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)

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.

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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.

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)

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)

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)

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)

For the Intentionalist, utterance content is wholly determined by a speaker’s meaning-intentions; the sentence uttered serves merely to facilitate the audience’s recovering these intentions. We argue that Intentionalists ought to be Particularists, holding that the only “principles” of meaning recovery needed are those governing inferences to the best explanation; “principles” that are both defeasible and, in a sense to be elaborated, variable. We discuss some ways in which some theorists have erred in trying to tame the “wild west” of (...) pragmatics and context-sensitivity -- including recent work that makes essential appeal to the information structure of a discourse -- and in so doing, offer a general recipe for defending the Particularist picture of utterance content and its recovery that we favor. (shrink)

In this chapter, we address the roles that exemplars might play in a comprehensive response to epistemic injustice. Fricker defines epistemic injustices as harms people suffer specifically in their capacity as (potential) knowers. We focus on testimonial epistemic injustice, which occurs when someone’s assertoric speech acts are systematically met with either too little or too much credence by a biased audience. Fricker recommends a virtue­theoretic response: people who do not suffer from biases should try to maintain their disposition towards (...) naive testimonial justice, and those who find themselves already biased should cultivate corrective testimonial justice by systematically adjusting their credence in testimony up or down depending on whether they are hearing from someone whom they may be biased against or in favor of. We doubt that the prominent admiration­emulation model of exemplarism will be much use in this connection, so we propose two ways of learning from negative exemplars to better conduct one’s epistemic affairs. In the admiration­emulation model, both the identification of what a virtue is and the cultivation of virtues identified thusly proceed through the admiration of virtuous exemplars. We show that this model has serious flaws and argue for two alternatives: the envy­agonism model and the ambivalence­avoidance model. (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)

This chapter is written for an audience that is not intimately familiar with the philosophy of animal consumption. It provides an overview of the harms that animals, the environment, and humans endure as a result of industrial animal agriculture, and it concludes with a defense of ostroveganism and a tentative defense of cultured meat.

According to telling based views of testimony (TBVs), B has reason to believe that p when A tells B that p because A thereby takes public responsibility for B's subsequent belief that p. Andrew Peet presents a new argument against TBVs. He argues that insofar as A uses context-sensitive expressions to express p, A doesn't take public responsibility for B's belief that p. Since context-sensitivity is widespread, the kind of reason TBVs say we have to believe what we're told, is (...) not widespread. Peet doesn't identify any problem with his own argument though he does attempt to limit its sceptical potential by identifying special contexts in which TBVs stand a chance of success. A more general defence of TBVs can be provided by showing Peet's argument to be unsound. I argue that Peet's argument is unsound because it requires us to wrongly suppose that speakers do far less labour than their audiences in context-sensitive linguistic communication. I aim to show why—in the context of the epistemology of testimony and the philosophy of language—it's important to recognize the labour that speakers can do, and so can can be held responsible for not doing, in episodes of context-sensitive linguistic communication. (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)

Nietzsche’s perspectivism is a philosophical methodology for achieving various epistemic goods. Furthermore, perspectives as he conceives them relate primarily to agents’ motivational and evaluative sets. In order to shed light on this methodology, I approach it from two angles. First, I employ the digital humanities methodology pioneered recently in my recent and ongoing research to further elucidate the concept of perspectivism. Second, I explore some of the rhetorical tropes that Nietzsche uses to reorient his audience’s perspective. These include engaging (...) the audience’s emotions, apostrophic address to the reader, and what I’ve elsewhere called ‘Nietzschean summoning’. Each of these methods tugs at the affects and values of the audience, positioning them to notice, find salient, and be disposed to act in relation to certain (aspects of) things while ignoring, finding less salient, and being disposed to neglect (aspects of) other things. This suggests that, for Nietzsche, perspectivism may have less to do with cognition than the painterly metaphor of a visual perspective suggests. Instead, I’ll argue that for Nietzsche, perspectivism relates primarily to agents’ motivational and evaluative set. (shrink)

P. F. Strawson famously distinguishes what a speaker presupposes from what she asserts in uttering a sentence like “The present King of France is bald”. This paper defends a claim about presupposition's epistemic significance, namely that presupposition can provide a distinctive testimony‐based way for an audience to learn about the world.

In order to be exercised meaningfully, political freedom requires the capacity to actually identify available policy options. To ensure this, society ought to engage in deliberation as a discussion oriented towards mutual learning. In order to highlight this issue, I define deliberation in terms of the participants’ openness to preference change, i.e. the deliberative stance. In the context of the systemic approach to deliberative theory, I find several factors causing the atrophy of such a deliberative stance. I note that this (...) state can occur not only when debaters are representatives or are in the presence of an audience, but also when they face the prospect of a binding decision. It is the latter effect that is a serious challenge to the micro-deliberative strategy, one that strives towards decisional powers being granted to deliberative minipublics. Presenting my findings, I propose—as an alternative to the power-oriented ‘ladder of participation’—a distinction between traditional co-decision and deliberative consultation, the latter one being an environment that is more conducive to deliberative stance. This new typology highlights factors that lead to preference petrification and allows for the appreciation of the non-decisional character of micro-deliberation. All of it leads to the conclusion that, in order to preserve their deliberative character in the systemic context, deliberative minipublics should not always be required to have decision-making powers. (shrink)

This paper defends a new norm of assertion: Assert that p only if you are in a position to know that p. We test the norm by judging its performance in explaining three phenomena that appear jointly inexplicable at first: Moorean paradoxes, lottery propositions, and selfless assertions. The norm succeeds by tethering unassertability to unknowability while untethering belief from assertion. The PtK‐norm foregrounds the public nature of assertion as a practice that can be other‐regarding, allowing asserters to act in the (...) best interests of their audience when psychological pressures would otherwise prevent them from communicating the knowable truth. (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)

I want to say something about the sort of arguments that it is possible to lose, and whether losing arguments can be done well. I shall focus on losing philosophical arguments, and I will be talking about arguments in the sense of acts of arguing. This is the sort of act that one can perform on one’s own or with one other person in private. But in either of these cases it is difficult to win—or to lose. So I shall (...) concentrate on arguments with audiences. We may think of winning or losing such arguments in terms of whether the audience is convinced. Of course, this doesn’t necessarily have anything to do with who is in the right. That means that there are two sorts of loser: real losers, who lose the argument deservedly, because they are in the wrong, and mere losers, who lose the argument undeservedly, because they are in the right. Hence there must also be two sorts of winner: real winners, who win the argument deservedly, because they are in the right, and mere winners, who win the argument undeservedly, because they are in the wrong. An optimal outcome for arguments with losers would be if all the losers are real losers. (shrink)

For centuries, fiction—particularly fables—has seamlessly combined storytelling, moral lessons, and societal reflections to engage readers on both emotional and intellectual levels. Despite extensive research on the benefits of reading and the emotional responses it evokes, a critical gap remains in understanding what drives readers to form deep emotional connections with specific works. This study seeks to identify the characteristics of a book that foster such connections. Using Bayesian Mindsponge Framework analytics, we analyzed a dataset of 129 Amazon reviews of Wild (...) Wise Weird, a collection of 42 fables that intertwine traditional storytelling with contemporary sensibilities, offering life lessons, humor, and social commentary. Of these reviews, approximately 66% expressed love for the book. The findings reveal that readers who describe the book as unique, whimsical, quirky, or innovative are more likely to express affection for it. Similarly, readers who are drawn to the book’s illustrations and characters tend to form stronger emotional connections. The cultural richness and representativeness of the book also emerged as significant factors in fostering readers’ love. The book successfully captures and conveys the depth, charm, and moral essence of Vietnamese culture to a global audience. Readers have expressed heartfelt gratitude after engaging with the book, underscoring its success in fostering meaningful emotional connections. Thus, insights from this analysis offer actionable recommendations for stakeholders in the literary ecosystem, from authors and publishers to marketers, to enhance readers’ emotional attachment and commitment to books. (shrink)

Francis Collins had an impressive track record as a gene hunter (cystic fibrosis, neurofibromatosis, Huntington’s disease) when he was appointed Director of the Human Genome Project (HGP) in 1993. In June 2000, together with Craig Venter and President Bill Clinton, he presented the draft version of the human genome sequence to a worldwide audience during a famous press conference. And in 2009, President Barack Obama nominated him as director of the National Institutes of Health (NIH), the largest Tfunding agency (...) for biomedical research in the world. s The In 2006, Collins published his book The Language of God,3 an autobiographical account of the HGP and its scientific, historical, and societal significance, with special attention paid to the impact of the human sequence on the way we see our world and ourselves.4 Now, by way of a sequel, he has written The Language of Life. Wherea Language of God focused on the genome sequence of mankind in general, and on the HGP as a “revolution” in biomedicine, the new book, as indicated by its subtitle, is oriented towards “the revolution in personalized medicine”, the impact of the genomics revolution on the personal lives of individuals. Before subjecting Collins’ book to a closer reading, I first of all would like to explain how I will read it and from what perspective. Why is genomics in general, and the HGP and its aftermath in particular, a subject of interest to a philosopher like me? Why did I become interested in assessing the HGP and in studying the work and views of some of its key contributors? (shrink)

Manipulative speech is ubiquitous and pernicious. We encounter it continually in both private conversation and public discourse, and it is a core component of propaganda, whose wide-ranging insidious effects are well-known. Much recent work has been devoted to investigating particular forms of manipulative speech, but this work leaves the nature of manipulative speech itself intuitive or implicit, and so leaves us without a general account of what manipulative speech is or how it functions. In this paper I develop a theory (...) of manipulative speech. On my view, manipulative speech involves a deliberate, coordinated violation of the two core Gricean norms of conversation: Cooperativity and Publicity. A manipulative speaker violates Cooperativity to further her goals at the expense of the audience’s. But the manipulative speaker also violates Publicity in intending, and taking steps to ensure, that her speech _appears_ cooperative. Thus, in a slogan, manipulative speech is _covertly strategic speech_. I go on to show how this view unifies various forms of manipulative speech discussed in the literature and serves as the basis for a novel, attractive definition of propaganda. (shrink)

Ways of Scope Taking is concerned with syntactic, semantic and computational aspects of scope. Its starting point is the well-known but often neglected fact that different types of quantifiers interact differently with each other and other operators. The theoretical examination of significant bodies of data, both old and novel, leads to two central claims. (1) Scope is a by-product of a set of distinct Logical Form processes; each quantifier participates in those that suit its particular features. (2) Scope interaction is (...) further constrained by the semantics of the interacting operators. The arguments are developed using Minimalist syntax, Generalized Quantify theory, Discourse Representation Theory, and algebraic semantics. The contributors (Beghelli, Ben-Shalom, Doetjes, Farkas, Gutiérrez Rexach, Honcoop, Stabler, Stowell, Szabolcsi and Zwarts) make tightly related theoretical assumptions and focus on related empirical phenomena, which include the direct and inverse scope of quantifiers, distributivity, negation, modal and intensional contexts, weak islands, event-related readings, interrogatives, wh/quantifier interactions, and Hungarian syntax. An introduction to the formal semantics background is provided. Audience: Linguists, philosophers, computational and psycholinguists; advanced undergraduates, graduate students and researchers in these fields. (shrink)

Let intentionalism be the view that what proposition is expressed in context by a sentence containing indexicals depends on the speaker’s intentions. It has recently been argued that intentionalism makes communicative success mysterious and that there are counterexamples to the intentionalist view in the form of cases of mismatch between the intended interpretation and the intuitively correct interpretation. In this paper, I argue that these objections can be met, once we acknowledge that we may distinguish what determines the correct interpretation (...) from the evidence that is available to the audience, as well as from the standards by which we judge whether or not a given interpretation is reasonable. With these distinctions in place, we see that intentionalism does not render communicative success mysterious, and that cases of mismatch between the intended interpretation and the intuitively correct one can easily be accommodated. The distinction is also useful in treating the Humpty Dumpty problem for intentionalism, since it turns out that this can be treated as an extreme special case of mismatch. (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)

_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)