How does one teach dissent in a classroom which is a disciplinary space? As a pedagogue whose work is to instil philosophical and critical thinking in students, in this article I reflect on the modalities of teaching dissent versus teaching about dissent. While it is very possible that teaching about dissent may create a model for students to emulate, teaching dissent must involve a proactive learning process within the classroom that may depend on the ethical (...) and compassionate stand of the teacher. I draw from Indian philosophical traditions of argumentation and the tradition of debate and teaching to posit a methodology of two forms of dissent called Vimati, intellectual dissent and Upeksha, performative dissent. One notes that conceptualisations such as doubt, questioning, evidence, and advocacy are some of the epistemic ideas from Indian philosophical systems that can be adapted to contemporary pedagogy. Additionally, a form of performative dissent that involves ‘turning away’ from norms becomes a form of performative dissent. Such dissent is described through texts as practices in the lived worlds of people in the stories of epics and folk traditions. Finally, I conclude with similar concepts gleaned from contemporary thinkers in India to emphasise the ethical values of compassion and love that make teaching dissent possible. (shrink)

Continuous entities are accordingly distinguished by the feature that—in principle at least— they can be divided indefinitely without altering their essential nature. So, for instance, the water in a bucket may be indefinitely halved and yet remain water. Aristotle nowhere to my knowledge defines discreteness as such but we may take the notion as signifying the opposite of continuity—that is, incapable of being indefinitely divided into parts. Thus discrete entities, typically, cannot be divided without effecting a change in their nature: (...) half a wheel is plainly no longer a wheel1. Thus we have two contrasting properties: on the one hand, the property of being indivisible, separate or discrete, and, on the other, the property of being indefinitely divisible and continuous although not actually divided into parts. Still, one and the same object can, in a sense, possess both of these properties. For example, if the wheel is regarded simply as a piece of matter, it remains so on being divided in half. In other words, the wheel qua wheel is discrete, but as a piece of matter, it is continuous. Examples like this show that continuity and discreteness are complementary attributes originating through the mind's ability to perform acts of abstraction, the one arising by abstracting an object’s divisibility and the other its self-identity. In mathematics it is the concept of whole number, later elaborated into the set concept, that provides an embodiment of the idea of pure discreteness, that is, of the idea of a collection of separate individual objects, all of whose properties—apart from their distinctness—have been refined away. The basic mathematical representation of the idea of continuity, on the other hand, is the geometric figure, and more particularly the straight line. By their very nature geometric figures are continuous; discreteness is injected into geometry, the realm of the.. (shrink)

This book combines performance analysis with contemporary political philosophy to advance new ways of understanding both political performance and the performativity of the politics of the street. Our times are pre-eminently political times and have drawn radical responses from many theatre and performance practitioners. However, a decade of conflict in the Middle East and Afghanistan, the eruption of new social movements around the world, the growth of anti-capitalist and anti-globalisation struggles, the upsurge of protests against the blockades of neoliberalism, and (...) the rising tide of dissent and anger against corporate power, with its exorbitant social costs, have left theatre and performance scholarship confronting something of a dilemma: how to theorize the political antagonisms of our day? Drawing on the resources of ‘post-Marxist’ political thinkers such as Chantal Mouffe and Jacques Rancière, the book explores how new theoretical horizons have been made available for performance analysis. (shrink)

This book is the result of intensive and continued discussions about the social role of language and its conceptualisations in societies other than Northern (European-American) ones. Language as a means of expressing as well as evoking both interiority and community has been in the focus of these discussions, led among linguists, anthropologists, and Egyptologists, and leading to a collection of essays that provide studies that transcend previously considered approaches. Its contributions are in particular interested in understanding how the attitude of (...) the individual towards societal processes and strategies of norming is negotiated emotionally, and how individual interests and attitudes can be articulated. Discourses on public spaces are in the focus, in order to analyse those strategies that are employed to articulate dissent (for example, in the sense of face-threatening acts). This raises a number of questions on the spatial and public situatedness of emotions and language: How is the public space dealt with and reflected in language as property, heritage, and as a part of ascribed identities? Which role do emotions play in this space? How is emotion employed there as part of place making in relation to identity constructions? What is the connection between emotion, performance and emblematic spaces and places? Which opportunities of the violation of norms and transgression do such public spaces offer to actors and speakers? These questions intend to address the communicative representation of core cultural processes and concepts. (shrink)

The Philippine government has been relentless in its counterinsurgency campaigns. From the colonial wars that vilified as insurgents and bandits the honored heroes of today, up to the anti-communist and anti-secessionist civil and military efforts of the postcolonial regimes, these campaigns have not only rolled out large state resources but also cost lives of innocent civilians. Patterned after the United States (US) of America’s principle of low-intensity conflict aimed at countering Marxist and anti-imperialist movements (Reed 1986), counterinsurgency campaigns have unleashed (...) a warfare that indiscriminately target its supposed opponents, including unarmed activists. In 2007, the United Nations Special Rapporteur Philip Alston examined the horrible political situation of the Philippines – characterized by political killings, abductions, and tortures – and identified how state elements, under the blanket protection of waging a counterinsurgency campaign, were responsible for the political repressions then (Sales 2009). Today, under the murderous Duterte regime, the counterinsurgency campaign has reached an unprecedented level of ferocity as it is waged through a militarist whole-ofnation approach composed by multi-level government and multi-agency responses. -/- Being greatly influenced by the US, counterinsurgency campaigns in the Philippines follow the paranoiac and hysterical communist witch-hunt of McCarthyism (Hutchins-Viroux 2008). The hysteria’s contemporary and local expression is the phenomenon called red- or terror-tagging.1 Terror-tagging is the systematic process of maliciously naming or identifying an individual or group as a communist and/or terrorist by its association with a supposed communist and/or terrorist group. Being a systematic process, it is initiated and sustained by state elements with the view of maligning or defaming political activists. Terror-tagging is aimed against activists, dissenters, and even the political opposition. The social activist Rhoda Dalang (2014) has noted how terror-tagging has been deployed by the Philippine state in its counterinsurgency efforts, from the Marcos up to the then Aquino regime. And until the previous Duterte regime, yet with increased intensity and fatality, terror-tagging continued to defame and liquidate activists. As terror-tagging has not received enough academic attention, this chapter aims to fill this gap by providing a preliminary analysis of it. The chapter will be doing a critical discourse analysis. It will take off from a revealing study done by Don Kevin Hapal and Raisa Serafica of Rappler, a media outlet in the Philippines. Through a separate discourse analysis of Facebook posts of the National Task Force to End Local Communist Armed Conflict (NTFELCAC),2 the chapter will also identify aspects of terror-tagging. The discussion will further be theorized using the Marxist analysis of the State and informed by interviews of Atty. Maria Sol Taule and Cristina Palabay. They are both human rights workers who have worked with terror-tagged activists and are themselves subjected to terror-tagging. (shrink)

Recent marketing theory uses the Jungian concept of the archetype to design strategies for the improvement of product selling. Mark and Pearson propose that archetypes such as the ruler, the hero, the outlaw, and the sage are useful in promoting a product. This article suggests that the concept of archetypes as well as myths such as the Prometheus myth and the myth of the expulsion from Paradise, when combined with the insights offered by Mark and Pearson, may help in understanding (...) the management of trials of dissent as well. The article presents seven motifs that recur in trials of dissent and shows how they form a part of the phenomenon of the political management of dissent: the demonization and otherization of defendants and their supporters; the tendency to employ the charge of conspiracy and thus target a group rather than a single individual; the bending of the laws of procedure; the utilization of previously-untested substantive charges; the appeal made by each side to an external principle or vision--typically, the government resorts to the law of necessity whereas the defense resorts to natural law or a vision of "true justice" ; focus on the judge as manipulator of laws; and the appellate court assuming the role of the ultimate sage, performing its task with balance and detachment. The appellate court may use softer rhetoric in an effort to minimize the damage to the appearance of legality. When it does so, the rule of law is reaffirmed as a concept that benefits all sides; there is thus unity in the commitment to the rule of law, not to patriotism or to identification with the government. In addition, an effort is made to reaffirm the maxim that the government is a government of law, not of men. (shrink)

This study aims to reveal the Turkish religious music practices of Jawharism, a sect based on Qadiri and Rifai, founded in Bagcilar, Istanbul. The historical process of the establishment of Jawharism was firstly mentioned, and then the musical activities of the "Association for the Promotion and Sustenance of Sufi Music and Culture", which enabled it to spread in a cultural sense, were discussed. As a result of archives, interviews and observations, the relationship of Jawharism with music was determined, the types (...) of music performed in the dhikr and the compositions belonging to the lodge were identified. In addition, through the sound recordings and note archives obtained as a result of the research, the works specific to the lodge were arranged and notated, and it was aimed to introduce the Turkish religious music repertoire to new works. Genres such as salawat, imamet, tasbihât, istighfar, taravih composition, odes and hymns are performed in the lodge, and especially the compositions of salawats and tasbihâts in the maqam of uşşak, rast, hicaz and segah are sung specifically for the lodge. Meşk evenings are also organized and many hymns, suğl, tevşih, nefes, mersiye, etc. are practiced. Composed genres are performed. The problem of this study is, is the relationship between dhikr and music of Jawharism compatible? How is the statues of Jawharism in Turkish religious music?, Qualitative research methods such as source scanning, data collection, sampling, comparison and citing sources were used in our study determined as a method. We can express the importance of this study as the importance of Jawharism's relationship with music, as it used music effectively and trained many musicians and composers. (shrink)

What does it mean to practice socially responsible science on controversial issues? In a fresh turn focussing on the neuroscientists’ responsibility in producing knowledge about politically charged subjects, Chalfin et al. (Am J Bioethics 8(1):1–2, 2008) caution neuroscientists to be careful about how they present their findings lest their results be used to support unfounded biases, social stereotypes and prejudices. Weisberg et al. (J Cogn Neurosci 20(3):470–477, 2008) discuss the allure of neuroscience explanations and demonstrate how laypersons easily accept dubious (...) claims as long as (even non-relevant) neuroscientific descriptions are provided. Fine (2010) exposes the use of scientific evidence in propagating outdated gender myths by popular writers and discusses the infiltration of these prejudices into popular belief, folk culture and lifestyle. This paper discusses ways in which the ‘neuroscience of gender difference’ itself inadvertently contributes to normalising socially constructed theories about sex difference in cognitive performance. This unpremeditated effect has evident implications on the structuring of society because gender relations cut across social, political and economic boundaries. We present a theoretical reflection of factors that could interact with the scientists’ attempted objective evaluation of the subject, the methods and some principle problems, and we engage a science studies approach as our methodological tool. Our object of critique is drawn from the research on spatial abilities that articulate the dissention pertaining to sex differences in intellectual capacity. (shrink)

The mass popular dissent which has marked the early twenty-first century, from al-Qaeda to the Arab Spring to the Occupy movement, can be read as expressions of collective, subjective, existential mutation. This reading is inspired by Félix Guattari, who described the 1979 Iranian revolution, the Polish Solidarity movement and the 1989 Chinese student demonstrations as demands for subjective singularisation. In each of these examples of social discontent, past and present, demands vary widely even within the same movement, spanning economics, (...) lifestyle, religion and politics, and ranging from cries for liberation to conservative returns to ancient tradition. In order to perform a schizoanalysis of such amorphous movements, Guattari developed a four-part ecosophic object, composed of existential Territories, Universes of value, material-energetic Flows and machinic Phyla. Assemblages can be dynamically mapped along these four dimensions. Of crucial importance in the age of extreme deterritorialisation is the existential Territory, which could potentially take the form of a homeland based on poetry or music rather than on ethnicity or even place. Such portable homelands would characterise the dissensual processual post-media era for which Guattari longed. (shrink)

Art viewers and critics talk as if visual artworks say things, express messages, or have meanings. For instance, Picasso’s 'Guernica' has been described as a “generic plea against the barbarity and terror of war”, forming a “powerful anti-war statement”. One way of understanding meaning in art is to draw analogies with language. My thesis explores how the notion of a speech act – an utterance with a performative aspect – can illuminate art’s power to ‘speak’. In recent years, philosophers (...) of art have explored speech act theory in relation to literary art, though barely at all in relation to visual art. Given the way we talk about painting, sculpture, installation, film, and photography, and given that artists have investigated performativity through their art, this neglect is surprising. My thesis develops two main arguments. First, artwork meaning is active. I argue that visual artworks, under certain conditions, are speech acts. They have propositional content, and they have a certain force: they can do things such as assert, protest, and criticise – things we would normally do with words. I defend these contested claims against several dissenters, and explore some consequences: in particular, I explore how art can lie, a hitherto neglected question. Second, artwork meaning is flexible. I argue that what an artwork says and does is affected by the context in which it’s displayed, and in particular, by its curation. As a result, an artwork’s content and force can vary from context to context. This goes against a dominant view in the philosophy of art – what I call ‘Originalism’ – that the meaning of an artwork is fixed by factors which held at the time of the work’s creation, and so cannot change across time. I argue that this is mistaken: artworks can change in meaning. Curatorial factors can affect an artwork’s content and force, and consequently its social effects. It is known that our verbal speech has the power to oppress and liberate people in a society. My thesis aims to show that art also has this power to shape society; through what it says, and through what it does. (shrink)

In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights core topics (...) in aesthetics and art theory, including traditional theories about the nature of art, aesthetic appreciation, artistic intentions, performance, and artistic meaning. (shrink)

This article examines how new types of performance appraisal reconfigure everyday personal relationships at work. These systems deploy smartphone technologies to be used continuously by individuals to rate each other. Our aim is to show, in concrete terms, how these practices claim to configure a democratic space where individuals are liberated to express their views about each other’s work. On the contrary, we argue that by being placed in continuous confrontation with each other’s ratings, the genuine space for democratic contestation, (...) for the establishment of a genuine community, as well as for critique and dissent is—paradoxically—narrowed down. The first section of this article explores the context in which managerialism has become consolidated at the centre of neo-liberal politics in a dialogue with some of Mouffe’s and Rancière’s arguments. We use Rancière’s concept of “policing” to understand how managerial techniques subvert genuine democratic spaces, modes of participation and expression. Using performance appraisal systems as an example, the second part of the article provides a critical investigation which shows how managerialism intervenes at the very roots of possible democratic engagement and undermines dissent in subtle ways. (shrink)

Delusions are explanations of anomalous experiences. A theory of delusion requires an explanation of both the anomalous experience _and _the apparently irrational explanation generated by the delusional subject. Hence, we require a model of rational belief formation against which the belief formation of delusional subjects can be evaluated. _Method. _I first describe such a model, distinguishing procedural from pragmatic rationality. Procedural rationality is the use of rules or procedures, deductive or inductive, that produce an inferentially coherent set of propositions. Pragmatic (...) rationality is the use of procedural rationality _in context_. I then apply the distinction to the explanation of the Capgras and the Cotard delusions. I then argue that delusions are failures of pragmatic rationality. I examine the nature of these failures employing the distinction between performance and competence familiar from Chomskian linguistics. _Results. _This approach to the irrationality of delusions reconciles accounts in which the explanation of the anomalous experience exhausts the explanation of delusion, accounts that appeal to further deficits within the reasoning processes of delusional subjects, and accounts that argue that delusions are not beliefs at all. (Respectively, one-stage, two-stage, and expressive accounts.) _Conclusion. _In paradigm cases that concern cognitive neuropsychiatry the irrationality of delusional subjects should be thought of as a performance deficit in pragmatic rationality. (shrink)

An influential argument in bioethics involves appeal to disgust, calling on us to take it seriously as a moral guide (e.g. Kass, Miller, Kahan). Some argue, for example, that genetic enhancement, especially via human reproductive cloning, is repellant or grotesque. While objectors have argued that repugnance is morally irrelevant (e.g. Nussbaum, Kelly), I argue that the problem is more fundamental: it is psychologically irrelevant. Examining recent empirical data suggests that disgust’s influence on moral judgment may be like fatigue: an exogenous (...) influence, yielding a “performance error” that does not reflect our understanding of moral matters. This conclusion also challenges appeals to repugnance on other topics (such as homosexuality) and generally downplays the importance of disgust in moral discourse. (shrink)

Might architecture be reconceived as a form of performance? I draw upon Nelson Goodman’s writing on architecture—including his account of architectural notation—and David Davies’s performance theory, which claims that artworks should be considered not as products made by generative performances, but rather as the performances themselves. I tie the exemplification that Goodman identifies as the primary way architectural works ‘mean’ to the role of the architectural ‘score’, recast not as a mere ‘constraint’ but as integral to the creative processes by (...) which architecture establishes an ‘artistic statement’ and a distinctive ‘virtual’ realm. In so doing, I reconcile such a position with an aesthetics of reception, whereby the situated encounter with the physical building is seen as essential to the critical retrieval of any given architectural performance. I test this position against a late work by Sigurd Lewerentz, completed when he was in his eighties, and examine the extraordinary lengths necessitated by his idiosyncratic imperative not to cut any bricks, thereby articulating an artwork every bit as radical as contemporaneous works by conceptual artists. (shrink)

We examine the "Theaetetus" in the light of its juxtaposition of philosophical, mathematical and sophistical approaches to knowledge, which we show to be a prominent feature of the drama. We suggest that clarifying the nature of philosophy supersedes the question of knowledge as the main ambition of the "Theaetetus". Socrates shows Theaetetus that philosophy is not a demonstrative science, like geometry, but it is also not mere word-play, like sophistry. The nature of philosophy is revealed in Socrates' activity of examination (...) and his refusal to deny his ignorance about knowledge. (shrink)

This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.

It is argued that trust is a performative kind and that the evaluative normativity of trust is a special case of the evaluative normativity of performances generally. The view is shown to have advantages over competitor views, e.g., according to which good trusting is principally a matter of good believing (e.g., Hieronymi, 2008; McMyler, 2011), or good affect (e.g., Baier, 1986; Jones, 1996), or good conation (e.g., Holton, 1994). Moreover, the view can be easily extended to explain good (and (...) bad) distrust, where the latter is understood as aimed (narrow-scoped) forbearance from trusting. The overarching framework—which assimilates the evaluative norms of trusting (and distrusting) to performance-theoretic norms—supplies us with an entirely new lens to view traditional philosophical problems about what is involved in trusting and distrusting well and badly, and thus, places our capacity to make progress on problems in this area on a new footing. (shrink)

Decisions are performatives - or at least, they share important features with performative utterances that can elucidate our theory of what type of thought they are, and what they do. Namely, decisions have an analogous force to that of performatives, where the force of a propositional attitude or utterance is constituted by its point, or purpose, which is mainly a matter of its direction-of-fit, and its felicity conditions. The force of both decisions and performatives is to bring into being (...) the states of affairs represented in their intentional contents, merely in virtue of the decision or performative’s occurrence and the satisfaction of the felicity conditions they presuppose. The first chapter of the thesis explicates this general framework, and the second and third attempt to show some of the work it can do for a theory of decisions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art as PerformanceMichael WehArt As Performance, by David Davies. Oxford: Blackwell Publishing, 2004, 278 pp.If we accepted the claims that David Davies makes in his Art as Performance, we would have to rigorously revise our conception of what kinds of entities artworks are. Art as Performance is a study in the ontology of art, and whereas other well-known theories about the ontological status of artworks say that artworks are (...) to be identified with, forexample, types, classes, or kinds, Davies holds that they are performances that lead to the production of a "focus of appreciation" — the latter being the objects we usually take to be artworks. So according to Davies, a painting presented in a museum or a novel we can buy in a bookshop is in fact not the artwork x.The artwork is rather the performance that cumulated in bringing x into existence.Davies characterizes our "common sense theory" of art as including views about the epistemology, ontology,axiology, and definition of art. It maintains that in order to appreciate an artwork, a direct experiential encounter with it is sufficient; that artworks are those things that are exhibited in our museums or performed on stages; that the value of artworks lies in immediately experiencing them; and that artworks differ from other objects by virtue of possessing aesthetic properties. But the common sense theory conflicts with many, if not most, of the art phenomena of the twentieth century. The puzzlement of audiences in the face of certain contemporary pieces of art is caused by the incompatibility of the common sense theory with those artworks. A philosopher of art can try to solve this problem by either accommodating modern art to the common sense theory or by dismissing the theory as inappropriate. With his performance theory, Davies goes for the [End Page 114] second option, while at the same time constraining his theory to the principle that an ontology of art should not contradict our dealing with art — at least after we have critically revised it — too excessively.Davies's first major step in elaborating his theory is a discussion of whether it is necessary to take contextual properties of artworks into account in order to be able to appreciate and understand them. Defenders of "aesthetic empiricism" (a term coined by Gregory Currie) deny that an artwork's history of production is relevant and would be the philosophical business partners of the common sense theory. According to empiricism, only an artwork's manifest properties matter. The context of an artwork's making is at best of art-historical interest. Building upon the works of Currie, Jerrold Levinson, Arthur Danto, and others, Davies forcefully argues against empiricism in defense of a contextualist epistemology of art. And since he takes an artwork's history of production to be epistemologically indispensable, Davies infers that it also has to be considered concerning the ontology of art.Davies's ontology of art is monistic. He claims that all artworks are not the products of creative activities, but rather "intentionally guided generative performances that eventuate in contextualized structures or objects...or events...performances completed by what I am terming a focus of appreciation" (p. 98). The focus of appreciation, in turn, is defined as "an artistic statement as articulated in an artistic medium realized in a vehicle" (p. 60). Davies understands an artistic medium as a set of social conventions or understandings of how to describe the way an artist articulated his statement — for example by manipulating a physical object. The vehicle can be — as in the case of painting — exactly that physical object, or, for example, an action in the case of conceptual art. The main point is that the focus of appreciation is not the artwork. The focus of appreciation — for example, the object Les Demoiselles d'Avignon — completes the performance that was carried out by the artist, and that performance is the artwork.If artworks are performances, it is clear that artworks possess the properties on whose existence contextualism insists and that are ignored by empiricism. But though Davies emphasizes the role of the properties an artwork has due to its provenance, he is also concerned about the weaknesses of... (shrink)

This article describes how the City of Los Angeles is showcasing data-driven services to the public through dynamic visualisations of open data. I frame an analysis of this aspect of datafication in local government through linguistics and cultural theory; drawing on this set of literature I theorise the use of public data as both a performative tool and a performance of data-driven city services. I then discuss examples of interactive maps on the City of Los Angeles’ open data websites, (...) produced by the Bureau of Sanitation, the Controller’s Office, and the Department of Transportation. The article concludes with some general thoughts on how open data maps are a new form of impression management; they set up a relationship in which government and citizens are in alignment, sharing an orientation towards administrative problems that begins at the same point, framed by an administration’s datasets. (shrink)

This volume, edited by Lucilla Guidi and Thomas Rentsch, establishes the first systematic connection between phenomenology and performativity. On the one hand, it outlines the performativity of phenomenology by exploring its enactment and the transformation of attitude it effects; this exploration is conducted through a number of parallels between phenomenology and the ancient understanding of philosophy as an exercise and a way of life. On the other hand, the volume examines different notions of performativity from a phenomenological perspective, so as (...) to show that a phenomenological understanding of embodied experience complements a linguistic account of performativity and can also offer a ground for bodily practices of resistance, critique, and self-transformation in our own day and age. (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)

This chapter contains section titled: Elaborating the Performance Theory Structure and Focus Heuristics and the Individuation of Artworks Work‐Constitution and Modality on the Performance Theory Performances, Actions, and Doings.

PHILOSOPHY BEGINS IN WONDER--so says Socrates in the Theaetetus-- but where does it end? The Theaetetus itself ends in such a puzzling way as to be the cause of apparently interminable dispute. Although its theme is the nature of knowledge, neither Socrates nor his interlocutors ever present a definition that gains unanimous approval. The definitions of knowledge as perception, as true opinion and as true opinion with an account are all rejected. This fact has understandably inclined most interpreters to maintain (...) that the dialogue fails to reach its explicit goal. Nevertheless, Socrates' attitude about the apparent failure of his conversation with Theaetetus is markedly distinct from his express attitude in those early dialogues with which the Theaetetus is often compared. Whereas early dialogues conclude with self-deprecation and exhortation to continue the quest, the Theaetetus concludes in satisfaction, indifferent to the possibility of further study. As midwife Socrates has successfully delivered Theaetetus of his phantom offspring; beyond that he can do no more. Thus the apparently negative conclusions of the dialogue are at least not negatively intoned, and readers can barely avoid the suspicion of having missed something. One response is to argue that an authorized definition of knowledge can be found by a careful reexamination of the very arguments Socrates rejects. But the fact that our suspicion is aroused by a dramatic consideration commends a search for resolution through the drama, however that might happen to bear on the problem of knowledge. (shrink)

This is the first in a series of ‘diary reflections’ written, initially, from Vietnam where I work as an adviser to the Vietnam-Sweden Mountain Rural Development Programme (MRDP).1 This instalment will give the background to my work and highlight some of the areas I will cover in later entries. In doing so I will reflect on how my own philosophical work informs and is informed by my work on the practical management of natural resources and community development. The process will, (...) I hope, take in issues around the practical application of philosophical thinking — mainly to the environment and development. This reflection takes place in the context of work that involves a high degree of exchange across cultures, mainly Vietnamese (Kinh and several ethnic minorities), Swedish and British. The questions and challenges raised in this instalment may (or may not) be resolved over the remaining phase of my work with MRDP during 2001. In doing so I hope to provoke debate. Many of the issues raised within this programme are not unique but often occur within donor funded aid programmes in the natural resource and poverty alleviation arena. Later instalments will outline some practical matters and the theoretical issues raised by them. (shrink)

This is the first in a series of ‘diary reflections’ written, initially, from Vietnam where I work as an adviser to the Vietnam-Sweden Mountain Rural Development Programme (MRDP).1 This instalment will give the background to my work and highlight some of the areas I will cover in later entries. In doing so I will reflect on how my own philosophical work informs and is informed by my work on the practical management of natural resources and community development. The process will, (...) I hope, take in issues around the practical application of philosophical thinking — mainly to the environment and development. This reflection takes place in the context of work that involves a high degree of exchange across cultures, mainly Vietnamese (Kinh and several ethnic minorities), Swedish and British. The questions and challenges raised in this instalment may (or may not) be resolved over the remaining phase of my work with MRDP during 2001. In doing so I hope to provoke debate. Many of the issues raised within this programme are not unique but often occur within donor funded aid programmes in the natural resource and poverty alleviation arena. Later instalments will outline some practical matters and the theoretical issues raised by them. (shrink)

In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...) basic objections to be raised concerning Davies’s central concept of an action token. (shrink)

This article theorizes the connection between political distrust and conspiracy theories through a post-political framework. Following Luc Boltanski’s focus on the critical capacities of ordinary actors, it builds on interviews with participants of the Yellow Vest Movement in France who hold conspiratorial views of Covid-19 and the vaccine. The article explores how the interviewees’ critique mirrors that of post-political theorists. In particular, I use Rancière’s notion of subjectification and politics to theorize how conspiracy theories function as a means of (...) class='Hi'>dissent in the interviewees’ understanding of their experiences as well as in their own critique of and disillusionment with politics in France. As such, this article explores how political trust affected reactions to the pandemic, how political trust is interconnected with conspiracy theories and finally how such conspiracy theories can be viewed as biproducts of the post-political order. (shrink)

A review of David Davies, _Art as Performance_ (Blackwell, 2004).

This paper argues that historians of ideas must, when seeking to reconstruct webs of beliefs, interpret texts as though they were performances. As this is particularly the case with dialogic texts, the paper focuses on Plato's dialogues to show that the arguments expressed therein cannot be taken as expressions of Plato's beliefs. Rather, such arguments seek to prompt thought in their readers and thus reveal beliefs indirectly. We must therefore revise Mark Bevir's account of the reconstruction of webs of beliefs (...) so that we construct a consistent web and then assume that to be the web of the author in question, rather than assuming that the web we construct is a consistent one. Consideration of Leo Strauss's argument that philosophers have often had to hide their meaning for fear of persecution, the paper concludes that its argument may apply to treatise-based writing as well as to dialogues. All texts include an element of the performative. (shrink)

Political theorists can at times forget that the origins of political theory lie in the struggles of concrete political life. This paper focuses on one arena of political contestation: the collision between dissenters and their communities’ legal systems. It focuses on The Peoples Ancient and Just Liberties Asserted, a purported transcript of the trial of William Penn and William Mead for disturbance of the peace. The trial plays an important role in the emergent principle of jury independence and a key (...) role in Penn’s career as a political actor during the 1670s, culminating in his American colonizing enterprise. After a few remarks about the trial itself, the paper proceeds in two parts, each emphasizing an aspect of the text’s performative nature. First, akin to canonical works of the Anglo-American tradition, Peoples presents embedded principles: coherent and substantive visions of legitimate government, justified by reference to authoritative texts, arguments, and practices. But the defendants in Peoples also enact and embody political dissent in ways other than overt and explicit argumentation: Penn and Mead themselves appear as characters performing a politics of dissent. As a work of both political theory and political theater, Peoples offers insights into Deleuze’s notion of “dramatization,” and can lead us to a broader appreciation of the many different genres that constitute political theory. (shrink)

This article explores how `social harmony' as cultural performance, is conducted by Chinese in their conversation at the surface level, with turbulence and manipulation concealed beneath superficial politeness. Although their more collective cultural orientation may lead them to greater cooperation and less confrontation, Chinese also develop artfully crafted messages to communicate competition and frustration. Selected discourse samples collected in Taiwan were analyzed in depth to show how social harmony may become a matter of external display, constructed, enacted and negotiated through (...) participants' verbal exchanges in their moment-to-moment interaction. It is concluded that superficial harmony allows the extensive web of interpersonal connections and hierarchical positioning to be maintained with minimal discord, while at the same time concealing underlying aggressiveness and ulterior motives. (shrink)

This paper addresses the question of the place for competition in philosophy by considering the example of the Philosothon, a popular school-based philosophy competition originating in Western Australia. Criticisms of this competition typically focus either on specific procedural problems, or else on the claim that the competitive spirit is inimical to collaborative philosophical inquiry. The former type of criticism is extrinsic to competitive philosophy per se, while the latter is intrinsic to it. Defenders of the Philosothon dismiss both types of (...) criticism by pointing to an allegedly ancient precedent, Socratic dialogue, as evidence that competition is not inimical to philosophy. If true, then procedural problems, where they can’t be eliminated or mitigated, can be accepted, on the basis that the Philosothon serves the greater good of promoting the practice of philosophy. My purpose in this paper is twofold. First, to explain both types of criticism based on a detailed description of the Philosothon’s rationale and procedures. Second, to challenge the promotional assertion used to dismiss the criticisms. Drawing on Plato scholarship, as well as research from social science, I suggest an alternative interpretation of the Philosothon, contrasting it with ancient philosophy and describing it instead in terms of ‘signalling’. (shrink)