Dispossession describes the condition of those who have lost land, citizenship, property, and a broader belonging to the world. This thought-provoking book seeks to elaborate our understanding of dispossession outside of the conventional logic of possession, a hallmark of capitalism, liberalism, and humanism. Can dispossession simultaneously characterize political responses and opposition to the disenfranchisement associated with unjust dispossession of land, economic and political power, and basic conditions for living? In the context of neoliberal expropriation of labor and livelihood, dispossession opens (...) up a performative condition of being both affected by injustice and prompted to act. From the uprisings in the Middle East and North Africa to the anti-neoliberal gatherings at Puerta del Sol, Syntagma and Zucchotti Park, an alternative political and affective economy of bodies in public is being formed. Bodies on the street are precarious - exposed to police force, they are also standing for, and opposing, their dispossession. These bodies insist upon their collective standing, organize themselves without and against hierarchy, and refuse to become disposable: they demand regard. This book interrogates the agonistic and open-ended corporeality and conviviality of the crowd as it assembles in cities to protest political and economic dispossession through a performative dispossession of the sovereign subject and its propriety. (shrink)

This article draws on the conceptual link between power and causality to develop an account of the relational, discursive, and performative dimensions of power. Each proposed dimension of power is grounded in a different understanding of social causes: relational-realist, discursive-hermeneutic, and performative-pragmatic. For the purposes of empirical analysis, this dimensional schema crosscuts the classic sources of power typology developed by Michael Mann and others, thus rendering the conceptual apparatus for pursuing sociological research on power more complex and explanatorily (...) effective. The schema is illustrated by an example from comparative-historical sociology: explaining the storming of the Bastille and its effects. A series of research questions for investigating the relative autonomy of performative power is proposed. Finally, the current schema is situated vis-à-vis classic sociological theories of power, including the arguments of Steven Lukes, Michel Foucault, and Pierre Bourdieu, among others. (shrink)

In conventional identity politics subjective differences are understood negatively, as gaps to be overcome, as lacks of sameness, as evidence of failed or incomplete unity. In _Alterity Politics _Jeffrey T. Nealon argues instead for a concrete and ethical understanding of community, one that requires response, action, and performance instead of passive resentment and unproductive mourning for a whole that cannot be attained. While discussing the work of others who have refused to thematize difference in terms of the possibility or impossibility (...) of sameness—Levinas, Butler, Derrida, Foucault, Deleuze, Guattari, Zizek, Jameson, Heidegger, Bakhtin—Nealon argues that ethics is constituted as inexorable affirmative response to different identities, not through an inability to understand or totalize the other. _Alterity Politics_ combines this theoretical itinerary with crucial discussions of specific and diverse sites of literary and cultural production—the work of William S. Burroughs, Amiri Baraka, Andy Warhol, Ishmael Reed, Rush Limbaugh, and Vincent Van Gogh—along with analyses of the social formation of subjects as found in identity politics, and in multicultural and whiteness studies. In the process, Nealon takes on a wide variety of issues including white male anger, the ethical questions raised by drug addiction, the nature of literary meaning, and the concept of “becoming-black.” In seeking to build an ethical structure around poststructuralist discourse and to revitalize the applied use of theoretical concepts to notions of performative identity, _Alterity Politics_ marks a decisive intervention in literary theory, cultural studies, twentieth-century philosophy, and performance studies. (shrink)

ABSTRACT Performative activism is a critical label that is applied to instances of shallow or self-serving support for social justice causes. The accusation rests on a distinction between what is said by supposed supporters and what they actually do. One of the challenges of understanding the rhetoricity of the phrase “performative activism” is that its definition seems to place it at odds with the most common scholarly definitions of “performative,” in which there is little or no difference (...) between saying and doing. Nonetheless, making a distinction between what is said and done is rhetorically effective in itself. By understanding the accusation of performative activism as a type of critique, we can begin to see how such critical gestures are better understood as demands rather than condemnations. (shrink)

Although many philosophers have attempted to explain how we do and how we ought to aesthetically appreciate nature, I argue that such appreciation has yet to be fully understood. I agree with the vast majority of aestheticians who argue that a successful model of nature appreciation will take into account the ways in which natural objects differ from art objects.Hence, the model I present illustrates that the way we appreciate art objects differs in important respects from the way we appreciate (...) natural objects. ;It seems to me that critics of the assimilation of nature appreciation to art appreciation have been too hasty. They mistakenly confine their analysis to the appreciation that an audience has for an artwork. By focussing on the spectator-to-artwork relationship, these critics have failed to notice the salient similarities between a certain type of experience of nature and a certain type of experience of art. I argue that nature appreciation, although not identical to, shares important similarities with the way a performing artist interprets an artwork. I call the model I present and defend the performative interpretation model of nature appreciation. (shrink)

Professor Recanati's book is a major new contribution to the philosophy of language. Its point of departure is a refutation of two views central to the work of speech-act theorists such as Austin & Searle: that speech acts are essentially conventional, & that the force of an utterance can be made fully explicit at the level of sentence-meaning & is in principle a matter of linguistic decoding. The author argues that no utterance can be fully understood simply in terms of (...) its linguistic meaning, but that only a contextual inference can provide an adequate framework. In pursuit of this argument, he deals with the major issues of pragmatics & speech-act theory: conversational implicatives & indirect speech acts, the classification of illocutionary forces, the performative/constative distinction, delocutivity, locutionary meaning, non-literal uses of languages, the principle of expressibilty, & the difference between institutional & communicative illocutionary acts. (shrink)

In response to the interruption of all levels of education following COVID-19, we start by underlining the difference between emergency remote teaching and online learning. Next, we inquire into the question of presence in physical and virtual classrooms, and offer a discussion of presence as “being-here-now,” a “movement toward becoming,” and as gelassenheit or “releasement toward things.” We highlight the materiality of communication, and the performative production and transformation of the classroom space. Finally, we illustrate how performative writing (...) enhances the sense of being-here-now, and facilitates the co-inhabiting of online learning spaces that lack co-presence of bodies in the same physical environment. (shrink)

Populism is on the rise throughout the world and it poses a challenge to democratic theory. Conventional political thought has not dealt seriously with this challenge throughout most of its history. The article takes the challenge seriously, underscoring the rise of Donald Trump as an example of populism. I argue that dominant paradigms in the study of the history of political thought and in normative, Rawlsian approaches do not elucidate populism. I argue that we need to look beyond the mainstream (...) and to comparative political thought in particular. The Latin American political theory tradition, which has been in conversation with European ideas since the dawn of the modern age, provides a model of ‘princely performative populism’ that is more useful. Drawing on a Machiavellian conception of the prince’s aesthetic relationship to the people and the centrality of populist experiences in Latin America, my model provides a novel definition of pop... (shrink)

Derogatory terms can be powerful mechanisms of subordination, while re-appropriating these terms can be a strategy to fight back against social injustice. I argue that projects seeking to reclaim slurs have a performative structure that raises particular hazards. Whereas more familiar forms of protest may fail to bring about their intended result, attempts to re-appropriate slurs can fail to be understood as transgressive acts at all. When attempts at reclamation fail, their force is distorted; context and convention lead the (...) hearer to give uptake to the speech act as a traditional deployment of the slur. The force of this traditional use is to validate and re-entrench the very norms the act was intended to subvert. This is the precarious structure of reclamation projects: when successful, reclamation is the subversion of powerful mechanisms of oppression, but when unsuccessful, the act has the ironic force of constituting mechanisms of oppression. (shrink)

This book develops an original theory of performative beauty. Philosophical aesthetics has largely neglected one's own actions as a potential experience of the beautiful. Throughout the book, the author uses own experiences of Argentine tango as a case study; one important incentive for social dancing is to have pleasurable and beautiful experiences. This book begins by investigating the methodological causes for why beauty in modernity has been seen to result only from contemplating external objects. It then builds a theory (...) of performative beauty that incorporates findings from new phenomenology, neuroaesthetics, enactivism, and somaesthetics and that reassesses existing inquiries of beauty. The result is an account that identifies kinaesthetic awareness as the point of emergence of both theory and practice, of creation (poiesis) and perception (aisthesis), and of moving (agency) and being moved (reception). Performative beauty is the pleasure of being moved by the dance where the dancer feels both as a creative improvisor and as an integrated part of the activity itself. A Somaesthetics of Performative Beauty - Tangoing Desire and Nostalgia will appeal to scholars and advanced students working in aesthetics, dance studies, performance studies and related fields of artistic research. (shrink)

The purpose of this paper is to reconstruct Frege’s argument against the relativity of truth contained in his posthumous writing Logic from 1897. Two points are made. The first is that the argument is a performative version of the common objection that truth relativism is incoherent: it is designed to show that the assertion of the relativity of truth involves a performative incoherence, because the absoluteness of truth is a success condition for making assertions. From a modern point (...) of view, the central premise of the argument, that the successful making of assertions depends on the absoluteness of truth, is highly doubtful. The second point is that this premise can be made plausible within the framework of Frege’s conception of truth and assertion: it can be derived from his thesis that, in order to put something forward as true, we do not need the word ‘true’, but only the assertoric force. (shrink)

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 65 Heft: 2 Seiten: 183-205.

Creative collective actions can have the potential of true performative utterances opening windows of opportunities for new realities to emerge, for new possible worlds to be created—the realm of the arts is the realm of the “possible.” Group poetry writing can be a performative, dialogic act, and a transformative, revolutionary one as well. Collective artistic creations can break the isolation that the capitalistic patriarchal system imposes on us, helping us connect with one another, giving us hope.

Is it possible to find an ethical and generative way to speak about the ‘work’ of Indigenous art? Regardless of what prohibitions exist to protect sacred knowledge from the gaze of Western eyes, Indigenous work is circulating; it is being read, misread, interpreted, misinterpreted and otherwise known. How can a non-Indigenous person ‘speak’ about Indigenous art without reducing it to the diagram, collapsing it into Western modes of knowing, or intruding into the domain of restricted cultural information? Given the lessons (...) of the Indigenous cultural practices, I propose that the work of art is performative and not merely representational. Through attention to the operation of rhythm in Kathleen Petyarre’s paintings, I propose to reconfigure contemporary understandings of performativity. In this formulation I will argue that in the dynamic productivity of the performative act, the world intrudes into practice, and in a double movement, practice casts its effects back towards the world. In this way I suggest that just as life gets into images, so imaging also produces reality. This mutual reflection is the work of art. (shrink)

How does one make sense of a naked prophet who walked the streets of Jerusalem for no less than three years? This contribution interpreted the ambulatory naked prophet in Isaiah 20 as a sign-act by means of symbolic interactionism and performative interpretation according to which symbolic or sign-acts are multivalent entities. Isaiah 20 was interpreted as an embodied, multivalent text that invited ongoing appropriation among subsequent audiences while exploring the potential meaning(s) of the initial act within the parameters of (...) text and context. It is presupposed that human beings reinterpret symbolic acts in different subsequent contexts and that a symbolic act should never be reduced to one single (original!) meaning – this reinterpretation process is illustrated by the Septuagint translation of Isaiah 20. Furthermore, the question will be posed how one could interpret and appropriate a disruptive and ‘foolish’ prophetic and symbolic act of public exposure – Isaiah as an ‘agent provocateur’?Contribution: The performative critique of Isaiah 20 drew attention to the neglected multivalent character of the initial sign-act that enabled ongoing appropriations (‘Fortschreibung’) in new contexts of competing power relations. At first the sign-act was relevant for its pre-exilic audience, then for the post-exilic and even later for a Hellenistic audience by means of the Septuagint version. It also illustrated that text interpretation can be a catalyst that unsettles and disrupts power (within and beyond academic and believing communities), even when it is considered folly. (shrink)

This book investigates the phenomenological ways that dance choreographing and dance performance exemplify both Truth and meaning-making within Native American epistemology, from an analytic philosophical perspective. Given that within Native American communities dance is regarded both as an integral cultural conduit and “a doorway to a powerful wisdom,” Shay Welch argues that dance and dancing can both create and communicate knowledge. She explains that dance—as a form of oral, narrative storytelling—has the power to communicate knowledge of beliefs and histories, and (...) that dance is a form of embodied narrative storytelling. Welch provides analytic clarity on how this happens, what conditions are required for it to succeed, and how dance can satisfy the relational and ethical facets of Native epistemology. (shrink)

Habermas claims that the concept of ?communicative action? can be explained by illocutionary acts alone. It appears tó me that his explanation collapses into a sort of intentional theory (2[i]). Habermas maintains further that a speech act consists of three components which are ?correlated? to three worlds and to three validity claims. However, he also seems to mean that all worlds and validity claims are correlated to just one; the so?called propositional component. One consequence is that the propositional content, not (...) the illocutionary act, determines the main mode of at least some speech acts. Another is that the T as used in an expressive speech act will occur in the propositional part of the act and not, as claimed by Habermas, in the performative sentence (2[iii]). In 2(ii) two other problems concerning Habermas's view on the concept of ?I? ('the subject') are discussed. (shrink)

ABSTRACT The First British New Left formed around two journals, The New Reasoner edited by E.P.Thompson and John Saville, and the Universities and Left Review edited by Stuart Hall, Gabriel Pearson, Raphael Samuel and Charles Taylor. Both sought a ‘new’ socialism which, based on a loose concept of socialist humanism, restored the role of the individual and revitalised a popular left movement. Early commentators critiqued its lack of robust theory and organisational structure. More recently, others have proposed that, particularly amongst (...) the ULR cohort, with this ‘new’ socialism emerged a ‘new’ activist politics. Building on this, I examine the ULR’s activism as a performative politics which stressed active participation over theory and dissolved any distinction between means and ends. Whilst Thompson and Hall have tended to be considered the main protagonists in shaping this, I argue that it was Samuel, an experienced organiser, who was most responsible for shaping their early agenda. His role has been neglected because he wrote no ‘position piece’ but, appropriately for an activist politics, expressed his ideas through his actions. ‘Reading’ his performances, then, illuminates more fully both the scope and the limits of this activist politics. (shrink)

Refuting the assumption that art is a representational practice, Bolt's striking argument engages with the work of Heidegger, Deleuze and Guattari, C.S.Peirce and Judith Butler to argue for a performative relationship between art and artist. Drawing on themes as diverse as the work of Cezanne and of Francis Bacon, the transubstantiation of the Catholic sacrament and Wilde's novel The Picture of Dorian Gray , she challenges the metaphor of light as enlightenment, reconceiving this revealing light as the blinding glare (...) of the Australian sun, and suggests that too much light may in fact reveal nothing. Finally she asks: how does an embodied practice fare within the culture of conceptual art? (shrink)

In 2011, when Judith Butler delivered the lecture series that would become Notes Toward a Performative Theory of Assembly, the speech act theorist joined other critical scholars attempting to work through the dark cloud of neoliberal fatigue settling over the humanities. “Identitarian ontologies” had become only more entrenched in the age of terror, any potential alternatives seeming destined for “discursive appropriation” by the insidious vocabulary of late biopolitical capitalism. Fatigued, but not yet resigned, Notes sets out “to rethink the (...) speech act”, not to discover something else to say or some other way to say it but instead to take seriously what Butler described more than a... (shrink)

In 2011, when Judith Butler delivered the lecture series that would become Notes Toward a Performative Theory of Assembly, the speech act theorist joined other critical scholars attempting to work through the dark cloud of neoliberal fatigue settling over the humanities. “Identitarian ontologies” had become only more entrenched in the age of terror, any potential alternatives seeming destined for “discursive appropriation” by the insidious vocabulary of late biopolitical capitalism. Fatigued, but not yet resigned, Notes sets out “to rethink the (...) speech act”, not to discover something else to say or some other way to say it but instead to take seriously what Butler described more than a... (shrink)

This paper embeds a theory of proper names in a general approach to singular reference based on type‐free property theory. It is proposed that a proper name “N” is a sortal common noun whose meaning is essentially tied to the linguistic type “N”. Moreover, “N” can be singularly referring insofar as it is elliptical for a definite description of the form the “N” Following Montague, the meaning of a definite description is taken to be a property of properties. The proposed (...) theory fulfils the major desiderata stemming from Kripke's works on proper names. (shrink)

Contagion is more than an epidemiological fact. The medical usage of the term is no more and no less metaphorical than in the entire history of explanations of how beliefs circulate in social interactions. The circulation of such communicable diseases and the circulation of ideas are both material and experiential. Diseases and ideas expose the power and danger of bodies in contact, as well as the fragility and tenacity of social bonds. In the case of the theatre, various tropes of (...) contagion are to be found in both the fictional world on the stage and in many theories defining the rules of interaction between theatre audiences, fictitious characters and/or performers. In consequence, the historically changing concept of contagion has in many respects influenced how mimesis was conceived and understood. The main goal of my article is to demonstrate how the concept of contagion has changed over the last few decades and how it may influence our understanding of the idea of mimesis and participation in performative arts. This will be achieved in two steps. Firstly, I will compare the concept of contagion as the outbreak narrative that had influenced, among others, Antonin Artaud’s The Theater and the Plague with the more recent and dynamic concept of epidemic structured around the tipping point. Secondly, I will look for performative art forms with similar structure of audience responses, analyzing Mariano Pensotti’s project Sometimes I Think, I Can See You, in order to demonstrate new forms of performativity and presentation. (shrink)

How to integrate artificial intelligence technologies in the functioning and structures of our society has become a concern of contemporary politics and public debates. In this paper, we investigate national AI strategies as a peculiar form of co-shaping this development, a hybrid of policy and discourse that offers imaginaries, allocates resources, and sets rules. Conceptually, the paper is informed by sociotechnical imaginaries, the sociology of expectations, myths, and the sublime. Empirically we analyze AI policy documents of four key players in (...) the field, namely China, the United States, France, and Germany. The results show that the narrative construction of AI strategies is strikingly similar: they all establish AI as an inevitable and massively disrupting technological development by building on rhetorical devices such as a grand legacy and international competition. Having established this inevitable, yet uncertain, AI future, national leaders proclaim leadership intervention and articulate opportunities and distinct national pathways. While this narrative construction is quite uniform, the respective AI imaginaries are remarkably different, reflecting the vast cultural, political, and economic differences of the countries under study. As governments endow these imaginary pathways with massive resources and investments, they contribute to coproducing the installment of these futures and, thus, yield a performative lock-in function. (shrink)

Rationalization in the sense of biased self-justification is very familiar. It's not cheating because everyone else is doing it too. I didn't report the abuse because it wasn't my place. I understated my income this year because I paid too much in tax last year. I'm only a social smoker, so I won't get cancer. The mental mechanisms subserving rationalization have been studied closely by psychologists. However, when viewed against the backdrop of philosophical accounts of the regulative role of truth (...) in doxastic deliberation , rationalization can look very puzzling. Almost all contemporary philosophers endorse a version of the thesis of deliberative exclusivity—a thinker cannot in full consciousness decide whether to believe that p in a way that issues directly in forming a belief by adducing anything other than considerations that he or she regards as relevant to the truth of p. But, as I argue, rationalization involves the weighing of considerations that the thinker kn.. (shrink)