Our aesthetic evaluations are moral imperatives. Beauty presents itself to us not just as an appearance, but as an appeal, and as an alluring proposal for how we might live, and indeed therefore ought to live. If we had no practical interest in beauty and its reproduction in and by our acts, it would be to us dead, flat, mute. It would be, precisely, uninteresting. We would not find it significant or important. Indeed, we would not even notice it.
And aesthetic evaluations cannot but be moral evaluations.
To find one thing more beautiful than another is to find it better; to find it uglier is to find it worse.
Our interest in the beautiful is our interest in discovering how we might be better.
Ugliness contrariwise presents itself as a caveat. It is repulsive. Disgust is the “ugh” in ugliness. It is an aesthetic evaluation of experience that motivates us to take action. We want to flee from it, and we ought to do so. To find a thing repulsive is to find that avoiding it is proper, morally appropriate – good.
Being eo ipso moral evaluations, aesthetic feelings are a guide to morals.
Beauty and ugliness then are moral imperatives. They tell us how we ought to live – not just we ourselves individually, but we together, communally. To feel that a scene or a tune is beautiful is to feel that it is just and proper for society to be so ordered as to reproduce its sort more often; to feel that it is ugly is to feel that society ought to be so ordered as to prevent it and its ilk.