While the story of Stanislav Petrov – the Soviet Lieutenant Colonel who likely saved the world from nuclear holocaust in 1983 – is often trotted out to advocate for the view that human beings ought to be kept “in the loop” of automated weapons’ responses, I argue that the episode in fact belies this reading. By attending more closely to the features of this event – to Petrov’s professional background, to his familiarity with the warning system, and to his decisions (...) to defy his protocol – it becomes clear that Petrov was not seamlessly working “in his loop,” but reassessing it entirely. I claim that this exhibits a paradox intrinsic to all automated loops: namely, that their optimum function in fact rests on unforeseen human interventions that cannot be reliably codified ex ante, that is, that good judgment cannot simply be “programmed into” their protocols. This dependence, moreover, reveals automation’s ineluctable need for virtue ethics – not in the usual sense (whereby ethics deliberates about, say, possible damages and loss of life), but in the sense that ethical judgment, rightly understood, entails the reassessment of all of the conditions surrounding a decision, including whether a protocol should be followed at all. (shrink)

Many experiences of shame centrally involve exposure. This has suggested to a number of writers that shame is essentially a social emotion that involves being exposed to the view or appraisal of an audience—call this the Audience Thesis. Others reject the Audience Thesis on the basis of private experiences of shame that seem to involve no exposure. This disagreement marks a basic fault line in theorizing about shame. I develop and explore a simple but effective way to shield the Audience (...) Thesis from the private shame objection, by understanding the notion of an audience in a very minimal way. Rather than conceiving of the audience in terms of an other whose appraisal is an element in shame, we can conceive of shame generally as a response to appraisals of the subject—either by others or by the subject herself. On this view, shame requires an audience in the sense that it is not a first-order self-appraisal—like disappointment in or disapproval of oneself—but rather an appraisal of appraisals. This approach yields substantial benefits: it renders the private shame objection harmless; it explains why exposure cases strike us as particularly paradigmatic instances of shame; it clarifies what is happening when we feel shame before appraisals with which we do not agree; it helps to understand how it may be possible to feel shame in the face of neutral or even positive appraisals; and it captures a significant but neglected sense in which shame might be considered a social emotion. (shrink)

This paper discusses the fundamental sense in which the components of an argument should be relevant to the intended audience. In particular, the evidence advanced should be relevant to the facts and assumptions that are manifest in the cognitive environment of the audience. A version of Sperber and Wilson's concept of the cognitive environment is applied to argumentative concerns, and from this certain features of audience-relevance are explored: that the relevance of a premise can vary with the audience; that irrelevant (...) premises can be made relevant; that evidence can be relevant by degrees; and that this notion of relevance will assist the argumentation analyst in the identification and assessment of hidden premises. (shrink)

Some of the literature about teaching issues of race and racism in classrooms has addressed matters of audience. Zeus Leonardo, for example, has argued that teachers should use the language of white domination, rather than white privilege, when teaching about race and racism because the former language presupposes a minority audience, while the latter addresses an imaginary or presupposed white one. However, there seems to be little discussion in the literature about teaching these issues to an audience that is in (...) fact predominantly minority. Leonardo assumes that minority students need little convincing about the reality of white domination, but students of color are not a monolithic group. The paper addresses some specific challenges the author has faced teaching theories of white domination to a predominantly minority student audience in New York City. Leonardo is right that audience matters, but audience turns out to matter in ways that defy common assumptions. (shrink)

Communicating with multiple addressees poses a problem for speakers: Each addressee necessarily comes to the conversation with a different perspective—different knowledge, different beliefs, and a distinct physical context. Despite the ubiquity of multiparty conversation in everyday life, little is known about the processes by which speakers design language in multiparty conversation. While prior evidence demonstrates that speakers design utterances to accommodate addressee knowledge in multiparty conversation, it is unknown if and how speakers encode and combine different types of perspective information. (...) Here we test whether speakers encode the perspective of multiple addressees, and then simultaneously consider their knowledge and physical context during referential design in a three‐party conversation. Analyses of referential form—expression length, disfluency, and elaboration rate—in an interactive multiparty conversation demonstrate that speakers do take into consideration both addressee knowledge and physical context when designing utterances, consistent with a knowledge‐scene integration view. These findings point to an audience design process that takes as input multiple types of representations about the perspectives of multiple addressees, and that bases the informational content of the to‐be‐designed utterance on a combination of the perspectives of the intended addressees. (shrink)

Since the late nineteenth century, studies of Ammianus’ audience have reached widely divergent conclusions. Research has focused on two opposed theses: while some scholars have seen the pagan senatorial aristocracy as the audience of the Res Gestae, others have assigned that role to the imperial bureaucracy. However, in thinking that a work could reach—or target—exclusively the members of a specific social group, the prevalent views on Ammianus’ audience contradict what we know about the circulation of books in the late Roman (...) world. In contrast to previous research, this study proposes a new approach based on an analysis of the information available on book circulation in Ammianus’ time. This analysis shows that the audience of the Res Gestae was most likely socially diverse. (shrink)

The right of audience, in common law, is the right of a lawyer to represent a client in a court. Royalty, the Pope and some Presidents grant audiences. What does the power to grant an audience consist in? And what does it mean to demand an audience? Through a reading of the way in which the vocabulary of theatre, acting and audience is involved in the generation of a theory of state by Hobbes and Rousseau, this paper looks to (...) reopen these questions as a political resource for us to re-imagine and refigure our ways of being together. Through readings of Hobbes and Rousseau, it looks at the ways in which the performance of politics creates the public, the representative and the sovereign and the ways these figures interact. It proposes an alternative role for theatre as places of affective learning and a civic ethics of playfulness, in which the auto-institution of the state as an imagined collectivity is fully assumed. nema. (shrink)

In public communication contexts, such as when a company announces the proposal for an important organizational change, argumentation typically involves multiple audiences, rather than a single and homogenous group, let alone an individual interlocutor. In such cases, an exhaustive and precise characterization of the audience structure is crucial both for the arguer, who needs to design an effective argumentative strategy, and for the external analyst, who aims at reconstructing such a strategic discourse. While the peculiar relevance of multiple audience (...) is often emphasized in the argumentation literature and in rhetorical studies, proposals for modelling multi-audience argumentative situations remain scarce and unsystematic. To address this gap, we propose an analytical framework which integrates three conceptual constructs: Rigotti and Rocci’s notion of communicative activity type, understood as the implementation of an interaction scheme into a piece of institutional reality, named interaction field; the stakeholder concept, originally developed in strategic management and public relations studies to refer to any actor who affects and/or is affected by the organizational actions and who, accordingly, carries an interest in them; the concept of participant role as it emerges from Goffman’s theory of conversation analysis and related linguistic and media studies. From this integration, we derive the notion of text stakeholder for referring to any organizational actor whose interest becomes an argumentative issue which the organizational text must account for in order to effectively achieve its communicative aim. The text stakeholder notion enables a more comprehensive reconstruction and characterization of multiple audience by eliciting the relevant participants staged in a text and identifying, for each of them, the interactional role they have, the peculiar interest they bear and the related argumentative issue they create. Considering as an illustrative case the defense document issued by a corporation against a hostile takeover attempt made by another corporation, we show how this framework can support the analysis of strategic maneuvering by better defining the audience demand and, so, better explaining how real arguers design and adapt their topical and presentational choices. (shrink)

How does intentional communication evolve? Comparative studies can shed light on the evolutionary history of this relevant feature of human language and its distribution before modern humans. The current animal literature on intentional signaling consists mostly of ape gestural studies with evidence of subjects persisting and elaborating with sometimes arbitrary signals toward a desired outcome. Although vocalizations can also have such imperative qualities, they are typically produced in a functionally fixed manner, as if evolved for a specific purpose. Yet, intentionality (...) can sometimes transpire even in functionally fixed calls, for example, if production is adapted to audience composition. In this study, we carried out field experiments to test whether free-ranging sooty mangabeys adjusted snake alarm call production to their audiences. We found a positive relation between alarm call production and naïve individuals arriving, suggesting that callers attempted to influence their behaviors relative to the snake. Subjects called more with smaller audiences, if they had not heard other calls before, and if socially important individuals were in the area. We concluded that sooty mangabeys alarm call production can be explained as an active attempt to refer to an external event, rather than a mere readout of an internal state. (shrink)

In recent discussions on contextualism and relativism, some have suggested that audience-sensitivity motivates a content relativist version of radical relativism, according to which a sentence as said at a context can have different contents with respect to the different perspectives from where it is assessed. The first aim of this note is to illustrate how this is not so. According to Egan himself, the phenomenon motivates at least refinement of the characteristic moderate contention that features of a single context determine (...) the appropriate truth-value of the sentence. The second aim of this note is to explore how this may not be so. (shrink)

How do speakers design what they say in order to communicate effectively with groups of addressees who vary in their background knowledge of the topic at hand? Prior findings indicate that when a speaker addresses a pair of listeners with discrepant knowledge, that speakers Aim Low, designing their utterances for the least knowledgeable of the two addressees. Here, we test the hypothesis that speakers will depart from an Aim Low approach in order to efficiently communicate with larger groups of interacting (...) partners. Further, we ask whether the cognitive demands of tracking multiple conversational partners' perspectives places limitations on successful audience design. We find that speakers can successfully track information about what up to four of their partners do and do not know in conversation. When addressing groups of 3–4 addressees at once, speakers design language based on the combined knowledge of the group. These findings point to an audience design process that simultaneously represents the perspectives of multiple other individuals and combines these representations in order to design utterances that strike a balance between the different needs of the individuals within the group. (shrink)

Scientists, their allies, and opponents engage in struggles not just over what is true, but who may validate, access, and engage contentious knowledge. Viewed through the metaphor of theater, science is always performed for an audience, and that audience is constructed strategically and with consequence. Insights from theater studies, the public understanding of science, and literature on boundary work and framing contribute to a proposal for a framework to explore the construction of audiences during scientific controversy, consisting of three (...) parameters: history, composition, and role. Applying this framework to the controversy over the presence of genetically modified maize in Mexico demonstrates how multiple and contested audiences form during a scientific controversy. Different scientific ?productions? construct distinct or overlapping audiences; audiences constructed at one time become ?easy recruits? for later stages of the controversy; and the various roles cast for different audiences showcase strategies for building scientific power and reflect assumptions about the capacity for publics to participate in the governance and production of science. (shrink)

La mesure d'audience est au coeur de l'activité des médias dits de masse: elle sert de référence pour quantifier les auditoires et s'impose comme mode de consultation du public. Le présent numéro d'Hermès présente tout d'abord les systèmes de mesure d'audience des différents médias , mettant en évidence que l'audience est le résultat d'un ensemble de contraintes et d'un consensus toujours fragile entre les partenaires concernés. La deuxième partie, plus particulièrement centrée sur la télévision généraliste, analyse les effets de la (...) concurrence sur les programmes et les programmations. La partie suivante s'interroge sur la validité de l'audience comme moyen de connaissance des publics, et sur la possibilité de créer d'autres types de liens avec le téléspectateur. Enfin, la spécificité d'Internet par rapport aux médias traditionnels permet d'affirmer que la mesure d'audience n'y jouera sans doute jamais le rôle central, un nouveau mode de relation s'instaurant avec l'usager.Audience research is at the centre of mass media activity: it serves as a reference to quantify viewers and are considered to be THE way to survey audiences. This issue of Hermes first presents different audience rating systems used by the media , emphasizing the fact that the audience is the result of many constraints and of an invariably weak consensus between the partners concerned. The second part focuses more particularly on traditional TV channels, analyses the effects of competition on schedules and programming. The section that follows questions the validity of the audience as a means of getting to know viewers and also questions the possibility of creating other types of links with the viewer. Finally, the specificity of the Internet as opposed to more "traditional" media leads us to observe that audience rating might never play a central role in this media since a new type of relations is being created with users. (shrink)

In this article Goffman's theories on participation framework and change in footing are applied to discursive material from the South African Truth and Reconciliation Commission. The main finding is that a discursive setting such as the public hearings of a truth and reconciliation commission can be highly intricate and layered when considering the role of the various discourse participants. The testifying victims, the TRC commissioners and the audience engaged in various forms of subordinate communication — byplay, crossplay and sideplay — (...) in addition to the standardized and expected interaction between victims and commissioners. This tells us that face-to-face talk should not be regarded as the prototypical participation framework, even not in a highly stage-managed discursive setting. Moreover, by paying attention to the co-presence of also a `virtual' audience, the Goffmanian framework is taken beyond its confines of only discussing interaction between discourse participants who are physically present in a speech situation. In the end, each of the discourse participants tried to exploit the possibilities offered by this complex framework, thus adding to the impact the TRC had on South African society at large. (shrink)

The public communication of science and technology has become increasingly important over the last several decades. However, understanding the audience that receives this information remains the weak link in the science communication process. This essay provides a brief review of some of the issues involved, discusses results from an audience-based study, and suggests some strategies that both scientists and journalists can use to modify media coverage in ways that can help audiences better understand major public issues that involve science (...) and technology. (shrink)

People may exhibit two kinds of modifications when demonstrating action for others: modifications to facilitate bottom‐up, or sensory‐based processing; and modifications to facilitate top‐down, or knowledge‐based processing. The current study examined actors' production of such modifications in action demonstrations for audiences that differed in their capacity for intentional reasoning. Actors' demonstrations of complex actions for a non‐anthropomorphic computer system and for people (adult and toddler) were compared. Evidence was found for greater highlighting of top‐down modifications in the demonstrations for (...) the human audiences versus the computer audience. Conversely, participants highlighted simple perceptual modifications for the computer audience, producing more punctuated and wider ranging motions. This study suggests that people consider differences in their audiences when demonstrating action. (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.

In this paper I introduce, elaborate, and defend a new form of ethical reasoning instruction. The pedagogy, which I have titled mass-audience interactive narrative ethical reasoning instruction, is an initiative designed to teach ethical reasoning effectively on a broad scale over an extended period of time. The hope is that such a program, if duly supported, will help to ensure the widest possible engagement, and high levels of retention, in an institution-level program of ethical reasoning.

Reading the Fourth Gospel in search for its first audience can lead to a fresh awareness of the way in which the contemporary disciple is its audience.

Kalle Pihlainen’s book reworks seven essays published over the last dozen years. Pihlainen’s Preface and Hayden White’s Foreword articulate a cri de cœur. Both fear that something important has been missed. White’s Foreword somewhat cryptically characterizes Pihlainen’s book as “metacritical,” and locates Pihlainen in the role of being a “serious reader” for the community of theorists of history. What does it mean to be a “serious” reader? White never says. But following White’s hint, Pihlainen can be read as updating Marx’s (...) conception of the task of unmasking sources of alienation by focusing on the reasons for the estrangement of histories from a wider audience. For him, “the core case is that the ‘historical’ nature of history itself needs to be acknowledged”. It remains unacknowledged so long as the source of meaning in history continues to be displaced. For even those who emphasize narrative form tend to talk as if meanings were imposed by some factor other than human intervention, as if form magically imbues content with significance. But this is one more symptom, if such is needed, of collective bad faith, a denial that only people make meaning. By taking disembodied literary forms as repositories of significance, responsibility for meaning is once again deflected or deferred. In this key regard, Pihlainen’s claim to place “decided emphasis on its [historical theory’s] ethical-political momentum” signals that the issues he intends to foreground are not epistemological or discursive. Pihlainen rightly suspects that all the talk of “narrativism” and “discourse” serves only to evade confronting the truly difficult moral and political challenges that writing represents. His various chapters identify these evasions and the challenges that remain. (shrink)

This lecture explores the boundaries between audiences and actors, and what happens when audiences interact with actors and their characters. Its illustrative case is Desdemona's response to Othello. When Desdemona marries Othello she crosses the boundary from audience world to the world of fiction. In so doing, she initiates a structure in which things that should be kept separate merge: genre, language, characters, plots. The mergings are consistently coded as theatrical: this is a tragedy of theatre boundaries gone (...) wrong. Psychologist Edward Bullough's argument from 1912 about distance in the theatre provides the theoretical framework for this lecture to explore the problems when audiences do not keep stage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 38-52 [Access article in PDF] Artist-Audience Communication: Tolstoy Reclaimed Saam Trivedi Whoever is really conversant with art recognizes in [Tolstoy's What is Art?] the voice of the master.1There has to be some presumption that, as one of the greatest artists who ever lived, Tolstoy might actually have known what he was talking about.2It is widely accepted in contemporary Anglo-American aesthetics that, despite (...) Tolstoy's own literary achievements, his "moralism" about art is a view without much merit. For the most part, I concur with this current consensus about Tolstoy. However, despite the many flaws in his view, I think Tolstoy was on to something, after all. In particular, I believe a concept of artist-audience communication similar to what Tolstoy had in mind can be fleshed out so as to avoid the problems that Tolstoy ran into, while reclaiming the insights in his view.3In what follows, I begin by suggesting briefly that recognizing a quasi-Tolstoyan concept of artist-audience communication may have important implications for how we should approach artworks, and thus also for aesthetic education. Next, I spell out this concept. I then offer trenchant criticisms of Tolstoy's view. Finally, I point out affinities between Tolstoy's concept and mine, while also distinguishing my concept of artist-audience communication from Tolstoy's concept of artistic communication. It will emerge, I hope, that while I disagree more than agree with Tolstoy, the issues where I agree with him may be more significant. Artist-Audience Communication I begin by discussing briefly how talk of a quasi-Tolstoyan artist-audience communication bears relevance for how we should approach artworks, and thus has relevance for aesthetic education. If I am right, then in approaching [End Page 38] and experiencing artworks, we should seek a correct experiential understanding of them that is shared between the artist and audience, and between ourselves and other members of the audience. This does not meanthat we seek what the artist did intend in creating the artwork, as actual intentionalism would have us do. Rather, as members of a competent audience, we should first analyze what a given artwork means by attending to the work itself.4 This includes the broad art-historical context of production (including the period, style, category, or genre of the work; the artist's public persona; the oeuvre of the artist; works by the artist's contemporaries; the social, cultural, and political milieu of the artist; and so on) and the public conventions that apply to it. In cases of irony, satire, and allusion, we may also need to broaden the context and appeal to artistic intentions. Then we should attribute this "work-meaning" to the historical artist as part of what she or he could have intended, so long as this was historically possible. If this historically possible work-meaning coincides with what she or he did intend in that artistic intentions are successfully realized in the work, then we have a real sharing of a correct, experiential understanding of the work between artist and audience, and thus real communication between them in the sense of artist-audience communication explained above. On the other hand, if what the artist did intend is not realized in the work and thus does not coincide with work-meaning as part of what she or he could have intended, then we still have at least a minimal, hypothetical sharing and communication insofar as our correct, experiential understanding of the work is shared with what the artist could have intended.This bears relevance for aesthetic education, assuming one of the purposes of aesthetic education is to teach children and other newcomers to art how to appreciate artworks.5 In teaching people how to appreciate artworks, I suggest we emphasize the shared, communicative aspects of the experience of artworks when they are understood more or less correctly. We should tell them that they should seek to communicate with the artist via the artwork, trying to understand the artwork correctly in the very experience of the... (shrink)

Consider how your consumption would change if you were stranded on a deserted island. Isolation would eliminate all social influences on your consumption decisions, even for the same choice set. You might decide not to consume cosmetics, curtains, or neckties, and pay less attention to the style or color of your clothes, car, or furniture. These choices might not matter as much to you anymore, for you would not have to consider the reactions of other individuals to your consumption. Similarly, (...) isolation would also eliminate social influences on your speech. Absent an audience, your choice of words would not be subject to the judgments of others. (shrink)

As web analytics become increasingly common in newsrooms worldwide, it is imperative to understand how they are employed to meet news organizations’ journalistic and business goals. This study examines the evolution and applications of web analytics in newsrooms through a comprehensive analysis of relevant literature. It situates the rise of web analytics in the larger historical, social, and financial context. It explores the strategies news organizations adopt to integrate web analytics in news production. After discussing the impact of analytics on (...) news production, the project juxtaposes the pessimistic ethical concerns—primarily the prediction of market logic uprooting journalistic logic—surrounding the use of web analytics in newsrooms with ground realities. Finally, in view of the analysis, we reflect on the ethical concerns against analytics, the state of editorial autonomy in newsrooms, the implications of newly empowered audience for news ecosystem, and conclude with a practical view of analytics in newsrooms. (shrink)

Delivering news on social media platforms is an increasingly important consideration in journalism practice. However, little attention has been paid to audience engagement with news on social media, especially the discursive presentation of news on the Chinese social media platform WeChat. Based on 36 news reports collected from the People’s Daily official account, this study analyses how news discourse is constructed and presented to engage audiences. The results suggest that highlighting proximity, personalisation, positivity and human interest in news values (...) are the strategies adopted by journalists to engage audiences. The headline tends to use forward-referring terms and performs the speech acts of assertives and expressives to construct news values of proximity and positivity. The news story makes use of particular addressing terms, reported speeches and evaluative markers to construct news values of personalisation, positivity and human interest. The study enriches the analysis of journalistic practice of news on social media in the Chinese context. (shrink)

Flow describes a state of intense experiential involvement in an activity that is defined in terms of nine dimensions. Despite increased interest in understanding the flow experience of musicians in recent years, knowledge of how characteristics of the musician and of the music performance context affect the flow experience at the dimension level is lacking. In this study, we aimed to investigate how musicians’ general music performance anxiety level and the presence of an audience influence the nine flow dimensions. The (...) participants were 121 university music students who performed solo a music piece once by themselves and once in front of an audience. Their general MPA level was measured with an adapted version of the STAI and ranged from 27 to 76. The level of the nine flow dimensions was assessed with the Flow State Scale-2 after each performance. The levels of “concentration on task at hand,” “sense of control,” and “autotelic experience” decreased significantly with increasing general MPA level. The levels of “unambiguous feedback” and “loss of self-consciousness” decreased significantly with increasing general MPA level during the public performance only. The level of “sense of control” was significantly lower during the public performance than the private performance across participants. The level of “unambiguous feedback” was significantly lower during the public performance than the private performance for participants with a general MPA level higher than 47. The level of “loss of self-consciousness” was significantly lower during the public performance than the private performance for participants with a general MPA level higher than 32. In contrast, the general MPA level and the audience did not significantly affect the levels of “challenge-skill balance,” “clear goals,” and “action-awareness merging.” These results show that the effects of general MPA level and audience vary greatly across flow state dimensions. We conclude that musicians’ flow state should be analyzed at the dimension level rather than as a global score. We discuss how our findings could inform the development and implementation of interventions. (shrink)

The role of audiences in mathematical proof has largely been neglected, in part due to misconceptions like those in Perelman and Olbrechts-Tyteca which bar mathematical proofs from bearing reflections of audience consideration. In this paper, I argue that mathematical proof is typically argumentation and that a mathematician develops a proof with his universal audience in mind. In so doing, he creates a proof which reflects the standards of reasonableness embodied in his universal audience. Given this framework, we can better (...) understand the introduction of proof methods based on the mathematician’s likely universal audience. I examine a case study from Alexander and Briggs’s work on knot invariants to show that we can fruitfully reconstruct mathematical methods in terms of audiences. (shrink)

Existing studies have extensively explored audience engagement in TV news, but not enough attention has been paid to the discursive presentation of this phenomenon in the discourse of TV news kernels. Based on a pool of news items collected from BBC News at Ten, this article aims to investigate how the discourse of news kernels is constructed and presented to engage the audience. The analysis shows that news values and journalist–audience interaction are two main ways employed by the journalists to (...) achieve audience engagement in presenting TV news kernels. On one hand, a news kernel tends to cover the most newsworthy information of the news story, and the news text; on the other hand, it is often styled as newsworthy, too. In the meanwhile, the presentation of the news kernel tends to create a sense of interaction between the journalist and the audience by practices such as pre-opening remarks, introducing the reporter and alerting the audience, among others. The findings reflect quite different journalistic practice of TV news kernels from that of print news leads. (shrink)

Metaphors abound in descriptions of the COVID-19 pandemic: it is described, among other things, as a war, a flood, and a marathon. However, not all metaphors may resonate equally well with members...

In rhetoric and argumentation research studies of empirical audiences are rare. Most studies are speaker- or text focussed. However, new media and new forms of communication make it harder to distinguish between speaker and audience. The active involvement of users and audiences is more important than ever before. Therefore, this paper argues that rhetorical research should reconsider the understanding, conceptualization and examination of the rhetorical audience. From mostly understanding audiences as theoretical constructions that are examined textually and (...) speculatively, we should give more attention to empirical explorations of actual audiences and users. (shrink)

This paper aims to explore the changes that representative democracy is experiencing as a result of the transformation of communication channels. In particular, it focuses on non-electoral representation in the form of movements that emerged throughout the 2010s and that were defined by a strong social media presence (e.g. Occupy Wall Street, Black Lives Matter, #MeToo, Yellow Vests). Despite not attempting to gain political power via elections, these movements, through online and offline activities, nonetheless managed to shape the realm of (...) politics. The paper thus analyzes the movements’ inner representative dynamics and the ways they reshape representative democracy. It engages with a critical reading of Hanna Pitkin’s concept of symbolic representation and draws on Michael Saward’s framework of the representative claim to reevaluate Bernard Manin’s notion of “audience” democracy as today’s form of representative government. The argument is that, as digital development provides citizens with less demanding modes of political participation and platforms of representative claim-making, it enhances the sphere of opinion formation and the role of non-electoral representation. This sphere entails a tendency towards a re-depersonalization of politics, thus leading towards the transformation of “audience” democracy. (shrink)

D0 works 0f an essentially involve a relation t0 an audience'? Many otherwise very different theories of art agree than they do. S0 the question ‘Wha1 is art?" has no be answered by describing than relation. I shall argue 10 the ccmmrary [hm a theory of wha; ir is m be art should nm invoke any relacicm m an audience. Art has nothing esscmial to do with an audience.

In lieu of an abstract, here is a brief excerpt of the content:Perelmanian Universal Audience and the Epistemic Aspirations of ArgumentScott F. AikinIThe notion of universality in argumentation is as fecund as is it is controversial. Chaïm Perelman and Lucie Olbrechts-Tyteca’s notion of universal audience (UA), given their requirement that all arguments be evaluated in terms of their audiences, clearly promises a rich account of argumentative norms. It equally yields a variety of questions. For the most part, the questions (...) come in three forms: what, precisely, is the universal audience; whether it is, in the end, a coherent notion; and how its norms actually constrain argument. Many objections to the notion claim that it is either incoherent or too empty to constrain. My objective here is to provide an account of Perelman’s notion of UA that avoids these objections. I will argue that the UA can be clarified with a distinction between two functions it plays in argumentation— one pragmatic and another epistemic. Perelman and Olbrechts-Tyteca do not explicitly disambiguate these roles themselves, though they do use the notion in two distinct ways in The New Rhetoric (TNR [1969]), and so it seems clear that although the view in the end may be Perelmanian, it is arguably not Perelman’s. No matter. The purpose of this essay is not to exhume Perelman but to resurrect and exercise his views. That is, historical work in philosophy must straddle the demands of two distinct goals— fidelity to the author in question and defensibility of the views developed. My case [End Page 238] will jointly depend on the comparative plausibility of my account as an interpretation of Perelman’s universal audience and of the view as correct regarding argumentative norms in relation to the other competing interpretations of Perelman’s UA. So if my argument for a divided universal audience is at least Perelmanian in spirit, and if it survives the objections to UA that other interpretations do not survive, it should be the philosophically preferable interpretation.IIThe first principle of Perelmanian rhetoric is that arguments are addressed to audiences for the purpose of inducing or increasing adherence to a view (TNR, 14). Consequently, the less reliant arguments are on a specific audience’s idiosyncratic commitments, the more effective the arguments will be in generating assent and resolving disagreements in wider and wider groups of people. Perelman describes the universal audience in The Realm of Rhetoric (RR [1982]) as “itself... made up of an infinite variety of particular audiences” (14). The UA is the regulative ideal of maximal intersubjective agreement. That is, we see both the relative weakness of arguments that depend on the commitments of particular audiences and “the value attached to opinions that enjoy unanimous approval” (TNR, 31). This unanimity is reached at its highest point in the universal audience. As such, UA is an agglomerative notion that functions as a criterion for how widely an argument may be given credence. Call this trajectory toward unanimity the pragmatic element of UA.However, the universal audience’s assent is used to define facts for arguments, and as such, it is a marker of the objectivity of a conclusion, not just the breadth of the effectiveness of an argument. Perelman and Olbrechts-Tyteca stipulate that “from the standpoint of argumentation, we are confronted with a fact only if we can postulate uncontroverted, universal agreement with respect to it” (TNR, 67). Facts and truths are defined in terms of the “agreement of the universal audience” (TNR, 67). This, of course, is not to say that arguments make facts but, instead, that their universal acceptability is a criterion for whether some purported fact is or is not the case. Agreement on this level does not play a metaphysical role of explanation but, rather, a cognitive role of justification for taking a commitment as a premise for further argument. The agreement in a universal audience, further, must be uncontroverted, which means that this UA must have some shared commitment that survives scrutiny (or at least is [End Page 239] not defeated): “The agreement of a universal audience is... a matter, not of fact, but of right” (TNR, 31). And further, this right has a very powerful normative element: “Argumentation... (shrink)

Martin Barker, with Thomas Austin _From Ants to Titanic: Reinventing Film Analysis_ London: Pluto Press, 2000 ISBN: 0-7453-1579-8 (pb); 0-7453-1584-4 (hb) v + 222 pp.

This paper theorises and exemplifies the place of audience labour in the propagation of Discourse and discourses. Audience labour is simply the work of people engaged in mediation processes as they gather themselves into groups defined by specific media events (sport, music, news, movies and so on). It compares the environments and practices of the mass media era and those of the current era to show that the most economically valuable work in media is done by audiences, and that (...) that work is becoming more direct in its orientation and effects, even as it gets cheaper for advertisers and more immersive for audience members. A social media view of audience labour shows up the intensely intimate nature of personal commodification: feelings, attitudes, opinions, outrages, general states of mind and being are all grist for the digital economy mill. Outrage systems are especially profitable. They provide grounds for what I call ‘discourse industrial sectors’, or, those groups of people making a living and sometimes a fortune fighting on one side or another of the so-called culture wars. I argue for a conception of rhetorical purpose as a guide for analysing current media environments that depend on social media. (shrink)

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)

In this paper we investigate whether, and how, corporate management strategically uses disclosure to manage the perceptions of different organizational audiences. In particular, we examine the interactions between the FIAT Group and three of its key organizational audiences—the local press, the international press, and the financial analysts, which are characterized by different levels of salience for the company. We focus on both how management reacts to the optimism level existing within each audience and how the narrative disclosure tone (...) adopted by FIAT influences the ex-post optimism in the local and international press or in the financial analyst community. We investigate the disclosure of the FIAT Group over a 6-year period , during which 70 price-sensitive press releases were published. On the basis of 1,887 news articles published in Italian newspapers and 411 analyst reports, we report evidence of different strategic patterns in the interaction processes between FIAT and its audiences. Our findings also indicate some differences in the way FIAT is affected by, and in turn, affects the sentiment of each audience, thus highlighting that the salience of the stakeholder is an important driver of the adoption of impression management techniques. Taken together, our findings point to issues related to setting the “tone at the top” and potential ethical matters. (shrink)

In recent years, scholars have vividly debated over the definition and features of dogwhistles. As Jennifer Saul has widely argued in her works, political dogwhistles are powerful tools of manipulation. However, the current debate still lacks a convincing definition of dogwhistles, which sometimes are treated like spy codes while, at other times, they are labelled as instances of hate speech, as in Santana (2019). Instead, I propose a definition of dogwhistles that is based on the analysis of the audience design (...) of utterances. I claim that dogwhistles are speech acts designed to secretly change the conversational role of a subset of the audience. Furthermore, they qualify as forms of disguisement - and not concealment, as claimed by the received view - that violate two important conversational responsibilities of the speaker (Clark and Carlson 1992). (shrink)

The paper studies Livy's account in Book 45 of the aftermath of Aemilius Paullus' conquest of Macedon employing two interpretative methods, both common in recent studies of historians. The first is “metahistory,” in other words interpreting events within a historical narrative as commenting covertly on the genre of history and on the work as an example of that genre. The second is seeing how internal audiences provide a guide for the reader's interpretation. These, though theoretically independent, are in practice (...) often related, with internal audiences being used as a trigger for wider reflections on the text and the genre. Four linked passages from Livy 45 are discussed in detail. One invites a systematic metahistorical reading without the use of an internal audience, partly to endorse Livy's own manner of “secondary” history, partly to promote a moral reading of the text. The other three employ internal audiences to similar effect: first, Aemilius' meeting with the defeated Perseus, and the lesson which he draws about the mutability of fortune; second, the spectacular games he organizes at Amphipolis; and third, his eventual triumph in Rome, along with the speech that Servilius gives in its support. The understanding of the genre of history that Livy promotes through these passages is, however, astonishingly narrow and didactic, ignoring even central aspects of his own work which do not conform to that understanding. The paper concludes by considering why Livy would wish to present himself and his genre as single-mindedly moralistic when neither he nor it actually was. (shrink)