This paper argues against the conception of sport as theatre. Theatre and sport share the characteristic that play is set in a conventionally-defined hypothetical reality, but they differ fundamentally in the relative importance of audience and the narrative point of view. Both present potential for participants for development of selfhood through play and its personal possibilities. But sport is not essentially tied to audience as is theatre. Moreover, conceptualising sport as a form of theatre valorises the spectator’s narrative (...) as normative for sport experience over that of the participant athlete or player, eliding player experience. Imposition of external narratives over experience risks fossilising interpretation and inhibits the beneficial effects of play for self-realisation, especially as a form of self-examination and creation through internal self-narrative. (shrink)

This article offers a way of using the theory of audience design—how speakers position different audience groups as main addressees, overhearers, or bystanders—for written discourse. It focuses on main addressees, that is, those audience members who are expected to participate in and respond to a speaker's utterances. The text samples are articles, letters, and editorials on women's suffrage that were published between 1909 and 1912 in Canadian periodicals. In particular, the author analyzes noun phrases with which suffrage-skeptical (...) women are addressed, relying on the theory of constitutive rhetoric to highlight the interpellative force with which the audience design of this public political debate operates. (shrink)

The audience occupies a very vita! and significant position within the ambience of the arts in general and theatre in particular. It remains one of the outstanding prerequisites for a complete efficacious and potent theatre experience. Its absence renders the entire activity a no event. Thus its standing within artistic and theatrical parameters is that of uniqueness and indispensability. Effiong Johnson posits that "Not considering the audience in the scheme of the performance is unpardonably a blind stupor which (...) can lead to one predictable outcome: regret!" (215). There can never be a theatre experience or event without the audience. It is considered to be the better half of the event. Their presence, cheers and signs of appreciation encourage performers to break a leg and put up a superlative performance. Nwamuo notes further that audiences beat the drums which spur performers to a frenzy (Inaugural Lecture, 15). William Byrnes adds that no matter how lofty the aesthetic aims of an organization, especially arts outfits, without the regular support of an audience, patrons or members, enough money will not come in to keep the enterprise alive (255). Audiences have existed in the theatre over centuries and have continued to exert influence in different spheres, especially the performance. Dennis Sporregivesusan insight into this by pointing out that: The audience of the 19th century played a significant part in determining what took the stage. Royal patronage was gone and box office receipts were needed to pay the bills,... The Industrial Revolution had created larger urban populations and expanded public education to a degree.... To appeal to this diverse audience, theatre managers had to program for the popular as well as the sophisticated taste if they wanted to make money (409). (shrink)

Since 2019, Vietnam has witnessed a "reincarnation movement" characterized by the creation of new cultural products infused with folklore, encompassing various mediums like photography, cinema, and music.

Little is know about factors that influence the development of public self-consciousness. One potential factor is exposure to audiences: being repeatedly aware of one's object status could create a high disposition to focus on public self-aspects. To explore this hypothesis public self-consciousness was assessed in two groups of subjects: 62 professors and actors (high exposure to audiences) and 39 people without audience experience. Analysis show that significant differences exist for public self-consciousness in men only. Also, history of frequent exposure (...) to audience is significantly but weakly correlated with high public self-consciousness in men. This supports previous observations indicating that self-consciousness seems to develop differently for men and women. (shrink)

Every day, television news operations have available dozens of video news releases (VNRs), public relations handout videos designed to mimic news formats. Electronic tracking indicates some of these VNRs are used. Critics typically assail VNRs on ethical grounds, that VNRs deceive audience members into thinking they are watching news gathered by reporters, rather than a promotional pitch. Using a snowball technique, the researchers presented survey respondents with authentic-looking local television news stories; 157 respondents evaluated three stories (out of nine). (...) Some stories used station-generated footage, some network, and some VNRs. Respondents were asked their best estimation of the source. The data indicated a real likelihood VNR deception is occurring. Two of the three VNRs deceived at least half the respondents. Respondents were incorrect an average of 46% of the time when attempting to identifying VNRs, compared to 29% incorrectly identifying network video and 20% incorrectly identifying locally shot video. (shrink)

In the theatre, one individual, the artistic director, is saddled with the responsibility of tapping, sieving and blending the skills, talents and vocation of all the other artists into a complete artistic, visual and auditory whole. This is an enormous task which requires ingenuity, creativity and hard-work. All the effort, time, energy and money spent in this endeavour will come to nought if at the end, there is no audience to appreciate the work of all the artists who laboured (...) towards the production. Therefore, the whole idea behind any theatre activity is the presentation to an audience of a unified theatrical effect which has the capacity of arousing them both emotionally and intellectually . It has been observed that the place of the audience in the entire theatre structure and in the making of any theatre cannot be ignored particularly, as the theatre’s major and only target is the audience . The above trend may provoke one into asking what an audience is or what constitutes an audience whom the various artists work for. (shrink)

This Correspondence argues in response to Coolsaet et al. (2024) that there is an important role to play for stance-independent justice discussions that are not tied to specific social, political or critical perspectives. These can be valuable for climate research audiences, but also as a basis upon which to critically debate and research injustices.

Contemporary comedy audiences are accused by some comedians of being too morally sensitive to appreciate humor. To get closer to an idea of what this means, I will first briefly present the argument over audience sensitivity as found in the non-philosophical literature. Second, I then turn to the philosophical literature and begin from the idea that “funny” is a response-dependent property. I present a criticism of this response-dependence account of “funny” based in the claim that funniness is not de- (...) termined by what normal audiences actually laugh at, but by what merits laughter. Third, I argue that excessive or deficient moral sensitivity distorts audience receptivity to humor. Fourth, I turn to candidates for ideally sensitive audiences. I conclude by returning to the particular cases of supposed oversensitivity or undersensitivity to jokes to see how we might judge them. (shrink)

Dance can be appreciated from all sorts of perspectives: For instance, by the dancer while dancing, by the choreographer while watching in the wings, by the musician in the orchestra pit who accompanies the dance, or by the loved-one of a dancer who watches while hoping that the dancer performs well and avoids injury. This essay will consider what it takes to appreciate dance from the perspective of a seated, non-moving audience member. A dance appreciator in this position is (...) typically someone who can hear and see, who can feel vibrations of sound through their skin, and who can have other human, kinaesthetic responses and perceptions as well as the cognitive ability to process them. This appreciator is also someone who is a person with a history that may or may not include experiences of dance that have conditioned his or her responses to watching dance. Based on both this experience, and the skill and capacity to focus, pay attention, make judgments, and convey those judgments, there are different types and levels of audience appreciation. This essay will consider three: 1. Innocent Eye Appreciation, 2. Dance-Trained Appreciation, and 3. Critical Appreciation. (shrink)

The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature and essence (...) of film and proposes an alternative term - narrative denoter - which can be used as the indication of message exchanging between filmmakers and audiences. Using a released film that has a complete story to do the experiment, this study investigates the relationship between major, film interpretations, event segmentation, and audience’s preference. The result showed that filmmaking experience does not impact the interpretation of film; however the identification of the narrative denoter played an important role in film perception and cognition; apart from these, the audience’s preference did not correlate with film interpretation. With respect to this result, the narrative denoter can be indicator to demonstrate the message transitions from filmmaker to audience. Suggestions were made for future cognitive film studies on using the narrative denoters as a new analysis unit. (shrink)

In any field, we might expect different features relevant to its understanding and development to receive attention at different times, depending on the stage of that field’s growth and the interests that occupy theorists and even the history of the theorists themselves. In the relatively young life of argumentation theory, at least as it has formed a body of issues with identified research questions, attention has almost naturally been focused on the central concern of the field—arguments. Focus is also given (...) to the nature of arguers and the position of the evaluator, who is often seen as possessing a “God’s-eye view” (Hamblin 1970). Less attention, however, has been paid in the philosophical literature to the .. (shrink)

Paradiso 2’s sustained direct address warns readers unprepared for its complexities to “turn back to see your shores again…for perhaps losing me, you would be lost,” but then offers the “other few” who crave “the bread of angels” the promise of a marvel that would rival the deeds of the mythological hero Jason. I will argue that, by appearing to impose this choice on its readers, this direct address in fact activates the craving for the bread of angels (for who, (...) by obeying the interpretive imperative to make such a decision, would not also be one who thereby does choose to pursue the bread that is promised in return for this obedience?). In other words, the very act of interpreting the representation of readers as divided into those who are capable of allegorical interpretation and those who are not constructs and activates the will of a single readership for the Divine Comedy and, consequently, challenges us to provide an articulation of what it means even to read or to misread the Divine Comedy. (shrink)

For many philosophers, there is a tension inherent to shame as an inward-looking, yet intersubjective, emotion: that between the role of the ashamed self and the part of the shaming Other in pronouncing the judgement of shame. Simply put, the issue is this: either the perspective of the ashamed self takes precedence in autonomously choosing to feel shame, and the necessary role of the audience is overlooked, or else the view of the shaming Other prevails in heteronomously casting the (...) shame, and the ashamed individual’s agency becomes problematically understated. I argue that this debate is fundamentally misguided insofar as it assumes that shame must be exclusively contingent upon either the perspective of the self or that of the Other, when it is in fact dependent upon both at once. This is the “double movement” of shame: an appraisal of the self that is at once social and private. (shrink)

The aim of this article is to address the issue of measuring radio audience from a methodological perspective. Although our approach is contextualized, the case study of radio audience measurement in Romania is relevant to a large number of EU countries, in which scholars and practitioners use Day-After-Recall technique. Considering the size of the radio advertising market, as well as the number of radio listeners (about 90% in EU), it is crucial for both radio broadcasters and advertisers to (...) measure radio audience with high accuracy. First, we briefly review the main definitions of key concepts used in radio audience evaluation: audience, listener, rating, market share, daily-reach, or time spent listening. Next, we discuss two paradigms of audience and two theoretical models of mass communication used as a framework for measuring radio audience. Further, we briefly approach the issue of potential sources of error in rating data, by focusing on response error. Next, we emphasize the advantages and disadvantages of each quantitative method utilized in radio audience measurement, and present the case study of radio audience measurement in Romania. Based on a methodological critical review, we outline challenges and potential solutions for assessing more accurately radio audience. Finally, we reflect on the future of radio in digital era, and refer to new perspectives of upgrading existing research techniques. (shrink)

This article explores a concept of artistic transgression I call aesthetic disobedience that runs parallel to the political concept of civil disobedience. Acts of civil disobedience break some law in order to publicly draw attention to and recommend the reform of a conflict between the commitments of a legal system and some shared commitments of a community. Likewise, acts of aesthetic disobedience break some entrenched artworld norm in order to publicly draw attention to and recommend the reform of a conflict (...) between artworld commitments and some shared commitments of a community. Considering artistic transgressions under the concept of aesthetic disobedience highlights often-overlooked features of modern artworld practices. Most significantly, it draws attention to the deliberative participation of a wide variety of citizens of the artworld, including not just artists and performers but also members of audiences, in the transformation of the rules and boundaries of the artworld itself. (shrink)

Nineteenth-century optical toys that showcase illusions of motion such as the phenakistoscope, zoetrope, and praxinoscope, have enjoyed active “afterlives” in the twentieth and twenty-first centuries. Contemporary incarnations of the zoetrope are frequently found in the realms of fine art and advertising, and they are often much larger than their nineteenth-century counterparts. This article argues that modern-day optical toys are able to conjure feelings of wonder and spectacle equivalent to their nineteenth-century antecedents because of their adjustment in scale. Exploring a range (...) of contemporary philosophical toys found in arts, entertainment, and advertising contexts, the article discusses various technical adjustments made to successfully “scale up” optical toys, including the replacement of hand-spun mechanisms with larger sources of motion and the use of various means such as architectural features and stroboscopic lights to replace traditional shutter mechanisms such as the zoetrope’s dark slots. Critical consideration of scale as a central feature of these installations reconfigures the relationship between audience and device. Large-scale adaptations of optical toys revise the traditional conception of the user, who is able to tactilely manipulate and interact with the apparatus, instead positing a viewer who has less control over the illusion’s operation and is instead a captive audience surrounded by the animation. It is primarily through their adaptation of scale that contemporary zoetropes successfully elicit wonder as scientific spectacles from their audiences today. (shrink)

This article sheds light upon the role of the audience in the construction and amendment of populist representative claims that in themselves strengthen representative-represented relationships and simultaneously strengthen ties between the represented who belong to different constituencies. I argue that changes in populist representative claims can be explained by studying the discursive relationship between a populist representative and the audience as a conversation in which both poles give and receive something. From this perspective, populist representative claims, I also (...) argue, can be understood as acts of bonding with the intended effect of constituting ‘the people,’ and inputs from the audience can be seen as conversational exercitives. Populist appeals therefore may change when the audience enacts new permissibility facts and signals to populist representatives that there is another way to strengthen relationships between several individuals belonging to otherwise-different constituencies. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the cognitive (...) and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...) of art (‘Gesamtkunstwerk’) include or rather exclude chamber music? (shrink)

We are often told that public hate speech is something that deviates from what is standard in contemporary liberal democracies. So far, much of the literature has focused on the allegedly bad effects of such deviations as well as on measures to bring liberal democracies back to the normal course of events. Less has been said on the fundamental assumption that at a certain moment in time, and within that political context, hate speech is out of the ordinary. In this (...) paper, drawing upon pragmatics, I contend that often public hate speech responds to a supply-demand logic, where speakers fulfill expectations by attacking target groups. Within this scheme, hate speech would be an answer to what a certain audience is ready to listen. At that moment of time, and within that political context, therefore, I argue in this article, hate speech is ordinary. (shrink)

This article aims to describe about the techniques of make understanding for the space of audience or target group in the satire drama in the stage. The researcher would watch the theater in YouTube and in the stage and also read the script which written by Bereket Belayneh in the type of satire drama, its function in terms of political and social issues. In the addition to the above mentioned these script and play must show the use of satire (...) for political and social criticism for the audience clearly with easy understanding. The other thing that plays show transmitted of the message to the higher officials in the comic entertaining way to the audience of the satire drama. Besides techniques, purpose and different features of satire has investigated from the relevant references. Its researcher mainly has shown the technique of making understand for the audience that have been watched the satire theater on the stage. Bereket Belayneh and Girum Zenebe Eyayu fenges Ethiopian Satire Theater focusing on political satire to find the satire and comic elements used in the humor in order to ridicule the political evils and suggest solutions with in artistically color. The primary sources of this article are Bereket Belayneh and Girum zenebe Eyayu fenges Ethiopian Satire Theater. It’s have used as methodology a qualitative descriptive analysis and have use the document study which is that in library, research digital media sites and the relative relevant materials. (shrink)

This paper examines the performance elements in Asu Ekiye’s musical video entitled Back to Base. The study cuts across the use of costume and other theatrical elements to portray various ethnic nationalities as represented in the production. This style of music video production has not been given adequate scholarly attention by researchers. Thus, the paper examines the performance elements in Asu Ekiye’s music video, Back to Base. It is against this backdrop that the content analysis method of investigation is deployed. (...) It adopts comparative analysis investigative approach which appropriates primary and secondary sources. The primary sources are musical video CD of Asu Ekiye. The secondary sources are scholarly materials related to musical performance and theatre. This paper observes that Asu Ekiye’s musical video performance dialogue with performers ranging from lead singers to back-up singers, actors and dancers also involves audience participation and other performance elements. Asu Ekiye’s musical video entitled Back to Base is performed on two different performing areas: the arena stage and the aquatic stage. This paper holds that costumes, dances, and dramatic performances, props and locations are the main strengths and attractions of the music video. It recommends that for music to thrive in Nigeria, a multicultural society, musicians should ensure that their musical productions should be cross cultural and they should deploy variety of performances elements. (shrink)

When you type the word “serendipity” in a word-processor application such as Microsoft Word, the autocorrection engine suggests you choose other words like “luck” or “fate”. This correcting act turns out to be incorrect. However, it points to the reality that serendipity is not a familiar English word and can be misunderstood easily. Serendipity is a very much scientific concept as it has been found useful in numerous scientific discoveries, pharmaceutical innovations, and numerous humankind’s technical and technological advances. Therefore, there (...) have been many books written around the concept. So why do we need this additional book? This is not just another book about serendipity. It has evolved from the Editor’s question lingering for a decade after finishing his widely cited article (coauthored with Prof. Nancy K. Napier of Boise State University, ID, USA) “Serendipity as a strategic advantage?” in T. Wilkinson’s edited volume Strategic Management in the 21st Century, published by Praeger. The Editor and contributing authors have tried to achieve the following in this title. Demystifying the Serendipity Myth The phenomenon of serendipity has always been thought of as a “miracle”. It is the mystery of human innovation and one of the ultimate secrets of our society. But serendipity is not just a lucky coincidence nor any hidden conspiracy. This book explores the science of the information process behind this seemingly miraculous phenomenon. It connects human society with nature, going back to the root of our existence and looking at the flame of survival to discover the harmony in making creativity. Presenting the nuts and bolts of being an adventurer of science The authors present their conceptual investigations into serendipity’s nature and its mechanism by examining interesting real events and stories. The content is thought-provoking, and readers are led to question and explore their own life stories and problems along the journey of reading this book. Catching an elusive high-value target requires great strategies and efforts. But there are no dark secrets here because this is the “way of nature” – how we humans have always strived for innovation without realizing the blueprints behind such processes. Unlike other books on serendipity, this book will show you that a powerful “secret” is closer than you think. Delivering practical uses for different audiences By understanding the conditionality and survival drivers of serendipity, individuals or organizations can make better decisions on creating the right environment to facilitate the encounter and attainment of this valuable phenomenon. For scientists: With clear explanations of the information processes underlying serendipity, flexible theoretical frameworks of mindsponge and the 3D principle of creativity, researchers are provided with the tools they need to dig deeper into their own fields of study and find practical applications, be it psychology, economics, sociology, or anything that involves innovation (which is, in fact, every scientific discipline). For curious casual readers: Everybody needs innovation to make breakthroughs or spice up one’s life. If you think great ideas come to people randomly from an unknown fairy place, this book will convince you otherwise without taking away that awe and wonder. But above all, you will know how to become more creative, scientifically and straightforwardly, with no snake oil and no weird tricks. For ambitious business people: The flame that brought about great successes throughout human history is within you. But you can only use it if you understand it. While others wait for serendipity to come, you will be able to actively hunt for those precious moments. As it has always been: the best hunters triumph, not the passive wanderers. And in this age of information chaos, finding the golden fruits is not easy. Those from information technology know this problem well, and this book is the treasure map that they have been seeking to navigate that stormy ocean looking for jewels. Like a kingfisher tracking its prey through the water, waiting to gracefully strike, with serendipity, a person seizes the prize of creativity amid the chaos of life. ¤ ¤ ¤ Official introduction: The book explores the nature, underlying causes, and the information processing mechanism of serendipity. It proposes that natural or social survival demands drive serendipity, and serendipity is conditional on the environment and the mindset, on both individual and collective levels. From Darwin's evolution theory to Sun Tzu's war tactics, major innovations throughout human history are unified by this key concept. In the rapidly changing world, information is abundant but rather chaotic. The adaptive power of serendipity allows people to notice treasures within this wild sea, but only for those who understand how it works. To increase the probability of encountering and attaining serendipity, one should employ the mindsponge mechanism and the 3D process of creativity, for without these frameworks, serendipity is truly an elusive target. The book also discusses methods to build environments and cultures rich in navigational and useful information to maximize the chance of finding and capitalizing on serendipity. As a skill, serendipity has a resemblance to how kingfishers observe and hunt their prey. (shrink)

Written with a general audience in mind, On Romantic Love offers a new theory of love as a partially unconscious, sometimes rational and always controllable emotion, while explaining some of the neuroscience underlying our wildest passions.

Audience segmentation is necessary in health communications to ensure equitable resource distribution. Peer crowds, which are macro-level teen subcultures, are effective psychographic segments for health communications because each crowd has unique mindsets, values, norms, and health behavior profiles. These mindsets affect behaviors, and can be used to develop targeted health communication campaigns to reach those in greatest need. Though peer crowd research is plentiful, no existing peer crowd measurement tool has been formally validated. As such, we developed and validated (...) Virginia's Mindset Lens Survey (V-MLS), a mindset-based teen peer crowd segmentation survey to support health communication efforts. Using an online convenience sample of teens (N = 1,113), we assessed convergent and discriminant validity by comparing the V-MLS against an existing, widely-used peer crowd survey (I-Base Survey®) utilizing a multi-trait multi-method matrix. (shrink)

What responsibilities do audiences have in engaging with artworks? Certain audience responses seem quite clear: for example, audiences should not vandalize or destroy artworks; they should not disrupt performances. This paper examines other kinds of resisting responses that audiences sometimes engage in, including petitioning the artist to change their works, altering copies of artworks, and creating new artworks in another artist’s fictional world. I argue for five claims: (1) while these actions can sometimes infringe on the rights of artists, (...) the rights of artists are not absolute; (2) the fact that such actions are based on mistaken interpretations of the artworks has no normative weight; (3) there can be reason to object to additions and alterations whose conception of the artwork is morally worse than the original (and so, there can be reason to support additions and alterations whose conception is morally better); (4) petitioning raises special moral problems; and, most important, (5) some of these actions are valuable because they involve creative and aesthetic activity. Those acts of audience resistance that are creative, morally improve on the original work, and that minimize the infringement of the artists’ rights are good, and should be encouraged. (shrink)

Intentionalism about demonstratives is the view that the referent of a demonstrative is determined solely by the speaker's intentions. Intentionalists can disagree about the nature of these intentions, but are united in rejecting the relevance of other factors, such as the speaker's gestures, her gaze, and any facts about the addressee or the audience. In this paper, I formulate a particular version of this view, and I defend it against six objections, old and new.

How does an audience receive a work of art? Does the experience only affect the viewer or does it have an effect and thus influence his or her actions? It is the cultural philosopher Ernst Cassirer and his successors in philosophy and developmental psychology as well as in neuroscience to this day who postulate that perception in general and perception of art in particular are not neutral in their origins but alive and thus meaningful. They assume that both are (...) based on analogous principles: in the perception of moving forms and spatial forms in the world and rhythms of forms, colors, light and shadow in art. In practice, this means that perception and its felt effects have an effect on the feelings of the viewer and thus help him to inform himself directly and intensively about the world through art. In contrast to this general epistemological aesthetic theory, which philosophers in particular accept, it is to be shown that this assumption must be redefined not with reference to the world, but with reference to art and design. For the latter, the approach will be extended to a semiotic theory. The background is that in contrast to the world, the designed forms and thus the designed intentions of the artist and designer or his client in relation to the chosen theme have an impact on the viewer and thus on culture and its communicative dynamics. (shrink)

I am grateful to Donald Ainslie, Lisa Austin, Michael Blake, Abraham Drassinower, David Dyzenhaus, George Fletcher, Robert Gibbs, Louis-Philippe Hodgson, Sari Kisilevsky, Dennis Klimchuk, Christopher Morris, Scott Shapiro, Horacio Spector, Sergio Tenenbaum, Malcolm Thorburn, Ernest Weinrib, Karen Weisman, and the Editors of Philosophy & Public Affairs for comments, and audiences in the UCLA Philosophy Department and Columbia Law School for their questions.

Drawing on work from Marina Sbisà’s “Ideology and the Persuasive Use of Presupposition” (1999), Rae Langton has developed a powerful account of the subtle mechanisms through which hate speech and propaganda spread. However, this model has a serious limitation: it focuses too strongly on individual speech acts isolated from their wider context, rendering its applicability to a broader range of cases suspect. In this chapter, I consider the limits of presupposition accommodation to clarify the audience’s role in helping hate (...) speakers, and claim the necessary mechanisms are much more active and social than Langton suggests, with effects not capturable in the analysis of isolated speech acts. I revisit Sbisà’s work on presupposition and develop an alternative model that (1) improves upon the Langtonian model for explaining the power of hate propaganda, and (2) is more in line with Sbisà’s original approach to ideology and the normative aspects of presupposition. (shrink)

Suppose that Ann says, “Keith knows that the bank will be open tomorrow.” Her audience may well agree. Her knowledge ascription may seem true. But now suppose that Ben—in a different context—also says “Keith knows that the bank will be open tomorrow.” His audience may well disagree. His knowledge ascription may seem false. Indeed, a number of philosophers have claimed that people’s intuitions about knowledge ascriptions are context sensitive, in the sense that the very same knowledge ascription can (...) seem true in one conversational context but false in another. This purported fact about people’s intuitions serves as one of the main pieces of evidence for epistemic contextualism. (shrink)

_A Relational Moral Theory_ draws on neglected resources from the Global South and especially the African philosophical tradition to provide a new answer to a perennial philosophical question: what do all morally right actions have in common as distinct from wrong ones? Metz points out that the principles of utility and of respect for autonomy, the two rivals that have dominated Western moral theory for the last two centuries, share an individualist premise. Once that common assumption is replaced by a (...) relational perspective given prominence in African ethical thought, a different comprehensive principle, one focused on harmony or friendliness, emerges. Metz argues that this principle corrects the blind spots of the Western moral principles, and has implications for a wide array of controversies in applied ethics that an international audience of moral philosophers, professional ethicists, and similar thinkers will find compelling. (shrink)

Commemorative artefacts purportedly speak – they communicate messages to their audience, even if no words are uttered. Sometimes, such artefacts purportedly communicate demeaning or pejorative messages about some members of society. The characteristics of such speech are, however, under-examined. I present an account of the paradigmatic characteristics of the speech of commemorative artefacts (or, “commemorative artefactual speech”), as a distinct form of political speech. According to my account, commemorative artefactual speech paradigmatically involves the use of an artefact by an (...) authorised member of a group to declare the importance of remembering a subject, in virtue of some feature of the subject. Then, I outline a variety of ways that commemorative artefactual speech can go awry. Such speech can be unauthorised, involve unfair exclusion or incorrect identification, be aesthetically inadequate, invoke clandestine explanations, and be directed at inappropriate subjects. I conclude with a discussion of the implications of my account for resisting problematic commemorative artefactual speech. (shrink)

An 850 word statement, translated into Dutch and composed for a lay audience, of respects in which happiness and meaningfulness can come apart, but highlighting the aim of engaging in projects in which they are co-present.

This article shows how the MISS account of models—as isolations and surrogate systems—accommodates and elaborates Sugden’s account of models as credible worlds and Hausman’s account of models as explorations. Theoretical models typically isolate by means of idealization, and they are representatives of some target system, which prompts issues of resemblance between the two to arise. Models as representations are constrained both ontologically (by their targets) and pragmatically (by the purposes and audiences of the modeller), and these relations are coordinated by (...) a model commentary. Surrogate models are often about single mechanisms. They are distinguishable from substitute models, which are examined without any concern about their connections with the target. Models as credible worlds are surrogate models that are believed to provide access to their targets on account of their credibility (of which a few senses are distinguished). (shrink)

Socrates engages his audience in Phaedrus with speeches that include revised or newly composed myths that express his theory of philosophical eros. The aim of the speeches is to generate a love for truth that spills over into dialogue. Speeches are a starting point for dialogue, just like physical attraction is the beginning of love. In the case of Phaedrus, the beginning of philosophy is portrayed using playful and rhetorically rich speeches that serve as "love potions" awakening the novice's (...) soul, and ultimately leading Phaedrus to higher rungs on the ladder of love through the palinode, a medicinal speech. It is thinking about speeches, not the speeches themselves, which moves Socrates' student Phaedrus from the love of speeches to the love of Beauty itself. This is a stark contrast to the purpose of speechmaking for the sophist. The sophist seeks to enchant the soul, while the philosopher seeks to charm the soul into loving wisdom through stimulating discussions. Socrates also uses role reversals in the lover-beloved relationship to model the soul's ascent, contrasting the traditional roles with the way the lover and beloved are presented in Socrates' speeches. The novice must actively recollect Beauty itself in order to ascend, rather than passively listening to speeches that provide an image of beauty. Socrates' interlocutors must move themselves up the ladder of love from their own philosophical eros; wisdom is not attained by merely being pushed all the way up the ladder of love. (shrink)

The official definition of ‘pain’ by the International Association for the Study of Pain (IASP) hasn’t seen much revision since its publication in 1979. There have been various criticisms of the definition in the literature from different quarters: that the definition implies a dubious metaphysical dualism, that it requires a strong form of consciousness as well as linguistic abilities, that it excludes many vulnerable groups that are otherwise perfectly capable of experiencing pain, that it has therefore unacceptable practical as well (...) as ethical consequences, that it is unhelpful to the health-care professional as an operational definition, that it is too narrow, and many others. In my view, most of these criticisms depend on misunderstandings or on uncharitable interpretations. My aim is to go over the definition, clarify some potential ambiguities, and argue that these criticisms don’t cut much ice. At the end, I will present a few slightly reworded versions of the definition that I claim are more felicitous and capture the original intended meaning by the members of the taxonomic committee in a much better and transparent way that avoids all the major extant criticisms in the literature. (Written for interdisciplinary audiences.). (shrink)

This paper argues that free speech is a ‘two-way right’. The right to marriage is a typical two-way right: it is not a guarantee that every single person can get married. Instead, it only ensures that if two consenting adults wish to marry each other, they can do so freely. Similarly, the right to free speech does not protect a speaker’s unilateral right to speak, nor an audience’s unilateral right to hear. Free speech protects the parties’ right to communicate (...) with each other. Many agree that communication is a collaborative activity. Yet, this collaborative essence is sometimes overlooked. Particularly, when analyzing speech rights, there is a tendency to zoom in on either the speaker interests or the audience interests, focusing on the distinctions between the two. The two-way approach reorients our understanding of free speech, to one that is more integrally shaped by a concept of communication as a joint collaborative endeavor. (shrink)

This volume provides a broad overview of issues in the philosophy of behavioral biology, covering four main themes: genetic, developmental, evolutionary, and neurobiological explanations of behavior. It is both interdisciplinary and empirically informed in its approach, addressing philosophical issues that arise from recent scientific findings in biological research on human and non-human animal behavior. Accordingly, it includes papers by professional philosophers and philosophers of science, as well as practicing scientists. Much of the work in this volume builds on presentations given (...) at the international conference, “Biological Explanations of Behavior: Philosophical Perspectives”, held in 2008 at the Leibniz Universität Hannover in Germany. The volume is intended to be of interest to a broad range of audiences, which includes philosophers (e.g., philosophers of mind, philosophers of biology, and metaethicists), as well as practicing scientists, such as biologists or psychologists whose interests relate to biological explanations of behavior. (shrink)

Sven Bernecker’s contribution to the ongoing revival in the philosophy of memory offers a consistent vision and analysis of propositional remembering, and covers a range of topics in analytic metaphysics and epistemology. Bernecker defends a methodological externalism, by which memory ‘must be analyzed from a third-person point of view’ (34): so even though conceptual analysis remains the primary method, the ‘linguistic intuitions’ that guide it ‘are not a priori but empirical working hypotheses’ (31). Given the central role of such intuitions (...) in Bernecker’s treatment of many briefly described thought experiments throughout the book, it is strange that he does not defend their use more explicitly in this early section on method, instead leaving it to a later footnote (147, n. 11) to say that ‘trying to defend the use of intuitions in the philosophy of memory would . . . take us too far afield’. Bernecker’s subtitle signals a restricted target audience: this is a book for those analytic philosophers who will enjoy long exegeses on Twin Earth, slow switching or quasi-memory. Psychological results on memory are cited, but only piecemeal, and interactive dialogue with scientific theory is not Bernecker’s aim. (shrink)

Slurring is a kind of hate speech that has various effects. Notable among these is variable offence. Slurs vary in offence across words, uses, and the reactions of audience members. Patterns of offence aren’t adequately explained by current theories. We propose an explanation based on the unjust power imbalance that a slur seeks to achieve. Our starting observation is that in discourse participants take on discourse roles. These are typically inherited from social roles, but only exist during a discourse. (...) A slurring act is a speech-act that alters the discourse roles of the target and speaker. By assigning discourse roles the speaker unjustly changes the power balance in the dialogue. This has a variety of effects on the target and audience. We show how these notions explain all three types of offence variation. We also briefly sketch how a role and power theory can help explain silencing and appropriation. Explanatory power lies in the fact that offence is correlated with the perceived unjustness of the power imbalance created. (shrink)

The concept of organizational stigma has received significant attention in recent years. The theoretical literature suggests that for a stigma to emerge over a category of organizations, a “critical mass” of actors sharing the same beliefs should be reached. Scholars have yet to empirically examine the techniques used to diffuse this negative judgment. This study is aimed at bridging this gap by investigating Goffman’s notion of “stigma-theory”: how do stigmatizing actors rationalize and emotionalize their beliefs to convince their audience? (...) We answer this question by studying the stigma over the finance industry since 2007. After the subprime crisis, a succession of events put the industry under greater scrutiny, and the behaviors and values observed within this field began to be publicly questioned. As an empirical strategy, we collected opinion articles and editorials that specifically targeted the finance industry. Building on rhetorical analysis and other mixed methods of media content analysis, we explain how the stigmatizing rhetoric targets the origins of deviant organizational behaviors in the finance industry, that is, the shareholder value maximization logic. We bridge the gap between rhetorical strategies applied to discredit organizations and ones used to delegitimize institutional logics by drawing a parallel between these two literatures. Taking an abductive approach, we argue that institutional contradiction between field and societal-level logics is sufficient, but not necessary to generate organizational stigma. (shrink)

Existing analyses of disinformation tend to embrace the view that disinformation is intended or otherwise functions to mislead its audience, that is, to produce false beliefs. I argue that this view is doubly mistaken. First, while paradigmatic disinformation campaigns aim to produce false beliefs in an audience, disinformation may in some cases be intended only to prevent its audience from forming true beliefs. Second, purveyors of disinformation need not intend to have any effect at all on their (...) audience’s beliefs, aiming instead to manipulate an audience’s behavior through alteration of sub-doxastic states. Ultimately, I argue that attention to such non-paradigmatic forms of disinformation is essential to understanding the threat disinformation poses and why this threat is so difficult to counter. (shrink)

According to Nietzsche, drives are the ultimate constituents of virtues and vices. I argue that Nietzsche identifies two blueprints for character construction: a slavish, interpersonal blueprint, and a masterly, reflexive blueprint. When the interpersonal blueprint is implemented, a person becomes what he is called: his drives are shaped by the traits ascribed to him so that he becomes more like the sort of person he’s taken to be. When the reflexive blueprint is implemented, a person becomes more like the sort (...) of person she calls herself: her drives are shaped by the traits she ascribes to herself in a community of peers. The reflexive blueprint shares some surprising similarities with the interpersonal blueprint. I conclude with an account of Nietzschean summoning, which occurs when one person praises a generic type to an audience, implicitly inviting them to identify with that type and thereby to become more like it. (shrink)

When scientists or science reporters communicate research results to the public, this often involves ethical and epistemic risks. One such risk arises when scientific claims cause cognitive or behavioural changes in the audience that contribute to the self-fulfilment of these claims. I argue that the ethical and epistemic problems that such self-fulfilment effects may pose are much broader and more common than hitherto appreciated. Moreover, these problems are often due to a specific psychological phenomenon that has been neglected in (...) the research on science communication: many people tend to conform to ‘descriptive norms’, that is, norms capturing (perceptions of) what others commonly do, think, or feel. Because of this tendency, science communication may frequently produce significant social harm. I contend that scientists have a responsibility to assess the risk of this potential harm and consider adopting strategies to mitigate it. I introduce one such strategy and argue that its implementation is independently well motivated by the fact that it helps improve scientific accuracy. (shrink)

This essay describes computational semantic networks for a philosophical audience and surveys several approaches to semantic-network semantics. In particular, propositional semantic networks are discussed; it is argued that only a fully intensional, Meinongian semantics is appropriate for them; and several Meinongian systems are presented.