Moral theory develops from the divine command theory of medieval Christian philosophy, mixed up with a bit of ancient pagan virtue theory, to the purely secular moral sentiment and interpersonal reaction theories of Smith and Hume, to Kant's attempt to restore command theory but with something supersensible in the individual rather than God as the source of authority.

The life-world of human and animal experience, with colours, tastes, solid objects, is a perceptual effect of massed atoms.

Atomism had no absolute 'above' and 'below' and no such rulers, so favoured the undersranding of justice as an agreement amongst equals.

About 70% of what I've written about is centered on the clashes and conformities between the emerging life and physical sciences and older metaphysical frameworks in the 17th and 18th centuries. The other 30% consists of one-off essays or researches into other intriguing contemporary topics such as visual experience, aesthetics, social justice issues, and the epistemology of moral knowledge.

We are now returning to the 18th century empirical approach with the new interest in the evolutionary basis of ethics, with 'experimental' moral philosophy and moral psychology. As a result, we understand better why moral formulas are experienced as ineluctable commands, even if there is no commander and even if the notion of an inescapable obligation is just superstition. So moral philosophy has made huge progress.

Order can arise from chaos without anyone or anything directing the process when unstable combinations of atoms perish and others persist. In the 17th century, Descartes applied this insight to cosmology, and long before Darwin presented his more rigorous ideas about variation and selection, people began to speculate more openly about the origins of life and the species in Epicurean terms.

We need grief as a precursor to emotional refreshment, and so consume it vicariously in somewhat titrated but powerful enough form through engagement with the arts.