This study examines the dynamics of cultural politics in reality television shows featuring North Korean resettlers in South Korea. As existing studies focus on the role of media representation reproducing a dominant ideology for the resettlers, this paper focuses on the specific media rituals of NKR2 programs, which can be seen as a product of the neoliberalist localization process of the global media industry. In doing so, this paper demonstrates how NKR2 programs interrupt the current dynamics of (...) emotions in regard to North Korean resettlers in South Korea. We argue that in shaping civic identity as an effect of the NKR2 show, cultural politics of citizenship in South Korea on North Korean resettlers serve the formation of relatively conservative and sexist civic identity. (shrink)

Better Call Saul and Philosophy is an anthology, a collection of essays exploring the philosophical themes present in the hit television show Better Call Saul. Premiering in the Spring of 2015, Better Call Saul serves as a prequel to the much beloved and critically acclaimed television show Breaking Bad in a which mild-mannered high school chemistry teacher, Walter White - through a series of poor, albeit strained decisions - slowly but steadily becomes a monstrous drug kingpin. In (...) Better Call Saul, a struggling but cocksure attorney, Jimmy McGill goes through a similar transformation to become a cunning, devious criminal lawyer for the underworld. Beyond this, Better Call Saul is populated with a number of additional characters going through their own evolution - from a brother burdened with a psychosomatic(?) ailment, to a former police officer delving deeper into the wrong side of the law to provide for his family. -/- Much like the beloved show, Better Call Saul and Philosophy is an anthology-- a collection of snippets and essays that slowly reveal a much more complex story. Premiering in the Spring of 2015, Better Call Saul serves as a prequel to the much beloved and critically acclaimed television show Breaking Bad. Critics of the series have noted that its storytelling is emblematic, or "The New Golden Age of Television": programming that not only rewards multiple watches, but also calls for a careful, reasoned analysis of characters, plots, and themes. Better Call Saul is the type of program that is so rich with these elements that it not only calls for a book like Better Call Saul and Philosophy, but might even feel incomplete without it! -/- Now, readers can join alongside struggling-but-cocksure attorney Jimmy McGill as he goes through a series of transformative experiences and scenarios. Featuring the work of contemporary philosophers, Better Call Saul and Philosophy offers its readers a chance to delve deeply into a wide range of philosophical issues the show presents, including the nature of good and evil, personal identity, free will and determinism, the law as it relates to morality, the ethical implications of the war on drugs, death and dying, and many, many more. Fans of the show will love a chance to appreciate the show on much deeper level--and, for those hoping to learn a bit about philosophy as well as the show, the book perfectly marries the two together in a unique and engaging way. -/- This book is the latest edition (#8) in the series Pop Culture and Philosophy. (shrink)

Following WWII the French state deployed television as an instrument of nation-building. The televising of philosophy, visible in 3500 programs aired between 1951 and 1999, contributed to this project. This article examines forty philosophy shows produced for national broadcast in France during the 1960s. It argues that philosophy's dialogic structure rendered it suited to capitalize on television technology. These shows (featuring Hyppolite, Canguilhem, Ricoeur, Foucault and Badiou) also demonstrate how the state used philosophy (...) to reify an image of national superiority at a time when, under the impress of decolonization and modernization, France's role in the global arena was in question. (shrink)

Contemporary television has been marked by such exceptional programming that it is now common to hear claims that TV has finally become an art. In Appreciating the Art of Television, Nannicelli contends that televisual art is not a recent development, but has in fact existed for a long time. Yet despite the flourishing of two relevant academic subfields—the philosophy of film and television aesthetics—there is little scholarship on television, in general, as an art form. This (...) book aims to provide scholars active in television aesthetics with a critical overview of the relevant philosophical literature, while also giving philosophers of film a particular account of the art of television that will hopefully spur further interest and debate. It offers the first sustained theoretical examination of what is involved in appreciating television as an art and how this bears on the practical business of television scholars, critics, students, and fans—namely the comprehension, interpretation, and evaluation of specific televisual artworks. (shrink)

In 1951, the eight o’clock nightly news reported on Jean-Paul Sartre for the first time. By the end of the twentieth century, more than 3,500 programs dealing with philosophy and its practitioners—including Bachelard, Badiou, Foucault, Lyotard, and Lévy—had aired on French television. According to Tamara Chaplin, this enduring commitment to bringing the most abstract and least visual of disciplines to the French public challenges our very assumptions about the incompatibility of elite culture and mass media. Indeed, it (...) belies the conviction that television is inevitably anti-intellectual and the quintessential archenemy of the book. Chaplin argues that the history of the televising of philosophy is crucial to understanding the struggle over French national identity in the postwar period. Linking this history to decolonization, modernization, and globalization, _Turning On the Mind _claims that we can understand neither the markedly public role that philosophy came to play in French society during the late twentieth century nor the renewed interest in ethics and political philosophy in the early twenty-first unless we acknowledge the work of television. Throughout, Chaplin insists that we jettison presumptions about the anti-intellectual nature of the visual field, engages critical questions about the survival of national cultures in a globalizing world, and encourages us to rethink philosophy itself, ultimately asserting that the content of the discipline is indivisible from the new media forms in which it has found expression. (shrink)

Since its debut in 1964, Jeopardy! has been one of America's favorite and longest-running daytime quiz shows. It turns the question-answer format of traditional quiz shows on its head and requires contestants to pose correct questions to answers in selected categories. While mining information and facts from Alchemy to Zoology, Jeopardy!, is a uniquely intellectual, erudite, and challenging daytime television program. Far beyond entertaining its fans with nail-biting contests of knowledge, memory, and speed, it all but requires them to (...) participate. Few people watch Jeopardy! without pressing an invisible button and blurting out questions to their TV screen. Because of this personal and intellectual investment, most Jeopardy! fans are devout. Watching the show is valued as a daily ritual in which genuine intellectual skill and encyclopedic knowledge are not only respected and placed in the spotlight, but also rewarded with national prestige and prize winnings. Champion Ken Jennings has won over three million dollars and remained champion seventy-four times. For those who embrace Jeopardy! as an intellectual oasis in the arid desert of popular culture, it is the geeks who shall inherit the earth. Jeopardy!'s celebration of intellect and forward-thinking is well recognized throughout popular culture and among all age groups. Ken Jennings, Chuck Forrest, and other all-time champions are near celebrities, while the show itself regularly reaches out through special tournaments to different segments of American culture, such as actors and musicians, high-school and college students and senior citizens. Still, despite its widespread respect and, some might complain, smug self-respect, neither the show nor its fans take themselves too seriously. Jokes about host Alex Trebek's hair and famous parodies of Jeopardy! on Saturday Night Live are as familiar as Weird Al Yankovic's MTV-mainstay "I Lost on Jeopardy!" : Don't know what I was thinkin' of, I guess I just wasn't too bright. Well, I sure hope I do better Next weekend on The Price Is Right. (shrink)

Is philosophy of film without theory an oxymoron or a family of non-, anti-, and a-theoretical approaches with which to engage in film-involving philosophical scholarship and understanding? The goal of this collection is to argue for the latter and to do so by example. By demonstrating a mere handful of the many ways in which philosophy of film without theory might be pursued, in tandem with the insights born of these methods, the volume’s contributors both implicitly and explicitly (...) challenge the academic assumption that engaging philosophically with film must be a theoretical activity. Indeed, they indicate the potential for championing without theory scholarship across the humanities for anyone whose projects and practices seek and celebrate humanistic understanding. -/- Contributors include Lucy Bolton, Carla Carmona, James Conant, Katheryn Doran. Maximilian De Gaynesford, Rob van Gerwen, John Gibson, Eran Guter & Inbal Guter, Colin Heber-Percy, Iris Vidmar Jovanović, Andrew Klevan, David Macarthur, Rupert Read, William Rothman, Constantine Sandis, and Sebastian Sunday. Films and television programmed discussed include Gravity, Le notti di Cabiria, Dunkirk, The Handmaid's Tale, Three Colours: Red and many more. -/- In addition there is an interview with Richard Allen and Malcolm Turvey. (shrink)

Philosophy has long been transmitted using different media: oral speech, papyrus rolls, parchment and paper codices, strips of bark and bamboo, and, in modern times, radio and television programs. It is only in this century, though, that one of the most popular methods ever of disseminating philosophy has emerged: podcasts. Podcasting is quietly transforming the field itself and the way that the field connects to the wider world. For all the variety of form, one constant is (...) that philosophy podcasts are fundamentally about the spoken word, even if they integrate music or sound effects. While the word diversity inevitably brings with it the sort of political and cultural issues just discussed, there is also a sense in which philosophy podcasts can be “diverse” simply by covering topics that students, and even professionals, might not usually encounter. (shrink)

Inviting readers to ponder this genre's various manifestations since the late 1700s, this collection of probing essays allows fans and philosophy buffs alike to ...

Examines how philosophical concepts like free will, personal identity, and goodness are given an artistic life in films and television programs.

Presents a collection of essays by philosophers about the television program "How I Met Your Mother," analyzing the personalities and behavior of its various characters from a moral and philosophical point of view.

About the author -- Note to the reader -- From the Alamo Draft House to the livingroom couch (or there and back again) -- Part I: Rated G: General Audiences -- 1. I know something you don't know: The Princess Bride -- 2. Lions and tigers and bears: scary stuff in the Wizard of Oz -- 3. The monster and the mensch: a child's eye view of Super 8 -- 4. Chef, Socrates, and the sage of love: finding love in (...) South Park -- 5. Killing Kenny: death therapy in South Park -- Part II: Parental Guidance Suggested -- 6. The good, the bad, and the beautiful: Sergio Leone's animals, actors, and aesthetics -- 7. Democracy adrift: Hitchcock's Lifeboat -- 8. Cuts like a knife: cutting to the core of His Dark Materials -- 9. Mrs. Coulter--overwoman?: Her Dark Materials -- Part III: Rated R: Restricted Audiences Only -- 10. A very naughty boy: getting right with Brian and Monty Python -- 11. Have you no decency?: Claire, Frank, and their House of Cards -- 12. Vinnie's very bad day: twisting the tale of time in Pulp Fiction -- 13. Once upon a time: in Inception -- 14. Dream time: in inception -- Part IV: Director's Cut -- 15. To serve man: a visit to The Twilight Zone -- Bibliography -- Suggestions for Reading -- Index. (shrink)

This article aims to reflect the efforts of the Ethnic Greek Minority that resides mainly in southern Albania, in the villages of Dropoli in Gjirokastra town, to have its own television programs in the Greek language. Further to the editions of the printed media and the radio broadcasts in the Greek language that were dedicated to the Greek Minority, there arouse the need for television programs in the Greek language which would be another dimension in reflecting (...) the worries, the problems, the traditions and the culture of the Greek Minority in Albania. Although the airtime of the programs in the Greek language, their frequency and the period in which they were broadcasted were short term, there remains undisputed their value in terms of the contribution to the social, political, economic and cultural life of the Greek Minority residing in Albania. The study of the Ethnic Greek Minority media in Albania is an unstudied field, so, in this article we aim to fill this gap somehow by providing a modest contribution, which may serve to many future researchers who will conduct studies of such topics. (shrink)

American distance running legend Steve Prefontaine – ‘Pre’ – claimed that he was an artist and that his races were works of art. In this article, I examine and defend Pre’s claims. Using Robert Stecker’s definition of art as a guide, I argue that a race can be a work of art – specifically, performance art. I then argue that Pre’s 3,000 m American record race at the 1972 Bislett Games in Oslo, Norway, and his 5,000 m final at the (...) 1972 Munich Olympics illustrate his view of himself as an artist and are works of art in Stecker’s sense of achieving excellence in fulfilling an artistic function. (shrink)

Part I : The metaphysics of spoilers. A brief history of spoilers -- What are spoilers? -- Things that can never be spoiled -- What else can be spoiled? -- Vagueness and spoilers -- Part II : The ethics of spoilers. Is it bad to spoil? -- The badness of spoiling -- When is it wrong to spoil? -- When you should spoil -- The timing of spoilers -- The ethics of spoiler alerts -- Part III: The pragmatics of spoilers. (...) Paradoxes of spoiling -- Spoiling remakes and some other tricky cases -- Are our reactions to spoilers justified? -- Culture, relativism, and spoilers -- What to do when you encounter someone who spoils. (shrink)

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? (...) This book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

Comparisons have been made between the tobacco industry’s historic tactics in defending their products with the responses of some key actors in the sports world to head injuries. Both, it is said, have deployed deceptive marketing and advertising techniques to entice youth to engage with a subjective pleasure-producing product that has undeniable short- and long-term health detriments. Unlike what is called euphemistically, ‘Big Tobacco’, however, the National Football League (NFL) has evaded legal restrictions on the promotion of an inherently dangerous (...) product that targets youth. By contrast, in 1997, the Federal Trade Commission charged tobacco company R.J. Reynolds with violating federal law by using a cartoon character, Joe Camel, to allure children under age 18. The NFL has partnered with Nickelodeon to produce programs such as NFL Rush Zone and NFL Slimetime that target youth by using cartoon mascots, bright colors, 3D iconography, and other child-friendly symbols. In addition to fostering positive associations between tackle football and cartoons, these broadcasts have explicitly minimized the risks of tackling. For example, one NFL Playoffs on Nickelodeon announcer equated a forceful head collision with a scrape of the knee that a child might experience during school recess. The NFL’s marketing strategies deflect public attention away from the risks of repetitive head collisions, concussions, traumatic brain injury (TBI), and chronic traumatic encephalopathy (CTE), portraying football as an appealing activity. The ongoing connections between the NFL and youth-oriented television programming raise crucial questions about how risk is communicated in a sport with inherent dangers of long-term cognitive damage. As long as tackle football is portrayed alongside beloved cartoon characters such as Spongebob Squarepants, impressionable children are likely to form undilutedly positive perceptions of the NFL and ignore the substantial risks of repeated, full-body collisions when enchanted by brightly-colored slime, animated bubbles, and goofy dance moves. (shrink)

Over the last three years I have been fortunate to teach an unusual class, one that provides an academic background in ethical and social and political theory using the medium of comedy. I have taught the class at two schools, a private liberal arts college in western Pennsylvania and a public regional state university in southern Georgia. While the schools vary widely in a number of ways, there are characteristics that the students share: the school in Pennsylvania had a large (...) population of students raised in a middle class industrial context, and the school in Georgia had a majority of students from middle-to-lower class agricultural backgrounds. Because of recent collapses in the economy of the tool and dye industry in the Great Lakes region, and the ongoing concerns for development in rural and urban areas of the southeastern United States, both groups of students were in similarly dire economic and working conditions. All faced the distinct possibility that they would not do as well in life as their parents. Most of the students grew up with television and film and had a love of comedy when they arrived at college. -/- Entertainment and mass media contributed to the students' mindset and the lens through which they viewed and interpreted their lived experience. Comedic mass media in the form of television sitcoms and films were common choices for inexpensive entertainment, in their childhood, in their past, in their homes, and now in their college dorms and apartments. In asking students to connect their own history with cultural trends depicted in comedy in film and television, even through the history of television, gave the students a familiar venue to critically consider their own intellectual growth and development and that of American society as a whole. -/- Many of them were familiar with the internet, and enjoyed the internet as a source of information about celebrities as well as the history and episodes of their favorite television shows and films. Students are rediscovering and discovering television programs that their professors may have watched as children, with the availability of a wide range of comedy television programs available on cable, especially TVLand, Comedy Central and Nick-at-Night. -/- In this article I will elaborate on the value of comedy as a teaching tool for philosophers and professors. I will provide a number of examples, showing how comedy can provide fertile examples of ethical theory at work, and I will show how comedy can be used to clarify cultural norms and values. Finally, I will discuss the political activism and student empowerment involved in teaching Philosophy, Comedy and Film in southern Georgia. (shrink)

Leave it to the boob tube to explain the meaning of existence. Let Gilligan's Island teach you about situational ethics. Learn about epistemology from The Brady Bunch. Explore Aristotle's Poetics by watching 24. Television has grappled with a wide range of philosophical conundrums. According to the networks, it's the ultimate source of all knowledge in the universe. So why not look at the small screen for answers to all of humanity's dilemmas? There's not a single issue discussed by the (...) great thinkers of the past that hasn't been hashed out between commercials in shows like Mad Men and Leave It To Beaver..."--P. [4] of cover. (shrink)

Recent communication research indicates that approach and avoidance constitute two separate yet co-existing processes during media exposure. While many studies address TV approach behavior, little is known about TV avoidance behavior. Furthermore, personality has yet to be linked to avoidance behavior. This study analyzes the influence of personality on TV program avoidance. Data show that the “Big Five” personality characteristics and Risk and Fight Willingness influence program avoidance, albeit to varying degrees. While the specific correlations are discussed in the paper, (...) the results generally reveal that the combination of personality and avoidance has added value in terms of understanding of TV using behavior compared to the frequently analyzed link between personality and approach. For nearly all personality characteristics, data show that the avoidance perspective is more than the inversion of the approach perspective. The findings are discussed with reference to gratification and selectivity research. (shrink)

The Trolley Problem is one of the most intensively discussed and controversial puzzles in contemporary moral philosophy. Over the last half-century, it has also become something of a cultural phenomenon, having been the subject of scientific experiments, online polls, television programs, computer games, and several popular books. This volume offers newly written chapters on a range of topics including the formulation of the Trolley Problem and its standard variations; the evaluation of different forms of moral theory; the (...) neuroscience and social psychology of moral behavior; and the application of thought experiments to moral dilemmas in real life. The chapters are written by leading experts on moral theory, applied philosophy, neuroscience, and social psychology, and include several authors who have set the terms of the ongoing debates. The volume will be valuable for students and scholars working on any aspect of the Trolley Problem and its intellectual significance. (shrink)

This article examines the phenomenology of body shame in the context of the clinical encounter, using the television program ‘Embarrassing Bodies’ as illustrative. I will expand on the insights of Aaron Lazare’s 1987 article ‘Shame and Humiliation in the Medical Encounter’ where it is argued that patients often see their diseases and ailments as defects, inadequacies or personal shortcomings and that visits to doctors and medical professionals involve potentially humiliating physical and psychological exposure. I will start by outlining a (...) phenomenology of shame in order to understand more clearly the effect shame about the body can have in terms of one’s personal experience and, furthermore, one’s interpersonal dynamics. I will then examine shame in the clinical encounter, linking body shame to the cultural stigma attached to illness, dysfunction and bodily frailty. I will furthermore explore how shame can be exacerbated or even incited by physicians through judgment and as a result of the power imbalance inherent to the physician-patient dynamic, compounded by the contemporary tendency to moralise about ‘lifestyle’ illnesses. Lastly, I will provide some reflections for how health care workers might approach patient shame in clinical practice. (shrink)

Through the study of Richard Gruneau and Gunter Gebauer’s respective works, this article examines the social significance and theoretical implications of sport’s capacity to represent social life in a theatrical manner. The drama-like images and representations sporting practices produce, institutions codify, and television programs enhance is considered in relation to ideology’s integrative, legitimating, and distorting functions . Acknowledging the filiations of ‘theatre’ with ‘theory’ – both words stand for ‘to contemplate, to see, to observe’ – this study considers (...) theatricality as a valuable theoretical notion that enables a synthetic and reflexive understanding of athletic practices’ bodily dimension, symbolic representations, and institutional determinants. (shrink)

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)

Haneke’s 1997 adaptation of Franz Kafka’s Das Schloß is thus far his last work for television[1]. Although «the Austrian film almanac lists» it «as a feature film» and it «was released in Austrian cinemas before its television première» [2], Haneke has always professed The Castle to be a TV film adaption, «an honorable enterprise» aimed at «bring[ing] literature closer to an audience» [3]. This is a significant remark, as it conveys a belief that this specific double status – (...) qua TV product and qua adaption of a literary work –prevents film adaptation from being considered «autonomous art». For one, he states, a work destined for TV by definition «serves audience expectations». For another, as an adaptation, a work is necessarily dependent upon its original source. [1] Before being well-known as a very influential film director, Michael Haneke began working for television in 1967. His first TV film, i.e., After Liverpool, was released long before his first feature film, Der siebente Kontinent, which was issued in 1989. This should not come as a surprise, since «practically every German-speaking filmmaker» at that time «started out directing films for television, taking advantage of the relatively generous system of subsidies and the general openness of German and Austrian state television channels to aesthetic innovation». In any case, Haneke later specified that directing for television was not solely a matter of opportunity, but also a fitting milieu in which to develop his own style. [2] However, that reportedly happened against Haneke’s will: «The Castle, for example, was in fact made for television, even though it will now be shown in movie houses as well. In my view, film adaptations are not genuine works of art. And I don’t really know of any film adaptation that really worked very well». Later he will confirm this point: «I would not have dared to turn The Castle into a movie for the big screen». [3] Let us note that this does not imply that Haneke feels a work formally presented as an adaptation cannot result in a great feature film. However, properly speaking, such a film could no longer be called an adaptation, since «it is not possible to serve two masters at the same time». Haneke is quite categorical on this point: «Thus one has to decide. Either I use a book as a quarry for ideas for something that I want to create myself, then it is a failed project as a film adaptation, or it is to be a film for a television program that has a commitment to cultural standards». (shrink)

The epistemic foundation of Hellenic-Christian thought is based on a correspondence between thought and a single reality, but the epistemic foundation of Jewish thought stresses the creative act of perspectival interpretation of an absolute text. This stress on wisdom from extracting a multiplicity of contextualized understandings of an absolute can be seen in the writings of the great rabbis, but also in the work of Jerry Seinfeld. Where Talmudic thought takes as its basis, passages of the Torah as its source (...) of truth to interpret, Seinfeld’s stand-up is neo-Talmudic in using a different source – phenomenological commonalty (our shared experience) – as its basis. The move from the stage to the small screen changed the comedy of Seinfeld as his eponymous television program now lampoons the sort of neo-Talmudic thought of his stand-up material just as the classic rabbis of Chelm jokes mock Talmudic thought. (shrink)

Through analysis of film sequences focusing on DNA in two British Broadcasting Corporation nonfiction science television programs, Wonders of Life and Bang! Goes the Theory, first broadcast in 2013, contrasting “religious” and “secular” representations of science are identified. In the “religious” portrayal, immutable scientific knowledge is revealed to humanity by nature with minimal human intervention. Science provides a creation story, “explanatory omnicompetence,” and makes life existentially meaningful. In the “secular” portrayal, scientific knowledge is changeable; is produced through technical (...) skill in expert communities; and is ambiguous, potentially positive and negative for society. Television representations of science affect audience understandings, and this is particularly the case for nonfiction representations of science, as they are likely to be “taken more seriously” than fictional representations. The consequences of the “religious” representation of science are discussed, and it is argued that a widespread understanding of science as presented in the religious portrayal would negatively impact democracy. (shrink)

This study extends the examination of moral content in the media by exploring moral messages in television programming and viewer characteristics predictive of the ability to perceive such messages. Generalisability analyses confirmed the reliability of the Media’s Moral Messages (MMM) rating form for analysing programme content and the existence of 10 moral themes prevalent in television media. Standard regression analyses yielded evidence indicating viewers’ moral expertise, as measured by the Defining Issues Test (DIT), familiarity with the programme and (...) level of education predicted their ability to perceive moral messages in a television drama popular in the USA at the time of data collection. Identification of patterns in moral content represented in television programming, as well as knowledge of how viewer characteristics relate to their ability to perceive such content, can provide parents and educators with a means for better comprehending messages regarding human interaction to which they or their children are exposed. (shrink)

Professor Richard Hanley faced the dilemma plaguing so many philosophy professors today—how to entice students into the classroom. Based upon his own successful course, Is Data Human presents a thoroughly unique and enjoyable way of introducing students to the basic concepts of philosophy as seen through the lens of Star Trek. From the nature of a person, of minds, and of consciousness, to ethics and morality, to the nature and extent of knowledge and free will, Hanley brings a (...) fresh perspective to the contemporary debates concerning humankind’s place in the world.Dare to boldly go where no philosophy professor has gone before—a classroom packed with eager and enthusiastic students. (shrink)

This book explores contemporary existential science fiction media and their influence on society's conceptions of humanity. These media texts manifest abstract concepts in a genre that has historically focused on exploring new ideas and frontiers, creating powerful media that helps audiences contemplate their existence as human beings.

Doctoral programs at U.S. universities play a critical role in the development of human resources both in the United States and abroad. This volume reports the results of an extensive study of U.S. research-doctorate programs in five broad fields: physical sciences and mathematics, engineering, social and behavioral sciences, biological sciences, and the humanities. Research-Doctorate Programs in the United States documents changes that have taken place in the size, structure, and quality of doctoral education since the widely used (...) 1982 editions. This update provides selected information on nearly 4,000 doctoral programs in 41 subdisciplines at 274 doctorate-granting institutions. This volume also reports the results of the National Survey of Graduate Faculty, which polled a sample of faculty for their views on the scholarly quality of program faculty and the effectiveness of doctoral programs in preparing research scholars/scientists. This much-anticipated update of such an essential reference will be useful to education administrators, university faculty, and students seeking authoritative information on doctoral programs. (shrink)

The concepts behind three of the principal normative ethical theories (utilitarianism, deontology, virtue ethics) are evident in a real-life scenario. This case study involves videotapes recorded from inside Grootvlei Prison, Bloemfontein, South Africa in 2002. Prisoners captured sensational footage of warders selling alcohol, drugs, loaded firearms and juveniles for sex to inmates. It was footage every journalist would want to broadcast and it was for sale to the highest bidder. The country’s three flagship current affairs programs, broadcast on three (...) different channels, were each approached to buy the footage. Each of the television channels operates under different business models: one is the public broadcaster; another a free-to-air private channel; the third is a pay channel and part of a multinational listed company. Upon analysis it is clear that each executive producer/company espoused different ethical philosophies, yet each decision was ultimately ethical. The reasoning and philosophies of three ethical theories are highlighted in business decision-making, commercial judgments as well as journalistic choices. (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host (...) of other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

The bookModeling Reality covers a wide range of fascinating subjects, accessible to anyone who wants to learn about the use of computer modeling to solve a diverse range of problems, but who does not possess a specialized training in mathematics or computer science. The material presented is pitched at the level of high-school graduates, even though it covers some advanced topics (cellular automata, Shannon's measure of information, deterministic chaos, fractals, game theory, neural networks, genetic algorithms, and Turing machines). These advanced (...) topics are explained in terms of well known simple concepts: Cellular automata - Game of Life, Shannon's formula - Game of twenty questions, Game theory - Television quiz, etc. The book is unique in explaining in a straightforward, yet complete, fashion many important ideas, related to various models of reality and their applications. Twenty-five programs, written especially for this book, are provided on an accompanying CD. They greatly enhance its pedagogical value and make learning of even the more complex topics an enjoyable pleasure. (shrink)

There is a story about how the humanities were marginalized in postwar Sweden: in the land of engineers, technocrats and social scientists, there was supposedly no room for education, philosophy and history. This book challenges such a notion and shows how palpably present the humanities were in the public eye of the time. Through a knowledge-historical perspective and international comparisons, the authors illustrate how humanists found themselves in the middle of the welfare society's culture and politics, media and book (...) market, idea debate and education system. At the center of the book is the public of the 1960s and 1970s. In the first part, the decisive role that humanists played in the public education programs of early television as well as in the popular science paperback publishing of the time and on the essay pages of the daily newspapers is discussed. In the second part, attention is directed to the place of the humanities in the Christian cultural sphere, the labor movement's public education work and the book cafés of the new left. We get to meet cultural personalities such as Per I. Gedin, Gunnel Vallquist and Jan-Öjvind Swahn, but also television producers, study circle organizers, translators of radical non-fiction and many others. All of them contributed to setting humanistic knowledge in motion in the postwar decades. (shrink)

In contrast to many areas of contemporary philosophy, something like a carnival atmosphere surrounds Searle’s Chinese room argument. Not many recent philosophical arguments have exerted such a pull on the popular imagination, or have produced such strong reactions. People from a wide range of fields have expressed their views on the argument. The argument has appeared in Scientific American, television shows, newspapers, and popular science books. Preston and Bishop’s recent volume of essays reflects this interdisciplinary atmosphere. The volume (...) includes essays from computer science, neuroscience, artificial intelligence, cognitive science, sociology, science studies, physics, mathematics, and philosophy. There are two sides to this interdisciplinary mix. On the one hand, it makes for interesting and fun reading for anyone interested in the Chinese room argument, but on the other, it raises the threat that the Chinese room argument might be left in some kind of interdisciplinary no man’s land. The Chinese room argument (CRA) is an argument against the possibility of Strong artificial intelligence (Strong AI). The thesis of Strong AI is that running a program is sufficient for, or constitutive of, understanding: it is merely in virtue of running a 1 particular program that a system understands. Searle appreciates that understanding is a complex notion, and so he has a particular form of understanding in mind: the understanding of simple stories. It seems intuitively obvious that when I read a simple story in English, I understand that story. One could say that somewhere in my head there is understanding going on. However, if I read a simple story written in Chinese (a language I do not speak), then there is no understanding going on. What makes the difference between these two cases? The advocate of Strong AI says that the difference.. (shrink)

This study examined the recall of car and food advertisements within either a car or food television program to investigate the relationship between recall, program content, and viewer involvement. The participants, 92 sixth-form students, aged between 16–17 years, were randomly assigned to one of four conditions. As predicted, advertisements placed within a program of dissimilar content were recalled significantly better than if placed within a program of similar content. A gender bias in recall was found with females recalling female-orientated (...) products significantly better than males. Viewer-involvement ratings factored onto three factor clusters: enjoyable, cheerful, and humorous. Negative correlations were shown between cheerfulness and recall in the car program, and positive correlations were shown between cheerfulness and recall in the food program. Finally, implications of the results were considered. (shrink)

Starting from the seminal experience of James Prescott Joule, this paper aims to debate the possibility of “making” science outside universities and academies. Joule himself studied as an autodidact and did not make his own discoveries while following an academic path; on the contrary, at first, the associations and academic societies of the time tended not to recognize his works officially. All of this happened throughout the nineteenth century during the period of the first relevant tendency to science popularization. For (...) example, looking at the second half of the England of the 1800s, we can refer to Michael Faraday’s open lessons for children like The Chemical History of a Candle. Following this perspective from a historical view, this paper explores the Italian attempts to communicate science—from the ‘50s to the ‘70s—to a larger public via television and other media, also considering the political and social backgrounds behind this choice. In particular, this paper also deals with Lucio Lombardo Radice’s work on TV programs and writings in social-political journals and daily newspapers, as a mathematician and pedagogist engaged on the importance of what he specifically called “Scientific mediation”, as a “method” to teach and popularize science to a larger public. (shrink)