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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

In the film “Kaili Blues” by Bi Gan, intricate clues create complex connections between the plots steered by various characters. This relationship manifests in splitting time and alternating between dream and reality. This article analyzes Bi Gan’s approach to temporality and dreams by focusing on how he employs various film metaphors to deal with poetic narratives in his films. The article consists of three sections: First, it introduces the (puzzle) storytelling form of “Kaili Blues” as a promising area in many (...) Chinese films. Second, it examines how puzzle films contribute to the ambiguity (plots) between characters from the perspective of infinite games. Moreover, third, the article discusses the two levels of metaphors in “Kaili Blues” that result from the condensation and displacement of metaphors, including the mutual projection of roles caused by the time-forking effect and the audience’s associations caused by the significance of dreams in Chinese tradition (or local) culture. (shrink)

Published in 1903, this book was the first comprehensive treatise on the logical foundations of mathematics written in English. It sets forth, as far as possible without mathematical and logical symbolism, the grounds in favour of the view that mathematics and logic are identical. It proposes simply that what is commonly called mathematics are merely later deductions from logical premises. It provided the thesis for which _Principia Mathematica_ provided the detailed proof, and introduced the work of Frege to a wider (...) audience. In addition to the new introduction by John Slater, this edition contains Russell's introduction to the 1937 edition in which he defends his position against his formalist and intuitionist critics. (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)

Moral philosophy continues to be enriched by an ongoing empirical turn,mainly through contributions from neuroscience, biology, and psychology. Thusfar, cultural anthropology has largely been missing. A recent and rapidly growing‘ethical turn’ within cultural anthropologynow explicitly and systematically studiesmorality. This research report aims to introduce to an audience in moral philosophyseveral notable works within the ethical turn. It does so by critically discussing theethical turn’s contributions to four topics: the definition of morality, the nature ofmoral change and progress, the truth (...) of moral relativism, and attempts to debunkmorality. The ethical turn uncovers a richer picture of moral phenomena on theintersubjective level, one akin to a virtue theoretic focus on moral character, withstriking similarities of moral phenomena across cultures. Perennial debates are notsettled but the ethical turn strengthens moral philosophy’s empirical turn and itrewards serious attention from philosophers. (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)

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)

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)

Theories of assertion must explain how silencing is possible. This chapter defends an account of assertion in terms of normative commitments on the grounds that it provides the most plausible analysis of how individuals might be silenced when attempting to make assertions. The chapter first offers an account of the nature of silencing and defends the view that it can occur even in contexts where speakers’ communicative intentions are understood by their audience. Second, it outlines some of the normative (...) commitments characteristic of assertion when used in the speech act of telling;. This commitment view of assertion is then used to explain silencing as a matter of being deprived of the ability to make some of the commitments one is trying to acquire. Finally, the main rivals of the commitment view of assertion endorsed here are shown to be unable to account for silencing, at least when they are considered in their purest form. (shrink)

How is it that a speaker _S_ can at once make it obvious to an audience _A_ that she intends to communicate some proposition _p_, and yet at the same time retain plausible deniability with respect to this intention? The answer is that _S_ can bring it about that _A_ has a high justified credence that ‘_S_ intended _p_’ without putting _A_ in a position to know that ‘_S_ intended _p_’. In order to achieve this _S_ has to exploit (...) a sense in which communication can be lottery-like. After defending this view of deniability I argue that it compares favorably to a rival account recently developed by Dinges and Zakkou (Mind, https://doi.org/10.1093/mind/fzac056, 2023 ). (shrink)

Speakers assert in order to communicate information. It is natural, therefore, to hold that the content of an assertion is whatever information it communicates to its audience. In cases involving uncertainty about the semantic values of context-sensitive lexical items, moreover, it is natural to hold that the information an assertion communicates to its audience is whatever information audience members are in a position to recover from it by assuming that the proposition it semantically determines is true. This (...) sort of picture corresponds to an influential and widely endorsed theory of assertoric content: diagonalism. I begin by arguing that, despite its intuitive appeal, diagonalism should be rejected because it conflicts with our intuitive judgments about the circumstances in which the contents of speakers’ assertions would be true or false. I then show that the failure of diagonalism requires us to either abandon a familiar way of thinking about information and rational assertion or hold that the content of an assertion is not always the information it communicates. I suggest that we choose the latter horn of this dilemma — assertoric content is better characterized in terms of the commitments speakers undertake than in terms of the information they communicate. (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)

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)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I argue (...) for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

According to what is perhaps the dominant picture of reference, what a referential term refers to in a context is determined by what the speaker intends for her audience to identify as the referent. I argue that this sort of broadly Gricean view entails, counterintuitively, that it is impossible to knowingly use referential terms in ways that one expects or intends to be misunderstood. Then I sketch an alternative which can better account for such opaque uses of language, or (...) what I call “sneaky reference.” I close by reflecting on the ramifications of these arguments for the theory of meaning more broadly. (shrink)

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)

Dog whistling—speech that seems ordinary but sends a hidden, often derogatory message to a subset of the audience—is troubling not just for our political ideals, but also for our theories of communication. On the one hand, it seems possible to dog whistle unintentionally, merely by uttering certain expressions. On the other hand, the intention is typically assumed or even inferred from the act, and perhaps for good reason, for dog whistles seem misleading by design, not just by chance. In (...) this paper, I argue that, to understand when and why it’s possible to dog-whistle unintentionally (and indeed, intentionally), we’ll need to recognize the structure of our linguistic practices. For dog whistles and for covertly coded speech more generally, this structure is a pair of practices, one shared by all competent speakers and the other known only to some, but deployable in the same contexts. In trying to identify these enabling conditions, we’ll discover what existing theories of communicated content overlook by focusing on particular utterances in isolation, or on individual speakers’ mental states. The remedy, I argue, lies in attending to the ways in which what is said is shaped by the temporally extended, socio-politically structured linguistic practices that utterances instantiate. (shrink)

In this chapter I articulate and defend a basic principle capturing the underlying structure of an attractive sort of national reconciliation that accounts for a wide array of disparate judgments about the subject. There are extant theories of national reconciliation in the literature, most of which are informed by Kantian, liberal-democratic and similar perspectives. In contrast to these, I spell out a theory grounded on a comparatively underexplored sub-Saharan ethic. My foremost aim is to demonstrate how African ideals about communal (...) relationship, still largely unfamiliar to an international audience, do a promising job of providing a unified foundation for the roles of truth-telling, apology, forgiveness, compensation, amnesty and related practices often associated with national reconciliation. (shrink)

This paper explores the hypothesis that proper names serve as anchors identifying the individuals in the possible or real world. This hypothesis is tested on Old Icelandic narratives. A prominent feature of Old Icelandic sagas is that the narrative matter is not quite new. A Saga is reliable iff it refers to the events relevant for its audience and accepted as true by the whole community. I argue that proper names must be regarded as references to the background knowledge (...) of the medieval audience. I follow two contemporary Sagas based on the fresh events and show that proper names in a Saga mind were arranged in form of a database, each type of a personal designation having its charachteristic text-building profile. The form of the name and its frequency in the Saga are linked with the rank of the character. The high number of people mentioned in the Sagas is explained by the fact that the Sagas aimed at describing the real world, where the names of the individuals and the events they were involved cross-identified each other. Every character had its rigid identifiers. The total amount of propria is always higher than the number of active figures. I classify the Saga characters into five ranks and discuss their information-structural profiles. (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)

Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in environmental humanities (...) to complement – or challenge – text-based research. The filmmakers in the arts, sciences and humanities see potential in using the moving images within political philosophy, environmental politics, postcolonial studies, human geography, urban ecology, postcolonial studies, design and literature. An example of this is the film One Table Two Elephants. It is a cinematic ethnography created by two Swedish researchers and filmmakers Jacob von Heland and Henrik Ernstson. Based on years of research in Cape Town, it was filmed in 2015 as part of a longer-term research and film-project . The documentary deals with race, nature and knowledge politics in Cape Town as part of the ways of knowing urban ecologies research project. -/- . (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)

Here's the thing: when you look at it from just the right angle, it's entirely obvious how semantics for second-order relevant logics ought to go. Or at least, if you've understood how semantics for first-order relevant logics ought to go, there are perspectives like this. What's more is that from any such angle, the metatheory that needs doing can be summed up in one line: everything is just as in the first-order case, but with more indices. Of course, it's no (...) small matter finding the magical angle from which everything becomes obvious. And even having found this perspective, one cannot assume one's audience will find things as obvious as oneself. All that to say this: if the results in the paper below strike you as obvious, pay attention to the perspective that makes that possible. And if they don't, feel free to ignore this preamble in its entirety. (shrink)

Virtue signaling—using public moral discourse to enhance one’s moral reputation—is a familiar concept. But, what about profile pictures framed by “Vaccines work!”? Or memes posted to anti-vaccine groups echoing the group’s view that “Only sheep believe Big Pharma!”? These actions don’t express moral views—both claims are empirical (if imprecise). Nevertheless, they serve a similar purpose: to influence the judgments of their audience. But, where rainbow profiles guide their audience to view the agent as morally good, these acts guide (...) their audience to view the agent as epistemically good. They are instances of epistemic virtue signaling. The first goal of this paper is to offer an account of epistemic virtue signaling. I argue that epistemic virtue signaling occurs through both behavioral and propositional signals, and serves purposes similar to those of moral virtue signaling across a wide variety of discourses. The second is to show that there is much work for this concept to do. In particular, this concept illuminates a double bind faced by those who suffer from and seek to overcome testimonial injustice. I close by demonstrating how this double bind arises in the dissolution of medical autonomy, focusing on the care gap faced by pregnant women of color in the United States today, as compared with their white counterparts. (shrink)