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

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

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

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

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

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

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

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

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

D. D. Raphael examines the moral philosophy of Adam Smith (1723-90), best known for his famous work on economics, The Wealth of Nations, and shows that his thought still has much to offer philosophers today. Raphael gives particular attention to Smith's original theory of conscience, with its emphasis on the role of 'sympathy' (shared feelings).

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

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

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

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

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

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

This article develops a novel approach to the relationship between public space and democracy. It employs the concept of the spectacle to show how public space can serve to destroy or weaken solidarity just as easily as it can foster a democratic ethos of equality. A close reading of Rousseau's Letter to M. d'Alembert on the Theatre helps illuminate the political implications of modern public life, which increasingly takes the form of passive individuals assembling in order to view a spectacle. (...) According to Rousseau, spectacles like the theater are depoliticizing because they undermine the opportunity for active participation and interaction with other citizens. By habituating the audience to theatrical modes of self-presentation, they also weaken the capacity for empathy. This article concludes by showing how contemporary theorists including Sennett, Debord and Habermas also contribute to our understanding of the concept of the spectacle. Key Words: citizenship • democracy • festival • public space • Jean-Jacques Rousseau • Richard Sennett • spectacle • theater. (shrink)

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

Descartes's epistemology, morals, and metaphysics – each offer reason to look on real life as a spectator looks on a theater production. The meditator seeking certainty watches his body move as in a dream and employs an entirely passive faculty of knowledge. In order to act firmly and yet not risk disappointment, the moral subject confines action to the soul, refusing to count bodily activities as actions, and cultivates a desire free from passion. After the Meditations, the metaphysician abandons (...) the thesis that soul and body constitute a human being, consequently limiting human goods to goods of the soul alone and devaluing embodied life in the world. (shrink)

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

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

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

When economists pay homage to the wisdom of the distant past it is more likely that a work two decades old is being admired than one two centuries old. Economics is a science, and the sciences are noteworthy for their digestion and assimilation of the work of previous generations. Contributions remain only as accretions to the accepted body of knowledge; the writings and the writers disappear almost without trace. A conspicuous exception to this rule of professional cannibalization is Adam Smith. (...) Since 1776 he has not lacked for honors that have escaped even his most illustrious peers. Who, after all, wears a David Ricardo necktie? So to the author of The Wealth of Nations, all praise! (shrink)

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

We resist Schilbach et al.’s characterization of the “social perception” approach to social cognition as a “spectator theory” of other minds. We show how the social perception view acknowledges the crucial role interaction plays in enabling social understanding. We also highlight a dilemma Schilbach et al. face in attempting to distinguish their second person approach from the social perception view.

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

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

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

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

There are a number of things which I cannot correctly say about myself but which another person can correctly say about me. For example, ‘I am now lying’, ‘I am trying to do something that cannot be done’, and ‘My action is materially wrong but it is formally right ’. By making appropriate changes from ‘I’ to ‘he’ or by changing the tense, straightforward true or false sentences result.

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

Moritz Geiger developed an original phenomenological account of the splitting of the Ego in two papers, written in 1911 and 1913. Husserl read the 1911 paper as he was working on preliminary manuscripts to Ideas I. The first part of Husserl’s comments focused precisely on the splitting of the Ego. In this paper I will answer three questions: What is the historical-philosophical context of Geiger’s and Husserl’s discussion on the splitting of the ego? What are the phenomenological features of the (...) splitting of the ego? What is the relevance of Geiger’s account of the splitting of the ego, for the further development of Husserl’s phenomenology? Reading Geiger was, indeed, the first occasion in which Husserl started to develop his own phenomenological account of the splitting of the ego. This will prove itself to be crucial for his mature analyses on the phenomenological reduction, as Husserl will distinguish more clearly between reflection and splitting of the ego. (shrink)

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