Remember that childhood game “Odds or Evens” you used to play in order to settle important disputes such as who gets the last slice of pizza? There was only one element of skill to that game: trying to figure out what the other person would throw. But that wasn’t easy. If your opponent was savvy, that meant trying to figure out what he thought you were going to throw. And that sometimes meant figuring out what he thought you thought he (...) was going to throw. -/- Philosophers call this “thought attribution,” and top poker players are remarkably good at it. The ability to attribute thoughts to other people is especially important in the No-Limit Texas Hold’em tournaments that have, through television and the Internet, swept the globe in recent years. What is required to succeed in this game is not merely attributing “first-order” thoughts to other players, but attributing to them thoughts about your thoughts about their thoughts. In fact, that’s the minimum. The kind of thinking done by the very best players (T. J. Cloutier, Howard Lederer, and Daniel Negreanu are especially good at it) is much more complex than that. -/- In this paper, I explore the light that recent philosophical work on thought attribution sheds on the kind of thinking that goes on at the expert poker table. The paper should be revealing to poker experts and novices alike. And it should be of interest to philosophers interested in poker or thought attribution. -/- The essay is published in Poker and Philosophy, a volume of Open Court's Popular Culture and Philosophy Series. The goal of the series is to introduce philosophical themes to non-philosophers by way of particular topics of interest (in this case poker). (shrink)

A focus on the ideological use of popular culture has been one of the major innovations in the study of the Cold War over the past years. Films played a central role in the popular culture of that period and the spy genre was a very important direction in the battle for winning domestic and global hearts and minds for both the United States and the Soviet Union. Cinematography had a critical importance because it met the demands of both entertainment (...) and ideological functions. Utilising extensive archival research in film production files, this article attempts to fill a gap in the literature by providing an overview of how the tensions between East and West were exploited into the Romanian films of the first two decades of the Cold War. Focusing on the cultural and political context in which films such as Viața învinge (Life Triumphs—Dinu Negreanu, 1951), Alarmă în munți (Alarm in the Mountains—Dinu Negreanu, 1955), Vultur 101 (Eagle 101—Andrei Călărașu, 1957), Secretul cifrului (The Secret Code—Lucian Bratu, 1960) and Pisica de mare (Stingray—Gheorghe Turcu, 1964) were produced, while analysing the evolution of the image of spies and secret agents in these cinematic productions, this paper reveals how the spy film genre emerged in communist Romania during the period when Gheorghe Gheorghiu-Dej was in power, and how it contributed to the creation of images that marked the collective mind of the period for decades. (shrink)