Credulous and Sceptical Argument Games for Preferred Semantics

Proof Theories and Algorithms for Abstract Argumentation Frameworks

“…In this chapter we follow the approach of [8,13,15,17,25,27] and present the moving of arguments as 2-person dialogue games that provide a natural way in which to lay out and understand the algorithms that implement them. To be sure, the actual algorithms themselves, should, except for didactic purposes, not be implemented as dialogue games, but rather as monological procedures (or methods in OO-languages) that are called recursively.…”

“…Section 3 then describes a framework for argument game based proof theories [8,15,17,27]. The inherently dialectical nature of argumentation naturally lends itself to the formulation of argument games in which a proponent starts with an initial argument to be tested, and then an opponent and the proponent successively attack each other's arguments.…”

Structural equation modelling of reality TV shows in the Philippines vis a vis people’s phenomenological views

“…This denotes that audiences believe about the role of networks in the achievement of the outcomes of the reality TV shows. This is confirmed by the study of Vreeswijk (2000) that networks dictates the consumer-oriented culture which places higher value on an contestant's capacity to maintain a crowd pleasing performance. Table 9 shows the summary of the level of artistry, commercial value, and merit evaluation.…”

“…This can be attributed to the fact that the main purpose of the reality TV is to promote commercialization and that there is high subjectivity among the judges as can be gleaned in the highest mean result. This is supported by Vreeswijk (2000) that watching the extreme emotions and behavior in reality TV has made awareness among the audiences on the constructed aspects and increased commercialization which include consumer culture that is being promoted among the audiences. …”

“…This result denote that audiences are actually aware about the nature of the program, though they expect realism but they recognize what is real and isn't real, and that they find acceptance on whoever is declared as winner. This is supported by Vreeswijk (2000) that the audience is becoming aware of the nature of reality TV but instead of feeling betrayed by the sometimes staged realism in the programs, viewers actually feel pleasure in figuring out what is or isn't real, For viewers it's not that important whether or not the information provided is accurate, but rather that the situations and candidates in reality programming seem authentic, as if it could have been real. …”