David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Philosophia 36 (2):181-193 (2008)
Moralists hold that art criticism can and should take stock of moral considerations. Though moralists disagree over the proper scope of ethical art criticism, they are unified in their acceptance of the consistency of valence thesis: when an artwork fares poorly from the moral point of view, and this fact is art critically relevant, then it is thereby worse qua artwork. In this paper, I argue that a commitment to moralism, however strong, is unattractive because it requires that we radically revise our art critical practices in contexts where revision seems ill advised. I will consider two such cases, Pushkinâs Eugene Onegin and Balthusâ Alice. When we further reflect on our actual art critical practices in cases like these, we find that we do not have an unfailing commitment to the consistency of valence thesis. That is, some artworks are (artistically) good because they are (morally) bad.
|Keywords||Art Ethics Aesthetics Moralism Immoralism|
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Stephanie L. Patridge (2013). Pornography, Ethics, and Video Games. Ethics and Information Technology 15 (1):25-34.
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