traditions and archaeological veracity, differing ideas about landscapes in which rock art occurs, the intrusion of "desired knowledge", and how the past may be robbed by changing interpretations and values on both sides. Case studies are presented in regard to shamanism and war-related imagery. Also addressed are issues surrounding questions of art, aesthetics, and appropriation of imagery by outsiders. Overall, this discourse attempts to clarify points of contention between Euro-American scholars and Native Americans so that we can better recognize the origins of differences and thus promote better mutual understanding in these endeavors."--Publisher's website. (shrink)

"This book addresses the apparent contradiction in moral condemnation of good artworks.

The aim of this paper is to defend the position that aesthetics and ethics in sport are not two separate domains or aspects. In sport, the aesthetic and the ethical both arise from sport’s attractiveness or from the pleasure sport offers to its activists and consumers. To think about sport philosophically, we should find a link and a principle beyond this division as a source of both the aesthetic and the ethical in sport. The philosophy and philosophical sociology (...) of Jean-Marie Guyau is presented as a response to this problem. Two points of fundamental importance are considered critically here: his criticism of any reductionism, and life or the idea of life as key principle of a philosophical system which puts ethics and aesthetics together. (shrink)

Scatological shock-merchants, untrained social workers, conflict-zone tourists: from a certain standpoint the relationship between contemporary art and ethics involves a string of negative conjunctions. At their center stands the artist, whose personality and intentions often serve as an ethical measure of the work. This book operates on the basis of a different premise: that artworks themselves have ethical effects, and looking at these effects can tell us about wider processes of social change. As the first full-length study of (...) its kind to outline a positive vision of the ethics of contemporary art, this book distances itself from previous accounts that focus on transgression. The critique of transgressive art is not made on the basis that it is wrong, but that it no longer succeeds on its own terms in societies where language, prohibition and morality are more plastic than they once were. By drawing on the work of Félix Guattari and Jacques Lacan, the book develops a novel theoretical framework that emphasizes the effect of art on subjectivity. Along the way artworks by Kader Attia, Artur Zmijewski, Dora Garcia and others serve as springboards launching discussions of the varied pathways along which a renewed ethics of contemporary art might develop. (shrink)

The article considers the issues of modern German political philosophy in accordance with its formation, institutionalization and development. Germany’s political philosophy is analyzed in terms of its interaction with social and practical philosophy. The text states that political philoso- phy belongs to both social philosophy and political science. As a political theory, it is a compo- nent of social theories institutionalized in the modern era. As a political philosophy, it appears as a metatheory of political theory. Political philosophy is also (...) part of practical philosophy, exploring the problems of interaction between ethics and politics and the moral reclamation of the political system of modern society. These issues are themed in the context of the institution- alization of this discipline in the early twentieth century, its transformation into a political reli- gion during National Socialism, the revival after World War II, as well as actualization in such areas of socio-humanitarian sciences as discourse philosophy, functional-system theory of so- ciety, etc. according to the political situation of modern Germany. (shrink)

"The boundary of a contemporary art object or project is no longer something that exists only in physical space; it also exists in social, political, and ethical space. Art has opened up to transnational networks of producers and audiences, migrating into the sphere of social and distributive systems, whether in the form of “relational aesthetics” or other critical reinventions of practice. Art has thus become increasingly implicated in questions of ethics. In this volume, artist and writer Walead Beshty evaluates (...) the relation of ethics to aesthetics, and demonstrates how this encounter has become central to the contested space of much recent art. He brings together theoretical foundations for an ethics of aesthetics; appraisals of art that engages with ethical issues; statements and examples of methodologies adopted by a diverse range of artists; and examinations of artworks that question the ethical conditions in which contemporary art is produced and experienced. (shrink)

The (im)moral character of art works often affects how we respond to them. But should it affect our evaluation of them as art? The article surveys the contemporary debate whilst outlining further lines of argument and enquiry. The main arguments in favour of aestheticism, the claim that there is no internal relation between artistic value and moral character, are considered. Nonetheless the connection between art's instructional aspirations and artistic value, as well as the ways in which works solicit (...) responses from us, underwrite the claim that a work's moral character can be directly relevant to a work's value as art. Various competing accounts of how the relationship goes, ethicism, moderate moralism and immoralism, are considered. The article goes on to elaborate novel considerations in favour of a suitably qualified cognitive immoralism and suggests avenues of further enquiry with respect to the moral character of art works. (shrink)

The author starts from the traditional American notion that technology might offer a way to decrease the horror and suffering of warfare. He points out that historically this assumption is flawed in that past technological advances, from gunpowder weapons to bombers, have only made warfare more--not less--bloody. With a relentless logic, Colonel Dunlap takes to task those who say that the Revolution in Military Affairs has the potential to make war less bloody. He covers the technological landscape from precision-guided munitions (...) and Information Warfare to the use of space for military operations to raise issues that could pose difficult ethical, legal and moral problems for statesmen and soldiers. Some of these conundrums are so confounding that the author could claim that in all humility his only purpose was to raise these issues to prompt debate. But Colonel Dunlap takes the next step to outline several broad thematic avenues that may help us all address the difficult problems that lie ahead. (shrink)

Because of his preoccupation with the formal aspects of music and literature, Theodor W. Adorno is often regarded as the most aesthetically oriented thinker of the Frankfurt School theorists. It is Adorno’s perceived commitment to aestheticism—the study of art for art’s sake and the study of art as a source of sensuous pleasure, rather than as a vehicle for culturally constructed morality or meaning—that many scholars have criticized as hostile to genuine, concrete, substantive political, social, and ethical engagement with (...) the arts. _Adorno and Ethics_—the first issue of _New German Critique_ to be published by Duke University Press—takes issue with Adorno’s critics. These essays reconsider Adorno’s unique brand of aestheticism, revealing a “politics of aestheticism” and exploring the political and ethical dimensions of his writings. One contributor links the ethical turn taken in Adorno criticism with related developments in American poetry and poetics. Another examines Adorno’s aphorism “Gold Assay” for the ways in which it anticipates one of his seminal works, _The Jargon of Authenticity_. Focusing on Auschwitz and the testimony of its survivors, one contributor explores the impact of the Holocaust on modern philosophy and reason, a relationship that he argues Adorno never specified. Another contributor considers the figure of the animal in the writings of Kant, Adorno, and Lévinas, exploring what it might mean to live, as Adorno suggests, as “a good animal.” _Contributors_. J. M. Bernstein, Detlev Claussen, Samir Gandesha, Alexander García Düttmann, Christina Gerhardt, Martin Jay, Robert Kaufman, Michael Marder, Gerhard Richter. (shrink)

The ethics of care, developed in early 1980s within feminism as a critique on the biases of neokantian ethics, is 40 years old. This book presents its key insights, the developments and debates over the years and the challenges care ethics faces. Internationally renown scholars from various continents have contributed, a clear sign that care ethics has spread over the globe. The key insights regard issues close by, care from person to person, but also at an institutional level and questions (...) of global impact. Vulnerability and relationality are examples of these insights. What can caring practices, ranging from social welfare to palliative care, learn from care ethics? Has care ethics had an impact on ethics at large and what is its future? (shrink)

Someday soon (if it hasn't happened in secret already), a human will be cloned, and mankind will embark on a scientific and moral journey whose destination cannot be foretold. In Copycats: The Science and Ethics of Cloning, Arlene Judith Klotzko describes the new world of possibilities that can be glimpsed over the horizon. In a lucid and engaging narrative, she explains that the technology to create clones of living beings already exists, inaugurated in 1996 by Dolly the sheep, the (...) first mammal cloned from a single adult cell. Dolly is the culmination of a long scientific quest to understand the puzzle of our development from one cell into a complex organism--the outcome of a "fantastic experiment" envisioned six decades before her birth. Scientists have since cloned mice, cows, goats, pigs, rabbits and cats. Using the same laboratory tools and techniques, they are trying to grow an embryo, cloned from a single cell of a human being. Their goal is not to make copies of existing people, but to design therapies for currently untreatable diseases and the afflictions of old age. Our fascination with cloning is about much more than science and its extraordinary medical implications. In riveting prose, full of illusions to art, music and the cinema, Klotzko shows why the prospect of human cloning triggers our dearest hopes and especially our darkest fears, forcing us to ponder anew what it means to be human. And what it would be like to have "a clone of your own.". (shrink)

From the 1970s to the early-1990s, the discourse surrounding aesthetics largely disappeared from the study of art history, theory and cultural studies. Claims for the aesthetic value of art-works were thought of as elitist and politically regressive. The 1990s witnessed a return to aesthetics, but one that stressed the independent claims of beauty, in reaction to its perceived suppression by ethical and political imperatives. However, beauty is just one aspect of the aesthetic. In recent years, increasing attention has been (...) given to the ways in which aesthetics and ethics are intertwined. In a series of paired essays and responses, a group of the English-speaking world's most distinguished thinkers consider this 'new' aesthetics, demonstrating its cross-disciplinary relevance in terms accessible to a non-specialist readership. (shrink)

Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of the cognition, Victorian-era intelligence research, the Cold War technology race, contemporary education, and even modern electoral politics. Along the way, the book turns to a set of art works from mobile steampunk sculptures to bicentennial adaptations of Frankenstein to a musical about the US Presidential election that ask how our ideas about creativity are bound up with those of self-fulfillment, (...) responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. (shrink)

A new theory of moral and aesthetic value for the age of remix, going beyond the usual debates over originality and appropriation. Remix—or the practice of recombining preexisting content—has proliferated across media both digital and analog. Fans celebrate it as a revolutionary new creative practice; critics characterize it as a lazy and cheap (and often illegal) recycling of other people's work. In Of Remixology, David Gunkel argues that to understand remix, we need to change the terms of the debate. (...) The two sides of the remix controversy, Gunkel contends, share certain underlying values—originality, innovation, artistic integrity. And each side seeks to protect these values from the threat that is represented by the other. In reevaluating these shared philosophical assumptions, Gunkel not only provides a new way to understand remix, he also offers an innovative theory of moral and aesthetic value for the twenty-first century. In a section called “Premix,” Gunkel examines the terminology of remix (including “collage,” “sample,” “bootleg,” and “mashup”) and its material preconditions, the technology of recording. In “Remix,” he takes on the distinction between original and copy; makes a case for repetition; and considers the question of authorship in a world of seemingly endless recompiled and repurposed content. Finally, in “Postmix,” Gunkel outlines a new theory of moral and aesthetic value that can accommodate remix and its cultural significance, remixing—or reconfiguring and recombining—traditional philosophical approaches in the process. (shrink)

One of the biggest contemporary challenges in education is the appropriate application of advanced digital solutions. If properly implemented, AI could benefit students, opening the door for personalized study programs. However, we need to ensure that AI in classrooms is used responsibly and that it does not pose a threat to students in any way. More specifically, we need to preserve the moral and epistemic values we wish to pass on to future generations and ensure the inclusion of underprivileged (...) students. Moreover, there is a huge problem of different accessibility to technology and representation in the educational material between the Global South and the Global North. This can cause both global epistemic and moral injustice. On the other hand, AI has the potential to increase global justice in education. Therefore, it is of the utmost importance to use it in accordance with the values of equity, fairness, and inclusion that secure global justice for underprivileged groups. (shrink)

Inspired by the ecosophical writings of Felix Guattari, this book explores the many ways that aesthetics - in the forms of visual art, film, sculpture, painting, literature, and the screenplay - can act as catalysts, allowing us to see the world differently, beyond traditional modes of representation. This is in direct parallel to Guattari's own attempt to break down the 19th century Kantian dialectic between man, art, and world, in favour of a non-hierarchical, transversal approach, to produce a more (...) class='Hi'>ethical and ecologically sensitive world view."-- Back cover. (shrink)

in Undetermined Table d’Hôte Ingar Brinck: Investigating the development of creativity: The Sahlin hypothesis 7 Linus Broström: Known unknowns and proto-second-personal address in photographic art 25 Johan Brännmark: Critical moral thinking without moral theory 33 Martin Edman: Vad är ett missförhållande? 43 Pascal Engel: Rambling on the value of truth 51 Peter Gärdenfors: Ambiguity in decision making and the fear of being fooled 75 Göran Hermerén: NIPT: Ethical aspects 89 Mats Johansson: Roboethics: What problems should be addressed (...) and why? 103 Johan Laserna: Ambivalenta bilder 113 Anna-Sofia Maurin: Metaphysical explanation 161 Kevin Mulligan: Is preference primitive? 169 John D. Norton: How does your garden grow? 181 Johannes Persson & Annika Wallin: The distinction between internal and external validity 187 Johanna Seibt: Becoming our selves 197 Paul Slovic, Robin Gregory, David Frank, and Daniel Vastfjall: Confronting the collapse of humanitarian values in foreignpolicy decision making 209 Peter Sylwan: Det eviga livet 215 Claudine Tiercelin: Chance, love and logic: Ramsey and Peirce on norms, rationality and the conduct of life 221 Epilog 257 Frank Ramsey. (shrink)

This exhaustively-researched, carefully-focused book asks whether imagination, emotion and art can enlighten our sense of right and wrong, looking at this question through the lens of moral philosophy with contributions from cognitive science, psychology and neurology. If moral thinking is simply logical reasoning or following God-given law, why did the poet Shelley say that “the great instrument of moral good is the imagination”? Why does ethical reasoning tend towards absolutes: something is either right or wrong, period, (...) while a thoughtful minority values the “priority of the particular” – that unique aspects of a situation may come closer to the heart of the matter than any general rules could? Are emotions, as many philosophers in history have theorized, only a distraction from the clear perception of duty, or do feelings add something important, even critical, to how we judge good and bad, right and wrong? Can great works of art and literature embody imagination, the particular, and emotions to illuminate human life in ways crucial to ethical thinking? This book introduces an original idea in philosophy, “moral density,” which for the first time elucidates the profound relation between art and ethics. Written for the literate layperson, an academic or technical background is not necessary, so this book will be of interest not only to philosophers and educators, but to all who are concerned with what is good, and how to see it and teach it. (shrink)

The essays in this book are intended to inform leaders, and the general public, about the challenges of ethical decision making, the application of the law of war, and the important role of spirituality. Aspects of Leadership will educate readers and generate important questions that leaders should ask themselves, encouraging them to reflect upon their pivotal roles in these three areas"--Back cover.

In Morality and Ethics of War, which includes a foreword by Major General Susan Coyle, ethicist Deane-Peter Baker goes beyond existing treatments of military ethics to address a fundamental problem: the yawning gap that exists between the diverse moral frameworks defining personal identity in a multicultural society on the one hand, and the professional military ethic on the other. Baker argues that overcoming this chasm is essential to minimising the ethical risks that can lead to operational and strategic (...) failure for military forces engaged in today's complex conflict environment. He contends that spanning the gap is vital in preventing moral injury from befalling the nation's uniformed servants. Drawing on a revised account of what he calls 'the Just War Continuum', Baker develops a bridging framework that combines conceptual clarity and rigour with insights from cutting edge psychological research and creates a practical means for military leaders to negotiate the moral chasm in military affairs. (shrink)

In Ethics of Luxury renowned Canadian thinker and artist Jeanne Randolph gives us a magnum opus focusing on one of the most pressing issues facing us today – how we act morally and ethically while participating in a culture of abundance, opulence and consumerism. Randolph argues that when we use our imagination, as we do when we create, appreciate and live with art, we are acting ethically, expressing our sense of morality in a practical, material way.

La transgression est une posture critique. On peut l'associer à l'audace, à la subversion, à la révolte. La transgression s'affiche, elle est revendiquée. Elle remet en cause ce qui est considéré comme acquis, accepté par tous, et ébranle la légitimité d'un système de valeur. Elle est donc contestation. La transgression est à la fois une forme de résistance et la proposition d'autre chose. Elle ouvre de nouveaux espaces, de nouvelles aventures, débouche sur de nouvelles expériences. Transgresser, c'est donner à voir (...) et à penser autrement. (shrink)

The Ethics of Time" explores a rather uncharted field in philosophy, namely the ethical implications of time. It does so by utilizing the resources of phenomenology and hermeneutics. On the one hand, its rigorous analyses of such phenomena as waiting, memory, and the body are carried out phenomenologically, while on the other hand, it engages in a hermeneutical reading of such classical texts as, Augustine's Confessions and Sophocles's Oedipus Rex, among others. Nevertheless, this book makes a claim to originality, (...) as it does not provide a commentary on any single text or thinker. Even though a strictly philosophical endeavour, this book engages literature, theology and the arts more generally. It takes seriously phenomenology's claim of a consciousness both constituting time and being constituted by time. This claim has some important implications for the "ethical" self or, rather, for the ways in which such a self informed by time, might come to understand anew the problems of imperfection and ethical goodness. (shrink)

Can aesthetic concepts reflect and provide answers for ethical aspects and issues? Is "more ethics, less aesthetics" applicable, according to the motto of the Venice Biennial for architecture in the year 2000? Or isn't "more aesthetics" in fact just what is required to encourage reflection about ethical responsibilities and dimensions in architecture, art, and design? This publication is a collection of reflections about the ethical and political dimensions of creations, presented from the point of view of art, (...) architecture, design, and curatorial practice. The contributions range from historical reviews to future-oriented outlooks, illustrating interdisciplinary connections. (shrink)

This book explores Levinas’ phenomenology of ethical motivation. Levinas is grounded in “radical alterity”, the knowledge that ethics exists only when we are fully separate from someone else, allowing us to experience connection with one another. In this book, the author locates this ethics in embodiment, emotions, and imaginations and explores the intersection of aesthetics and education.

Raimo Tuomela’s we-mode groups are partly characterized by norms. Some norms may be characteristic of all we-mode groups like the norm restricting a member’s right to leave the group. Some think that this aspect of Tuomela’s theory has implausible ethical implications concerning the rights and autonomy of members in we-mode groups. That worry vanishes, I argue, on a plausible interpretation of Tuomela’s notion of social normativity and a reasonable precisification of the notion of autonomy in this context. On the (...) other hand, Tuomela’s general silence on the nature of moral normativity makes it unclear how his distinction between social and moral normativity should be drawn more precisely. Is this a difference in kind, or merely a difference in the scope or social basis of the norms in question? I find this worth exploring with the aid of resources available within a broadly Tuomelian framework. Like Jeremy Koons (2019), I believe that Tuomela’s framework could be used to refine Wilfrid Sellars theory of ethical judgments as expressions of we-intentions. My preferred interpretation of Tuomela differs from Koons’ though, and so does the resulting reconstruction of Sellars, which is more Humean than Kantian. (shrink)

Physicians, philosophers, and theologians consider how to address death and dying for a diverse population in a secularized century.Most of us are generally ill-equipped for dying. Today, we neither see death nor prepare for it. But this has not always been the case. In the early fifteenth century, the Roman Catholic Church published the Ars moriendi texts, which established prayers and practices for an art of dying. In the twenty-first century, physicians rely on procedures and protocols for the efficient management (...) of hospitalized patients. How can we recapture an art of dying that can facilitate our dying well? In this book, physicians, philosophers, and theologians attempt to articulate a bioethical framework for dying well in a secularized, diverse society.Contributors discuss such topics as the acceptance of human finitude; the role of hospice and palliative medicine; spiritual preparation for death; and the relationship between community, and individual autonomy. They also consider special cases, including children, elderly patients with dementia, and death in the early years of the AIDS epidemic, when doctors could do little more than accompany their patients in humble solidarity.These chapters make the case for a robust bioethics—one that could foster both the contemplation of finitude and the cultivation of community that would be necessary for a contemporary art of dying well.ContributorsJeffrey P. Bishop, Lisa Sowle Cahill, Daniel Callahan, Farr A. Curlin, Lydia S. Dugdale, Michelle Harrington, John Lantos, Stephen R. Latham, M. Therese Lysaught, Autumn Alcott Ridenour, Peter A. Selwyn, Daniel Sulmasy. (shrink)

This paper delves into the philosophical and ethical foundations of dance education, guided by the principles of dialogical philosophy. It explores the intersection of moral, aesthetic, and professional education in dance through the lenses of existential meaning and modes of existence. By examining fundamental questions such as "What constitutes a person?", "What is the nature of relationships among individuals?", and "How should individuals exist within society?", the study articulates a philosophical framework for dance education that emphasizes spiritual and (...) ethical development alongside technical training. The core philosophical principles identified for guiding dance education include the "love of life," which advocates for respecting human nature and fostering the sound development of one's personality; "educational love," which supports the holistic development of individuals, enhancing their personal and social capabilities; and "love of equality," which promotes egalitarian and harmonious relationships among individuals. These principles are rooted in both ethical imperatives and spiritual ideals, reflecting a deep engagement with dialogical philosophy that emphasizes the relational and communal aspects of human existence. The logical framework for choosing aspects of moral, aesthetic, and professional education in dance is thus structured around three main tenets: respecting human nature to nurture a healthy personality, fostering respect to enhance interpersonal harmony, and building upon a foundation of equality to advance communal well-being. These choices are not only pedagogical but also deeply philosophical, engaging with questions of how dance as an art form can contribute to the moral and spiritual growth of individuals and communities. This exploration situates dance education within a broader philosophical discourse, suggesting that dance, much like religious practices, involves a profound exploration of the human condition. It argues that dance education should transcend technical skill to incorporate a richer, more ethically and spiritually informed curriculum that prepares students not only as dancers but also as morally and spiritually aware individuals. (shrink)

Bringing together contributors from philosophy, international relations, security studies, and strategic studies, New Wars and New Soldiers offers a truly interdisciplinary analysis reflective of the nature of modern warfare. This comprehensive approach allows the reader to see the broad scope of modern military ethics, and to understand the numerous questions about modern conflict that require critical scrutiny. Aimed at both military and academic audiences, this paperback will be of significant interest to researchers and students in philosophy, sociology, military and strategic (...) studies, international relations, politics, and security studies, acting as an ideal course text or as supplementary reading. (shrink)

This book is for anyone interested in how to build a teacher education program utilizing the arts as one central modality for teaching and learning or for those interested in building some of their program along these lines. Throughout the book you will find reference to the intersection of ethics, aesthetics, and teaching. We provide an integrated program devoted to good learning and the good society. In the book we discuss how the program came to be and the underlying educational (...) thinking that informs the whole program. This section of the book is invaluable for understanding how the reader can build her/his own arts approach to teacher education. The central section of the book is devoted to the specific coursework of the program. Each author describes in detail how she/he leverages aesthetics and art to expand the possibilities of learning and teaching (including a chapter focused on the core competency course, Teaching, Imagination, Creativity) in language and literacy, psychology of education, science education, mathematics education, social studies education, and classroom management including many examples from our teaching. The book ends with a focus group discussion about the program by former students. (shrink)

CHAPTER ONE Plato IT is a mark of wisdom in Greek political thought that the form and content of education receive primary consideration from those who are ...

Black Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. The (...) stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new ways of reckoning with experience, identity, and resistance. Highlighting wide-ranging forms of Black aesthetics across the arts, culture, and theory, Black Art and Aesthetics: Relationalities, Interiorities, Reckonings provides an unprecedented view of a field enjoying a global resurgence. Black aesthetics materializes in communities of artists, activists, theorists, and others who critique racial inequities, create new forms of interiority and relationality, uncover affective histories, and develop strategies for social justice. (shrink)

This collection by leading scholars represents state of the art writings on the ethics of war. Many of the most important and contested controversies in modern war receive comprehensive discussion: the practice of torture, terrorism, assassination and targeted killing, the bombing of civilians in war, humanitarian intervention, and the invasion of Iraq Analytical introduction provides a guide to recent developments in the ethics of war An excellent overview for general readers interested in the current debate and controversies over the ethics (...) of war. (shrink)

Machine generated contents note: -- Introduction - the Small Screen and Morality - Morality on Television - Sociology and the Moral OrderTelevisuality: Style and the Small ScreenThe Phenomenology of Television - Society and the Small Screen - Mediating Morality- Television and the Imaginary - Conclusion.