Metaphors of the mind abound. The mind has been metaphorically described as an aviary, a telephone switchboard, a ghost in a machine, and a computer - to name but a few. Bernard Baars, in his In the theater of consciousness, adds to this venerable list, arguing that the mind can be instructively thought of as a working theater. Baars argues for the aptness of his theater metaphor by showing how it can be used to tell "a unified story" of (...) all the currently available scientific data on consciousness. This paper argues that Baars' theater metaphor is not entirely apt, that once it is unpacked, it suggests a certain relation between consciousness and attention that does not appear to be supported by the currently available data. (shrink)

Different translations of Plutarch's De Pythiae oraculis 404B reflect an interpretative difficulty not yet adequately thematized by exegetes. Plutarch's dialogues on the Delphic oracle describe two perspectives on mantic inspiration: possession prophecy, where the god takes over the prophetess as a passive apparatus, and stimulation prophecy, where the god incites the prophecy, but the prophetess delivers the oracle through her own faculties. Plutarch understands the Pythia at Delphi to exhibit stimulation prophecy, not possession. One of his metaphors for inspiration comes (...) from the theatre: the god ‘puts the oracle into the Pythia's mouth, like an actor speaking through the mask’ (De Pyth. or. 404B [Russell]). Some translators take the metaphor as describing possession prophecy (Goodwin), while others take it as stimulation prophecy (Babbitt)—in other words, it may describe the view Plutarch affirms or the view he rejects. This article assesses the two alternatives, concluding that the theatre metaphor describes possession prophecy. (shrink)

Displayed on school walls during holidays, attached to floats and triumphal arches in processions, emblems played a part in all public events organized by the Jesuits in the 17th century. These verbal-iconographic compositions, which were used to illustrate the principal themes of the ceremony, were not a mere period detail or an ornamental device but constituted a means of expression which, by virtue of the particular relations governing the association of text and image, mobilized complex rhetorical, moral, and spiritual elements (...) simultaneously. By associating an image - seen as the “body” - with a textual element (inscriptio et subscriptio) - the “soul” - the emblem-maker sought to achieve a unity of meaning in which the two forms of communication complemented each other: it is precisely the way in which the two elements are connected, and the laws that regulate their composition, that constitutes the foundation of the language of the emblem. This language, which is used in a corresponding manner in a variety of other symbolic compositions (devices, hieroglyphs, symbols, coats of arms, medals, etc.), is based on the rhetorical operations of the metaphor, applied here as a model both for the word, with its mimetic properties, and for figurative codes. However, the metaphor, as a product of human ingenuity, is not only situated at the crossroads of a system of thought crystallized in a great number of inventions, but also bears witness to an ornamental aesthetic, typical of the 17th century's aristocratic culture and social rituals. While there does exist a vast bibliography of materials on the function and role of metaphor in Baroque culture, questions nevertheless remain about the numerous cultural practices to which the Baroque gave rise and the particular processes that the 17th century brought into play. My intention here is not to resolve all such questions but rather to provide an analytical framework by focusing my observations on emblematic compositions produced in the scholastic milieu of the Society of Jesus. (shrink)

Metaphor theory claims that there is no any construct of reality outside of domination of a picture orimage. At the bottom of any philosophical system lays an image or a picture. Analysis of thinking relatesto the analysis of metaphorical aspects of that thinking. Every concept that pretends to be abstract becomes a consequence of a concrete image. The canon of philosophy no longer lays at depth but isaroused from surface. Hana Arendt is one of the most interesting and most (...) complicated politicalphilosopher in the 20th century. This study is going to examine the role of theater metaphor in her politicalphilosophy. Arendt’s political philosophy is influenced by theater metaphor. This study aimed to examinethis by using the works of Flydenberg and Blumenberg. (shrink)

The article argues that the theory of plebiscitary leader democracy, originally developed by Max Weber, is in its somewhat rejuvenated version a helpful framework in interpreting longer-term and more recent empirical trends in contemporary democracies, such as the growing personalization of politics, the emergence of populist leaders, rising levels of polarization, and the growing importance of social media. However, to realize the potential of the theory, it should be detached from Jeffrey Green’s most original, yet insufficiently realistic elaboration of plebiscitary (...) democracy that he made a decade ago. The article argues that instead of a passive and unifiable entity, the citizenry should be thought of as reactive and deeply divided, a setting which can be characterized by the metaphor of the infamous Byzantine chariot races rather than that of the theater, implicit in Green’s theory. Plebiscitary democracy should be thought of as representational, where popular control is manifested as the veto power of the popular voice. Additionally, despite its realist minimalism, the theory we propose may still have some critical potential, because it adopts the refurbished ideal of competition. The article closes by identifying further avenues of theoretization leading towards a more elaborate view of PLD. (shrink)

Goffman makes considerable use of the metaphor of social life as theater. This metaphor has a significant impact on his thought in three areas: 1) it is central to his changing views about cynicism and trust in everyday life; 2) metaphor in general is a method of sociological inquiry; and 3) metaphor suggests a "limit" that his later work attempts to transcend.

"[Wilshire] establishes a phenomenology of theatre, a theory of enactment, and a theory of appearance, none of which American theatre... has ever had." —Performing Arts Journal "... Wilshire makes unique contributions to understanding major aspects of the human condition in its necessary search for selfhood." —Process Studies "It is one of the American classics." —Human Studies.

We would like to thank Dolega and Dewhurst for a thought-provoking and informed deconstruction of our article, which we take as applause from valued members of our audience. In brief, we fully concur with the theatre-free formulation offered by Dolega and Dewhurst and take the opportunity to explain why we used the Cartesian theatre metaphor. We do this by drawing an analogy between consciousness and evolution. This analogy is used to emphasize the circular causality inherent in the (...) free energy principle. We conclude with a comment on the special forms of active inference that may be associated with selfawareness and how they may be especially informed by dream states. (shrink)

The theatre actor’s process in a rehearsal hall is reality and metaphor. It can be a rehearsal for justice, where we can live freely. In this laboratory the actor becomes all of us. Like the actor, we inhabit our bodies and our sexualities, sometimes as spiritual practice, or as sacred and creative, even as incarnations. In particular, women’s bodies remember what it is like to be no-body and what it is like to be a some-body. The texts of (...) women’s bodies contain their history of pain, wellness and illness. In creating a character, the actor creates a biography, an inner life, and the actor’s imagination aligns with the character’s situation. This is the creation of a character’s ‘living story’. Similarly, for all of us, this is akin to self knowledge. When women and sexual minorities tell their stories and listen to each others’ self knowledge, they are reading their bodies as texts. And worlds split open. (shrink)

Pointe extrême de la métaphore, l'oxymore postule, dans le théâtre claudélien, une altérité essentielle entre l'Amant et l'Amante, entre Dieu et sa créature, altérité que ne contredirait pas cependant l'identité existentielle: l'Incarnation. Prouhèze déploie sous nos yeux la bannière divine dont le signe est, comme dans les versets de Raymond Lulle, “un homme mort”. Si la corde de l'amour est tissée à coups de languissements de soupirs et de pleurs par le poète-dramaturge, la Croix est symétriquement désignée dans ses drames (...) comme l'Arbre de Vie.Un personnage aussi étrange — car bien peu théâtral — que l'Ombre Double duSoulier de Satin résume ce paradoxe dans la mesure où la représentation qu'elle offre de la tension amoureuse crée un lien insécable entre la Terre et l'Ailleurs; l'Ombre Double témoigne de ce que l'Amant et l'Amante comme Dieu et sa créature peuvent concorder dans la béatitude sans pour autant fusionner. Autrement dit, selon Claudel, que l'homme soit à l'image de Dieu ne suffit pas à sa foi, encore faut-il qu'il ne cesse de manifester sa ressemblance à Dieu. Seule, la “métaphore vive”, c'est-à-dire la métaphore ayant gardé en mémoire les paradoxes et les tensions de l'oxymore, respecterait le mystère d'une relation où la présence croît a proportion de l'absence et fonderait cette parole sacrée et compensatoire d'une resseblance mille fois déjouée. (shrink)

Contagion is more than an epidemiological fact. The medical usage of the term is no more and no less metaphorical than in the entire history of explanations of how beliefs circulate in social interactions. The circulation of such communicable diseases and the circulation of ideas are both material and experiential. Diseases and ideas expose the power and danger of bodies in contact, as well as the fragility and tenacity of social bonds. In the case of the theatre, various tropes (...) of contagion are to be found in both the fictional world on the stage and in many theories defining the rules of interaction between theatre audiences, fictitious characters and/or performers. In consequence, the historically changing concept of contagion has in many respects influenced how mimesis was conceived and understood. The main goal of my article is to demonstrate how the concept of contagion has changed over the last few decades and how it may influence our understanding of the idea of mimesis and participation in performative arts. This will be achieved in two steps. Firstly, I will compare the concept of contagion as the outbreak narrative that had influenced, among others, Antonin Artaud’s The Theater and the Plague with the more recent and dynamic concept of epidemic structured around the tipping point. Secondly, I will look for performative art forms with similar structure of audience responses, analyzing Mariano Pensotti’s project Sometimes I Think, I Can See You, in order to demonstrate new forms of performativity and presentation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Franco-Ferraz, Theism and the Theatre of the Mind MiguelA. Badia-Cabrera In "Theatre andReligiousHypothesis,"1 MariaFranco-Ferraz offersan eloquent and reasoned argument in favour ofa fresh and different sort of hermeneutic approach to the Dialogues Concerning Natural Religion as a suitable means to disentangle the web of proverbially difficult philosophical questions posed by Hume in that work. In order to arrive at a coherent understanding ofthe Dialogues as a (...) whole and perhaps also to calm the sense of bafflement which the confrontation with this enigmatical text always provokes, many Hume scholars have taken as a point of departure and clue for unravelling it either one or two of Hume's principal philosophical doctrines or a presumedly unitary view of Hume's philosophy in general. Equipped with one or both of these instruments, they proceed to dissect the arguments of the Dialogues with the intention of determining what Hume's position really is. This task also almost invariably ends by assigning the victory in the dialectical struggle and the representation of the author's 'true' opinions to the character (sometimes even more than one) in whom they are more or less able to find the purest expression ofwhat theyhave previously decided is the kernel oressence ofHume's philosophy. Franco-Ferraz has taken a very different route. For her the key point of the Dialogues lies in the fictional setting in which the theological discussion takes place. She goes on to show that the literary form of the Dialogues is intrinsically connected with its philosophical content so as to serve to elucidate the precise nature ofthe conclusion which is established at the end, in Part XII. In other words, the theatrical structure facilitates a more profound and detailed investigation ofthe problems dealing with the existence and nature of God. In fact, Hume offers no final solutions to these problems and thereby none ofthe characters ofthe Dialogues can properly be said to present the victorious point of view or the one counting with the complete authority ofthe author ofthe play: The most important aspect of this text is the interaction between the different characters' points of view, which, by being in confrontation with each other, undergo reciprocal transformations. (Franco-Ferraz, 228) Volume XVI Number 2 131 MIGUEL A. BADÍA-CABRERA With this one cannot but agree. In addition she clinches her case by 'ai-trull·/ and convincingly showing that there is a profound relation between this theatrical form and some substantive philosophical theses which Hume developed in the Treatise, the first Enquiry, and The Natural History ofReligion. In reality, the theatre metaphor clarifies the sense ofthose philosophical doctrines, which in turn throw light on and corroborate her main contention about the conclusion of the Dialogues. For according to her, any definitive solution to the problems ofnatural theology is not presented at the end by any ofthe characters on behalfofa God-like author (Dieu auteur), and furthermore this deus ex machina solution would conflict especially with Hume's conception of the mind as being une pièce sans théâtre, a drama without a stage (Franco-Ferraz, 234). Such is the substance ofher thesis, if I have succeeded in giving a fairrepresentationofit. I thinkthatherinterpretation providesa novel outlook and one fruitful means ofaccess to an adequate understanding of the Dialogues. But I am quite hesitant with some particular and important aspects ofher reading of that text for the 'inconveniences', in Philo's sense ofthe word, which seem to follow from it, and alsohave a few difficulties in assessing the exact import of one or two of her central claims due to the somewhat vague manner in which, I think, these are formulated. First, at the verybeginningofher paper, Franco-Ferraz quotes the followingpassagefromPartIIIoftheDialoguesin which Demeaobjects to Cleanthes' claim, defended by two very ingenious analogies, that an orderly world like a coherent, articulate speech will always be taken as a sign ofintelligent design: When I read a volume, I enter into the mind and intention of the author: I become him, in a manner, for the instant; and have an immediate feeling and conception of those ideas, which revolved in his imagination, while employed in that composition. (D 155-56) I take issue with... (shrink)

The target article by Bernard Baars presents a quick way of grasping the gist of his book In the Theater of Consciousness: The Workspace of the Mind, published recently . The metaphor of consciousness as a theatre has a long history. A prototype of the theatre model may be traced back to Plato's Allegory of the Cave, in which we are like prisoners living in a cave just observing the shadows of reality. The modern theatre model (...) insists on consciousness being under the control of attention by introducing a searchlight metaphor . The target article explores some evidence from the viewpoint of Global Workspace theory by using a method of ‘contrastive analysis’. According to this theory, GW works as the publicity organ of the brain and has a facility for accessing, disseminating, and exchanging information, and for exercizing global coordination and control . Baars describes his GW as a theatre. ‘As the house lights begin to dim and the audience falls silent, a single spotlight pierces the descending darkness, until only one bright spot, shining on stage, remains visible. You know that the audience, actors, stagehands, and spotlight operators are there, working together under invisible direction and guided by an unknown script, to present the flow of visible events on stage. As the house lights dim, only the focal contents of consciousness remain. Everything else is in darkness’ . According to GW theory, a theatre stage with a bright spot is just a working memory. So I would like to comment on some general characteristics of the working memory and related spotlight problem. (shrink)

Hobson & Friston (2014) outline a synthesis of Hobson's work on dreaming and consciousness with Friston’s work on the free energy principle and predictive coding. Whilst we are sympathetic with their claims about the function of dreaming and its relationship to consciousness, we argue that their endorsement of the Cartesian theatre metaphor is neither necessary nor desirable. Furthermore, if it were necessary then this endorsement would undermine their positive claims, as the Cartesian theatre metaphor is widely (...) regarded as unsustainable. We demonstrate this point and then develop an alternative formulation of their position that does not require the Cartesian theatre metaphor. Our positive goal is to clarify Hobson & Friston’s confusing usage of philosophical terminology, replacing it where possible with the more transparent language of the forward models framework. This will require some modifications to their account, which as it stands is philosophically and empirically unsustainable. (shrink)

Metaphorical analogies have been popular in different forms of reasoning, theatre and drama analogy among them. From the semiotic perspective, theatre is arepresentation of reality. Characteristic to theatrical representation is the fact that for creating representations of reality it uses, to a great extent, the materiality andcultural codes that also constitute our everyday life; sometimes the means of representation are even iconically identical to the latter. This likeness has inspirednumerous writers, philosophers and, later, social scientists to look for (...) particular similarities between social life, drama and theatre. In this paper I chose twoparticular approaches from the social sciences that make use of the metaphorical analogy of theatre in quite different, yet, to certain extent, also overlapping ways — Victor Turner’s concept of “social dramas” from anthropology and Erving Goffman’s “dramaturgy” of social interactions from sociology. The former bases hisanalogy more on the structure of the dramatic text and on a key resemblance in the (dramatic) conflict, whereas the latter builds his analogy on the principles ofperforming used in theatre, and regards characters and roles as major resemblances between action on stage and in social space. This paper examines these key resemblances and sheds light on what kind of interpretations of culture and society emerge when theatre analogies are put into action. In the concluding section some general problems, related to extended metaphors and analogical explanations the researcher needs to face with, are discussed. (shrink)

In a dynamic world, mechanisms allowing prediction of future situations can provide a selective advantage. We suggest that memory systems differ in the degree of flexibility they offer for anticipatory behavior and put forward a corresponding taxonomy of prospection. The adaptive advantage of any memory system can only lie in what it contributes for future survival. The most flexible is episodic memory, which we suggest is part of a more general faculty of mental time travel that allows us not only (...) to go back in time, but also to foresee, plan, and shape virtually any specific future event. We review comparative studies and find that, in spite of increased research in the area, there is as yet no convincing evidence for mental time travel in nonhuman animals. We submit that mental time travel is not an encapsulated cognitive system, but instead comprises several subsidiary mechanisms. A theater metaphor serves as an analogy for the kind of mechanisms required for effective mental time travel. We propose that future research should consider these mechanisms in addition to direct evidence of future-directed action. We maintain that the emergence of mental time travel in evolution was a crucial step towards our current success. (shrink)

Postphenomenology and posthermeneutics as initiated by Ihde have made important contributions to conceptualizing understanding human–technology relations. However, their focus on individual perception, artifacts, and static embodiment has its limitations when it comes to understanding the embodied use of technology as involving bodily movement, social, and taking place within, and configuring, a temporal horizon. To account for these dimensions of experience, action, and existence with technology, this paper proposes to use a conceptual framework based on performance metaphors. Drawing on metaphors from (...) three performance arts—dance, theatre, and music—and giving examples from social media and other technologies, it is shown that we can helpfully describe technology use and experience as performance involving movement, sociality, and temporality. Moreover, it is argued that these metaphors can also be used to reformulate the idea that in such uses and experiences, now understood as “technoperformances”, technology is not merely a tool but also takes on a stronger, often non-intended role: not so much as “mediator” but as choreographer, director, and conductor of what we experience and do. Performance metaphors thus allow us to recast the phenomenology and hermeneutics of technology use as moving, social, and temporal—indeed historical—affair in which technologies take on the role of organizer and structurer of our performances, and in which humans are not necessarily the ones who are fully in control of the meanings, experiences, and actions that emerge from our engagement with the world, with technology, and with each other. This promises to give us a more comprehensive view of what it means to live with technology and how our lives are increasingly organized by technology—especially by smart technologies. Finally, it is argued that this has normative implications for an ethics and politics of technology, now understood as an ethics and politics of technoperformances. (shrink)

This paper considers the Cartesian theatre as a metaphor for the virtual reality models that the brain uses to make inferences about the world. This treatment derives from our attempts to understand dreaming and waking consciousness in terms of free energy minimization. The idea here is that the Cartesian theatre is not observed by an internal audience but furnishes a theatre in which fictive narratives and fantasies can be rehearsed and tested against sensory evidence. We suppose (...) the brain is driven by the imperative to infer the causes of its sensory samples; in much the same way as scientists are compelled to test hypotheses about experimental data. This recapitulates Helmholtz's notion of unconscious inference and Gregory's treatment of perception as hypothesis testing. However, we take this further and consider the active sampling of the world as the gathering of confirmatory evidence for hypotheses based on our virtual reality. The ensuing picture of consciousness resolves a number of seemingly hard problems in consciousness research and is internally consistent with current thinking in systems neuroscience and theoretical neurobiology. In this formalism, there is a dualism that distinguishes between the process of inference and the process that entails inference. This separation is reflected by the distinction between beliefs and the physical brain states that encode them. This formal approach allows us to appeal to simple but fundamental theorems in information theory and statistical thermodynamics that dissolve some of the mysterious aspects of consciousness. (shrink)

ernard Baars’ metaphor of the theatre of consciousness has the ability to powerfully evoke and illustrate in a single image many of the functions of the mind and the brain, both conscious and unconscious. The simplicity and sheer appeal of the image of the stage, with conscious events acted out upon it by players moving under the spotlight of attention, makes it easy to visualize, to remember, and to think about. Thus, it is richly evocative, inviting further speculation (...) as to how the elements in front, behind, and on the stage, interact to yield the conscious experiences of daily life. I suspect that the ease and power of this metaphor will go a long way toward making the study of consciousness in psychology not only academically legitimate -- a battle we have just about won -- but something other than mush in the minds of most academic psychologists. I believe that this metaphor will play the role for the cognitive psychology of consciousness that the Atkinson-Shiffrin stage model of memory played for the cognitive psychology of memory some decades back . Like that model, it summarizes most current findings and organizes them in a fashion easily understood by a wide readership. My guess is that it will stimulate a broad range of research and scholarship during the coming years. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Children's Perspectives:A Model of Aesthetic Processing in TheatreJeanne Klein (bio)Since the children's theatre movement began, producers have sought to create artistic theatre experiences that best correspond to the adult-constructed aesthetic "needs" of young audiences by categorizing common differences according to age groups. For decades, directors simply chose plays on the basis of dramatic genres (e.g., fairy tales), as defined by children's presupposed interests or "tastes," by (...) subscribing to Winifred Ward's broad descriptions of the "imaginative period" (ages six to nine), the "heroic period" (ages nine to twelve), and the "romantic period" (over age thirteen).1 Years later, Moses Goldberg elaborated upon these generalized divisions while cautioning that "no individual fits exactly into any set of categories."2 In his position paper on aesthetic development, he argued for individual access to aesthetic techniques, processes, and products for all ages, paralleled by four stages of cognitive capabilities, based on exposure to (1) arena-style participation theatre (for ages five to eight), which emphasizes story enactments; (2) a wide range of proscenium-style theatrical conventions; (3) relevant play content that directly relates characters' problems to spectators' lives and growing self-awareness; and (4) social issue plays that pose ethical dilemmas as cultural reflections.3 Meanwhile, Jed Davis compiled Age Group Profiles, organized by cognitive, spatial, emotional, and moral/ethical development, from his review of Piagetian literature; and Johnny Saldaña summarized stages of young interpretations of theatre from his seven-year longitudinal study.4Suffice it to say, the field of developmental psychology has come a long way since Piaget formulated his four constructivist stages. Since the mid-1950s, the cognitive revolution has spurred more integrated theories of information processing and depth-of-processing models that explain and predict how people construct schematic frameworks of knowledge and [End Page 40] assimilate and accommodate new information as a function of perception, attention, emotion, comprehension, memory, and social and moral behaviors. Although masculinist metaphors of hierarchical "staircases" and linear networks of associative learning still dominate computational models, feminist perspectives, which engender social cognitive, co-relational negotiations of narratives in situated contexts, have gained more widespread acceptance—by including theatre as an apt metaphor for development.5 Over the past twenty years or more, cognitive psychologists have finally discovered what dramatic theorists have known about narrative structures since Aristotle's Poetics: Powerful stories contain universal themes about the human condition through characters' conflicting actions. The most successful dramas are those that allow spectators to enter into a protagonist's psychological consciousness or "inner" vision in order to empathize with her "outer" reality.6While several developmental models of aesthetic understanding, experience, and appreciation exist in the realms of visual art and music education, few examples have been proposed in regard to theatre, particularly for child audiences.7 Instead, producers of Theatre for Young Audiences (TYA) tend to romanticize its social and moral "effects" upon youth by believing passionately that viewing one remarkable performance has the potential (the operative word) to "cause" positive, social changes in children's minds, hearts, and behaviors, given the presumed "power of human imagination."8 This obsession with progressive change foregrounds adults' desires to control human destiny by predicting "causes and effects" located in children's responses to live performances. However, this "folk theory" fails to explain how young imaginations actually function aesthetically from the contextual evidence of reception studies with child audiences. Just as feminists have argued for a distinctive "feminist aesthetics," based on women's alternative ways of knowing,9 I argue that children gaze upon theatre in differential ways by including age as a variable factor. "Children's aesthetics," their perceived interpretations of theatre, differ from that of adults' theorized postulations, based in part on their shorter life experiences with this medium. To this end, over the course of my career, I have sought to understand theatre from children's perspectives by focusing my research in the social cognitive theories and social science methods of child development, primarily through the vast literature of television and mass media studies conducted with young people over the past forty years. In particular, medium-specific studies that parse theatrical forms from dramatic content... (shrink)

Bringing allegory into the light from the neglect into which it fell means focusing on the wondrous heights of the human spirit in its significance for culture. Contemporary philosophies and literary theories, which give pre-eminence to primary linguistics forms (symbol and metaphor), seem to favor just that which makes intelligible communication possible. But they fall short in accounting for the deepest subliminal founts that prompt the mind to exalt in beauty, virtue, transcending aspiration. The present, rich collection shows how (...) allegory, incorporating the soaring of the spirit, offers highlights for culture, with its fluctuations and transformation. This collective effort, rich in ideas and intuitions and covering a vast range of cultural manifestations, is a pioneering work, retrieving the vision of the exalted human spirit, bringing together literature, theatre, music and painting in a variety of revealing perspectives. The authors include: M. Kronegger, Ch. Raffini, J. Smith, J.B. Williamson, H. Ross, M.F. Wagner, F. Divorne, L. Oppenheim, D.K. Heckerl, N. Campi de Castro, P. Saurez Pascual, M. Alfaro Amieiro, H. Fletcher Thompson, R.J. Wilson III, and A. Stensaas. For specialists, students and workers in philosophy, comparative literature, aesthetic phenomenologists and historians of art. (shrink)

This article is an evocatively written account of Bernard Baars’ latest ideas about the Global Workspace approach to consciousness, one he pioneered in his important book on the topic in 1988. He writes fluently and brings strong images to mind, especially with the metaphor of the ‘Working Theatre’. As with everything he writes, I enjoyed reading it. It is strong and heady stuff. When I finished I sat back and attempted to assess the claim that the best answer (...) today with which to understand the present evidence about consciousness is a ‘global workspace architecture’, especially along the lines of the Global Workspace of Baars. (shrink)

This essay provides a critical survey of key Irish theatre productions that present queer men with HIV or AIDS as a central theme while also seeking to situate several of these productions within the controversial discourse of ‘post-AIDS’ as it plays out in Irish cultural and social discourses. Through this survey, this essay finds and critically elaborates how a discourse of AIDS as punishment is a common denominator in all of these plays; whether that be as a central (...) class='Hi'>metaphor in the drama or conversely as a trope that theatre makers seek to disrupt. Throughout, this essay simultaneously attends to the ways in which non-realist, non-linear dramatic structures have proved to be better positioned to present the realities of living with HIV or dying with AIDS in Ireland since the emergence of the first Irish AIDS epidemic in 1982. By approaching ‘post-AIDS’ discourses through the lens of HIV and AIDS in Irish theatre, this essay critically analyses the insidious ways in which ‘post-AIDS’ Irish culture is bound up with neoliberal discourses of homonormative assimilation and cultural respectability, especially the figuring of HIV/AIDS as punishment for non-assimilation. (shrink)

One of the central puzzles for Baars is the contrast between the small window of consciousness of which we all have direct experience and the massive collection of specialized neural nets, all working in parallel in the depths of our brain. Why is this window so small? Can we use the metaphor of a theatre, in which we regard consciousness as merely acting like a spotlight moving over an already existing structure of thoughts, memories and experiences, or does (...) it involve something more active with thoughts being created anew from moment to moment? (shrink)

Art forms tend to mirror themselves in each other. In order to understand literature and fine arts better, we often turn to music, speaking of the 'tone' in a book and of the 'rhythm' in a painting. In attempts to understand music better, we turn instead to the narrative arts, speaking of the 'story' of a musical piece. This book focuses on two examples of such conceptual mirror reflexivity: narrativity in jazz music and musicality in spoken theatre. These intermedial (...) metaphors are shown to be significant to the practice and reflection of performing artists through their ability to mediate holistic views of what is considered to be of crucial importance in artistic practice, analysis, and education. This exploration opens up possibilities for new theoretical and practical insights with regard to how the borderland between temporal art forms can be conceptualized. The book will be of interest not only to scholars of music and theatre, but also to those who work in the fields of aesthetics, intermedial studies, cognitive linguistics, arts theory, communication theory, and cultural studies. (shrink)

While early modern Spain may seem a world away, it is an extremely rich and relevant context for gaining a better understanding of the Rhetoric of Health, specifically the power of metaphor, in the related spheres of policy-making and public debate. It was a time and place in which the urban populace’s physical well-being depended upon the fortunes of theatrical performances due to a system of alms for hospitals driven by ticket receipts. Anti-theatricalists argued that the immoral nature of (...) theatrical performances made them spiritually and medically detrimental to society. Pro-theatricalists argued that plays were always a public good on balance because they raised much-needed funds for hospitals. Instead of producing a conflict between morality and public health, each side reinforced their connection until the two topics became nearly inseparable in the sphere of public debate. While pro-theatricalists mainly stayed with their arguments about funding hospitals, anti-theatricalists developed a new strategy of literalising the metaphor of theatre as a “plague of the republic” and arguing that immoral entertainment brought literal disease to the populace as a punishment from God. This exemplifies Stephen Pender’s observation of how, in an early modern medical context, “Rhetoric as a way of perceiving probabilities and adjusting one’s argument to the audience and circumstance offers a model of ethical action and interaction”. This article is organised chronologically to track specific adjustments to a specific public-health debate that rely upon moral metaphors of medicine. Each side wrangled over these metaphors in an effort to break a deadlock in a public-health policy debate with entertainment, finance, and morality at its centre. By the end of the seventeenth century, anti-theatricalists finally found their best rhetorical weapon in the literalisation of the “plague of the republic” metaphor, but it only offered a short-term solution to banning theatre contingent upon the ebb and flow of epidemics. Simultaneously, the finance structure of funding hospitals began to erase the role of hospitals from the longstanding debate about the morality of public theatre. The case of early modern Spain provides valuable lessons about the power of metaphor in the Rhetoric of Healthcare that are still applicable today. (shrink)

Athenian citizens deliberate in the assembly, but the theatre also becomes a place for public debate. In addition to being a consequence of economic or cultural aspects, democracy is a consequence of the development of a democratic imaginary. Located in that imaginary, Greek tragedies, regarded as «democratic myths», work to reaffirm Athenian democracy. Far from being dogmatic, the tragic myth explores the contradictions of social and personal life and implicitly or explicitly seeks their correction. This dramatic genre encourages participation (...) from the spectator (citizen) that greatly exceeds the schematic reduction in Aristotelian theory of catharsis. Greek tragedy proposes the existence of an «audience», of spectators who need a sufficient level of maturity to make that assessment. Democracy is a path, or perhaps an active utopia, which should combine the political order with a coherent culture and art.Los ciudadanos atenienses deliberaban en la asamblea, pero también el teatro se convierte en un lugar de debate público. Porque una democracia (también la ateniense) no solo es consecuencia de aspectos económicos o de orden cultural, sino también del desarrollo de un imaginario democrático. Y es en dicho imaginario donde se inscriben las tragedias griegas, consideradas como «mitos democráticos» que servían para reafirmar la democracia ateniense. Lejos de cualquier dogmatismo, el mito trágico explora las contradicciones de la vida social y personal, y se pregunta, de manera expresa o tácita, por su posible corrección. Este género dramático induce a una participación del espectador (ciudadano), que va más allá de la esquemática reducción de la teoría aristotélica de la catarsis. El teatro griego propone la existencia de un «público», de unos espectadores que precisan de una gran madurez para emitir ese juicio. La democracia es un camino, o quizás una utopía activa, que debe conjugar el orden político con una cultura y un arte coherentes. (shrink)

Philosopher Merab Mamardashvili had multiple connections to the Soviet film industry, including the years he spent lecturing to cinema students in Moscow, and yet his work in this area has thus far been neglected by scholars of philosophy and cinema alike. In this article, I consider Mamardashvili’s most sustained remarks on film, including his use of the metaphor of the movie theatre and his commentary in The Aesthetics of Thinking on Vadim Abdrashitov and Aleksandr Mindadze’s The Train Stopped. (...) Mamardashvili used film as a metaphor for consciousness and described how film constructs an extended, empirical and psychological reality, a new space and time originating in itself, and which, if only for a couple hours, offers the experience of a “different regime of life than the one to which we are accustomed”. (shrink)

Timothy Scheie’s book on the importance of the theatre in Roland Barthes’ oeuvre begins with what Scheie poses as an enigma: Barthes wrote frequently of the theatre at the beginning of his career and then ceased to do so, without comment, after 1960. Scheie argues that Barthes’ abandonment of the theatre reveals something important about the development of his thoughts and even about his life. Scheie also considers Barthes’ early theatrical criticism and later use of theatrical metaphors (...) to be an under-considered aspect of the critic’s work. Performance Degree Zero is an ambitious work not so much because of what it argues, but because of its attempt to trace the theatre’s presence (or absence) during Barthes’ .. (shrink)

“Theater” has become a fashionable metaphor that theologians and ethicists deploy to correct what they see as a Gnostic or antinomian impulse to prioritize “inner state” over “outer action.” But their turn to theater as an easy way to valorize “outer action” conflates person and role, generating a confused anthropology that 1) obscures what theater could make obvious about occupational roles; 2) misses the distinctively non‐theatrical character of performing Christ and church; and 3) renders actions more easily legible than (...) they in fact are. These losses are traced in the work of several theater theologians, and their resultant distortions in self, power, and freedom are elaborated with the help of Stephen Mulhall's critique of Alasdair MacIntyre and Charles Taylor. Gregory of Nyssa's use of theater, by contrast, avoids such distortions by invoking theater together with the “mysteries of our existence”—death and creatio ex nihilo. Theater, for Gregory, becomes a way to describe the estrangement Christians must live into in a world beholden to wealth and power. The anthropology embedded in his metaphor of theater elaborates how Christians might approach their occupational roles, the world, and skepticism. (shrink)

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

This essay focuses on the concept of consciousness in C. S. Peirce’s work, revealing how its ways of being are associated with the three Peircean phenomenological categories. In this article, I intend to reflect on the heuristic power of the mind, namely, its ability to bring about new ideas, which, within Peirce’s logic of inquiry, is called by the well-known term of abduction. The abductive logical step promotes a synthesis of signs that constitutes a logical structure capable of proposing a (...) new mediation or representation of a new phenomenon. I make use of a metaphorical passage from Peirce not only to give the title to this essay, but also to highlight the importance of the first category as a sort of synechistic envelopment of an unprecedented logical structure of signs that composes a new synthesis. Two continua intertwine themselves, namely, those of the first and third categories, to account for what appears as a fact of the world in the theater of secondness. The essay also seeks to bring to light the core realism of Peirce’s philosophy, the genetic aspect of this bottomless lake, through its cosmology, where the generalization of forms and the acquisition of habits of reality are the proper ground of his Objective Idealism. One of the heuristic aspect of the lake metaphor is a sort of invitation to extend the concept of synthesis from the realm of logical structures to that one of arts, which in this essay will remain as a suggestion for a further reflection. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mind, Theaters, and the Anatomy of ConsciousnessDonald Beecher"All unified theories of cognition today involve theater metaphors."—Bernard J. BaarsAmong the most perplexing challenges for cognitive philoso-phers are those pertaining to representationalism, Gilbert Ryle's denial of the "ghost in the machine," the languages of cognition, and the "self" as the one-time audience and author of consciousness.1 Each of these topics can be discussed metaphorically in terms of the theater. The mind (...) is a kind of acting space in which thoughts and images are in some fashion prepared and represented in rapid sequence. Consciousness is a theatrical machine behind which there is a director who helps to determine how the narrative of the mind will play itself out. The discrete "I" is not only the prompter of consciousness, but its audience, receiving all that is played in the mind's theater. Or, in the words of C. S. Sherrington, "each waking day is a stage dominated for good or ill, in comedy, farce or tragedy by a dramatis persona, the 'self,' and so it will be until the curtain drops."2 The problem, however, is that in matters so difficult to comprehend as the workings of the human brain and the mind operations attached to it, metaphors develop vectors of their own that shade and nuance understanding in ways that obstruct the plasticity of analysis. For this reason, theater analogies in relation to consciousness have been widely endorsed in characterizing its distinctive operations, yet widely criticized for epitomizing the philosophical thinking in the past (and the present) that detaches consciousness from the emotions, the body, and the material world. For the latter reason, the metaphor of [End Page 1] the theater will generally be found wanting, as it is in Dennett's assault on what he labels "the Cartesian theater." And yet there are compelling reasons why this metaphor may persist for a time to come as the image of choice for illustrating the operations of consciousness.Arguably, the earliest intimations of mind as resembling a theater emerged at the beginning of the sixteenth century. It was not only an age that fostered a renewed interest in dramatized spectacle, but one that confronted, through theater metaphors, the illusory nature of human experience. The rise of the modern theater, and speculations upon reality in relation to happenings in the mind, are quite separate phenomena, but, arguably, a sense of the theater as a place of memory, of illusions projected as realities, and of experience provided the best "thought experiment" for dealing with the paradoxes of mentation. In fact, the emerging sense of reality as an illusion was tantamount to a major paradigm shift, one that has remained at the center of western philosophy from the time of Descartes to the present day. That there could be a disparity between the phenomena of mind and the world of extension was a watershed in epistemological thinking, and it followed, as a matter of course, that the illusions associated with perception would find expression in the illusions associated with theatrical representation. The result was that the medieval metaphor of the speculum, emphasizing the mind as the faithful reflection of reality, was replaced by the theater, in which the necessary conventions permitting belief came to bear on the understanding of the data which the mind represented to itself. In short, conventions are to the theater what adequate representation is to the mind—the necessary slippages whereby perceptions function as reality.Parallel insights into the mind as a theater came about through sixteenth-century inquiries into mnemonics techniques for the improvement of memory. This metaphor of mind came about by analogy with memory theaters of the kind epitomized in the Idea del Theatro (1550) of Giulio Camillo. He chose the theater simply as the most apt edifice in which to house his elaborate set of memory prompts. His goal was to devise an actual working machine for enhancing recall. He chose the theater because of its architectural complexity and multi-sectionality which he could in turn invest with information. Yet insofar as the theater functioned in relation to memory through the art of mnemonics, it became an extension of mind, and... (shrink)

This thought-provoking study examines the foundations of moral education from a philosophical and practical perspective. It analyzes some of the typical expectations that cannot be met in the present day approach, and recommends that the teaching of ethics be treated with `theater' as the metaphor, dialogue as the genre, and Socrates as the model. Seen as a necessary and unavoidable classroom activity, moral education is presented from a humanist point of view, with emphasis on the developmental approach of Jean (...) Piaget and his followers, while pointing out the limitations of psychological methods. (shrink)

The third edition of the acclaimed _Routledge Companion to Aesthetics_ contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted (...) to issues and challenges in aesthetics, including art and ethics, art and religion, creativity, environmental aesthetics and feminist aesthetics. The final part addresses the individual arts, including music, photography, film, videogames, literature, theater, dance, architecture and design. With ten new entries, and revisions and updated suggestions for further reading throughout, _The Routledge Companion to Aesthetics_ is essential for anyone interested in aesthetics, art, literature, and visual studies. (shrink)

We consider the relation between past and future events from the perspective of the constructive episodic simulation hypothesis, which holds that episodic simulation of future events requires a memory system that allows the flexible recombination of details from past events into novel scenarios. We discuss recent neuroimaging and behavioral evidence that support this hypothesis in relation to the theater production metaphor.

This article offers a historical analysis of the relationship between the practice of participant-observation among American sociologists and Erving Goffman’s dramaturgical model of the self. He was a social scientist who privileged ethnography in the field over the laboratory experiment, the survey questionnaire, or the mental test. His goal was a natural history of communication among humans. Rather than rely upon standardizing technologies for measurement, Goffman tried to obtain accurate recordings of human behavior through secretive observations. During the 1950s, he (...) conducted three major studies as a participant-observer, disguised from those studied through insincere performances. As originally presented, his dramaturgical theory did not draw upon the theater as the governing metaphor, but rather the confidence game. It is suggested that Goffman’s writings exemplify what Gerd Gigerenzer calls the tools-to-theories heuristic. Goffman’s depiction of the confidence man’s behavior closely mirrored how he and his fellow sociologists described the practice of participant-observation. Both were represented as embedded and attentive yet coolly detached observers skilled at playing different roles as the situation necessitated. The similarities between his own professional behavior and the activities of the confidence man may have suggested to Goffman the latter as a model for human nature. (shrink)

In this article I try to understand the importance of the theatrum mundi metaphor for the configuration of the Modern Age. After a brief introduction on the idea of Modern Age, I study the distinction between ancient and modern from the perspective of the discovery of America, arguing that the idea of globe, embodied in cartography, determined the metaphor of the world as theater, affecting a wide range of disciplines, from astronomy to theology. Next, I show the geopolitical (...) component of the metaphor, linked to the idea of global empire, modern states and big cities. I dedicate a special section to show several melodramatic examples, mainly operatic, where the theatrum mundi metaphor reached a culminating point, linked to the European cities and their place in the world. Finally, I analyze the implications this metaphor had on the constitution of the philosophy of history, a discipline essentially linked to the Modern Age. (shrink)

This article is introduced with a summarized discussion on the "theater's metaphor" as considered by Plato. It goes on considering several turning points in the literature history and investigating the different uses of the metaphoric process in Guimarães Rosa "Grande sertão: veredas" and "Pirlimpsiquice". Firt of all, in "Grande sertão" life is considered as a simbolic equivalent to actors performance in the stage: theater and life are seen, therefore, as concerning fields which identities can be stated upon christian religious (...) doctrine and Plotino's philosophy. On the other hand, in "Pirlimpsiquice", Guimarães Rosa points that the limits between life and theater fields can be sharply identified, leading to the conclusion that the different degrees of use of the metaphoric process is due to historical and cultural practices. Based on the theoric controversy between Hegel's and Plato's points of view on art's philosophy, the author concludes that the notions of "performance in the stage" and "performance in life" are sintetized under the continuous dialectic movement of history and culture.Este artigo inicia-se com uma exposição sucinta da metáfora do teatro, tal como aparece em Platão. Em seguida, após levantamento dos momentos capitais da literatura, investiga-se a metáfora em Guimarães Rosa, no Grande sertão: veredas e no conto Pirlimpsiquice. No Grande sertão, a atuação no palco é tomada como equivalente ao desempenho na vida. Teatro e vida são, portanto, domínios que se identificam. Para isto, concorrem a religião cristã e o pensamento de Plotino. Em Pirlimpsiquice, o Autor investiga por menorizadamente os limites e aproximações entre teatro e vida, sendo que o grau mínimo da metáfora é conferido pelas práticas histórica e cultural. Por fim, retomando a polêmica de Hegel com o platonismo, conclui-se que a representação e a vida estão amalgamadas, numa constante dialetização entre história e cultura. (shrink)

Theatre has been used in psychological intervention and as a metaphor for social life, tendencies that affect the self, highlighting how influential theatrical performance can be for individuals. Their limitations – in terms of the empowerment of the self and its authenticity, respectively - can be overcome by treating theatrical performance as a leisure experience, which considers that freedom and satisfaction play a central role in a more comprehensive understanding and development of the self. With this in mind, (...) we present the conceptual and empirical bases of the leisure experience as an alternative conception of theatrical performance. To do so, we organised a 20-hour theatre exercise workshop with 16 university students (15 women, one man), aged between 18 and 21 years old (M = 19.06 years; SD = 1.06). Qualitative instruments used were: the Time Budget Technique (questionnaire about the activities carried out in the workshop, valued in relation to two items: perceptions of freedom and satisfaction); the Twenty-Statement Test (where people list characteristics of themselves – self-descriptions – related in this case to the theatrical exercises); and, as a third instrument, a combination of the other two – specifying which exercises were more closely related to the self-descriptions. The results showed that group discussion was the activity with the highest perception of freedom, followed by obstacle exercises; as regards the perception of satisfaction, the highest value was observed in the relaxations. In the case of the self-descriptions, the acquisition of practical and intellectual skills was significant, as well as emotional outlook and the expression of self-esteem. In sum, this empirical support - using qualitative instruments that invite an exploration of the self - revealed, on the one hand, which specific characteristics of the self are manifested by doing theatrical exercises and, on the other hand, which exercises – when experienced as leisure – have a more decisive impact on the self. Thus, this paper shows what aspects must be taken into account when deciding which activities to include in a psychosocial intervention addressed to the development of the self from the standpoint of theatrical performance as a leisure activity. (shrink)

Resumen Este trabajo tiene por objetivo considerar el papel atribuido al cuerpo en la discusión contemporánea sobre emociones. Examinaré en particular la metáfora de las emociones en el teatro del cuerpo, presentada por A.Damásio, con el propósito de revisar críticamente dos modelos dominantes de encarnación de la emoción-uno externalista o behaviorista y otro internalista o neurobiológico- y los problemas que ellos suscitan. Revisaré el concepto de cuerpo implicado en esos modelos e intentaré ofrecer una comprensión alternativa de la emoción como (...) un fenómeno corporal y motriz. Para ello profundizaré el análisis de la relación entre movimiento y emoción bajo los presupuestos de la Fenomenología de la Corporeidad desarrollada por M. Merleau-Ponty y sus seguidores. Mi propuesta alternativa consistirá, entonces, en comprender la emoción como performance corporal, lo cual nos proporcionará un modo de evitar los puntos de vista dualistas y reduccionistas comúnmente sostenidos sobre emociones.The central aim of this paper will be to consider the role assigned to the body in contemporary discussions about emotions. I will particularly examine the metaphor of the emotions in the theater of the body, presented by A. Damásio, with the purpose of raising doubts about two dominant models of embodiment of emotions -an externalist or behaviorist and an internal or neurobiological -which remain trapped in several difficulties. So I will reject the general concept of body these models are committed with, and I will suggest an alternative understanding of emotions along the line of a bodily and motor phenomenon. To do that, I will deepen the analysis of the relationship between movement and emotion by considering it under the theoretical framework provided by the Phenomenology of Body developed by M. Merleau-Ponty and his followers. Thus, my alternative proposal will be to take emotions as a bodily performance which can provide us a way to avoid both the dualist and the reductionist standpoint commonly held on emotions. (shrink)