Contemporary philosophy of mind tends to theorize about the propositional attitudes primarily in terms of belief and desire. But there is a propositional attitude, sometimes called ‘entertaining,’ that seems to resist analysis in terms of belief and desire, and has been thought at other times and places (notably, in late nineteenth-century Austrian philosophy) to be more fundamental than belief and desire. Whether or not we accept the fundamentality of entertaining, it certainly seems to be an attitude ill understood in contemporary (...) philosophy of mind. The purpose of this paper is to make first steps – very first steps – toward a more mature understanding of entertaining. (shrink)

Being vegan isn't just about what you eat, it's also about what you wear, where you live, and how you entertain yourself. This informative and accessible book offers readers insight into the history of animal entertainment from 2000 B.C.E. through to the 21st century. It outlines different philosophies on how humans should interact with animals and gives suggestions of how to avoid unethical animal entertainment and help prevent its continued practice. Also included are sections on Myths and Facts (...) about ethical entertainment and further questions for readers to Ask a Specialist, making this volume a great jumping-off point for discussing cruelty-free living. (shrink)

This paper has the intention of discussing about the public entertainment such as the theater, competitions in the circus and fights in the amphitheater. We’ll explain their origins and how they’ve originated from religious ceremonies to various forms of entertainment. We’ll also illustrate their types and respective organizations as well as their evolution over time, of how theater enters into decline and lease space to popular representations, and how the games in the circus and in the amphitheater become (...) increasingly cruel. By focusing on the public games in Rome we try to explain how they affected life in the Urbs and how they were used by the powerful to please the population. (shrink)

To entertain an idea is to take it in, pay attention to it, give it breathing room, dwell with it for a time. The practice of entertaining ideas suggests rumination and meditation, inviting us to think of philosophy as a form of hospitality and a kind of mental theatre. In this collection, organized around key words shared by philosophy and performance, the editors suggest that Shakespeare's plays supply readers, listeners, viewers, and performers with equipment for living. In plays ranging from (...) A Midsummer Night's Dream to King Lear and The Winter's Tale, Shakespeare invites readers and audiences to be more responsive to the texture and meaning of daily encounters, whether in the intimacies of love, the demands of social and political life, or moments of ethical decision. Entertaining the Idea features established and emerging scholars, addressing key words such as role play, acknowledgment, judgment, and entertainment as well as curse and care. The volume also includes longer essays on Shakespeare, Kant, Husserl, and Hegel as well as an afterword by theatre critic Charles McNulty on the philosophy and performance history of King Lear. (shrink)

Nowadays references to the afterlife-angels strumming harps, demons brandishing pitchforks, God enthroned on heavenly clouds-are more often encountered in New Yorker cartoons than in serious Christian theological reflection. Speculation about death and its sequel seems to embarrass many theologians; however, as Greg Garrett shows in Entertaining Judgment, popular culture in the U.S. has found rich ground for creative expression in the search for answers to the question: What lies in store for us after we die? The lyrics of Madonna, Los (...) Lonely Boys, and Sean Combs; the plotlines of TV's Lost, South Park, and The Walking Dead; the implied theology in films such as The Dark Knight, Ghost, and Field of Dreams; the heavenly half-light of Thomas Kinkade's popular paintings; the ghosts, shades, and after-life way-stations in Harry Potter; and the characters, situations, and locations in the Hunger Games saga all speak to our hopes and fears about what comes next. In a rich survey of literature and popular media, Garrett compares cultural accounts of death and the afterlife with those found in scripture. Denizens of the imagined afterlife, whether in heaven, hell, on earth, or in purgatory, speak to what awaits us, at once shaping and reflecting our deeply held-if often somewhat nebulous-beliefs. They show us what rewards and punishments we might expect, offer us divine assistance, and even diabolically attack us. Ultimately, we are drawn to these stories of heaven, hell, and purgatory--and to stories about death and the undead--not only because they entertain us, but because they help us to create meaning and to learn about ourselves, our world, and, perhaps, the next world. Garrett's deft analysis sheds new light on what popular culture can tell us about the startlingly sharp divide between what modern people profess to believe and what they truly hope and expect to find after death--and how they use those stories to help them understand this life. (shrink)

Many festivals use animals in the name of continuing traditions and religious acts of historical and cultural relevance, as well as for tourist entertainment; however, the welfare of these animals has been overlooked in favor of maintaining cultural identity or making economic profits. The criticism of animal-based festivals has been growing along with the increased public awareness of animal rights. However, this change in public perception has not yet been translated into actual government policies in Korea. This study addresses (...) the unethical practices and challenges regarding animal welfare at festivals from the perspective of visitors to understand the public perception of the need for institutional and regulatory interventions to improve the treatment of animals at festivals. An online survey (N = 1000) is conducted to examine the public perception of animals and animal welfare at festivals and how strongly online survey participants support organizer- and state-level actions to protect the welfare of festival animals. Logistic regression analyses identify gender, pet ownership, pro-animal attitude, visiting experience, sensitivity to criticism regarding animal issues, and perception of animal welfare at festivals as significant predictors of online survey participants’ support for actions ensuring the welfare of animals used in festivals. Our findings also suggest that people sympathize with the need to enhance animal welfare but have low levels of sensitivity to the maltreatment of animals at festivals, indicating the existence of cognitive dissonance. Establishing guidelines and regulations for improving animal welfare can help festivals use animals in a more sustainable way and make visitors rethink and re-establish human–animal relationships. (shrink)

As it faces the threats and seizes the possibilities presented by sustainability, the television business is experiencing a profound shift. The potential for long-term expansion in the television industry is investigated in this study by looking at sustainable entertainment management practices. The research finds important tactics that production businesses and television networks may use to incorporate social, economic, and environmental sustainability into their operations by looking at existing practices and new developments. Case studies of prominent firms, examination of sustainability (...) reports, and expert interviews make up the research's mixed-methods strategy. The results show that in order to promote sustainability, it is crucial to use energy-efficient technology, decrease waste with digital manufacturing processes, and encourage social responsibility with inclusive content and fair labour standards. In order to achieve sustainable development in the long run, the research stresses the significance of stakeholder involvement and strategic alliances. Stakeholders in this sector may use the suggestions made in this paper to improve their sustainability initiatives and meet the changing needs of the global market in a way that is good for the environment and their bottom line. (shrink)

Underlying the stubborn hierarchical dichotomy between high and popular art, there is a far more basic contrast at work—art versus entertainment. Yet the complex network of language games deploying these concepts reveals that entertainment is not simply contrasted to art but often identified with art as an allied or subsuming category. The arts are themselves sometimes described as forms of entertainment. Because the concept of entertainment is deeply and complexly related to the concept of art, and (...) because it is also broader and older than the concept of popular art, its analysis can be instructive not only for the question of popular art but for aesthetics as a whole. This paper, which is guided by pragmatist insights, provides a genealogical analysis of the concept of entertainment and its relation to aesthetics that offers some lessons for contemporary art and theory. In providing an aesthetic defence of entertainment's multiples values, the paper re-examines two concepts—pleasure and functionality for life—that have been used to condemn entertainment for triviality and narrowness but that are central to its value and to the value of art. (shrink)

Recent work on phenomenal consciousness has featured a number of debates on the existence and character of controversial types of phenomenology. Perhaps the best-­‐ known is a debate over the existence of a proprietary, irreducible cognitive phenomenology – a phenomenology proper to thought. Others concern the existence of irreducible agential or conative phenomenology, irreducible emotional phenomenology, and so on. In this paper, I argue that the act of entertaining a proposition also exhibits a distinctive phenomenology, a primitive phenomenology irreducible to (...) any other. After clarifying the notion of primitive phenomenology (§1) and elaborating the thesis that entertaining exhibits one (§2), I present a prima facie case for the thesis (§3). (shrink)

A philosophical short story looking at ideas to do with free will and determinism.

Sweet cross -- Butterfly dreams -- On luxury -- Satori -- Moral entertainment -- Healthy entertainment -- Being as passion -- A hunger artist -- Serenity before the world -- A meta-theory of entertainment.

. Part C of this three part series is the presentation from the Oxford style debate held at the Tenth Annual International Conference Promoting Business Ethics between Laura Hartman, J.D., and Dr. Moses Pava on topics related to the EverQuest® v. EverCrack case. In a traditional Oxford style debate, two debaters take opposing viewpoints and the third debater argues the neutral position. At the Conference, the modified format featured the two debaters presenting diametrically opposing views – corporate responsibility versus personal (...) responsibility. This modified format was also used during the Ethics Awareness Week, with University professors presenting the debate before the student body. Ms. Hartman’s position focused on the personal responsibility by Mr Woolley while Dr. Pava opined that Sony Online Entertainment had corporate responsibility toward Mr. Woolley and all other individuals similarly situated. (shrink)

In playfully pessimistic and thought-provoking essays, author Andrew McMurry explores a vital but fundamentally perverse human practice: destroying our planet while imagining we are not. How are humans able to do this? Entertaining Futility: Despair and Hope in the Time of Climate Change investigates the discourses of hope, progress, and optimism in the era of climate change, concepts that, McMurry argues, are polite names for blind faith, greed, and wishful thinking. The itemized list of humanity’s arrogance can quickly lead to (...) despair, so McMurry compensates by presenting the news in a darkly comic and irreverent style. McMurry believes human culture relies on a full suite of rhetorical tricks to distract us from our own demise. He investigates the role language, discourse, media, and technology play in shaping perceptions and misperceptions of our complex environmental crises. Writing in a mode that freely mixes the scholarly, fictive, poetic, and personal, McMurry draws on philosophy, history, ecology, film, science fiction, and pop culture to raise questions that are difficult to face, let alone answer. In the author’s words, “our age is utterly paralyzing unless you can crack jokes about it.” Entertaining Futility offers no easy solutions to today’s environmental calamities and, in fact, claims that perhaps the continual proposing of solutions is part of the problem. Instead, McMurry encourages readers to examine their own deeply held beliefs about the environment and the future and to look more closely at where those beliefs originate. By pulling back the curtain, he reveals the rhetorical and cultural ruses that distract us from the reality of our environmental crises. (shrink)

The economic and cultural effects of sports films have attracted close attention from academia as well as the industry. In this paper, two sub-studies were conducted to explore the empathy mechanism performance of the interest-related community in sports films. In Study 1, the film Lead was applied as an example and used network text analysis to analyze the discourse characteristics and structure of its interest-related community to grasp the practice regularities. More specifically, the results in Study 1 show that the (...) theme feature, brand building, technological innovation, and spirit communication are the key factors that affect an individual's empathy for sports films. In Study 2, I conducted a survey to explore the empathy mechanism of sports films in the new age to provide a theoretical reference for the high-quality development of films. The above-mentioned four main factors have positive impacts on empathy: affective empathy and cognitive empathy. (shrink)

Scott Welsh is likely to elicit a sigh of relief from the many academics who struggle with what, if any, public intellectual persona they should adopt. Welsh (2012) argues against a broad swathe of mostly left-leaning rhetorical scholars that the academic’s democratic duty is adequately discharged by providing suitably ambivalent rhetorical resources for others to use in their political struggles. For Welsh, following Slavoj Žižek (2008), the scholar’s first obligation is to “enjoy your symptom”—that is, to demonstrate in one’s discursive (...) practice the problematic nature of trying to claim epistemic privilege in a society ostensibly of equals. The main conceptual difference between Welsh’s and my own conception of .. (shrink)

The Ministry of Illusion: Nazi Cinema and Its Afterlife. By Eric Rentschler (Cambridge, Mass.: Harvard University Press, 1996) xviii + 456 pp. $60.00 cloth, $25.00 paper.

Western societies currently face the backlash of violent and militant extremisms practiced in the form of tribalistic-phobocratic politics. The battleground is set between advocates of self-centeredness and those who entertain a world-centered self. To entertain concerns what Henri Bergson calls “zones of indetermination” and assumes A. N. Whitehead’s dictum: “in the real world it is more important that a proposition be interesting than that it be true. The importance of truth is, that it adds to interest”. Cultural agencies, processes, and (...) aims that we take an “interest” in have the power to be more influential, encouraging norms of persuasion. Such openness to the persuasion of entertainment is propositional in character, or acts as “lures for feeling” of proposals to be felt without mandates. The first section will discuss the way in which to take up the daunting task of reading Whitehead. The second and third sections will address those aspects pertinent to a philosophy of entertainment that present the cultural-aesthetic underpinnings for the emergence of persuasive agencies. The goal of cultivating tolerance and freedom for civilized societies hinges upon institutional methods and practices that are legitimated more by way of persuasive coercion rather than coercive persuasion. (shrink)

A growing body of business ethics research has shown that firms are beginning to embrace the lesbian, gay, bisexual, and transgender (LGBT) community with internal organizational policies and temporary activism activities. Despite these positive developments, little research has examined firms’ LGBT inclusion strategy at the product level and whether adding LGBT representation to products helps, hurts, or has no impact on corporate products’ market performance. Prior studies have examined LGBT-themed and LGBT-vague representations and identified limitations of both. The current research (...) presents an alternative LGBT-inclusive representation in which heterosexual and LGBT imagery are both presented, with the former receiving more exposure than the latter. A secondary analysis of 4216 movies and a controlled experiment reveal converging evidence: movies with LGBT-inclusive representation outperform those with no LGBT representation or with LGBT-themed representation. The superiority of LGBT-inclusive representation comes from its ability to appeal to consumer segments holding favorable and unfavorable LGBT attitudes. While cultural and entertainment products often play profound roles in changing society’s ethical standards and moral attitudes, they are rarely studied in the business ethics literature. Our findings fill this gap while answering a multimillion-dollar question for the entertainment industry. (shrink)

Television content that contains non-stereotypical representations of ethnic minorities and models positive intercultural interactions may potentially aid in reducing the prejudices of its viewers. However, the exact effect has yet to be demonstrated. Furthermore, the cognitive mechanisms behind such an effect remain unclear. This article tests hypotheses derived from social identity theory and social learning theory that attribute this effect to the identification patterns with ingroup and outgroup characters in television drama. In an experiment, participants either watched episodes of a (...) multicultural drama or a regular soap series. Results showed that viewers of multicultural drama had lower perceptions of ethnic threat. Moreover, this effect was mediated by identification with characters, namely, increased identification with outgroup and lowered identification with ingroup characters resulting in lower ethnic threat. The results suggest that short term viewing effects are best explained with social identity theory. The implications for long term effects and the possible role of social learning are analyzed in the discussion. (shrink)

Global airspace, global cinemaspace -- Aerial perceptions: the visuality of the airplane -- Airborne cinema: the emergence of inflight entertainment -- Executive flight: attention, gender and the seatback screen -- Networked transport: neoliberalism and digital entertainments -- Disastrous speed: thrill rides, screens and fear of flying -- Live in air: aerial circuits of television -- Conclusion: cinema as infrastructure.

In this essay, I argue that popular entertainment can be understood in terms of Husserl’s concepts of epochē, reduction and constitution, and, conversely, that epochē, reduction and constitution can be explicated in terms of popular entertainment. To this end I use Husserl’s concepts to explicate and reflect upon the psychological and ethical effects of an exemplary instance of entertainment, the renowned Star Trek episode entitled “The Measure of a Man.” The importance of such an exercise is twofold: (...) to demonstrate, once again, the fecundity of the methodological procedures Husserl bequeathed to us; more than any other philosopher, he tapped into the fundamental manners in which we lose, make and remake the meanings of our lives; and to demonstrate how popular entertainment, similarly, plays a central role in the making and remaking of the meanings of our lives. If my zig-zag procedure between Husserl’s philosophy and popular entertainment is productive and cogent, in addition to elucidating Husserl’s philosophy, it will demonstrate the reality-generating potency and the constitutive power of entertainment in the contemporary world. Entertainment, via ourselves, has become the primary producer of the meanings via which consciousness constitutes the world. (shrink)

Narrative fictions have surely become the single most widespread source of entertainment in the world. In their free time, humans read novels and comics, watch movies and TV series, and play video games: they consume stories that they know to be false. Such behaviors are expanding at lightning speed in modern societies. Yet, the question of the origin of fictions has been an evolutionary puzzle for decades: Are fictions biological adaptations, or the by-products of cognitive mechanisms that evolved for (...) another purpose? The absence of any consensus in cognitive science has made it difficult to explain how narrative fictions evolve culturally. We argue that current conflicting hypotheses are partly wrong, and partly right: narrative fictions areby-productsof the human mind, because they obviously co-opt some pre-existing cognitive preferences and mechanisms, such as our interest for social information, and our abilities to do mindreading and to imagine counterfactuals. But humans reap some fitness benefits from producing and consuming such appealing cultural items, making fictionsadaptive. To reconcile these two views, we put forward the hypothesis that narrative fictions are best seen asentertainment technologiesthat is, as items crafted by some people for the proximate goal to grab the attention of other people, and with the ultimate goal to fulfill other evolutionary-relevant functions that become easier once other people’s attention is caught. This hypothesis explains why fictions are filled with exaggerated and entertaining stimuli, why they fit so well the changing preferences of the audience they target, and why producers constantly make their fictions more attractive as time goes by, in a cumulative manner. (shrink)

This essay presents and discusses the ways that prior experience constitutes a logical black box in Umberto Eco’s discussion of serial forms in ‘Interpreting Serials’ by using the complex adaptive system model for how complexity arises and is sustained over time, as proposed by John Holland. In exploring how Holland’s model can account for some aspects of Eco’s past experience, it becomes evident that a modification of both theories to accommodate multiple, contradictory potentials simultaneously suggests we consider meaning as a (...) range of potentials rather than as a singular choice. Even though the model proposed here is incomplete and tentative, it is suggestive of possible strategies for justifying interpretations without precluding their rejection or revision at a later time. Individual interpretations are justified not by comparison to an external truth but by the existence of other possible interpretations with shared characteristics that nevertheless contradict each other. (shrink)

This dialogue is on the nature of thought and thinking. The five disputants are Socrates, an imaginary neuroscientist from California, an Oxford don from the 1950s, a Scottish post-doctoral student, and John Locke. The discussion takes place in Elysium in the late afternoon. They examine the idea that thinking is an activity of the mind or the brain, whether the medium of thought consists of words or ideas, whether thoughtful speech is speech accompanied by thought, whether thinking, i.e. reasoning and (...) inferring, is a process, and what is meant by the claim that ‘thinking is the last interpretation’. The dialogue ends when the protagonists go to dinner, but will be resumed after the meal. (shrink)