How should we respond to the humanity of others? Should we care for others’ well-being? Respect them as autonomous agents? Largely neglected is an answer we can find in the religious traditions of Judaism, Christianity and Buddhism: we should love all. This paper argues that an ideal of love for all can be understood apart from its more typical religious contexts and moreover provides a unified and illuminating account of the the nature and grounds of morality. I defend a novel (...) account of love for all that avoids serious worries about the incoherence or impossibility of loving everyone. Doing so requires countenancing a neglected form of love. Love admits as its object not just individual entities like people and groups; we can also bear a love for the Fs in general---for all the Joneses, all the philosophers, or even all the human beings. I go on to argue that while it is possible for ordinary agents like us to love all, we shouldn't. Instead, we should approximate love for all. The minimal approximation of love for all is, surprisingly, respect; I derive the basic, structural features of deontological ethics (including anti-paternalism and anti-aggregation) from the ideal of loving all. (NB: This paper used to be titled "Ethics in the Shadow of Love" and has been cited as an unpublished manuscript under that title.). (shrink)

Philosophy & Public Affairs, Volume 50, Issue 1, Page 6-49, Winter 2022.

Do the ethical features of an artwork bear on its aesthetic value? This movie endorses misogyny, that song is a civil rights anthem, the clay constituting this statue was extracted with underpaid labor—are facts like these the proper bases for aesthetic evaluation? I argue that this debate has suffered from a false presupposition: that if the answer is “yes” (for at least some such ethical features), such considerations feature as pro tanto contributions to an artwork’s overall aesthetic value, i.e., as (...) merits or flaws which make something have more or less overall aesthetic value. As the case of ethically laden aesthetic evaluation makes clear, however, good aesthetic judgement is irreducibly multi-dimensional, e.g., “the movie has an engaging soundtrack, tasteful camera work, and takes a misogynistically purient perspective on its female lead.” Such a “non-summative” judgement refuses to reduce those various dimensions of aesthetic value to a single aggregate aesthetic evaluation, like “it’s a 6/10” or “it’s a pretty good movie!” I defend both the modest claim that such non-summative evaluations are not mistaken and the extremist claim that summative (i.e., unidimensional) aesthetic evaluation is defective by considering other domains of normative assessment in which summing seems inappropriate, notably including evaluations of people’s character. (shrink)