Watching other people play videogames —a.k.a. ‘spectator gaming’— is a widespread practice. Yet, it is considered by some as an inadequate form of engagement with games. In this paper, I show that the strongest objection to spectator gaming relies on the claim that some properties of videogames are better, if not exclusively, accessible to the player. After that, I propose two replies to this challenge. The first is that ‘secondary players’, i.e., individuals who indirectly take part in the (...) game, can access the relevant properties. The second reply is that even paradigmatic spectators may engage in simulated play, and therefore, access these properties as well. (shrink)

The most surprising conclusion of our analysis is that videogames can be most effective in generating suspense not by highlighting their unique ability to be interactive, but, to the contrary, limiting interactivity at key points, thereby turning players into helpless spectators like those that watch films. Discovering this technique in video games allows us to turn our attention back to film, where we are able to highlight a previously ignored feature of viewer film interaction, namely, helplessness.

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.2 (2003) 309-313 [Access article in PDF] Niall W. Slater. Spectator Politics: Metatheatre and Performance in Aristophanes. Philadelphia: University of Pennsylvania Press, 2002. x + 363 pp. Cloth, $59.95. In this close reading of all but three of Aristophanes' surviving plays, Niall Slater demonstrates considerable theatrical sensitivity. He all but stages the comedies for us, and in doing so he shows how Aristophanes stakes (...) a claim for the power of comedy to educate its audience.In two introductory chapters, Slater establishes the terms and contexts of his arguments. "The Naming of Parts" begins with the history of the concept "metatheatre," which includes a fine account of the problem of "illusion." Slater understands illusion as a contract negotiated—and in Aristophanes constantly renegotiated—between the actors and the audience. Metatheatre acknowledges the negotiation, the process of the play. "Aristophanic comedy knows and names [End Page 309] itself" (1). Slater sets out to show that Aristophanes uses metatheatre not just as one of many comic devices, but also as a technique to provoke Athenians into thinking about performance. Metatheatre, he says, "invites our contemplation not only of the qualitybut the goalsof theatrical performance" (7). The remainder of the chapter looks at the metatheatre possible or even inherent in the many aspects of the plays (e.g., musical form or costumes and props). The account is a welcome survey, and it reminds us to be open to finding metatheatre in moments less obvious than a parabasis. In his second chapter, "The Emergence of the Actor," Slater argues that only after the actor becomes conceptually separate from the play, which happened by the 440s and the institution of the acting prize, can an audience understand an actor's performance asa performance and react to it on a metatheatrical level. Slater recounts much of what we know about the shift from poet-actors to professional actors and focuses on comedy and how it makes fun not just of tragedy, but also of tragic actors. By doing so, comedy "created an observational point outside the tragic system of representation from which to recognize and observe analogues to tragic acting in the construction of other kinds of cultural performances" (32). He looks forward here to the arguments he will make about Aristophanes teaching his audiences to critique political performances, but I wonder if locating the "observational point" might not be as simple as showing that acting is recognizable as its own performance and that performance is something to be judged (both of which the existence of the acting prize proves) without making tragicacting the only way to observe other kinds of performance? Although Slater does not need to set up the rest of the book so elaborately, the chapter includes intriguing ideas about the effect of the emergence of the actor on the theater.He concludes the introductory chapters by explaining that he has chosen to examine in detail the eight of the surviving comedies in which metatheatre makes a difference and contributes to debates about democratic Athens. He begins with the admirable reminder that modern theater analogies are likely to mislead about Athenian comedy in the context of radical Athenian democracy. In his accounts of the plays, Slater first considers the theatrical space within a play and then gives a second look at the relationship of that theatrical space to other public spaces. What he finds in Acharniansis a theatrical space nearly congruent with the political space of the assembly—the only other occasion for the whole citizenry to sit together and judge—but Dicaeopolis cannot control that space, and so he creates his own space with his peace treaties. Slater clearly delineates the separate spaces Dicaeopolis brings together and the metatheatrical effect of his doing so, i.e., to show that all are performance spaces. The main claim of the parabasis is that Aristophanes has taught the city to see through deceptive speeches, and the parody of Euripides can teach spectators to see the process of role-playing and thus see through the deceptions of demagogues and... (shrink)

This chapter contains section titled: Humean Moral Sentiments as Responsibility Conferring Exclusion and Humean Moral Disapproval A Spectator's Standard of Virtue Looking Forward References Further Reading.

We examined the relationship among watching soccer matches, moral functioning and aggression levels in 332 college students. Hypothesis-driven regression analyses revealed that the frequency of watching soccer matches was positively associated with low levels of moral behavior and high aggression levels. A mediation analysis also showed that moral behavior mediated the relationship between the frequency of watching soccer matches and aggression levels. Males manifested lower levels of moral functioning and higher hostility, physical and verbal aggression than females when watching a (...) soccer match. Moreover, only males reported more verbal aggression and anger when watching soccer matches as compared to their general aggression levels. (shrink)

Can a machine think? More pointedly, if I am a machine, can I think? Beck answers these questions by analyzing two clusters of metaphors -- one of which dramatizes human beings as spontaneous agents (actors), and the other sees them as observers attempting to explain causally their own behavior and that of the actor (spectators). Using a hypothetical scene with two spectators, each explaining an action, and each representing a different way of viewing the world, Beck points up the central (...) philosophical problems raised by the varieties of ways in which we explain our own actions and those of others. (shrink)

Through a reading of Kant’s essay, “An Old Question Raised Again: Is the Human Race Constantly Progressing?”, I argue that Kant’s political philosophy fails to adequately engage with the political event in itself, and that Kant’s so-called political writings only provide a theory of the social sphere. First, I present the Kantian political subject as an antinomy between the metaphysically grounded spectator and the physically situated actor. Second, I show that Kant tries to solve the antinomy between the actor (...) and the spectator by attributing primacy to the judgement of the spectator. Third, I show that this move fails because it removes from political judgment what ultimately defines the political, i.e. plurality, spontaneity, and action. I conclude that rather than a theory of the sphere of political life, what Kant achieves is the thinking out of a theory of society (Gesellschaft). (shrink)

A range of seemingly unrelated problems at the forefront of controversy about consciousness, language, and vision, among others, have a deep connection with one another that has gone unnoticed. This book suggests that this mistake arises not from what is put into a theory but rather from what is missing.

This paper considers whether pictures ever implicitly represent internal spectators of the scenes they depict, and what theoretical construal to offer of their doing so. Richard Wollheim's discussion (Painting as an Art, ch.3) is taken as the most sophisticated attempt to answer these questions. I argue that Wollheim does not provide convincing argument for his claim that some pictures implicitly represent an internal spectator with whom the viewer of the picture is to imaginatively identify. instead, I defend a view (...) on which the external spectator simply imagines herself interacting, psychologically and otherwise, with the depicted scene. I explore some of the consequences of the two positions for pictorial aesthetics, arguing that the view I favour is at least as competent as Wollheim's at accommodating those phenomena we have any reason to think hold. (shrink)

In his tractA Rationale of Judicial Evidence, Jeremy Bentham repeatedly refers to the courtroom as the ‘theatre of justice’. Bentham's description has been borne out by recent scholarship on Athenian law. As a form of civic space, the Athenian lawcourts were similar to the Theatre of Dionysos in many respects: litigants faced each other in a competitiveagon, delivering lines written for them by logographers to a mass audience which would range, ordinarily, from 200 to 1500 jurors. Moreover, modern scholars have (...) drawn on the notion of ‘social drama’ introduced by the anthropologist Victor Turner to describe the Athenian lawcourts as an arena for socially constructive feuding behaviour, as a public stage for the social élite to compete for prestige, or as a forum for ongoing communication between élite litigants and mass jurors ‘in a context which made explicit the power of the masses to judge the actions and behavior of élite individuals’. (shrink)

Panopticism is Michel Foucault’s term for the internalisation of surveillance and cultural control that is closely linked to the panopticon or surveillance architecture (associated with prisons) of Jeremy Bentham during the 18th and 19th centuries. The purpose of this article is to argue that Adam Smith’s concept of the impartial spectator provides an alternative perspective of internal surveillance that may enhance moral development and resistance to oppressive forms of control. For Smith, this is established through analogical imagination that is (...) used for self-observation to enhance prudent behaviour. The impartial spectator and its resistance to totalitarian behaviour is specifically relevant in contemporary society because of the dominant role of digital technology and scandals that have exposed digital media as participating in digital forms of surveillance, digital personae, artificial intelligence and control. It will also be highlighted that digital surveillance is closely connected to the capitalism that has infiltrated all domains of society, from socio-personal relationships to the workplace. (shrink)

Death and the Disinterested Spectator examines the nature of philosophy in light of philosophy's claim to be a preparation for death.

According to Adam Smith, we appeal to the imagined reactions of an ‘impartial spectator’ when justifying moral judgements of others and aspire to be impartial spectators when making judgements of ourselves. However, psychological research has shown that trying to be impartial will often have the paradoxical effect of reinforcing other-directed prejudice and self-serving bias. I argue that we can get around this problem by aspiring to be ‘partially impartial spectators’ instead.

Combining phenomenology and psychoanalysis in highly innovative ways, this book seeks to undo the binary opposition between appearance and Being that has been in place since Plato’s parable of the cave. It is, essentially, an essay on what could be called “world love,” the possibility and necessity for psychic survival of a profound and vital erotic investment by a human being in the cosmic surround. Here, the author takes her cue from Freud’s assertion that the “loss of reality” associated with (...) psychosis is a function of a disturbance not in the capacity to reason or perceive, but rather in the capacity for world love, the libidinal and semiotic circuity by means of which such love actualizes itself. In an implicit challenge to poststructuralist thought, the author claims that this love is always in response to a call issued by the world—that the world has, as it were, a vocation: its beauty ought to be seen. We must think of our own being-in-the world as a response to a primordial calling out to respond to this beauty. We are, the author suggests, at the very core of our being, summoned to what she terms world spectatorship. Drawing on Heidegger’s phenomenological elaboration of care as the being distinctive of human being and the primarily Lacanian conceptualization of the language of desire specific to each human subject, this metapsychology of love attempts to integrate issues in the fields of psychoanalysis, philosophy, visual culture, art history, and literary and film studies. (shrink)

Le Locataire ("The Tenant"), one of Polanski's lesser-known films, uses both an unreliable narrator and manipulates an unreliable audience to achieve its horror effect.

This book offers a new account of Aristotle's practical philosophy. Pavlos Kontos argues that Aristotle does not restrict practical reason to its action-guiding and motivational role; rather, practical reason remains practical in the full sense of the term even when its exercise does not immediately concern the guidance of our present actions. To elucidate why this wider scope of practical reason is important, Kontos brings into the foreground five protagonists that have long been overlooked: spectators or judges who make non-motivational (...) judgments about practical matters that do not interact with their present deliberations and actions; legislators who exercise practical reason to establish constitutions and laws; hopes as an active engagement with moral luck and its impact on our individual lives; prayers as legislators' way to deal with the moral luck hovering around the birth of constitutions and the prospect of a utopia; and people who are outsiders or marginal cases of the responsibility community because they are totally deprived of practical reason. Building on a wide range of interpretations of Aristotle's practical philosophy, Kontos offers new insights about Aristotle's philosophical contribution to the current debates about radical evil, moral luck, hope, utopia, internalism and externalism, and the philosophy of law. Aristotle on the Scope of Practical Reason will appeal to researchers and advanced students interested in Aristotle's ethics, ancient philosophy, and the history of practical philosophy. (shrink)

The paper argues that the act of looking, as defined between the story of Gyges, Candaules, and the offended queen and the story of Solon's visit to Lydia, functions in the first book of Herodotus, and perhaps also elsewhere throughout the Inquiry, as a metaphor for the relation of the histôr to the object of his investigation. Further, by a careful comparison of the Gyges story in Herodotus with the queen's own narration in the enigmatic "Gyges Tragedy" , we can (...) define a Herodotean psychology of spectation that bears a striking resemblance to the specifically tragic psychology manifest in the fragment. Herodotus positions his readers, the paper argues, in the place of Gyges, forcing them to look-in their imaginations-on what does not belong to them, just as the theatai in the Theater of Dionysus must look in imagination on the scene described by the queen. While the tragic audience is protected from the fate of Candaules and of Gyges' descendant Croesus by the constitutive blindness of tragedy that prevents the spectators from seeing what happens in the mukhos, Herodotus' audience must seek some other reassurance that they will not face the voyeur's penalty. This paper finally argues that Solon's theôria, with its crucial purpose of establishing the nomoi of Athens and its crucial ethic of looking not at the object of desire but at the end, installs in Herodotus' historiê the psychology of tragedy: to look desiringly is to lose, but to look inquiringly is to learn. (shrink)

even a brief review of disability narratives shows that many people with disabilities, encompassing a diverse range of impairments, encounter disruptions in their everyday interactions. Individuals with disabilities report that strangers and neighbors alike fail to communicate with them.1 Instead, people defer to friends, partners, and caretakers to offer some command over the interaction. These experiences might be understood as mere annoyances, part of the experience of impairment insofar as it undermines non-disabled individuals’ modes of interaction, leaving them fumbling, seeking (...) assurance that they are handling the situation correctly. But, read less cautiously, these frustrations are emblematic of a... (shrink)

Lack of consent is valorized within popular culture to the point that sexual assault has become a spectator sport and creepshot entertainment on social media. Indeed, the valorization of nonconsensual sex has reached the extreme where sex with unconscious girls, especially accompanied by photographs as trophies, has become a goal of some boys and men.

In lieu of an abstract, here is a brief excerpt of the content:Pentheus and the Spectator in Euripides’ BacchaeJames BarrettIn an article examining the various reports from Cithaeron in Euripides’ Bacchae, Richard Buxton argues against reading the narratives of Euripidean messengers as impartial or transparent accounts of the events they describe. In concluding his careful analysis of the messengers in this play he claims that “these narrators too stand firmly within the drama” (1991, 46).1 From articulating what distinguishes the (...) narratives of these figures, Buxton proceeds to including the messengers with the other dramatis personae in a single category of those “within the drama.” The narratives of the messengers, like everything else said onstage, Buxton argues, are imbued with their own distinctive emotion and rhetoric: “in no two cases is the relationship between content and narrator identical” (1991, 40). His argument directs itself against a tendency among critics silently to grant a distinct and privileged status to the narratives of tragic messengers.2Buxton’s analysis complements that of de Jong (1991), who argues against the practice of regarding the messenger’s narrative as a privileged form of discourse. Buxton in fact rejects the use of the term “messenger” in the singular as injuriously general and neglectful of “the subtle divergences between the reports” (1991, 46). But laudable as it is for [End Page 337] the attention it pays to rhetorical variation in the narratives it studies, Buxton’s formulation simplifies the status of the messengers in Euripides’ play. Rather than being “firmly within the drama,” the messengers occupy a place on the stage very different from that of the other dramatis personae. A reading founded on metatheatrical studies of the play shows that an important part of Bacchae’s self–conscious interest is directed at the status of the messengers, particularly with respect to how they define and are defined by Pentheus. I argue here that the play produces messengers substantially “outside” the drama—virtual “spectators–in–the–text”3—and in so doing expands our notion of what is possible on the tragic stage while clarifying the status of the spectator within the play’s metatheater.The metatheatricality of the play has found extensive critical exposition in recent years. The studies of Segal (1982, 215–71) and Foley (1985, 205–58)4 remain central to any discussion of the play as meta-theater, while that of Bierl (1991, 186–217) pushes the fundamental insights of Segal and Foley close to their limits. All of these studies depart in principle from the fact that Dionysos is both the god of theater and the focus of the play: with this as a foundation, the text amply suggests that we read it as a prolonged reflection on theater itself.Both Segal and Foley astutely discuss the play–within–the–play, Dionysos as director and Pentheus as unwitting protagonist. Segal remarks: “As an actor among actors, Dionysus stands on the same level as the other characters in the orchestra. But he is also director, dressing and instructing his ‘actors’ for the role they will have to play” (1982, 225). Pentheus’ pilgrimage to Mount Cithaeron to watch the Maenads and the sparagmos that forms the climax of the play become under Dionysos’ direction a performance akin to tragedy in the theater of Dionysos at Athens. Indeed, the play–within–the–play coincides largely with the play we call Bacchae.As Segal and Foley have shown, Pentheus’ status as would–be spectator is central to the play’s metatheatricality: much of the elaborate “drama” organized by Dionysos turns on Pentheus’ desire to watch the Maenads in the mountains while remaining unseen himself. He, like the audience in the theater, wants to be a (829). And like the spectator in the theater, he is tempted by the offer Dionysos makes to [End Page 338] see the “performance” on the mountain. In fact, the persistent thematic importance of vision underlies much of the metatheater of the play: the prospect of seeing the Bacchants marks a turning point for Pentheus. Dionysos asks him:(811)Do you want to see them sitting together in the mountains?And if Dionysos’ taunt,(829)You are no longer eager to be the spectator of Maenads,suggests the parallel with... (shrink)

Can a machine think? More pointedly, if I am a machine, can I think? Beck answers these questions by analyzing two clusters of metaphors -- one of which dramatizes human beings as spontaneous agents (actors), and the other sees them as observers attempting to explain causally their own behavior and that of the actor (spectators). Using a hypothetical scene with two spectators, each explaining an action, and each representing a different way of viewing the world, Beck points up the central (...) philosophical problems raised by the varieties of ways in which we explain our own actions and those of others. (shrink)

Galen Strawson (2004) has championed an influential argument against the view that a life is, or ought to be, understood as a kind of story with temporal extension. The weight of his argument rests on his self-report of his experience of life as lacking the form or temporal extension necessary for narrative. And though this argument has been widely accepted, I argue that it ought to have been rejected. On one hand, the hypothetical non-diachronic life Strawson proposes would likely be (...) psychologically fragmented. On the other, it would certainly be morally diminished, for it would necessarily lack the capacity for integrity. (shrink)

It has been claimed that Adam Smith, like David Hume, has a ‘reflective endorsement’ account of the authority of morality. On such a view, our moral faculties and notions are justified insofar as they pass reflective scrutiny. But Smith's moral philosophy, unlike Hume's, is also peppered with references to God, to divine law, and to our being ‘set up’ in a specific way so as to best attain what is good and useful for us. This language suggests that there is (...) another strategy available for accounting for the authority of morality, one that would align Smith with teleological accounts of human nature and theological accounts of morality. The authority of Smith's impartial spectator would, on such an account, be derivative – it would be derived from the supreme authority of God. Such a view poses a serious challenge for contemporary interpreters of Smith who seek to read him as an empiricist, naturalist, and sentimentalist moral philosopher. This paper examines the textual evidence for this view, focusing on the role of the explicitly religious language found in a key section of Smith's Theory of Moral Sentiments. I argue that this language should neither be interpreted as merely ornamental, nor as providing a theological justification of morality. Rather, it is part of Smith's illustration of the psychological influence of religious beliefs, especially the beliefs in an all-seeing judge and in a just afterlife where all human actions will be accounted for and appropriately rewarded or punished. (shrink)

Francesco Casetti _Inside the Gaze: The Fiction Film and its Spectator_ Translated by Nell Andrew with Charles O'Brien Bloomington and Indianapolis: Indiana University Press, 1998 ISBN: 0-253-21232-4 (pb); 0-253-33443-8 (hb) xviii + 174 pp.

This chapter focuses on an explanation of the neglect of investigating and understanding emotional response to films. It argues that the kind of emotional experience a film offers is a proper target of ideological investigation. This chapter aims to suggest how emotions should be understood in ideological criticism. There is characterization of spectator emotion with a view toward conceptual clarification. This chapter examines two families of screen emotions: sentiment and sentimentality, and the emotions which accompany screen violence. Drawing on (...) work in both cognitive science and recent philosophy of mind, the chapter argues that a cognitive approach to the emotions offers a way of taking the role of emotions more seriously than it has been taken in most contemporary film theory. The chapter's usage of ‘cognitivism’ is distinctive by virtue of its challenge to the traditional distinction between reason and passion. (shrink)

Shipwreck with Spectator traces the evolution of the complex of metaphors related to the sea, to shipwreck, and to the role of the spectator in human culture from ancient Greece to modern times. This elegant essay exemplifies Blumenberg's ideas about the ability of the historical study of metaphor to illuminate essential aspects of being human. Originally published in the same year as his monumental Work on Myth, Shipwreck with Spectator traces the evolution of the complex of metaphors (...) related to the sea, to shipwreck, and to the role of the spectator in human culture from ancient Greece to modern times. The sea is one of humanity's oldest metaphors for life, and a sea journey, Blumenberg observes, has often stood for our journey through life. We all know the role that shipwrecks can play in this journey, and at some level we have all played witness to others' wrecks, standing in safety and knowing that there is nothing we can do to help, yet fixed comfortably or uncomfortably in our ambiguous role as spectator. Through Blumenberg's seemingly inexhaustible knowledge of letters, from ancient texts through nineteenth-century reminiscences and modern speeches, we see layer upon layer revealed in the meaning humans have given to these metaphors; and in this way we begin to understand what metaphors can do that more straightforward modes of expression cannot. This edition of Shipwreck with Spectator also includes "Prospect for a Theory of Nonconceptuality," an essay that recounts the evolution of Blumenberg's ideas about metaphorology in the years following his early manifesto "Paradigms for a Metaphorology.". (shrink)

1University of BergenStudies in the Spectator Role: Literature, Painting and Pedagogy MichaelBenton Routledge 2000xv + 220Paperback£15.99.

Alfred Hitchcock's Vertigo skilfully continues to stimulate different views of it – hence the volume of writing – different ways of viewing it, different ways of being a viewer of it . One purpose of the piece is to provide a little caution to those students coming to study Vertigo , and Spectatorship, for the first time: not to presume that the film, and by association any film, has one type of spectator. It is through examining various responses to (...) it – rather than presenting one view of it – that we can see perspicaciously that Vertigo has a special capacity for teaching us about the complexity of film spectatorship. This is possibly because Vertigo is so concerned to make the act of viewing an active part of viewing it. (shrink)

De la Première Guerre mondiale aux attentats du 11 septembre 2001, la manipulation des émotions par le biais des images existe et limite l'esprit critique. L'auteure révèle que les images ont un pouvoir humanisant, et la distance qu'elles créent entre l'homme et ses émotions offre à celui-ci les conditions de sa liberté, à lui de ne pas subir les images, de les refuser.

Amartya Sen has argued that contractarian theories of justice inevitably fall victim to the problem of parochialism, for the reason that they rely on a problematically narrow conception of impartiality. Sen finds a corrective model of impartiality in Adam Smith’s figure of the impartial spectator. In this essay, I argue that Sen’s invocation of the spectator to resolve the problem of parochialism is unfounded, as the impartial spectator is fundamentally a product of socialization that serves to propagate (...) conventional moral norms. I consider various interpretive avenues for “rescuing” the spectator from parochialism, and ultimately conclude that a minor amendment to Smith’s account, resting on the possibility of a conscience informed by moral pluralism, is required. (shrink)

In this paper I establish a normative limit of spectator interaction. I argue that attempts by non-participants (e.g. spectators) to affect the outcome of a contest, whether intended or merely foreseeable, are unsporting and ought to be discouraged because they undermine fairness, which is a fundamental premise of ideal competition. Because this is at odds with the participatory ethos of contemporary sports fanaticism (e.g. ?12th man? campaigns, visual distractions by spectators, etcetera) I anticipate several potential objections. I refute concerns (...) that my thesis is empirically dubious; that it is impractical; that it is subordinate to financial considerations; that it is nullified by participant acquiescence; and that it is subordinate to spectator interests. (shrink)

This article argues that the mid-1960s saw a dramatic shift in how ‘brainwashing’ was popularly imagined, reflecting Anglo-American developments in the sciences of mind as well as shifts in mass media culture. The 1965 British film The Ipcress File provides a rich case for exploring these interconnections between mind control, mind science and media, as it exemplifies the era’s innovations for depicting ‘brainwashing’ on screen: the film’s protagonist is subjected to flashing lights and electronic music, pulsating to the ‘rhythm of (...) brainwaves’. This article describes the making of The Ipcress File’s brainwashing sequence and shows how its quest for cinematic spectacle drew on developments in cybernetic science, multimedia design and modernist architecture. I argue that often interposed between the disparate endeavours of 1960s mind control, psychological science and media was a vision of the human mind as a ‘cybernetic spectator’: a subject who scrutinizes how media and other demands on her sensory perception can affect consciousness, and seeks to consciously participate in this mental conditioning and guide its effects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 73-79 [Access article in PDF] Does Film Weaken Spectator Consciousness? R.D. Boyd and S.K. Wertz The role of spectator is crucial for an actor, for there are "no actors without spectators." 1 At times the success of the actor depends upon the role taken by the spectator. Thornton Wilder's "Our Town" depends upon an active,creative, involved audience. Other artists (...) expect their audience to be passive,almost unconscious. Whether the medium of creativity is film or the printedpage, examples of both dependencies abound. The focus of this essay is ona classic piece in the literature about film. In the Theory of Film, Siegfried Kracauer provides us with a mesmerizing printed discussion of film. 2 In this essay we wish to examine his reasoning that is in a self-contained argument by analogy. Since Kracauer does not use or mention the argument thereafter, we feel that we can isolate the argument from its context and deal with it as it stands. After an extended analysis of the argument, we will relate some of the points to the literature on film. The following analogical argument is our focus. Films...tend to weaken the spectator's consciousness. Its withdrawal from the scene may be furthered by the darkness in moviehouses. Darkness automatically reduces our contacts with actuality, depriving us of many environmental data needed for adequate judgments and other mental activities. It lulls the mind....Devotees of film and its opponents alike have compared the medium to a sort of drug and have drawn attention to its stupefying effects....Doping creates dope addicts. It would seem a sound proposition that the cinema has its habitues who frequent it out of an all but physiological urge. They are not prompted by a desire to look at a specific film or to be pleasantly entertained; what they really crave is for once to be released from the grip of consciousness, lose their identity in the dark, and let sink in, [End Page 73] with their senses ready to absorb them, the images as they happen to follow each other on the screen. 3To support his main point, "Films...tend to weaken the spectator's consciousness," Kracauer develops three intermediate arguments (IA's), which support his major argument (MA). If each sentence in the above passage were numbered one through nine, with the last full sentence being broken into two sentences at the semicolon, the following schema emerges. In English the chain of reasoning is: IA-1 Some habitues of film are not prompted by a desire to look at a specific film or to be pleasantly entertained. What they really crave is release fromthe grip of consciousness, to lose their identity in the dark, and let sink in, with their senses ready to absorb them, the images as they happen to follow each other on the screen. Therefore, the cinema has its habitues who frequent it out of an all but physiological urge.IA-2 Some habitues of film frequent it out of an all but physiological urge. Doping creates dope addicts. Therefore, devotees of film and its opponents alike have compared the medium to a sort of drug and have drawn attention to its stupefying effects.IA-3 Darkness automatically reduces our contacts with actuality, depriving us of many environmental data needed for adequate judgments and other mental activities. Darkness lulls the mind. Therefore, consciousness withdrawal from the scene may be furthered by the darkness in moviehouses.MA Devotees of film and its opponents alike have compared the medium to a sort of drug and have drawn attention to its stupefying effects. Consciousness withdrawal from the scene may be furthered by the darkness in moviehouses. Therefore, films...tend to weaken the spectator's consciousness. The above chain of arguments influences us, the spectators, to embrace his main point. However, before we are lulled into accepting his reasoning, it will be helpful to examine and evaluate each link. [End Page 74]IA-1 Some habitues of film are not prompted by a desire to... (shrink)

ABSTRACTAdam Smith infused the expression ‘impartial spectator’ with a plexus of related meanings, one of which is a super-being, which bears parallels to monotheistic ideas of God. As for any genuine, identified, human spectator, he can be deemed impartial only presumptively. Such presumptive impartiality as regards the incident does not of itself carry extensive implications about his intelligence, nor about his being aligned with benevolence towards any larger whole. We may posit, however, a being who is impartial and (...) who holds higher levels of intelligence and of benevolence, and then converse over what her sentiments would be about the matter under discussion. It is natural to conceive of a being who is unsurpassable in such qualities, who is morally supreme, and who naturally takes the definite article the without having been definitized by the writer. Signal passages, new to edition 6, suggest that Smith formulates the man within the breast as a representative of the always present and everywhere morally supreme impartial spectator. When Smith speaks of the man within the breast as ‘the supposed impartial spectator’, we interpret ‘supposed’ as sup-pos-ed, not sup-pos’d. (shrink)

Hoping to bring some objectivity to the debate, Ben-Moshe has argued that conscientious objection in medicine should be accommodated based on its concordance with the ‘impartial spectator’, a metaphor for conscience drawn from the writings of Adam Smith. This response finds fault with this account on two fronts: first, that its claim to objectivity is unsubstantiated; second, that it implicitly relies on moral absolutes, despite claiming that conscience is a social construct, thereby calling its coherence and claims into question. (...) Briefly, a traditional account of conscience is then described, before ending with a related thesis for future discussion. (shrink)

The question of judgment has become one of the central problems in recent social, political and ethical thought. This paper explores Hannah Arendt's decisive contribution to this debate by attempting to reconstruct analytically two distinctive perspectives on judgment from the corpus of her writings. By exploring her relation to Aristotelian and Kantian sources, and by uncovering debts and parallels to key thinkers such as Benjamin and Heidegger, it is argued that Arendt's work pinpoints the key antinomy within political judgment itself, (...) that between the viewpoints of the political actor and the political spectator. The paper concludes by highlighting some lacunae and difficulties in the development of Arendt's account, difficulties that set challenges for those theorists (such as Seyla Benhabib and Alessandro Ferrara) who wish to appropriate and extend Arendt's contribution into the field of contemporary critical theory. Key Words: action • aesthetics • community • freedom • history • judgment • reflection. (shrink)

ABSTRACTThe spiralling discourse of sport spectatorship is a compelling development within recent sport philosophy. It is argued that the conceptual foundations of the purist and partisan carry pro...

The philosophic spectator watches from a distance as a “disinterested” and impartial member of an audience, Lectures on Kant’s political philosophy, University of Chicago Press, 1992; Kant, On history, Prentice Hall Inc, 1957). Judicial systems use many of the elements of the spectator in the concept of an eyewitness but, with increased video technology use, the courts have taken the witness a step further by hiring forensic video analysts. The analyst’s stance is rooted in objectivity, and the process (...) of breaking a video down to its component parts to examine it, but is it based on the philosophic spectator? To better understand whether the forensic video analyst has adopted the stance of the philosophic spectator, this paper examines both the analyst and spectator, and discusses the implications for how we think and administer justice. (shrink)

Anticipation plays a role in language comprehension. In this article, we explore the extent to which verb sense influences expectations about upcoming structure. We focus on change of state verbs like shatter, which have different senses that are expressed in either transitive or intransitive structures, depending on the sense that is used. In two experiments we influence the interpretation of verb sense by manipulating the thematic fit of the grammatical subject as cause or affected entity for the verb, and test (...) whether readers’ expectations for a transitive or intransitive structure change as a result. This sense‐biasing context influenced reading times in the postverbal regions. Reading times for transitive sentences were faster following good‐cause than good‐theme subjects, but the opposite pattern was found for intransitive sentences. We conclude that readers use sense‐contingent subcategorization preferences during on‐line comprehension. (shrink)