The Sounds of Silence: Inferences from the Absence of Word‐of‐Mouth

While past work has explored some of the reasons why people themselves may remain silent in a group, almost no research has examined the mirror image of this question: How do consumers construe the silence of others? Do they project the opinions of the speakers in a conversation onto the silent individuals, assuming that silence signals agreement? Do they have a usual or “default” naïve theory of silence that they use to explain it across multiple contexts—i.e., “silence usually signals disagreement?” Or does silence act as a mirror, reflecting observers’ own opinions back at them? Three experiments contrasted perceivers’ estimates of conversational silence with their estimates of unknown opinions outside the conversation. Estimates of opinions outside the conversation generally followed an agreement‐with‐the‐speakers rule—the more an opinion was expressed in the group, the more consumers assumed others would support it too. In contrast, silence inside the conversation was interpreted very differently, serving as a mirror for participants’ own thoughts, even when the vocal majority favored the opposite position. Results suggest a process whereby observers project the reason they personally would have been silent in the group (given their opinion) onto silence, leading to an inference that the silents agree with the self.     

Teaching the Aesthetics of Music Today

What sense does it make to teach the aesthetics of music today? The discussion begins with the illusion of identifying music and language, by regarding language as communication. We use words and propositions in thinking about music, but music is “something other” than words. An analysis of Cook’s conception of a musicographic network leads to thinking about the non-verbal existence of musical works and musical experience.     

Prejudice Toward Contemporary Outgroups as a Generalized Attitude

The interrelatedness of attitudes toward homosexuals, Blacks, women, and old people was studied, as well as attitude differences on demographic variables. Three hundred and nine White undergraduates responded to the Homosexual Attitude Scale, The Attitudes Toward Women Scale, Multifactor Racial Attitude Inventory, and two attitudes toward old people scales. Nine of the ten possible intercorrelations were significant beyond the .01 levels. Prejudice toward quite distinct outgroups appears to be a generalized attitude. Attitude differences were found on the demographic variables of sex, political party, and religion. Women expressed more tolerant attitudes than men toward all four outgroups studied. Republicans were more prejudiced toward homosexuals and women than were Democrats or Independents. Participants who identified themselves as Christians were less supportive of equality between the sexes than were Catholics, Protestants, or those with no religion Christians were also more prejudiced toward homosexuals than were Catholics or those with no religion.     

Race,Aesthetics, and Shelter: Toward a Postcolonial Historical Taxonomy of Buildings

This article proposes that one source of deep‐rooted prejudices among peoples derives from their fundamental lifeways respectively as settled or peripatetic. Although the advantage in the present is clearly with settled, notably urban, peoples, that is no reason either to project an attitude of superiority into consideration of the past or to assume inherent superiority in the present. Building types characterize these fundamentally different lifeways, and settled peoples unthinkingly assume the superiority not only of their own building types but of a small subset thereof conceived as architecture, conceived as the work, principally, of the mind rather than the hand. This article proposes a fundamental historical taxonomy on grounds of function—the provision of shelter—of buildings of all types employed by both settled and peripatetic peoples, from tents to temples. Although the antagonism between settled and peripatetic peoples, based on different conceptions of the land, rests on their fundamental differences in lifeways, including building practices, those differences are often entangled with racial considerations.     

The double‐edged sword of diversity: Toward a dual pathway model

Williams and O'Reilly (1998) published a seminal review of diversity research that has become a classic resource for researchers and practitioners alike. In the current review, we update the theoretical record by discussing traditional views of, as well as recent developments to, the 3 prominent frameworks used to understand diversity: social categorization, similarity‐attraction, and information and decision‐making. Furthermore, we propose a dual pathway model of diversity's effects that integrates all 3 frameworks. In our model, both positive and detrimental effects of diversity stem from processes of social categorization. Whereas these processes disrupt group functioning when intergroup bias is activated, when bias is not activated, we propose that social categorization and reduced attraction to dissimilar others will allow individuals in diverse rather than homogeneous groups to focus more on the task, anticipate differences in task‐relevant opinions and perspectives, and engage in more effortful information processing. Finding the balance is key.     

African Art in Deep Time: De‐race‐ing Aesthetics and De‐racializing Visual Art

In two essays in the ART/Artifact (1988) exhibition catalog, white American museum curator Susan Vogel and white American philosopher Arthur Danto pronounce that Africans do not distinguish between art and nonart. Although seemingly objective empirical statements, their assertions about Africa and its art are racially based ruminations of a white supremacist worldview. I argue that in theorizing within the category of race they produced racialized aesthetics that commit the Eurocentric fallacy of upholding systemic racist objectives. I argue that (1) their assertions fail to be about African art, but about hegemony and power; (2) as the longest enduring artistic activity of humanity, African art is an important check to racialized aesthetics; (3) art is produced outside the category of race and from a critically conscious awareness of the world; and (4) art bespeaks creativity and presupposes the artistic and moral values of a culture in the manipulation and transformation of physical reality.