The theory of branching space-times is designed as a rigorous framework for modelling indeterminism in a relativistically sound way. In that framework there is room for "funny business", i.e., modal correlations such as occur through quantummechanical entanglement. This paper extends previous work by Belnap on notions of "funny business". We provide two generalized definitions of "funny business". Combinatorial funny business can be characterized as "absence of prima facie consistent scenarios", while explanatory funny business characterizes situations (...) in which no localized explanation of inconsistency can be given. These two definitions of funny business are proved to be equivalent, and we provide an example that shows them to be strictly more general than the previously available definitions of "funny business". (shrink)

Comparatively speaking, philosophy has not been especially long-winded in attempting to answer questions about what is funny and why we should think so. There is the standard debate of many centuries’ standing between superiority and incongruity accounts of humor, which for the most part attempt to identify the intentional objects of our amusement.1 There is the more recent debate about humor and morality, about whether jokes themselves may be regarded as immoral or about whether it can in certain circumstances (...) be wrong to laugh.2 There is even apparently some disagreement about whether amusement is an emotion proper or a different kind of psychological attitude altogether. While I have almost despite myself taken .. (shrink)

This chapter examines the ethics of political comedy as exemplified by The Daily Show, investigating the issue of when, if ever, it is appropriate to use comedy as a political tool. It is argued that mockery may be useful as a way to keep political issues on people's minds, though it becomes dangerous when used as a substitute for reason.

This chapter examines the ethics of political comedy as exemplified by The Daily Show, investigating the issue of when, if ever, it is appropriate to use comedy as a political tool. It is argued that mockery may be useful as a way to keep political issues on people's minds, though it becomes dangerous when used as a substitute for reason.

According to James Conant, the 'revocations' made of the "Concluding Unscientific Postscript" and the "Tractatus" by their authors mean that we should view these texts as containing 'simple nonsense'. I firstly criticize the reading of the Postscript's 'revocation' which leads Conant to this conclusion. Next, I aim to show why we shall better understand the revocation's significance if we pay close attention to two factors: the pseudonymous author Johannes Climacus's description of himself as a 'humorist'; and, more importantly, what the (...) text tells us about 'humour' as an entire existential life-view; one given much less attention in Kierkegaard scholarship than the much better-known 'aesthetic', 'ethical' and 'religious' views of life. (shrink)

A Zen Maoist koan: Bill is developing a crazy synthesis that brings together Buddhism, Maoism, and French Marxism, especially Badiou. Running through all three are themes concerning emptiness, letting go, and contingency. On the other hand, when Bill's mind runs toward just making up stuff that seems funny to him, it is hard for him to stop. This “essay” is a meeting point between these two activities, and at some point in the underdetermined, contingent future there will have to (...) be expansion upon these themes and “examples” – “Joke Ideas,” as Bill calls them – and some serious analysis of what we have learned in this experiment. Best read with John Cage playing in the background – and we don’t mean 4′33″. That would be silly. (shrink)

Very often, different people, with different constitutions and comic sensibilities, will make divergent, conflicting judgments about the comic properties of a given person, object, or event, on account of those differences in their constitutions and comic sensibilities. And in many such cases, while we are inclined to say that their comic judgments are in conflict, we are not inclined to say that anybody is in error. The comic looks like a poster domain for the phenomenon of faultless disagreement. I argue (...) that the kind of theory that does the best job of accounting for the appearance of faultless disagreement is a de se version of a response-dependence account, according to which thinking that x is funny is self-attributing a property of the type, being disposed to have R to x in C. (shrink)

Humour has been a surprisingly neglected topic in philosophy. However, Noah Greenstein has recently given an intuitive schema for modelling the logical structure of puns. Having this logical structure is indeed what makes a pun punny, but I argue that it is not what makes a pun funny. In order for a pun to be funny, the components comprising its logical structure must be related to one another such that certain conditions are satisfied. By using Graeme Ritchie's linguistic (...) model of jokes, I give these conditions in terms of those components. (shrink)

This chapter contains sections titled: Where are the Funnies? Writing Images, Drawing Words Without Words Just Looking Where's the Fun? “What's That For?” Arts and Artifacts Notes References.

The present study aims to elucidate whether insight problem solving could be facilitated by the cognitive component of humour. The authors take interest in whether the logical mechanisms of humour can affect how fast insight problems are solved. To that end, the authors conducted two experiments where participants solved insight problems after watching visual humorous stimuli such as videos and slideshows. The first experiment demonstrated the overall impact of facilitation by humour on insight problem solving; however, it did not show (...) any difference in how particular logical mechanisms of humour affect the solution time of insight problems. The second experiment showed that the cognitive component of humour could selectively affect insight problems whose difficulty stems from different sources. These results suggest that the cognitive component of humour, when operationalised as logical mechanisms and schema switching, contributes to solving insight problems. (shrink)

This essay first traces change in, roughly, the epistemology of the humanities from the 1950s to the 21st century. The second section looks at how the meaning and options in moral philosophy altered in more or less the same period. The last and easily most speculative section examines how these changes permeated American culture, and how professional philosophers responded to the challenges of the new political world they inhabited.

The Daily Show is simultaneously one of the funniest television programs ever made and one of the most earnest voices calling for political change in the United States. Why engage in political mockery like that seen on The Daily Show? Obviously, we like to be entertained, and The Daily Show is very funny; but like the work of other political satirists throughout history, The Daily Show also serves to promote a political agenda. Yet it's precisely The Daily Show's ability (...) to make us laugh that makes it politically useful—people are reminded about important political issues as a side effect. Jon Stewart and the team behind The Daily Show may not be warriors in anybody's army, but signing up to take and give orders in the regular army isn't the only way to contribute to a war effort. (shrink)

Bill Cosby’s immorality has raised intriguing aesthetic and ethical issues. Do the crimes that he has been convicted of lessen the aesthetic value of his stand-up and, even if we can enjoy it, should we? This article first discusses the intimate relationship between the comedian and audience. The art form itself is structurally intimate, and at the same time the comedian claims to express an authentic self on stage. After drawing an analogy between the question of the moral character of (...) comedians and the aesthetic value of their stand-up and the debate over the ethical criticism of art, this article argues that it is reasonable to find a comedian’s performance less funny, because stand-up’s artistic success relies on this intimacy. It contrasts the comedy of Bill Cosby with that of Louis C.K. C.K.’s moral flaws are much more present in his comedy, and it is therefore more difficult to find him funny. Last, it is ethically permissible to enjoy their comedy, if no harm to others results, both because it does not corrupt the audience’s character and because amusement is valuable. (shrink)

A widely accepted view in the philosophy of humour is that immoral jokes, like racist, sexist or homophobic jokes, can nevertheless be funny. What remains controversial is whether the moral flaws in these jokes can sometimes increase their humour. Moderate comic immoralism claims that it is possible, in at least some cases, for moral flaws to increase the humour of jokes. Critics of moderate comic immoralism deny that this ever occurs. They recognise that some jokes are both funny (...) and immoral, yet they claim that it is always something other than the moral flaws of jokes that contribute to their humour. In a series of recent papers, Aaron Smuts has pressed this objection to moderate comic immoralism. I argue that Smuts' attempt to narrow the range of cases in which humour can be attributed to immoral features is not sufficient to demonstrate that moderate comic immoralism is false. Specifically, I claim that Smuts cannot rule out a case for moderate comic immoralism grounded in the possibility that humour is normatively relative while the ethical status of jokes is not. (shrink)

Stuart Murray's 'Care and the self: biotechnology, reproduction, and the good life' utilizes Foucault's "care of the self" to examine health domains in its title. The present author discusses three important articulations of concern with the Foucauldian concepts of care of the self that are absent in the work of Murray and others: first, the voluntarism and individualism inherent in ideas about care of the self; second, the absence of the interactional and relational; and, third, the perpetuation of the interpretation (...) of Foucault's concept of governmentality, 'the conduct of conduct', as primarily coercive. (shrink)

Attempts to arrange all of classical mechanics upon a self-contained basis encounter difficulties due to "the lousy encyclopedia phenomenon": hard cases involving, e.g., billiard balls, often require that the standard treatments be abandoned in favor of conceptually different accounts. Worse yet, these chains of interdependence often travel in circular loops, where the practitioner is returned to formalisms that she had previously abandoned. However, behaviors of this sort are to be expected if classical doctrine is instead viewed as a "reduced variable" (...) covering of quantum mechanics, which is the point of view that this essay recommends. (shrink)

"ACT Administrative Appeals Tribunal Decisions." Ethos: Official Publication of the Law Society of the Australian Capital Territory, (200), pp. 42.

In this paper, we show that God is portrayed in the Hebrew Bible and in the Rabbinic literature—some of the very Hebrew texts that have influenced the three major world religions of Judaism, Christianity, and Islam—as One who can be argued with and even changes his mind. Contrary to fundamentalist positions, in the Hebrew Bible and other Jewish texts God is omniscient but enjoys good, playful argumentation, broadening the possibilities for reasoning and reasonability. Arguing with God has also had a (...) profound influence upon Jewish humor, demonstrating that humans can joke with God. More specifically, we find in Jewish literature that humor’s capacity to bisociate between different domains of human experience can share a symbiotic relationship with argumentation’s emphasis on producing multiple, contested perspectives. Overall, once mortals realize that figures such as God can accept many perspectives through humor, teasing, arguing, criticism, and in at least one case, even lawsuits, a critical point emerges: citizens should learn to live, laugh, and reason with others with whom they disagree. (shrink)

Toot. Pass gas. Break wind. Cut the cheese. Float an air biscuit. Burp from behind. Blow the brown horn. The backfire, bant, bucksnort, booty bomb, colon cologne, drifter, fanny bubble, gasser, gurgler, moon beam, nether belch, pants puffer, pooh tune, rip-snort, sphincter whistle, thunder dumpling, tush tickler, and trouser cough. These are synonyms for a bodily function that is as natural as breathing, eating, or sleeping. Yet unlike other physiological functions, the ‘flatus’ is a source of endless humor – perhaps (...) more so than any other subject in human experience. But why are farts funny? That is a question that is both serious and philosophically interesting. (shrink)

Finding something humorous is intrinsically rewarding and may facilitate emotion regulation, but what creates humour has been underexplored. The present experimental study examined humour generated under controlled conditions with varying social, affective, and cognitive factors. Participants listed five ways in which a set of concept pairs (e.g. MONEY and CHOCOLATE) were similar or different in either a funny way (intentional humour elicitation) or a “catchy” way (incidental humour elicitation). Results showed that more funny responses were produced under the (...) incidental condition, and particularly more for affectively charged than neutral concepts, for semantically unrelated than related concepts, and for responses highlighting differences rather than similarities between concepts. Further analyses revealed that funny responses showed a relative divergence in output dominance of the properties typically associated with each concept in the pair (that is, funny responses frequently highlighted a property high in output dominance for one concept but simultaneously low in output dominance for the other concept); by contrast, responses judged not funny did not show this pattern. These findings reinforce the centrality of incongruity resolution as a key cognitive ingredient for some pleasurable emotional elements arising from humour and demonstrate how it may operate within the context of humour generation. (shrink)

This paper considers the question of how immoral elements in instances of humour affect funniness. Comic ethicism is the position that each immoral element negatively affects funniness and if their cumulative effect is sufficient, then funniness is eliminated. I focus on Berys Gaut’s central argument in favour of comic ethicism; the merited response argument. In this journal, Noël Carroll has criticized the merited response argument as illegitimately conflating comic merit with moral merit. I argue that the merited response argument, and (...) hence comic ethicism more generally, is vulnerable to Carroll’s criticism only if the comic ethicist fails to distinguish between three closely-related but distinct concepts; humour, amusement and funniness. By providing separate accounts of these three concepts, I explain how Carroll’s criticism is unsuccessful. In summary, accepting my distinctions between humour, amusement and funniness makes it clear that comic ethicism is the right position. (shrink)

The Teachers’ Lounge gives you a peek inside that classroom. Kelly Flynn takes readers by the hand and says, “Come inside my school, walk a mile in my halls, and then we’ll talk about education reform.” With breathtaking clarity and a healthy dose of humor Kelly Flynn shares with readers what all teachers know; that when you teach in a public school there are days that you laugh, days that you cry, and days that you laugh until you cry. Each (...) student is surprisingly, delightfully, wildly different, which is precisely why one-size-fits-all education does not work. (shrink)

Studying the funny trends within historically marginalized populations has historically been used as a means of making them seem nonthreatening to dominant cultures. Scholars, furthermore, have often applied dominant-culture contexts toward reading minority artifacts without taking the time to understand the premises for other cultures’ funny enthymemes. This paper proposes two solutions to the dilemma of recognizing the importance of representing marginalized populations’ humor in the scholarly canon but also studying those funny artifacts with a mind toward (...) ethics, using Native American humor as a representative case study. (shrink)

In 2017, Steven Gimbel published Isn’t That Clever: A Philosophical Account of Humor and Comedy. This book proposes, among other vastly interesting notions, a definition of humor that eschews audience reactions in favor of focusing exclusively on the craft and intention of the responsible comedian. This article intends to provoke that definition and show why humorous performances cannot be crafted without an audience-centric mindset, proving Gimbel’s notion problematic at best. To poke this definition, I draw on the American Folk Humor (...) tradition and compare its historic roots with modern tourist attractions that on the surface appear to channel its spirit. These include the Hoop-Dee-Doo Revue dinner show at Walt Disney World and The Brewery Follies at Virginia City, Montana. After showcasing the differences between these modern performances and the tradition they pretend to espouse, I conclude that Gimbel’s theory cannot account for the evolution of a funny genre. (shrink)

This analysis delves into the relationship with knowledge we engage when we communicate using comedy and humour. It explores four questions related to this enquiry: Is knowledge through comedy possible? Does funny discourse point us to the real? Do we laugh in the realm of reason? Is the knowledge channelled through comedy unitary? These questions position us within our own heads amidst the heuristic zigzag of alarm and happy release that precedes laughter. Furthermore, it observes the individualized nature of (...) knowledge through laughter. Probing these questions illuminates epistemic niches and breaks some barriers between them. (shrink)