In this paper, drawing on evidence internal to the Platonic dialogues (supplemented with some ancient testimonia), I answer the question, “How did Plato teach in the Academy?” My reconstruction of Plato’s pedagogy in the Academy is that there was a single person who read the dialogue aloud like a rhapsode (this is in contrast to the dramatic theatrical hypothesis, in which several speakers function as actors in the performance of a dialogue). After the rhapsodic reading, students were allowed to ask (...) that portions of the text to be re-read, to ask a question about the text, and were encouraged to enter into a broader conversation about the topic and themes brought out by the text. This later pedagogical method of interrogating and investigating a dialogue is of more importance than the mere reading of a dialogue. I contend that Plato’s experiences teaching were woven into some of the dialogues, and that Plato’s pedagogy reflects some of the ways that he taught in the Academy. I propose that excellent points made by students may have been written into revised forms of the dialogue. And not only good points, but also mistakes in reasoning may have been added into the dialogues. I suggest that the way certain dialogues are organized with “guest lecturers” and “tag-team” philosophical debates reflect Plato’s pedagogy in the Academy. Plato’s broadmindedness, his openness to various and opposing viewpoints, is also evident from both outside and inside of the dialogue. Lastly, drawing on the idea of Socratic mimēsis, I give a plausible curriculum for how Plato may have used the dialogues to teach them: he had his students “play” with them. Plato may have asked his students to enter into the roles of the characters in the dialogues to better understand them and the type of person they represent. Plato may have also asked students to take over from the position of the character in the dialogue and to suggest a better, truer account of things than what the characters said or did. (shrink)

Performing Philosophy in Asian Traditions.

_Manifesto Now!_ maps the current rebirth of the manifesto as it appears at the crossroads of philosophy, performance, and politics. While the manifesto has been central to histories of modernity and Modernism, the editors contend that its contemporary resurgence demands a renewed interrogation of its form, its content, and the uses. Featuring contributions from trailblazing artists, scholars, and activists currently working in the United States, the United Kingdom, Finland, and Norway, this volume will be indispensible to scholars across the (...) disciplines. Filled with examples of manifestos and critical thinking about manifestos, it contains a wide variety of critical methodologies that students can analyze, deconstruct, and emulate. (shrink)

The Militant Intellect reconceptualizes critical theory as a field tasked with cultivating the analytical skills of the general intellect to work towards the intersectional and structural death of the colonist and the materialization of that feminist decolonial communist queer marronage world that constitutes its horizon.

The Routledge Companion to Performance Philosophy is a volume of especially commissioned critical essays, conversations, collaborative, creative and performative writing mapping the key contexts, debates, methods, discourses and practices in this developing field. Firstly, the collection offers new insights on the fundamental question of how thinking happens: where, when, how and by whom philosophy is performed. Secondly, it provides a plurality of new accounts of performance and performativity as the production of ideas, bodies and knowledges in the (...) arts and beyond. Comprising texts written by international artists, philosophers and scholars from multiple disciplines, the essays engage with questions of how performance thinks and how thought is performed in a wide range of philosophies and performances, from the ancient to the contemporary. Concepts and practices from diverse geographical regions and cultural traditions are analysed to draw conclusions about how performance operates across art, philosophy and everyday life. The collection both contributes to and critiques the philosophy of music, dance, theatre and performance, exploring the idea of a philosophy from the arts. It is crucial reading material for those interested in the hierarchy of the relationship between philosophy and the arts, advancing debates on philosophical method, and the relation between Performance and Philosophy more broadly. (shrink)

Performance philosophy commences with an impertinent gesture when it describes itself as inaugurating a ‘new field’ of study. Accompanying that claim is a radical proposition that ‘performance thinks’; that it should be counted as a form of philosophising in its own right. But in what sense can performance be construed as ‘genuinely’ philosophical thought? Taking my cue from Laura Cull’s alignment of performance philosophy with Laruelle’s practice of ‘non philosophy’ – and specifically, with its introduction of ‘democracy’ (...) into the dispositives of ‘standard’ philosophy in order to challenge its transcendental authority over the Real – I argue that performance philosophy might be seen to enact a similar disruption of the ‘dispositives’ of performance theory. This, however, is only partly what is at stake in the fundamental proposition of performance philosophy, and I conclude by suggesting that a more radical proposal lies behind its assertion of a new ‘field’ – one that does not reduce it to an empirical fact, but grasps it as a radical ‘utopian’ hypothesis designed to ‘open up’ the philosophical dimension of performance itself; utopian because what performance offers – seen in this way - is not simply another system of representation but a possible democratic thought of the Real itself. (shrink)

Performance philosophy commences with an impertinent gesture when it describes itself as inaugurating a ‘new field’ of study. Accompanying that claim is a radical proposition that ‘performance thinks’; that it should be counted as a form of philosophising in its own right. But in what sense can performance be construed as ‘genuinely’ philosophical thought? Taking my cue from Laura Cull’s alignment of performance philosophy with Laruelle’s practice of ‘non philosophy’ – and specifically, with its introduction of ‘democracy’ (...) into the dispositives of ‘standard’ philosophy in order to challenge its transcendental authority over the Real – I argue that performance philosophy might be seen to enact a similar disruption of the ‘dispositives’ of performance theory. This, however, is only partly what is at stake in the fundamental proposition of performance philosophy, and I conclude by suggesting that a more radical proposal lies behind its assertion of a new ‘field’ – one that does not reduce it to an empirical fact, but grasps it as a radical ‘utopian’ hypothesis designed to ‘open up’ the philosophical dimension of performance itself; utopian because what performance offers – seen in this way - is not simply another system of representation but a possible democratic thought of the Real itself. (shrink)

Carlo Cellucci has rightly pointed out that contemporary professional academic philosophy has a serious problem of irrelevance. Performance philosophy and public philosophy are two recent attempts to solve that problem and radically transform professional academic philosophy into what I call real philosophy. Nevertheless, performance philosophy and public philosophy have some prima facie problems. My goal in this essay is to make some headway towards solving these two prima facie problems, first, by briefly describing (...) ways of conceptually clarifying and purposively unifying performance philosophy and public philosophy individually; second, by briefly presenting a mediating theoretical and practical framework that could solve the incoherence problem and the two solitudes problem, and also directly and reciprocally connect performance philosophy and public philosophy: a framework I call borderless philosophy; and third and finally, against the backdrop of that mediating framework, in response to a possible objection to my argument, by briefly proposing a way in which performance philosophy, via borderless philosophy, could significantly enrich public philosophy. The upshot is that borderless philosophy, together with performance philosophy and public philosophy, collectively yield a fully adequate solution to the problem of irrelevance. (shrink)

This dialogue was produced by an email exchange, with each email limited to 200 words. The exchange took place between 21 January and 9 June, 2021. No edits were allowed once ‘send’ had been pressed and there was to be no other correspondence between the participants for the duration of the dialogue. The Call for Papers for this special issue of Human Affairs was the starting point and there was no other pre-planning.

This article draws from François Laruelle's non-standard philosophy to locate gestures of philosophical "authority"or 'sufficiency"within recent work in the philosophy of theatre –including material from contemporary Anglo-American philosophical aesthetics, and texts by Alain Badiou, such as In Praise of Theatre(2015). Whilst Badiou initially appears magnanimous in relation to theatre's own thinking -famously describing theatre as "an event of thought" that "directly produces ideas"(Badiou 2005: 72) -I argue that this very benevolence, from a Laruellean perspective, constitutes another form of (...) philosophical authoritarianism. In contrast, I indicate some affinities between Laruelle's non-standard aesthetics and the emerging field of Performance Philosophy -one aim of which, as distinct from the philosophy of theatre, would be to allow performance to qualitatively extend our concepts of thinking and/or to be attentive to the ways in which performance has already provided new forms of philosophy. (shrink)

In my short manifesto I consider the interrelation of the emergence of performance philosophy and the simultaneous emergence of practice-based or artistic research in the humanities and the higher education in arts. The need for performing artists to have recourse to philosophical discourse is motivated by an attempt to establish their new political and academic role as artist-researchers, as well as to understand the nature and the significance of the knowledge they produce. Performance philosophy opens up a new (...) academic practice in which performance, performance makers and performers can make contact with philosophical thinking without the advocacy of intermediary disciplines and in equal dialogue with them, learn to think in their own terms, and become understood by others. It builds upon a collective attempt to give an answer to what performing arts and artists can do in an age where ‘performance’ has become a denominator of global capitalism. (shrink)

_Performativity, Politics and Education: From Policy to Philosophy_ provides a critique of educational policies and practices underpinned by the logic of performativity and offers an alternative approach grounded in a philosophy of hope, a valuing of collegiality over competition, and an ongoing commitment to intellectual dialogue.

This book provides an accessible yet sophisticated introduction to the significant philosophical issues concerning the performing arts.

This chapter contains section titled: Introduction A Little Ontology A Little More Ontology Early Experiences of Literature Reading to Yourself Not Moving Your Lips Other People's Mail A Theory of Language Productions in the Mind The Effect of Words A Musical Interlude Telling Stories Predecessors The Ion Within The Eloquence of Silence Radio Plays Silent Interpretation The Critic's Role Readings as Art The Transparency of the Reading Performance Read it again, Sam Silent Soundings and Silent Performances The Other Ion Literature (...) and Truth The Banality of Literary Truth Gaps and the Afterlife Another Take on the Gaps Doubts Semantic Quibbles Unuttered Conversation And for those without Voices Sight and Sound Parsimony More Parsimony? Reading as Act. (shrink)

Sartre's Les Mots has given rise to widely divergent competing readings in the philosophical literature, which tend to view it either as a simple continuation of his earlier, radical libertarianism, or as part of an alleged wholesale renunciation of the position we find in his early texts. I argue that most of these readings ignore the very real tensions in Words between the freedom of consciousness and the weight of circumstances. I further argue that Les Mots is a performative (...) text whose double writing (originally composed 1954-1957; rewritten 1963) demonstrates for us that, whereas we cannot simply renounce our past and the original meanings mediated to us in childhood through our families, we do have the power to take it up in ways that skew those meanings in somewhat different directions. No matter what we do, however, the blurred outlines of those original meanings will always remain. (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)

The notion of the 'philosophy of x', which has recently tended to become part of many subjects, from music to management, tends to obscure a range of important issues. The idea behind it seems to be that, by designating one's reflections on a subject as the ‘philosophy’ of whatever it is one is reflecting about, one achieves some kind of higher insight. Such an approach arguably grants too much to a subject whose main manifestation is actually endless disagreement (...) on fundamental issues. In the light of this less flattering view of philosophy I want to suggest that we may sometimes achieve more by thinking of some of our practices, particularly in the aesthetic domain, as manifestations of what philosophy might become, rather than just thinking of those practices as objects of philosophical analysis. (shrink)

The emergence of new platforms for public communication, public deliberation, and public action presents new possibilities for forming, organizing, and mobilizing public bodies, which invite philosophical reflection concerning the standards we currently look to for coordinating public movements and for evaluating their effects. Developing a broad understanding of public philosophy, this article begins with the view of philosophy and intellectual freedom articulated in Kant's publicly oriented writings. We then focus on the power of philosophical discourse to form and (...) further articulate public bodies. Drawing on Dewey's work, we discuss the role of philosophical discourse in the articulation of publics into self-regulated, sovereign entities. We conclude with an account of how publishing itself might come to play an important role in the practice of public philosophy in a digital age. (shrink)

Do philosophic views affect job performance? The authors found that possessing a belief in free will predicted better career attitudes and actual job performance. The effect of free will beliefs on job performance indicators were over and above well-established predictors such as conscientiousness, locus of control, and Protestant work ethic. In Study 1, stronger belief in free will corresponded to more positive attitudes about expected career success. In Study 2, job performance was evaluated objectively and independently by a supervisor. Results (...) indicated that employees who espoused free will beliefs were given better work performance evaluations than those who disbelieve in free will, presumably because belief in free will facilitates exerting control over one’s actions. (shrink)

_The Performance of Reading_ argues that there are distinct analogies between "silent" reading and artistic performance, and so fashions the new role of the reader as performer. An original and insightful exploration of the act of reading by the leading scholar in the field. Discusses the history of reading and the transitions from reading aloud to reading silently, and the changing role of literature as communal, active experience to a more private endeavor.

_The Performance of Reading_ argues that there are distinct analogies between "silent" reading and artistic performance, and so fashions the new role of the reader as performer. An original and insightful exploration of the act of reading by the leading scholar in the field. Discusses the history of reading and the transitions from reading aloud to reading silently, and the changing role of literature as communal, active experience to a more private endeavor.

In this paper I distinguish between illustrative and performative uses of artworks in the teaching and communication of philosophy, drawing examples from the history of art and my own practice. The former are where works are used merely to illustrate and communicate a philosophical idea or argument, the latter are where the artist or teacher philosophizes through the creation of art. I hope to promote future collaboration between philosophers, art historians and artists, with artworks becoming catalysts for artistic-philosophical (...) investigation, thus revitalizing the idea of universities embodying ongoing and open-ended conversations. (shrink)

Philosophy is not a theory but an activity. My interest in aesthetic philosophy and performance theory has offered me the opportunity to engage with the recent work of political philosopher Charles Taylor and performance theorist Jill Dolan.2 As I read these studies, I see interesting and potentially useful contributions to be drawn from their philosophical investigations toward the beginning moments of a new philosophy of drama education that is rooted in the collective creation of socially imagined (...) class='Hi'>performative utopias. It is through this process that I arrive at the understanding that the very nature of the dramatic education process embodies and defines socially committed moral values of active and.. (shrink)

This is an examination of the criteria for identifying, evaluating, and appreciating art forms that require performance for their full realization. Unlike his contemporaries, Paul Thom concentrates on an analytical approach to evaluating music, drama, and dance. Separating performance art into its various elements enables Thom to study its nature and determine essential features and their relationships. Throughout the book, he debates traditional thought in numerous areas of the performing arts. He argues, for example, against the invisibility of the performer (...) - "the vehicle of representation in performance" - then critiques Diderot's Paradox of Performance, calling it "the most extreme formulation of the traditional valorization," and declaring that such thinking must be abandoned. Developing several lines of reasoning regarding music, Thom considers questions of incompleteness and authenticity in relation to the score, the score's function, and the sense in which musical performances are interpreted, or are open to interpretation. It is this audience interpretation that is the final ingredient in the blending and interrelating of the performers, the performance, and the audience. Thom discusses the impact of music, drama, and dance performances on audiences, and evaluates their expectations, reception, and interpretations. He contends that audiences play an active role as interpreters, without becoming performers themselves. Author note: Paul Thom is head of the Philosophy Department, The Faculties, Australian National University. (shrink)

_Shusterman’s Somaesthetics_ is a wide-ranging collection of penetrating essays by twelve scholars examining in rich detail the many dimensions of philosopher Richard Shusterman’s pragmatism and somaesthetics, complemented by his own chapter of responses to these scholars.

This paper attempts to formulate specific criteria for measuring competence and progress in philosophy, specifically in children. In detailing these criteria, previous evaluation criteria for philosophical thinking in children are described and three main tendencies of philosophical thinking are identified: those involving analytical and reasoning qualities, those dealing with ambiguities or borderline explorations, and those stressing contact with real life experience. Finally, the authors address problems relating to the recognition of these qualities and catalogue seven groups of indicators that (...) help to identify (or exclude) them. (shrink)

'Thinking Through Dance' explores important philosophical questions raised in and by dance. Its themes include the embodiment and personhood of dancers; issues of dance work ontology and performance identity; how dance is perceived and understood; the relevance of philosophy to dance as an artform; and whether dance itself, or its associated practices, are themselves philosophical in any significant sense. Individual essays draw on different philosophical traditions, including analytic, phenomenological and poststructuralist, and the primary focus is on theatre dance in (...) the Western tradition, although the issues discussed have a much broader sweep. The volume poses fundamental questions about what it means to be or witness a dancer moving, about the nature of choreography, dance works and performances, and about the interest and value of a dialogue between philosophy and dance. The philosophy of dance is a burgeoning field of enquiry and this volume seeks to represent something of the breadth of international research currently underway. It draws together contributors who are professional philosophers, dance scholars and dance practitioners, from Britain, continental Europe, the USA and South Africa. As the first anthology of essays about philosophy and dance to be published in English for some time, the aim is to provoke debate and develop the existing reflection on dance, but in new and invigorating directions. The Editors: The editors are colleagues at University of Roehampton, London: Jenny Bunker teaches aesthetics on the philosophy programme of the Department of Humanities; Anna Pakes and Bonnie Rowell are from the Department of Dance, and have a longstanding interest in the application of analytic philosophy to dance, as well as the intersections between this and other philosophical traditions and dance studies. (shrink)

This article consists of five poems and an introductory essay. The poems are intended on the one hand to make a case for the currently underrated virtues of poetic formalism, i.e., for the revival of rhyme and meter as aspects of poetic practice. On the other they argue for a distinctly philosophical mode of poetry that embraces the values of conceptual or rational discourse as against a romantic-modernist conception premised on the intrinsic superiority of lyric, metaphor, symbol, analogy, and suchlike (...) touchstone values. These issues are laid out programmatically in the opening essay and developed in a more performative as well as formal way in the five poems. (shrink)

-/- Carefully considering the difference in the philosophical potential of page poetry and performance poetry, Karen Simecek argues that it is only by considering them side by side that the unique cognitive value of each can be realised. -/- Focusing on spoken word poetry reveals the importance of voice and embodied words to the differing epistemic rewards of engaging with contemporary works of poetry in both private reading and live performance. This concept of embodied voice progresses a new line of (...) thinking in the cognitivism debate and unlocks the philosophical value of engaging with poetry. Simecek's discussion of performed poetry also advances discussions of affect and experience in contemporary analytic aesthetics which raise new insights and connections within the field. -/- The moral significance of the differing effects of poetry finds comprehensive articulation through a rich philosophical analysis of the thoughts and affects which arise in particular contexts. Simecek concludes that when page poetry is treated as paradigmatic, this enables reflection in the singular, whereas taking poetry in live performance as paradigmatic enables reflection on what is shared and shareable with others. (shrink)

The first thought that comes to mind when reading Richard Shusterman’s The Adventures of the Man in Gold is how refreshingly unorthodox its author is. Shusterman is a respected aesthetician, responsible for books such as Surface and Depth: Dialectics of Criticism and Culture, Body Consciousness: A Philosophy of Mindfulness and Somaesthetics, and Pragmatist Aesthetic: Living Beauty, Rethinking Art —all disciplined, carefully argued contributions to the philosophy of art and/or the body. The new book steps off path. It presents (...) a different kind of philosophical intervention, one that encourages reconsidering philosophical methodology and its less-explored possibilities. You will be reading a work... (shrink)

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)

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