Truth Serum, Liar Serum, and Some Problems About Saying What You Think is False

This chapter investigates the conflict between thought and speech that is inherent in lying. This is the conflict of saying what you think is false. The chapter shows how stubbornly saying what you think is false resists analysis. In traditional analyses of lying, saying what you think is false is analyzed in terms of saying something and believing that it is false. But standard cases of unconscious or divided belief challenge these analyses. Classic puzzles about belief from Gottlob Frege and Saul Kripke show that suggested amendments involving assent instead of belief do not fare better. I argue that attempts to save these analyses by appeal to guises or Fregean modes of presentation will also run into trouble. I then consider alternative approaches to untruthfulness that focus on (a) expectations for one’s act of saying/asserting and (b) the intentions involved in one’s act of saying/asserting. Here I introduce two new kinds of case, which I call “truth serum” and “liar serum” cases. Consideration of these cases reveals structural problems with intention- and expectation-based approaches as well. Taken together, the string of cases presented suggests that saying what you think is false, or being untruthful, is no less difficult and interesting a subject for analysis than lying itself. Tackling the question of what it is to say what you think is false illuminates ways in which the study of lying is intertwined with fundamental issues in the nature of intentional action

Measurement of Top Quark Properties at the Tevatron

We highlight the most recent top quark properties measurements performed at the Tevatron collider by the CDF and D0 experiments. The data samples used for the analyses discussed correspond to an integrated luminosity varying from 360 pb-1 to 760 pb-1.Comment: 4 pages, 6 figures. To be included in the proceedings of the 41st Rencontres de Moriond, QCD and Hadronic Interactions, La Thuile, Italy, 18-25 Mar 200

From anarchism to state funding : Louis Lumet and the cultural paradoxes of the third republic

In 1896 Louis Lumet despised the state and openly yearned for a red Messiah to sweep away bourgeois culture and politics. By 1904 he was in the receipt of state fundin g. This article unravels the paradox of his trajectory by f ocusing on the common interest that eventually united his i nterests with those of republican governments: the relation ship between art and the people. Drawing on hitherto unknow n writings by Lumet himself, as well as on little-used arch ives, the article explores Lumet’s anarchist persona and co nnections in fin-de-siècle Paris, charts his involvement in the Théâtre d’Art Social and the Théâtre Civique, and exam ines his role in the state-supported Art pour Tous. The fin al discussion reveals areas of conflict and convergence in the perception of the people as political actors by both an archists and the state, raising questions about the theory and practice of cultural democratization

Professional Friction: Racialized Discourse and the Practice of Teaching Art

Language is crucial in situating our selves and others. Discursive patterns create alliances or factions, establish hierarchies, and subjugate individuals or groups. In this autoethnographic study, I consider how I, as a White woman teaching art, participate in, maneuver, and manipulate spoken and unspoken racialized discourses within the context of a high school with a diverse population of students. Through the data collection process of journaling over one school year, I recorded reflections on conversations, speeches, and written communication with, between, and regarding teachers, students, parents, and school administrators. I employed discourse analysis on these texts and draw upon Critical Race Theory and Whiteness Studies to examine the discourses that govern the school and inform its social conventions as manifested in my professional identity as it intersects with various collegial spaces. I also show the value in performing an autoethnography as a way to evolve as a social justice educator and scholar as well as a means to give voice to teachers’ stories so that we can render visible the way radicalized discourses and discords they create can shape the daily practice of teaching art

Approaches to Sensory Landscape Archaeology

As the medium through which humans interact with the physical world, senses are crucial to explore when trying to understand the beings that embody them. Senses are the middlemen through which humans register their surroundings, perform activities crucial for survival, and interact with the world and it’s inhabitants. The phenomenon of senses, although shared among all humans, can be very personal and informative of individual life histories. The scent of cinnamon, for example, can evoke memories of childhood for some, while for others there is no connection. Senses are physically natured but culturally constructed. Colors, tastes, and sounds can hold completely different meanings to different peoples and cultures. Altogether, senses are an undeniably important component of human existence. As such, sensory discourse has led to an interesting accumulation of data, literature, and discoveries. Emerging from this mass of literature is sensory archaeology bringing with it much potential