Leo Groarke

Michael Gilbert’s multi-modal theory of argument challenges earlier accounts of arguing assumed in formal and informal logic. His account of emotional, visceral, and kisceral modes of arguing rejects the assumption that all arguments must be treated as instances of one “logical mode.” This paper compares his alternative modes to other modes proposed by those who have argued for visual, auditory, and other “multimodal” modes of arguing. I conclude that multi-modal and multimodal (without the hyphen) modes are complementary. Collectively, they represent an important attempt to radically expand the scope of informal logic and the argumentation that it studies.

Michael Gilbert’s multi-modal theory of argument challenges earlier accounts of arguing assumed in formal and informal logic. His account of emotional, visceral, and kisceral modes of arguing rejects the assumption that all arguments must be treated as instances of one “logical mode.” This paper compares his alternative modes to other modes proposed by those who have argued for visual, auditory, and other “multimodal” modes of arguing. I conclude that multi-modal and multimodal (without the hyphen) modes are complementary. Collectively, they represent an important attempt to radically expand the scope of informal logic and the argumentation that it studies.

Michael Gilbert’s multi-modal theory of argument challenges earlier accounts of arguing assumed in formal and informal logic. His account of emotional, visceral, and kisceral modes of arguing rejects the assumption that all arguments must be treated as instances of one “logical mode.” This paper compares his alternative modes to other modes proposed by those who have argued for visual, auditory, and other “multimodal” modes of arguing. I conclude that multi-modal and multimodal (without the hyphen) modes are complementary. Collectively, they represent an important attempt to radically expand the scope of informal logic and the argumentation that it studies.

This article discusses “auditory” arguments: arguments in which non-verbal sounds play a central role. It provides examples and explores the use of sounds in argument and argumentation. It argues that auditory arguments are not reducible to verbal arguments but have a similar structure and can be evaluated by extending standard informal logic accounts of good argument. I conclude that an understanding of auditory elements of argument can usefully expand the scope of informal logic and argumentation theory.

Sceptical arguments have played a seminal role in the development of philosophical thought. The thesis considers traditional sceptical arguments and their application to a variety of issues. Four major topics--the external world, logic and mathematics, ethics, and the problem of other minds--are discussed in detail. Three other topics are discussed to a lesser extent. In each case, the dissertation defends the sceptical conclusion that it is impossible to build a rational basis for belief, and examines this conclusion in light of traditional dogmatism and contemporary developments in analytic philosophy. Wittgenstein's works serve as a basis for the discussion of recent views

Informal logic is an attempt to develop a logic that can assess and analyze the arguments that occur in natural language discourse. Discussions in the field may address instances of scientific, legal, and other technical forms of reasoning, but the overriding aim has been a comprehensive account of argument that can explain and evaluate the arguments found in discussion, debate and disagreement as they manifest themselves in daily life — in social and political commentary; in news reports and editorials in the mass media ; in advertising and corporate and governmental communications; and in personal exchange.

During the last decade, one source of debate in argumentation theory has been the notion that there are different modes of arguing that need to be distinguished when analyzing and evaluating arguments. Visual argument is often cited as a paradigm example. This paper discusses the ways in which it and modes of arguing that invoke non-verbal sounds, smells, tactile sensations, music and other non-verbal entities may be defined and conceptualized. Though some attempts to construct a ‘multimodal’ theory of argument are criticized, it advocates for an argumentation theory that makes room for visual arguing and for other non-verbal modes that have not been explored in depth. In the process, the paper provides a method for identifying the structure of multimodal arguments and argues that adding modes to our theoretical tool box is an important step toward a comprehensive account of argument