The perception of speech tempo is influenced by both the acoustic properties of speech and the cognitive state of the listener. However, there is a lack of research on how speech comprehension affects the perception of speech tempo. This study aims to disentangle the impact of speech comprehension on the perception of speech tempo by manipulating linguistic structures and measuring perceptual speech tempo at explicit and implicit levels. Three experiments (...) were conducted to explore these relationships. In Experiment 1, two explicit speech tasks revealed that listeners tend to overestimate the speech tempo of sentences with low comprehensibility, although this effect decreased with repeated exposure to the speech. Experiment 2, utilizing an implicit speech tempo task, replicated the main findings of Experiment 1. Furthermore, the results from the drift‐diffusion model eliminated the possibility that participants’ responses were based on the type of sentence. In Experiment 3, non‐native Chinese speakers with varying levels of language proficiency completed the implicit speech rate task. The results showed that non‐native Chinese speakers exhibited distinct behavioral patterns compared to native Chinese speakers, as they did not perceive differences in speech tempo between high and low comprehensibility conditions. These findings highlight the intricate relationship between the perception of speech tempo and the comprehensibility of processed speech. (shrink)

We investigated the perception of developmental changes in timing patterns that happen in the course of second language (L2) acquisition, provided that the native and the target languages of the learner are rhythmically similar (German and English). It was found that speech rhythm in L2 English produced by German learners becomes increasingly stress-timed as acquisition progresses. This development is captured by the tempo-normalized rhythm measures of durational variability. Advanced learners also deliver speech at a faster rate. However, (...) when native speakers have to classify the timing patterns characteristic of L2 English of German learners at different proficiency levels, they attend to speech rate cues and ignore the differences in speech rhythm. (shrink)

Individuals typically produce auditory sequences, such as speech or music, at a consistent spontaneous rate or tempo. We addressed whether spontaneous rates would show patterns of convergence across the domains of music and language production when the same participants spoke sentences and performed melodic phrases on a piano. Although timing plays a critical role in both domains, different communicative and motor constraints apply in each case and so it is not clear whether music and speech would display (...) similar timing mechanisms. We report the results of two experiments in which adult participants produced sequences from memory at a comfortable spontaneous (uncued) rate. In Experiment 1, monolingual pianists in Buffalo, New York engaged in three production tasks: speaking sentences from memory, performing short melodies from memory, and tapping isochronously. In Experiment 2, English-French bilingual pianists in Montréal, Canada produced melodies on a piano as in Experiment 1, and spoke short rhythmically-structured phrases repeatedly. Both experiments led to the same pattern of results. Participants exhibited consistent spontaneous rates within each task. People who produced one spoken phrase rapidly were likely to produce another spoken phrase rapidly. This consistency across stimuli was also found for performance of different musical melodies. In general, spontaneous rates across speech and music tasks were not correlated, whereas rates of tapping and music were correlated. Speech rates (for syllables) were faster than music rates (for tones) and speech showed a smaller range of spontaneous rates across individuals than did music or tapping rates. Taken together, these results suggest that spontaneous rate reflects cumulative influences of endogenous rhythms (in consistent self-generated rates within domain), peripheral motor constraints (in finger movements across tapping and music), and communicative goals based on the cultural transmission of auditory information (slower rates for to-be-synchronized music than for speech). (shrink)

The object of this study is the speech style of artists of the Bolshoi Drama Theater in the 1950s and 1960s. The subject of the study is the evolution of the speech style from the first to the second edition of G. Tovstonogov's performance "The Fox and the Grapes" ("Aesop"). The author of the article studies in detail two versions of the famous performance, analyzes the acting speech of N. Korn, V. Polizeimako, O. Basilashvili and S. Yursky (...) from aesthetic and technological positions. The author pays special attention to the fundamental changes in the intonation-melodical architectonics of sounding speech in less than one decade. A change in speech style in the Bolshoi Drama Theater is included by the author in the wider context of changes in the art of the "thaw" era. The methodology of this study includes measurement (auditory analysis of the pace of speech, auditory analysis of diction and orthoepia, instrumental analysis of the intonation-melodic score), comparative analysis, induction, historical method. The novelty of the present study lies in the combined use of auditory and instrumental analysis tools for acting speech. The author clearly proves the subjectively obvious difference between the sound of speech in the first and second editions of the performance "The Fox and The Grapes" by conducting a detailed comparative analysis of acting speech in all main parameters: tempo, diction, orthoepia, melodics. From the study of a specific performance and specific acting works, the author goes to generalization, concluding about the powerful influence of screen (cinematic) speech on theatrical speech in the 1950s and 1960s, about the formation of a new standard of audience perception and a new idea of the naturalness of acting speech. (shrink)

O tema deste artigo é um texto apócrifo de W. G. Sebald, o ensaio "Europäische Peripherien" [Periferias Europeias], baseado em uma palestra proferida em fevereiro de 1992, em Tübingen. Esse ensaio ocupa um lugar especial na obra de Sebald, pois nele o autor se expressa mais resolutamente do que em qualquer outra ocasião sobre questões políticas, no que diz respeito tanto ao processo de unificação europeia quanto aos problemas fundamentais das sociedades ocidentais na transição para o século XXI. A partir (...) de uma leitura mais atenta, chego à conclusão de que esse ensaio, supostamente secundário, revela-se um importante pilar para reconstruir a interpretação profundamente melancólica que Sebald faz da história com base no conceito de uma “história natural da destruição”. Ao mesmo tempo, “Europäische Peripherien” permite reconhecer a importância de Mutation der Menschheit [Mutação da Humanidade], de Pierre Bertaux, como influência fundamental, até então não reconhecida, para o desenvolvimento da obra de Sebald.Palavras-chave: W.G. Sebald. Europa. “História natural da destruição”. Pierre Bertaux. AbstractThis article discusses the essay "Europäische Peripherien", a hitherto overlooked text by W.G. Sebald based on a lecture given in Tübingen in February 1992. The essay occupies a special position in Sebald's oeuvre, as the author positions himself more pronouncedly than anywhere else on political issues, both with regard to the process of European unification and to fundamental challenges of Western societies in the transition to the twenty-first century. In my close reading the supposedly insignificant essay proves to be an important text for a reconstruction of Sebald's deeply melancholic view of history as expressed in the concept of a "natural history of destruction". At the same time, "European Peripheries" allows us to acknowledge the importance of Pierre Bertaux’ Mutation der Menschheit as an undiscovered influence on the development of Sebald's oeuvre.Keywords: W.G. Sebald. Europa. “Natural history of destruction”. Pierre Bertaux. ORCIDhttps://orcid.org/0000-0002-4825-1912. (shrink)

This article concerns sound aesthetic preferences for European foreign languages. We investigated the phonetic-acoustic dimension of the linguistic aesthetic pleasure to describe the “music” found in European languages. The Romance languages, French, Italian, and Spanish, take a lead when people talk about melodious language – the music-like effects in the language (a.k.a., phonetic chill). On the other end of the melodiousness spectrum are German and Arabic that are often considered sounding harsh and un-attractive. Despite the public interest, limited research has (...) been conducted on the topic of phonaesthetics, i.e., the subfield of phonetics that is concerned with the aesthetic properties of speech sounds (Crystal, 2008). Our goal is to fill the existing research gap by identifying the acoustic features that drive the auditory perception of language sound beauty. What is so music-like in the language that makes people say “it is music in my ears”? We had 45 central European participants listening to 16 auditorily presented European languages and rating each language in terms of 22 binary characteristics (e.g., beautiful – ugly and funny – boring) plus indicating their language familiarities, L2 backgrounds, speaker voice liking, demographics, and musicality levels. Findings revealed that all factors in complex interplay explain a certain percentage of variance: familiarity and expertise in foreign languages, speaker voice characteristics, phonetic complexity, musical acoustic properties, and finally musical expertise of the listener. The most important discovery was the trade-off between speech tempo and so-called linguistic melody (pitch variance): the faster the language, the flatter/more atonal it is in terms of the pitch (speech melody), making it highly appealing acoustically (sounding beautiful and sexy), but not so melodious in a “musical” sense. (shrink)

John Austin (1911-1960) è stato uno dei filosofi britannici più influenti del suo tempo, per il rigore del pensiero, la personalità straordinaria e il metodo filosofico innovativo. A parere di John Searle Austin era molto amato e molto odiato dai contemporanei – disorientati da un pensiero che sembrava distruggere più che costruire, sfidare l'ortodossia della filosofia tradizionale ma anche dell'allora imperante empirismo logico, senza sostituirvi nessuna confortante nuova ortodossia. L'opera di Austin è tuttavia oggi poco conosciuta e gli elementi (...) di novità della sua riflessione non sufficientemente apprezzati. Costituiscono un'eccezione due risultati, universalmente riconosciuti e celebrati: da un lato la tecnica di analisi filosofica – quella versione della "filosofia linguistica" praticata da Austin con la pazienza, il rigore e il talento di un entomologo; dall'altro la teoria degli atti linguistici. Austin viene ricordato soprattutto per aver evidenziato la dimensione performativa che permea ogni nostro proferimento: con uno slogan diventato famoso, ogni dire è anche un fare. Una tesi con ripercussioni in aree di ricerca molto diverse, dalla filosofia del linguaggio all'etica, dalla filosofia politica al diritto, dalla linguistica alla filosofia femminista. Ci concentreremo qui sui contributi di Austin alla filosofia del linguaggio, ma faremo cenni anche estesi ai suoi contributi in epistemologia e teoria dell'azione, nonché al vivace dibattito che a partire dalla teoria degli atti linguistici si è sviluppato negli anni '60 e '70. Un dibattito che è tornato ad accendersi in tempi recentissimi nelle discussioni su libertà di espressione e censura. (shrink)

A contradição é um conceito central para que se compreenda o desenvolvimento dialético da filosofia de Hegel. Desde a Antiguidade é debatido pelos filósofos se a contradição seria ou não uma anomalia a ser combatida quando se pensa na possibilidade da constituição de um discurso acerca das coisas e qual o seu alcance. No que se refere a Hegel, a contradição não está presente apenas no domínio dos conceitos, mas também na natureza. O que pretendemos aqui é apreender o significado (...) dessa contradição na natureza e do conceito de movimento que dela deriva. Para tanto, primeiro acompanharemos certos aspectos dessa temática no debate de Hegel com alguns autores da Antiguidade e a seguir trataremos da exposição hegeliana do mesmo tema na Filosofia da Natureza da Enciclopédia a partir da dedução do conceito de tempo. The contradiction is a central concept in order to understand the dialectical development of Hegel's philosophy. Since ancient times is debated by philosophers if the contradiction would or wouldn’t be an anomaly to be fought when considering the possibility of setting up a speech about things and what its scope is. With regard to Hegel, the contradiction is not only present in the field of concepts, but also in the nature. What we intend here is to grasp the significance of this contradiction in the nature and the concept of movement derived from it. For this, first we will follow certain aspects of this theme in Hegel’s discussion with some authors of antiquity and then dealing with the hegelian exposition of the same theme in the Philosophy of Nature of the Encyclopaedia from the deduction of the concept of time. (shrink)

O artigo clarifica em que medida a Lógica, no sentido mais comum e até ingênuo do termo, enquanto composta pelas leis necessárias do pensamento correto, pode ser entendida como Mística. Isto parece estranho, pois a Mística é normalmente entendida como uma vivência de superação das dualidades, onde o pensamento racional colapsa e encontra seu limite. Já a Lógica é entendida como paradigma de pensamento racional. Argumenta-se que as leis mais gerais da razão e do discurso se relacionam com a Mística (...) na medida mesma em que o fundamento da razão é equacionado ao seu limite. A linguagem encontra-se assim com o silêncio e as leis e fundamentações não mais operam como tais. Conclui-se que a adesão necessária que acompanha o colapso entre o sentido e o valor de verdade de determinadas expressões linguísticas constitui o que chamamos de vivência mística. Trata-se de uma vivencia a qual somos conduzidos pelo próprio funcionamento de nossa significação e, ao mesmo tempo, institui o que se compreende por experiência religiosa. Palavras-chave : Mística. Wittgenstein. Lógica. Intensão. Extensão.This paper clarifies the extent to which Logic, in the usual sense (and even naïve) of the term, as composed of the correct thinking’s necessary laws, can be understood as Mystic. This seems strange, because the Mystic is usually understood as an experience of overcoming the dualities, where rational thinking collapses and finds its limit. On the other hand, the logic is understood as the paradigm of rational thinking. It is argued that the most general laws of reason and speech are related to Mystic in the sense that the foundation of the reason is equated to its limit. The language lies thus with the silence and the laws and justifications no longer operate as such. We conclude that the adherence necessary that accompanies the collapse of meaning and truth value of certain linguistic utterances is what we call mystical experience. It is about an experience to which we are led by the workings of our linguistics meaning, establishing what is meant by religious experience. Keywords: Mystic. Wittgenstein. Logic. Intension. Extension. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

Le commentaire que propose Merleau-Ponty de L’origine de la géométrie de Husserl en 1960 accorde une place privilégiée au langage, à l’écrit : l’étonnement peut être grand de voir Merleau-Ponty, dans la continuité de Husserl, penser la genèse de l’idéalité géométrique à partir d’une méditation sur la littérature. La réflexion de Merleau-Ponty sur la littérature a pris un tour ontologique décisif au début des années cinquante, dans le long commentaire de Proust notamment en 1953-1954. C’est dans cet esprit que le (...) cours de 1960 accorde à la littérature un sens ontologique : l’idéalité géométrique ne peut advenir comme idéalité que par passage à la parole et à l’écrit, mais le sens même de l’idéalité scientifique ne peut se comprendre que si on la replace sur fond d’idéalités plus fondamentales que la littérature précisément dévoile, idéalités qui se nouent à travers le temps, dans le lien entre le passé et le présent, moi et l’autre. La littérature éclaire l’histoire de la géométrie d’une autre manière encore : elle met au jour l’entrelacement homme-langage-monde, condition d’émergence d’un sens vrai, qui advient dans l’histoire de la géométrie, et que la littérature, assumant notre être de parole, porte plus fondamentalement encore.The commentary Merleau-Ponty offers in 1960 on Husserl’s The Origin of Geometry gives a privileged place to language, to writing: it is perhaps a great astonishment to see Merleau-Ponty, in continuity with Husserl, thinking about the genesis of geometrical ideality beginning from a meditation on literature. Merleau-Ponty’s reflection on literature took a decisive ontological turn at the beginning of the 1950s, notably in the long commentary on Proust in 1953-1954. It is in this spirit that the course of 1960 grants to literature an ontological sense: the ideality of geometry can occur as ideality by the passage to speech and to writing, but the meaning of even scientific ideality can be understood only if one places it on the basis of more fundamental idealities that literature precisely reveals, idealities that are linked across time, in the connection between past and present, self and other. Literature clarifies the history of geometry in yet another manner: it brings to light the intertwining of human-language-world, condition of the emergence of a true sense, which occurs in the history of geometry, and which literature, assuming our being in speech bears more fundamentally still.Il commento de L’origine della geometria di Husserl proposto da Merleau-Ponty nel 1960 accorda un posto privilegiato al linguaggio, alla scrittura. Ci si potrebbe stupire del fatto che Merleau-Ponty, nel solco di Husserl, pensi l’idealità geometrica a partire da una riflessione sulla letteratura. Il pensiero di Merleau-Ponty sulla letteratura ha assunto un’inflessione ontologica decisiva all’inizio degli anni Cinquanta, in particolare nel lungo commento a Proust del 1953-1954. È proprio prolungando questa linea che il corso del 1960 attribuisce alla letteratura un senso ontologico: l’idealità geometrica diviene idealità proprio nel passaggio dalla parola allo scritto, ma il senso stesso dell’idealità scientifica può essere compreso solo se ricollochiamo quest’ultima su quello sfondo di idealità più fondamentali che la letteratura ci rivela, idealità che si instaurano attraverso il tempo, nel legame tra il passato e il presente, l’io e l’altro. Infine, è in un altro modo ancora che la letteratura illumina la storia della geometria: essa ci consente di illuminare l’intreccio uomo-linguaggio-mondo, condizione di emergenza di un senso vero, che si attesta nella storia della geometria e che la letteratura, in quanto essa assume il nostro essere già da sempre implicati con la parola, reca con sé in modo ancora più fondamentale. (shrink)

: If a child’s development is made possible by interaction with his environment, involving an integration of affective and intellectual processes, dyslexia implies multiple cognitive deficits that cause learning difficulties and over time can affect a child’s sense of self. Inattentive behavior due to incomprehension of classroom tasks can cause compounding of gaps in learning that will lead to a lack of foundational skills. Vygotskij underlines how the zone of proximal development determines the difference between the child’s actual level of (...) development and the level of performance that he achieves under the guidance of a teacher, through imitation; the teacher must focus his efforts on identifying what the child is only able to do in collaboration today but will be able to do independently tomorrow. The main means of interaction between the teacher and the dyslexic child is the language that, materialized and objectified in external speech, then distilled into thought as internal speech can arm dyslexic children with foundational skills. Keywords: L.S. Vygotskij; Dyslexia; Language; Learning; Zone of Proximal Development Un approccio alla dislessia evolutiva da una prospettiva Vygotskijana Riassunto: Se lo sviluppo del bambino è reso possibile dall’interazione con il suo ambiente, attraverso l’integrazione di processi affettivi e intellettuali, la dislessia implica molteplici deficit cognitivi con conseguenti difficoltà di apprendimento, che col tempo possono condizionare la percezione che il bambino ha di sé. Il comportamento disattento in classe, dovuto all’incomprensione dei compiti assegnati, può generare un accumulo tale di lacune nell’apprendimento da condurre al mancato sviluppo di abilità fondamentali. Vygotskij sottolinea come la zona di sviluppo prossimale denoti la differenza tra il livello di sviluppo effettivamente raggiunto dal bambino e le prestazioni ottenute sotto la guida di un insegnante, per mezzo dell’imitazione del maestro. Compito dell’insegnante è concentrare gli sforzi al fine di individuare quanto il bambino è in grado di realizzare oggi in collaborazione, che domani sarà in grado di effettuare autonomamente. Il principale mezzo di interazione tra l’insegnante e il bambino dislessico è il linguaggio che, materializzato e oggettivato nel linguaggio esterno, successivamente condensato nel pensiero come linguaggio interno, può consentire ai bambini dislessici lo sviluppo di abilità fondamentali. Parole chiave: L.S. Vygotskij; Dislessia; Linguaggio; Apprendimento; Zona di sviluppo prossimale. (shrink)

A partir do horizonte de uma pesquisa mais ampla acerca do que há de próprio ao discurso filosófico, pretende-se demonstrar, neste trabalho, a necessária condição performática da filosofia em sua origem. Toma-se aqui o conceito de ‘performance’ para estabelecer uma aproximação entre a poética dos aedos gregos, estudada na primeira parte, e a matriz da investigação filosófica, iniciada por J. L. Austin, sobre os enunciados performáticos, entendidos como decisivos para a compreensão das situações de fala, e sobretudo dos enunciados declarativos (...) que neles se comunicam. Desde o enfoque dessa aproximação, o Diálogo de Platão assume, pela dramatização da fala originária de Sócrates, ao mesmo tempo a indicação da necessária preocupação filosófica com situações de fala (apropriada a toda verdadeira reflexão sobre o que enunciados efetivamente dizem) e a condição de que a reflexão filosófica, ela mesma, acontece em razão da poética do ato de dizer a verdade entendida como efeito purgativo do exame de si. Em outras palavras, o discurso filosófico precisa ser concebido, desde o paradigma do Diálogo platônico, enquanto capaz de realizar a performance do exame de si como um trabalho de reflexão sobre atos e seus contextos de fala, cujo interesse ético-político e educativo se faz finalidade última de toda análise. (shrink)

A história do pensamento ocidental, desde seus primórdios na Grécia Antiga até os tempos atuais, é transpassada pela questão de Deus, que mantém a sua relevância mesmo no contexto pós-metafísico no qual estamos inseridos. A busca pelo significado derradeiro da existência humana justapõe a questão do homem à questão de Deus, que adquire, dessa forma, um status imperativo. Mas, como articular o discurso sobre Deus na atual conjuntura, caracterizada por uma visão materialista e imediatista da existência humana? Em nossa reflexão, (...) buscamos analisar as perspectivas da linguagem em relação à abordagem de Deus. Verificamos a impossibilidade da utilização de uma linguagem determinativa, com pretensões de definições últimas, no discurso sobre o Absoluto, visto que a experiência de Deus suscita múltiplas representações, sendo todas elas visões parciais de uma realidade inacessível ao cálculo racional. Diante disso, buscamos percorrer a via delineada por Emmanuel Levinas, que não se apressa em nomear o Infinito, mas aborda sua significação a partir da trama ética. Consideramos esperançosa tal abordagem, frente aos desafios que se apresentam nos tempos contemporâneos. Palavras-chave : Deus; cálculo racional; ética; Levinas.The history of western thought, since its beginning in ancient Greece up to now, is surrounded by God, who has kept his relevance even in the post - metaphysical context in which we are in. The ultimate search for the real meaning of human existence juxtaposes mankind and God, therefore it acquires an imperative status. However, how does one formulate the speech about God nowadays, when there is a materialistic view of human existence? In this reflection, we intend to analyze the perspectives of language in relation to God. It is identified the impossibility of use of certainty in language, claiming correct definitions in the speech about The Absolute, once that the experience of God raises multiple interpretations, and all of them are partial views of an inaccessible reality to the rationale. Therefore, we tend to follow Emmanuel Levinas’ line of thought which is not in a hurry to name the Infinity, but deals with its meaning through ethics. Such thought is considered to be hopeful regarding the challenges that appear in the contemporary times. Key words : God; rational calculation; ethics; Levinas. (shrink)

“Poder sem solidariedade” tem como objetivo abordar um texto emblemático do Novo Testamento, isto é, Marcos 10,32-45 com as ferramentas teóricas da teologia bíblica e da teoria foucaultiana a respeito do poder. A metodologia utilizada é de ordem bibliográfica, a partir do diálogo com textos específicos que exploram o texto de Marcos, a sociedade mediterrânea do primeiro século e textos específicos de Foucault sobre o poder. Percebe-se conclusivamente que ao mesmo tempo em que os discípulos de Jesus procuram reproduzir (...) as relações de poder, Jesus propõe um contra-discurso a fim de vislumbrar o poder como solidariedade a favor da comunidade. A intervenção de Jesus introduzirá um discurso de renúncia à aspiração ao poder assim como uma opção fundamental pelo serviço e pela solidariedade. Diante de dois modelos de concepção e prática do poder veremos uma proposta de inversão dos valores que vigoravam em uma sociedade marcada visceralmente pelas ambições. O jogo do poder também estava presente na comunidade de Jesus e seus discípulos procuravam reproduzir aquilo que já era comum ao tecido social. Palavras-chave : Poder. Autoridade. Cristianismo. Sociedade. Domínio.“Powers without solidarity” aims to address an emblematic text of the New Testament - Mark 10.32-45 - by using the theoretical tools of biblical theology and Foucault's theory about power. The methodology used is bibliographic out of a dialogue with specific texts that explore the text of Mark, the first-century Mediterranean society and specific texts by Foucault on power. It can be conclusively seen that while the disciples of Jesus seek to reproduce power relations, Jesus proposes a counter-discourse in order to view the power as solidarity in benefit of his community. Jesus´ intervention will introduce a speech that disclaims the aspiration to power and offers a fundamental option for service and solidarity. Given these two models of conception and practice of power, we can see a proposal that reverses the values ​​that prevailed in a society viscerally marked by ambition. The power game was also present in Jesus´ community and his disciples tried to reproduce what was already common to the social culture. Keywords : Power. Authority. Christianity. Society. Domain. (shrink)

* Doutora em Educação pela Universidade Estadual de Campinas. Professora do curso de Dança e do Programa de Pós-Graduação em Artes Cênicas da Universidade Federal de Uberlândia.** Doutor em Educação pela Universidade Estadual de Campinas. Professor do curso de Filosofia, do Programa de Pós-Graduação em Filosofia e do Programa de Pós-Graduação em Educação da Universidade Federal de Uberlândia. O ano de 2015 marcou os vinte anos da morte de Gilles Deleuze, a data foi celebrada com a realização de eventos promovidos (...) pelos núcleos de pesquisa vinculados à filosofia de Deleuze, cuja obra comporta também os livros escritos em coautoria com Félix Guattari. O Dossiê Artes e Oficinas: incursões na filosofia de Deleuze-Guattari foi concebido no mesmo movimento de discussão do legado do pensamento deleuziano, cujo propósito ultrapassa o ensejo de uma simples homenagem e pretende intensificar as experimentações conceituais para vislumbrar, na criação artística, um disparador de encontros ético-político-estéticos, o que confere ao Dossiê uma abordagem transdisciplinar da filosofia de Deleuze - e também Guattari - com vias a favorecer as interfaces entre a filosofia e as artes, recuperando a junção dos afectos e dos perceptos, tal como foram apresentados pelos autores em muitas dos seus escritos, dentre os quais destacamos Qu'est-ce que la filosophie?.O motivo dos artigos que compõem o presente Dossiê são as artes, considerando que essas manifestações são abordadas conforme dois eixos: das oficinas de criação e da lógica do sentido; ou seja, a poiética é considerada em sua autonomia na produção de experimentações do pensamento, por isso, não se trata de uma leitura estética, aliás, não é a intepretação das obras de arte que estão em discussão, mas, antes, a possibilidade das artes esgotarem as fixações de sentidos do mundo contemporâneo que instauram a crise nas mais variadas esferas da vida. Deleuze e Guattari vislumbram nas artes uma política menor, pertinente a mobilização dos afectos e dos perceptos graças as mobilizações engendradas pelos signos artísticos. Assim, apostamos na articulação da clínica, da crítica, das artes e da política, tendo em vista a abertura de novos espaços, contribuindo para o aparecimento de práticas de liberação dos fluxos que poderão fazer variar o pensamento.O que pode ser esperado das oficinas de criação em artes é a invenção de procedimentos diferentes que potencializem os corpos, mobilizando-os para encontrar nos blocos de perceptos e afectos da criação artística o arrancar "o percepto das percepções do objeto, [...], arrancar o afecto das afecções", provocando fluxos de desejo a abrirem a realidade a novos possíveis. Os pensadores franceses oferecem uma rica abrangência com relação as artes e que acreditamos estar contemplada nos artigos do Dossiê, a saber, que a filosofia como criação de conceitos está conectada - ousamos dizer: acoplada - ao plano de imanência "que deve ser considerado pré-filosófico", porque a atividade conceitual vislumbra a apreensão de uma realidade não conceitual composta pelas criações artísticas, por isso, os pensadores concluíram afirmando que "o não-filosófico está talvez mais no coração da filosofia do que a própria filosofia".A aglutinação dos artigos, que apresentaremos a seguir, propõe a composição de zonas de vizinhança entre conceitos da filosofia em conexões com os perceptos e os afectos com relação as artes, não os confundindo com percepções e sentimentos. Ora, longe da ambição do dogmatismo filosófico, aqui a filosofia é tomada como conceito e devir, permitindo vislumbrar experimentações do pensamento, no encontro com o seu fora, ao entrar na composição de um plano de imanência, que poderá ser construído junto às criações artísticas. As escritas reunias neste Dossiê se processam em meio a produção de um pensar teórico-poiético a partir das artes e das oficinas, traçando divergências convergentes com a filosofia da diferença. [...]. (shrink)

In this paper, I argue that the ‘social meanings’ associated with sociolinguistic variation put pressure on the standard philosophical conception of language, according to which the foremost thing we do with words is exchange information. Drawing on parallels with the explanatory challenge posed by slurs and pejoratives, I argue that the best way to understand social meanings is to think of them in speech act theoretic terms. I develop a distinctive form of pluralism about the performances realized by means (...) of sociolinguistic variants, and I claim that engagement with such performances is an utterly pervasive feature of our linguistic activity. (shrink)

Some visual artworks constitute hate speech because they can perform oppressive illocutionary acts. This illocution-based analysis of art reveals how responsive curation and artmaking undermines and manages problematic art. Drawing on the notion of counterspeech as an alternative tool to censorship to handle art-based hate speech, this article proposes aesthetic blocking and aesthetic spotlighting. I then show that under certain conditions, this can lead to eventual metaphysical destruction of the artwork; a way to destroy harmful art without physically (...) destroying it. (shrink)

This book develops an alternative approach to sentence- and word-meaning, which I dub the speech-act theoretic approach, or STA. Instead of employing the syntactic and semantic forms of modern logic–principally, quantification theory–to construct semantic theories, STA employs speech-act structures. The structures it employs are those postulated by a novel theory of speech-acts. STA develops a compositional semantics in which surface grammar is integrated with semantic interpretation in a way not allowed by standard quantification-based theories. It provides a (...) pragmatic theory of truth, a treatment of logically complex discourse as expressive cognitive states, and a background metaphysics in which the world is a totality of logically simple states of affairs. The book also puts forward an account of how intentional states provide the simple, representational foundation for a superstructure of speech-act structures–a system of thoughts–that far outruns the expressive power of the intentional foundation. In short, it provides an account of cognitive foundations of a language and a naturalistic reduction of semantics through an expressive theory of semantic norms. (shrink)

I take it that liberal justice recognises special protections against the restriction of speech and expression; this is what I call the Free Speech Principle. I ask if this Principle includes speech acts which might broadly be termed ‘hate speech’, where ‘includes’ is sensitive to the distinction between coverage and protection , and between speech that is regulable and speech that should be regulated . I suggest that ‘hate speech’ is too broad a (...) designation to be usefully analysed as a single category, since it includes many different kinds of speech acts, each of which involves very different kinds of free speech interests, and may cause very different kinds of harm. I therefore propose to disaggregate hate speech into various categories which are analysed in turn. I distinguish four main categories of hate speech, namely (1) targeted vilification, (2) diffuse vilification, (3) organised political advocacy for exclusionary and/or eliminationist policies, and (4) other assertions of fact or value which constitute an adverse judgment on an identifiable racial or religious group. Reviewing these categories in the light of the justifications for the Free Speech Principle, I will argue that category (1) is uncovered by the Principle, categories (2) and (3) are covered but unprotected , and that category (4) is protected speech. (shrink)

This paper applies speech-act theory to craft a new response to Pyrrhonian skepticism and diagnose its appeal. Carefully distinguishing between different levels of language-use and noting their interrelations can help us identify a subtle mistake in a key Pyrrhonian argument.

Many liberal societies are deeply committed to freedom of speech. This commitment is so entrenched that when it seems to come into conflict with other commitments (e.g., gender equality), it is often argued that the commitment to speech must trump the other commitments. In this paper, we argue that a proper understanding of our commitment to free speech requires being clear about what should count as speech for these purposes. On the approach we defend, should get (...) a special, technical sense, different from its ordinary sense. We offer a partial characterization of this technical sense. Finally, we argue that if certain theorists (e.g., MacKinnon) are right about what (some) pornography does, then it should fall outside the scope of the free-speech principle. If so, then contrary to first appearances, pornography may not be a case in which our commitments to freedom and gender equality come into conflict. (shrink)

Can supervaluationism successfully handle indirect speech reports? This chapter considers, and rejects, Schiffer’s claim that they cannot. One alleged problem with indirect speech reports is that the truth of “Carla said that Bob is tall” implausibly requires that Carla said all of a huge number of precise things (i.e. that Bob was over n feet tall, for values of n corresponding to precisifications of “tall”). The paper shows why the supervaluationist is not committed to this. Vague singular terms (...) are no particular problem for supervaluationism within indirect speech reports, it is argued, but there remain some issues surrounding certain vague demonstratives. The supervaluationist has good responses available, however, and any remaining questions face all theories of vagueness and are more appropriately addressed within a theory of demonstratives rather than a theory of vagueness. (shrink)

In this article, I offer a novel and in-depth account of how, for Kant, free speech is the mechanism that moves a society closer to justice. I argue that the criticism of the legislator preserved by free speech must also be the result of collective agreement. I further argue that structural features of judgements of taste and the sensus communis give guidance for how we should communicate publicly to succeed at the aims Kant has laid out, as judgements (...) of taste, like politics, belong fundamentally to a transitional sphere between nature and freedom. (shrink)

The distinctly contemporary proliferation of pornography and hate speech poses a challenge to liberalism's traditional ideal of a 'marketplace of ideas' facilitated by state neutrality about the content of speech. This new study argues that the liberal state ought to depart from neutrality to meet this challenge.

Fodor argues that speech perception is accomplished by a module. Typically, modular processing is taken to be bottom-up processing. Yet there is ubiquitous empirical evidence that speech perception is influenced by top-down processing. Fodor attempts to resolve this conflict by denying that modular processing must be exclusively bottom-up. It is argued, however, that Fodor's attempt to reconcile top-down and modular processing fails, because: (i) it undermines Fodor's own conception of modular processing; and (ii) it cannot account for the (...) contextually varying top-down influences that characterize speech perception. (shrink)

A prominent hypothesis holds that by speaking to infants in infant‐directed speech (IDS) as opposed to adult‐directed speech (ADS), parents help them learn phonetic categories. Specifically, two characteristics of IDS have been claimed to facilitate learning: hyperarticulation, which makes the categories more separable, and variability, which makes the generalization more robust. Here, we test the separability and robustness of vowel category learning on acoustic representations of speech uttered by Japanese adults in ADS, IDS (addressed to 18‐ to (...) 24‐month olds), or read speech (RS). Separability is determined by means of a distance measure computed between the five short vowel categories of Japanese, while robustness is assessed by testing the ability of six different machine learning algorithms trained to classify vowels to generalize on stimuli spoken by a novel speaker in ADS. Using two different speech representations, we find that hyperarticulated speech, in the case of RS, can yield better separability, and that increased between‐speaker variability in ADS can yield, for some algorithms, more robust categories. However, these conclusions do not apply to IDS, which turned out to yield neither more separable nor more robust categories compared to ADS inputs. We discuss the usefulness of machine learning algorithms run on real data to test hypotheses about the functional role of IDS. (shrink)

Art viewers and critics talk as if visual artworks say things, express messages, or have meanings. For instance, Picasso’s 'Guernica' has been described as a “generic plea against the barbarity and terror of war”, forming a “powerful anti-war statement”. One way of understanding meaning in art is to draw analogies with language. My thesis explores how the notion of a speech act – an utterance with a performative aspect – can illuminate art’s power to ‘speak’. In recent years, philosophers (...) of art have explored speech act theory in relation to literary art, though barely at all in relation to visual art. Given the way we talk about painting, sculpture, installation, film, and photography, and given that artists have investigated performativity through their art, this neglect is surprising. My thesis develops two main arguments. First, artwork meaning is active. I argue that visual artworks, under certain conditions, are speech acts. They have propositional content, and they have a certain force: they can do things such as assert, protest, and criticise – things we would normally do with words. I defend these contested claims against several dissenters, and explore some consequences: in particular, I explore how art can lie, a hitherto neglected question. Second, artwork meaning is flexible. I argue that what an artwork says and does is affected by the context in which it’s displayed, and in particular, by its curation. As a result, an artwork’s content and force can vary from context to context. This goes against a dominant view in the philosophy of art – what I call ‘Originalism’ – that the meaning of an artwork is fixed by factors which held at the time of the work’s creation, and so cannot change across time. I argue that this is mistaken: artworks can change in meaning. Curatorial factors can affect an artwork’s content and force, and consequently its social effects. It is known that our verbal speech has the power to oppress and liberate people in a society. My thesis aims to show that art also has this power to shape society; through what it says, and through what it does. (shrink)

Temporal regularities in speech, such as interdependencies in the timing of speech events, are thought to scaffold early acquisition of the building blocks in speech. By providing on-line clues to the location and duration of upcoming syllables, temporal structure may aid segmentation and clustering of continuous speech into separable units. This hypothesis tacitly assumes that learners exploit predictability in the temporal structure of speech. Existing measures of speech timing tend to focus on first-order regularities (...) among adjacent units, and are overly sensitive to idiosyncrasies in the data they describe. Here, we compare several statistical methods on a sample of 18 languages, testing whether syllable occurrence is predictable over time. Rather than looking for differences between languages, we aim to find across languages (using clearly defined acoustic, rather than orthographic, measures), temporal predictability in the speech signal which could be exploited by a language learner. First, we analyse distributional regularities using two novel techniques: a Bayesian ideal learner analysis, and a simple distributional measure. Second, we model higher-order temporal structure—regularities arising in an ordered series of syllable timings—testing the hypothesis that non-adjacent temporal structures may explain the gap between subjectively-perceived temporal regularities, and the absence of universally-accepted lower-order objective measures. Together, our analyses provide limited evidence for predictability at different time scales, though higher-order predictability is difficult to reliably infer. We conclude that temporal predictability in speech may well arise from a combination of individually weak perceptual cues at multiple structural levels, but is challenging to pinpoint. (shrink)

In authoritarian states, the discourse on freedom of speech, conducted by those opposed to non-democratic governments, focuses on the core aspects of this freedom: on a right to criticize the government, a right to advocate theories arid ideologies contrary to government-imposed orthodoxy, a right to demand institutional reforms, changes in politics, resignation of the incompetent and the corrupt from positions of authority. The claims for freedom of speech focus on those exercises of freedom that are most fundamental and (...) most beneficial to citizens - and which are denied to them by the government. But in a by-and large democratic polity, where these fundamental benefits of freedom of speech are generally enjoyed by the citizens, the public and scholarly discourse on freedom of speech hovers about the peripheries of that freedom; the focus is on its outer boundaries rather than at the central territory of freedom of speech. Those borderline cases, in which people who are otherwise genuinely committed to the core aspects of freedom of speech may sincerely disagree, include pornography, racist hate speech and religious bigoted expressions, defamation of politicians and of private persons, contempt of court, incitement to violence, disclosure of military or commercial secrets, advertising of merchandise such as alcohol or cigarettes or of services and entertainment such as gambling and prostitution. (shrink)

How music and speech evolved is a mystery. Several hypotheses on their origins, including one on their joint origins, have been put forward but rarely tested. Here we report and comment on the first experiment testing the hypothesis that speech and music bifurcated from a common system. We highlight strengths of the reported experiment, point out its relatedness to animal work, and suggest three alternative interpretations of its results. We conclude by sketching a future empirical programme extending this (...) work. (shrink)

O objetivo deste artigo é analisar a concepção de Justiça Internacional em Kant e Rawls e colocá-las em diálogo. Os eixos de análise serão o direito cosmopolita (Weltbürgerrecht) de Kant e o direito dos povos de Rawls. Nesse sentido, os setores internacionalistas dessas teorias serão discutidos e comparados em seus principais componentes, como a visão dos autores sobre a guerra, a imigração e a obrigação de acolhimento de refugiados. Buscar-se-á, ao longo do artigo, colocar essas teorias lado a lado com (...) o direito internacional moderno, e com alguns institutos de proteção do ser humano, como os direitos humanos e o direito dos refugiados. Ao final, buscar-se-á ponderar como esses autores conceberam a factibilidade de suas teorias, demonstrando que ambas podem ser consideradas “utopias realistas”. Esses temas foram escolhidos por estarem estritamente vinculados à temática da justiça internacional e aos desafios mais urgentes dessa disciplina. Nesse sentido, a análise das teorias de dois grandes expoentes da filosofia política será o pano de fundo para buscar tecer algumas considerações sobre o problema dos refugiados no mundo contemporâneo. Adicionalmente, buscar-se-á demonstrar que a teoria kantiana, por levar em conta os anseios e a autonomia do indivíduo e abranger obrigações cosmopolitas e humanitárias, é mais adequada para lidar com o desafio dos refugiados contemporaneamente. (shrink)

The contributions in this volume result from discussions on and with John R. Searle, containing Searle's own latest views - including his seminal ideas on Rationality in Action. The collection provides a good basis for advanced seminar debates in philosophy of language, philosophy of mind, and social philosophy, and will also stimulate some further research on all of the three main topics.

Introduction The analytical way of thinking has been one of the most fruitful paradigms in this century in philosophy and in different sciences, ...

Slurs are derogatory words; they seem to express contempt and hatred toward marginalized groups. They are used to insult and derogate their victims. Moreover, slurs give rise to philosophical questions. In virtue of what is the word “chink,” unlike “Chinese,” a derogatory word? Does “chink” refer to the same group as “Chinese”? If “chink” is a derogatory word, how is it possible to use it in a non-derogatory way (e.g., by Chinese comedians or between Chinese friends)? Many theories of slurs (...) answer these questions by assuming that slurs communicate derogatory messages. However, little attention has been paid to the speech acts slurs are used to perform. In this dissertation, I argue that slurs are illocutionary force indicators: words to perform the speech acts of derogation. “Chink” is a derogatory word because its use is to derogate the Chinese, just like the phrase “I promise” has the use to make a promise. To derogate the Chinese is to enforce a norm which assigns to them an inferior normative status. Slurs are also propositional indicators: words that contribute to the truth-conditions. “Chink” has the same referent as “Chinese,” its neutral counterpart. Appealing to speech act theory enables my theory to answer questions about slurs, e.g., slurs can be used in non-derogatory ways because the felicity conditions of derogation are not met. To illustrate the advantage of my theory, I will explain how other theories of slurs fall short because they take positions opposite to mine on certain issues. For instance, Mark Richard’s theory, unlike mine, takes utterances of slurs to have no truth values. It follows from his theory, I will argue, that lying with “Chang is a chink” is impossible. Finally, I will defend the force indicator theory from common objections. My force indicator theory provides a case study of the use theory of meaning and a framework for political philosophers to study the harm of slurs. (shrink)