In this paper, we identify and examine an overlooked strategy to counter bigoted speech on the spot. Such a strategy we call ‘bending’. To ‘bend’, in our sense, is to deliberately give a distorted response to a speaker’s harmful move – precisely, an ameliorative response, which may turn that move into a different, less harmful, contribution. To substantiate our proposal, we distinguish two ideas of uptake – interpretation and response – and argue for the general claim that a distorted response (...) on the hearer’s part may end up transforming a speaker’s contribution. Patterns of distortion have been analyzed in the literature as unjustly undermining speakers’ agency and exacerbating oppression. Our analysis shows that, under certain circumstances, distortion can be employed to derail bigoted speech and thus serve the purposes of social justice. We close by discussing the virtues and limits of bending vis-à-vis a different, much-discussed, counterspeech strategy, i.e. ‘blocking’ (Langton 2018). (shrink)

The ethical criticism of art has recently begun to address the subject of immoral artists, with two questions seeming to dominate discussion. How does moral misconduct on the part of artists affect their work’s aesthetic value? How should the art world respond to cases of artists who have been accused of morally outrageous behaviour? Such value and policy debates are important, but they leave aside a pressing question towards which this article proposes a reorientation: What is the possible impact of (...) an artist’s moral ill repute on how we understand the meaning of their work? I argue in this paper that an artist’s bad moral reputation can lead (i) to participatory resistance to an art work, as viewers abstain from a response to the work’s illocutionary force, (ii) to the isolation of the work from the ‘quality context’ that normally allows propositions expressed by the work to be taken as sincere, (iii) to the reinterpretation of the work’s propositional content against the background of new knowledge about the author, and (iv) to the perception of the work as a lie. To illustrate, I look at works by Chuck Close and Jan Fabre, contemporary artists whose reputation has been affected by a scandal. (shrink)

Posts on social media platforms like Twitter are sometimes the products of deceptively designed bots. These bots can cause obvious epistemic problems, such as tricking human users into believing the contents of misleading posts. However, less-considered epistemic problems involve false bot judgements where a human user mistakes another human user’s post for a bot-post, or where a human user mistakenly believes that bots are the primary vehicles for tokening certain content on social media. This paper takes up three questions concerning (...) false bot judgements: what exactly are their associated epistemic harms, just how harmful are they, and what should we do about them? (shrink)

The focus of this paper is on the practice of clarifying illocutionary force, the social activity of asking for and providing descriptions that make explicit what kind of act what done in speaking. Two forms of this practice are distinguished, one that takes place as part of the speech encounter that is the target of the practice, and one that takes place subsequent to that speech encounter. It is argued that the function of the practice differs between these forms, and (...) that this yields two very different ways of responding to a clarificatory query. The paper concludes by considering some implications of this difference in function for understanding of the character of illocutionary force itself, with a focus on its repercussions for understanding the possible role of the stance of participant, as opposed to theorist, in determining what was done in speaking. (shrink)

Philosophy &Public Affairs, Volume 52, Issue 1, Page 69-100, Winter 2024.

1. One of Aesop's fables tells of a speech act gone awry: A shepherd-boy, who watched a flock of sheep near a village, brought out the villagers three or four times by crying out, ‘Wolf! Wolf!’ and...

Speech act theorists tend to hold that the illocutionary force of an utterance is determined by one interlocutor alone: either the speaker or the hearer. Yet experience tells us that the force of our utterances is not determined unilaterally. Rather, communication often feels collaborative. In this paper, I develop and defend a collaborative theory of illocutionary force, according to which the illocutionary force of an utterance is determined by an agreement reached by the speaker and the hearer. This theory, which (...) builds upon linguistic and sociological work on adjacency pairs and conversational interaction, can accommodate the complexity of speaker intentions (which may be disjunctive, indeterminate, and/or inconsistent over time), and renders speech act theory more compatible with theories of common ground. (shrink)

In this paper I offer a philosophical analysis of the act of ‘liking’ a post on social media. First, I consider what it means to ‘like’ something. I argue that ‘liking’ is best understood as a phatic gesture; it signals uptake and anoints the poster’s positive face. Next, I consider how best to theorise the power that comes with amassing many ‘likes’. I suggest that ‘like’ tallies alongside posts institute and record a form of digital social capital. Finally, I consider (...) whether ‘likes’ have ultimately improved online discourse. I argue that while the ‘liking’ function itself is relatively innocuous, public ‘like’ tallies introduce a corrosive motivation to online communication. By making the prospect of increased social capital perpetually salient to us, they encourage us to prioritise high levels of engagement over meaningful engagement. (shrink)

Discussions of uptake in the philosophy of language focus our attention on what role other people have in fixing the import, success, influence and social life of a speech act. The general idea in most discussions of uptake, despite their differences and disagreements, is whether and how an audience is cooperative or uncooperative when a speaker plays a critical role in how speech acts function. This essay is primarily concerned with “refusals”, or uncooperative uptakes. The essay analyzes the varieties of (...) refusal; when refusal is possible why it might be challenging and when it is ethical. It examines how and when the uptake of a speech act can constitute the pragmatic form and force of the original speech act. (shrink)

Delusions have traditionally been considered the hallmark of mental illness, and their conception, diagnosis and treatment raise many of the fundamental conceptual and practical questions of psychopathology. One of these fundamental questions is whether delusions are understandable. In this paper, we propose to consider the question of understandability of delusions from a philosophy of language perspective. For this purpose, we frame the question of how delusions can be understood as a question about the meaning of delusional utterances. Accordingly, we ask: (...) “what meaning(s) can delusional utterances possibly have?”. We argue that in the current literature, there is a standard approach to the meaning of delusional utterances, namely the descriptive account which assumes that a delusional utterance “p” means that p is the case. Drawing on Speech Act Theory, we argue that solely relying on the descriptive account disregards essential ways of how linguistic meaning is constituted. Further, we show that Speech Act Theory can prove a helpful addition to the theoretical and clinical “toolbox” used for attempting to understand delusional utterances. This, we believe, may address some of the theoretical and clinical shortcomings of using only the currently predominant descriptive account. (shrink)

What role does audience uptake play in determining whether a speaker refuses or consents to sex? Proponents of constitution theories of uptake argue that which speech act someone performs is largely determined by their addressee’s uptake. However, this appears to entail a troubling result: a speaker might be made to perform a speech act of sexual consent against her will. In response, we develop a social constitution theory of uptake. We argue that addressee uptake can constitute a speaker’s utterance of (...) ‘no’ as a speech act of consent under some conditions, but that this does not prevent us from judging that an addressee committed rape. Second, we claim that addressee uptake is not the only form of uptake that matters—the uptake of other members of the discursive community matters too, and can override the addressee’s uptake, constituting the speaker’s utterance as the speech act it was intended to be. (shrink)

Following and extending Searle’s speech act theory, both Pragma-Dialectics and the Linguistic Normative Model of Argumentation characterize argumentation as an illocutionary act. In these models, the successful performance of an illocutionary act of arguing depends on the securing of uptake, an illocutionary effect that, according to the Searlean account, characterizes the successful performance of any illocutionary act. However, in my view, there is another kind of illocutionary effect involved in the successful performance of an illocutionary act of arguing, which affects (...) both the speaker’s and the hearer’s set of rights, obligations, and entitlements. In order to give an account of this second type of effect, I will argue that it is necessary to distinguish two levels in the analysis of the illocutionary act of arguing. The first one is related to the illocutionary effect of securing of uptake and thus to the speech act performed by the speaker, while the second one allows us to account for the changes produced by the performance of the illocutionary act of arguing in the deontic modal competence of both the speaker and the hearer. (shrink)

Since Austin’s introduction of the locutionary-illocutionary-perlocutionary distinction, it has been a matter of debate within speech act theory whether illocutionary acts like promising, warning, refusing and telling require audience ‘uptake’ in order to be performed. Philosophers on different sides of this debate have tried to support their positions by appealing to hypothetical scenarios, designed to elicit intuitive judgements about the role of uptake. However, philosophers’ intuitions appeared to remain deadlocked, while laypeople’s intuitions have not yet been probed. To begin rectifying (...) that, we ran two experiments probing lay intuitions about the implications of uptake failure. Overall, we found that participants’ responses were skewed towards agreement that speech acts were performed, despite the lack of uptake. There were, however, significant differences across the four different speech act types we investigated (with the highest levels of agreement found for refusing, followed by warning, then telling, and finally promising). We also obtained evidence of complex effects relating to the (high or low) stakes involved in the scenarios. While this study only represents an initial exploration of intuitions about uptake, our results form a basis for further research into their nature and significance, across a range of speech acts, scenarios, and experimental designs. (shrink)

Some visual artworks constitute hate speech because they can perform oppressive illocutionary acts. This illocution-based analysis of art reveals how responsive curation and artmaking undermines and manages problematic art. Drawing on the notion of counterspeech as an alternative tool to censorship to handle art-based hate speech, this article proposes aesthetic blocking and aesthetic spotlighting. I then show that under certain conditions, this can lead to eventual metaphysical destruction of the artwork; a way to destroy harmful art without physically destroying it.

Speech act theorists tend to hold that the illocutionary force of an utterance is determined by one interlocutor alone: either the speaker or the hearer. Yet experience tells us that the force of our utterances is not determined unilaterally. Rather, communication often feels collaborative. In this paper, I develop and defend a collaborative theory of illocutionary force, according to which the illocutionary force of an utterance is determined by an agreement reached by the speaker and the hearer. This theory, which (...) builds upon linguistic and sociological work on adjacency pairs and conversational interaction, can accommodate the complexity of speaker intentions (which may be disjunctive, indeterminate, and/or inconsistent over time), and renders speech act theory more compatible with theories of common ground. (shrink)