Abstract

What is missing from the many contemporary social scientific accounts that aim to explain our moral and political judgments by reference to our capacity to experience disgust is any acknowledgment of our fascination with disgusting objects. For this reason, Magada-Ward argues that disgust must be understood as fundamentally an aesthetic conception. In order to demonstrate this, the author explores the disturbing and very funny sculptures of Rona Pondick. This exploration shows that disgust is seldom a reliable indicator of political or moral wrongdoing but instead reveals both the contingent nature of our brute reactions and our inescapable vulnerability as embodied creatures.