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 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.

This paper defends Musical Stage Theory as a novel account of the ontology of musical works. Its main claim is that a musical work is a performance. The significance of this argument is twofold. First, it demonstrates the availability of an alternative, and ontologically tenable, view to well-established positions in the current debate on musical metaphysics. Second, it shows how the revisionary approach of Musical Stage Theory actually provides a better account of the ontological status of musical works.

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)

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)

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)

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)

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)

Until now post-structuralism is widely regarded as an opposite to phenomenology. This is also true for the relation of Butler’s post-structuralism and Merleau-Ponty’s phenomenology. The aim of this paper is to show how close they are to each other. For this purpose, I will focus on Butler’s poststructuralist theory of performativity to confront it with Merleau-Ponty’s phenomenological theory of expression. While Butler accuses theories of expression of being essentialist, I argue that Merleau-Ponty’s theory of experience resists such (...) a criticism. “Expressivity” and “performativity”, and thus phenomenology and post-structuralism, are not opposites but partners in the search for an anti-essentialist concept. (shrink)

Judith Butler’s idea of gender as performative (introduced in Gender Trouble and now a commonplace in feminist theory) is brought into dialogue with feminist performance art (exemplified by Valie Export, the Austrian media- and performance-artist). Butler’s claim that gender is performative and that it can be changed only through a parodic repetition of performative acts is revisited through the lens of Export’s subversive performance pieces. This “interaction” between theory and art practice shall highlight the political (...) potential of Butler’s work and serve to expand her notion of parody as it pertains more directly to women and the female body. (shrink)

"Crease’s brilliantly exploited theatrical analogy places scientific theorizing back into the wider context of experimental inquiry." —Robert C. Scharff Crease attacks the "mystical" account of experimentation embraced by the positivist and Kantian varieties of philosophy of science, according to which experimentation takes a backseat to theory.

Although Judith Butler’s theory of the performativity of gender has been highly influential in feminist theory, queer theory, cultural studies, and some areas of philosophy, it has yet to receive its due from critical social theorists. This oversight is especially problematic given the crucial insights into the study of power – a central concept for critical social theory – that can be gleaned from Butler’s work. Her analysis is somewhat unique among discussions of power in its (...) attempt to theorize simultaneously both the features of cultural domination in contemporary societies and the possibilities of resistance to and subversion of such domination. Although I will maintain here that this attempt is not entirely successful, I nevertheless argue that Butler’s account makes crucial contributions to a feminist critical theory of power; as a result, it merits much more serious attention from critical theorists. (shrink)

The Topos of Music is the upgraded and vastly deepened English extension of the seminal German Geometrie der Töne. It reflects the dramatic progress of mathematical music theory and its operationalization by information technology since the publication of Geometrie der Töne in 1990. The conceptual basis has been vastly generalized to topos-theoretic foundations, including a corresponding thoroughly geometric musical logic. The theoretical models and results now include topologies for rhythm, melody, and harmony, as well as a classification theory (...) of musical objects that comprises the topos-theoretic concept framework. Classification also implies techniques of algebraic moduli theory. The classical models of modulation and counterpoint have been extended to exotic scales and counterpoint interval dichotomies. The probably most exciting new field of research deals with musical performance and its implementation on advanced object-oriented software environments. This subject not only uses extensively the existing mathematical music theory, it also opens the language to differential equations and tools of differential geometry, such as Lie derivatives. Mathematical performance theory is the key to inverse performance theory, an advanced new research field which deals with the calculation of varieties of parameters which give rise to a determined performance. This field uses techniques of algebraic geometry and statistics, approaches which have already produced significant results in the understanding of highest-ranked human performances. The book's formal language and models are currently being used by leading researchers in Europe and Northern America and have become a foundation of music software design. This is also testified by the book's nineteen collaborators and the included CD-ROM containing software and music examples. (shrink)

Concerns over conflicts of interest in academic research and medical practice continue to provoke a great deal of discussion. What is most obvious in this discourse is that when COIs are declared, or perceived to exist in others, there is a focus on both the descriptive question of whether there is a COI and, subsequently, the normative question of whether it is good, bad or neutral. We contend, however, that in addition to the descriptive and normative, COI declarations and accusations (...) can be understood as performatives. In this article, we apply J.L. Austin’s performative speech-act theory to COI discourses and illustrate how this works using a contemporary case study of COI in biomedical publishing. We argue that using Austin’s theory of performative speech-acts serves to highlight the social arrangements and role of authorities in COI discourse and so provides a rich framework to examine declarations, accusations and judgements of COI that often arise in the context of biomedical research and practice. (shrink)

Biswas's book is a panoramic treatment of contemporary world theatre. The book under review will help both the neophyte, as also a scholar to negotiate ancient dramaturgy and more recent theatre. Biswas's eye for details is also remarked in this review. The review shows how Biswas, as it were, has written a manifesto of protest in this book.

This paper explores the relationship between Kierkegaard's theory of “indirect communication,” his employment of that method in the pseudonymous literature, and his explicit comments on the Teacher in Philosophical Fragments. My interest is principally in a pedagogical method able to serve as a solution to the problem of will formation, and so my assessment of Kierkegaard's theory and performance is essentially ethical in nature. I argue that there is at least an ambiguity, if not a contradiction, to be (...) found in the above relationship and that as a result, in its current form, Kierkegaardean pedagogical devices do not appear to be able to offer an adequate solution. (shrink)

This chapter contains section titled: Performance as Art Performed Works and Work‐Performances Work‐Performances and Performance‐Works Performance‐Works and Improvisation.

Controversy arose when a humanoid robot named “Sophia” was given citizenship and did performances all over the world. Why should some robots gain citizenship? Going beyond recent discussions in robot ethics and human–robot interaction, and drawing on phenomenological approaches to political philosophy, actor-network theory, and performance-oriented philosophy of technology, we propose to interpret and discuss the world tour of Sophia as a political choreography: we argue that the media performances of the Sophia robot were politically choreographed to advance economic (...) interests. Using a phenomenological approach and attending to the performance and movement of robots and illustrating our discussion with media material of the Sophia performance, we explore the mechanisms through which the media spectacle and robotic performance advanced the economic interests of technology industries and their governmental promotors. (shrink)

This paper argues that the notion of value has been overly simplified and narrowed to focus on economic returns. Stakeholder theory provides an appropriate lens for considering a more complex perspective of the value that stakeholders seek as well as new ways to measure it. We develop a four-factor perspective for defining value that includes, but extends beyond, the economic value stakeholders seek. To highlight its distinctiveness, we compare this perspective to three other popular performance perspectives. Recommendations are made (...) regarding performance measurement for both academic researchers and practitioners. The stakeholder perspective on value offered in this paper draws attention to those factors that are most closely associated with building more value for stakeholders, and in so doing, allows academics to better measure it and enhances managerial ability to create it. (shrink)

For successful project outcomes to organizations and clients alike, project managers need to make ethical decisions and yet balance the interests of all stakeholders involved. Hence, honest communication among project stakeholders is essential as a countermeasure to this paradox. Honesty is one of the core ethical values propagated by the Project Management Institute, USA. Our study aimed to gain an endogenous perspective on honesty vis-à-vis its reification by PMI in its effect on software project performance. Empirical data were collected through (...) in-depth interviews from 83 Indian PMs in one of the prominent Indian software consulting organizations. Grounded theory was utilized to analyze the data obtained. Our results validate the importance of honesty on software project performance, the need for trust among stakeholders in maintaining honesty, importance of Indian culture in understanding honesty and ensuing ethical challenges faced by PMs. Our results bear implications to extant research on honesty in projects with specific reference to the Indian software context. They are important for PMI professionals as they provide a culture-specific perspective to honesty and the scope for ideation on how to inculcate and sustain honesty in project management in India. (shrink)

According to Gilbert Ryle, improvisation is a basic feature of ordinary action. In this paper, we take this idea seriously. Action is improvisation, in that it is situated: It is shaped by attentive responses to environmental circumstances. This is a crucial aspect of agency. However, it is neglected by causal theories of action (Bratman; Mele) and only partially addressed by Thompson’s process-oriented theory. By resorting to Kant’s theory of judgment, we argue for understanding action performance in terms of (...) improvisational shaping of action in situ. The focus on improvisation points to a situated kind of practical rationality entailing the reciprocal shaping of intention and action instead of the ordinary instrumental kind of rationality of action as unidirectionally determined by intention. (shrink)

The central theme of this book is the relationship between the reflections about and the realization of a musical composition. In his essay "Words about Music, or Analysis versus Performance," Nicholas Cook states that words and music can never be aligned exactly with one another. He embarks on a quest for models of the relationship between analytical conception and performance that are more challenging than those in general currency. Peter Johnson's essay, "Performance and the Listening Experience: Bach's 'Erbarme dich'" shows (...) that a performance is an element within the intentionality of the work itself. He looks for scientific methods capable of proving the artisticity of a performance. And the composer Hans Zender, in his "A Road Map for Orpheus?," states that a composer must be capable of questioning obvious basic principles (such as equal temperament) and finding creative solutions. (shrink)

This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both in art (...) and in life), but it does suggest that we might use his theory of ethical practice in conjunction with his theory of art as experience in order to create a more robust and unified Deweyan theory of what the performing artist does. (shrink)

Contemporary work-related education and training policy represents occupational competence as the outcome of individual performance at work. This paper presents a critique of this neo-liberal assumption, arguing that in many cases competence should be regarded as an attribute of groups, teams and communities. It proposes a theory of collective competence in terms of (1) making collective sense of events in the workplace, (2) developing and using a collective knowledge base and (3) developing a sense of interdependency. It suggests that (...) the language of competence would become a more effective tool for understanding performance at work if the collectivistic sense of the term 'competence' were used in conjunction with the more established individualistic sense. (shrink)

비디오게임에 관한 논의는 비디오 게임의 영향(중독, 폭력), 혹은 비디오게임을 규정하는 규칙이 무엇인지의 질문에 국한 돼있다. 문제는 이에 따라, 놀이행위(gamic action) 그 자체에 대한 질문은 등한시되고 있다는 점이다. 좀 더 자세히 말하자면, 비디오게임을 하는 것(playing video games)이 어떤 특정한 행위 유형에 속하는지에 대한 물음은 간과되고 있다. 본고의 철학적 반성은 이러한 연구의 맹점을 보완하는 것을 시도한다. 여기서 비디오게임을 하는 것이 특히 ‘수행성’(performativity)과 ‘시각성’(visuality)의 관점에서 더 명료하게 개념화해야한다고 주장될 것이다. 어느정도까지 놀이활동에 대한 철학적-개념적 규명이 특수한 난점을 갖고 있는지에 대한 간략한 역사적-체계적 논의 후에, (...) 비디오 게임을 하는 것이 어떤 특정한 행위의 의미를 갖는지에 대한 논의가 뒤따를 것이다. 여기서 놀이행위가 ‘관찰-수행적 행위’라는 용어 아래서 개념적 특성이 분석되는, 주체-이론적으로 복합적 행위로서 설명될 것이다. 그리고 주체의 구성과 경험에 놀이행위가 결정적 역할을 수행할 수 있다는 가능성에 대한 전망을 제시하는 것으로 본 연구를 마무리한다. (shrink)

Mata and von Helversen's integrative review of adult age differences in search performance makes a good case that cognitive control may impact certain aspects of self-regulation of search. However, information foraging as a framework also offers an avenue to consider how adults of different ages adapt to age-related changes in cognition, such as in cognitive control.

It is a common complaint against moral philosophers that their abstract theorising bears little relation to the practical problems of everyday life. Professor Braithwaite believes that this criticism need not be inevitable. With the help of the Theory of Games he shows how arbitration is possible between two neighbours, a jazz trumpeter and a classical pianist, whose performances are a source of mutual discord. The solution of the problem in the lecture is geometrical, and is based on the formal (...) analogy between the logic of the situation and the geometry of a parabola. But an appendix provides the alternative algebraic treatment of a general two-person collaboration situation. (shrink)

In this article, we empirically assess the impact of corporate ethical identity (CEI) on a firm's financial performance. Drawing on formulations of normative and instrumental stakeholder theory, we argue that firms with a strong ethical identity achieve a greater degree of stakeholder satisfaction (SS), which, in turn, positively influences a firm's financial performance. We analyze two dimensions of the CEI of firms: corporate revealed ethics and corporate applied ethics. Our results indicate that revealed ethics has informational worth and enhances (...) shareholder value, whereas applied ethics has a positive impact through the improvement of SS. However, revealed ethics by itself (i.e. decoupled from ethical initiatives) is not sufficient to boost economic performance. (shrink)

In this article, a poetical and performative narrative is shared to examine how the use of stories to critically self‐reflect on oppression facilitates an understanding of critical social theory in nursing education and impacts social justice. A fusion of prose with a poetical narrative is employed; the latter is reserved to capture the immediacy of personal, emotive, and embodied storied experiences. This deeply intimate and dialogical story begins with a pedagogical experiment created to facilitate nursing students' understanding of (...) critical social theory. Drawing upon Paulo Freire's work, the nursing teacher in a professional development course attempted to deconstruct power relations and cultivate an open and safe learning environment by sharing a poem that depicts her oppression. Students then anonymously wrote a word/statement about their oppression. The teacher created a composite poem from students' words and shared it with the class; it was a powerful moment that highlighted their shared humanity. As a way to further explore stories and consider how to preserve these words, a small group of students and the teacher formed the ‘the oppression group’. Towards the end, we conclude an unfinished story by realizing that the chains of oppression are loosening and humanity is surfacing. There is still a camouflaging of an authentic self. There are still stories to be told. The group is not yet certain if a social representation of an authentic self is possible and if all stories can be told. It has become apparent that the personal can play out in social justice as enacted in the classroom between teacher and students and provides an entry point into the development of the capacity to be social agents in nursing. The group simultaneously concludes the story with both an ending and a threshold of social justice. (shrink)

Having the ambition to contribute to the practical value of the theory on corporate social performance (CSP), this paper approaches the question whether CSP can contribute to the competitive advantage of firms. We adopted an explorative case-study methodology to explore the variety of positive and negative effects of CSP on the competitiveness of organizations. As this study aimed at identifying as great variety of these effects as possible, we selected a diversified group of respondents. Data was thus collected through (...) embedded units of analysis in a petrochemical company, and triangulated with the opinions of experts on CSP. Overall, we found various positive and negative effects of CSP on the competitiveness of organizations. CSP is therefore not an innocent adventure for executives, but rather a strategy for achieving corporate objectives. If not carefully implemented, the CSP strategy may harm the competitive advantage of the firm, as our results have suggested. (shrink)

There is a widespread view that well-learned skills are automated, and that attention to the performance of these skills is damaging because it disrupts the automatic processes involved in their execution. This idea serves as the basis for an account of choking in high pressure situations. On this view, choking is the result of self-focused attention induced by anxiety. Recent research in sports psychology has produced a significant body of experimental evidence widely interpreted as supporting this account of choking in (...) certain kinds of complex sensorimotor skills. We argue against this interpretation, pointing to problems with both the empirical evidence and the underlying theory. The experimental research fails to provide direct support for the central claims of the self-focus approach, contains inconsistencies, and suffers from problems of ecological validity. In addition, qualitative studies of choking have yielded contrary results. We further argue that in their current forms the self-focus and rival distraction approaches both lack the theoretical resources to provide a good theory of choking, and we argue for an expanded approach. Some of the elements that should be in an expanded approach include accounts of the features of pressure situations that influence the psychological response, the processes of situation appraisal, and the ways that attentional control can be overwhelmed, leading to distraction in some cases, and in others, perhaps, to damaging attention to skill execution. We also suggest that choking may sometimes involve performance-impairing mechanisms other than distraction or self-focus. (shrink)

Politics as Radical Creation examines the meaning of democratic practice through the critical social theory of the Frankfurt School. It provides an understanding of democratic politics as a potentially performative good-in-itself, undertaken not just to the extent that it seeks to achieve a certain extrinsic goal, but also in that it functions as a medium for the expression of creative human impulses. Christopher Holman develops this potential model through a critical examination of the political philosophies of Herbert Marcuse (...) and Hannah Arendt. (shrink)

This article describes the short but remarkable sociopolitical life of the Russian rock group Pussy Riot. The group became famous in 2012 not only for the political content of its performances but for its transgressive performativity: its violation of established public settings and its creation of disturbing anti-authoritarianism images of today’s official Russia. The analysis aims to establish Pussy Riot as part of an avant-garde movement and as a radicalization of the very idea of the avant-garde against the familiarity of (...) the public aspect of everyday life. Public ‘normalcy’ reveals itself to be complicit in that what should be criticized is instead taken for granted, and legitimized. Pussy Riot is a new art avant-garde in terms of both how it relates to activism, social justice, feminism, and art, and to the general public, not only to the art world. (shrink)

The relationship between academic freedom and freedom of speech features prominently in public and political discussions concerning the role of universities in Western liberal democracies. Recently, these debates have attracted increased attention, owing in part to media framing of a ‘free speech crisis’, especially in UK and US universities. One type of response is to regulate academic expression through legislation, such as the UK’s 2023 Higher Education (Freedom of Speech) Act. This article offers a critical analysis of the assumptions concerning (...) the performativity of speech in this kind of legal intervention. It extends Judith Butler’s discussion of the concept of ‘harmful speech’ as reported by Butler (Excitable speech: a politics of the performative, Routledge Classics, London, 1997) to conceptualize speech-acts as performative not only when it comes to populations, but also when it comes to institutions. Reconceptualizing universities as producing as well as being constituted by speech-acts, the article argues that the effects of free speech legislation need to be considered in the context of the transformation of universities and other political actors (including governments and student unions) in the second half of the twentieth and the beginning of the twenty-first century. It argues that legal enforcement of free speech at universities further obscures the distinction between negative and positive liberties identified by Isaiah Berlin (Two Concepts of Liberty, Oxford University Press, Oxford, 1958), and considers this shift as part of the reconfiguration of political ontology in late modernity. (shrink)

Husserl’s notion of “sense” has often been interpreted through a Fregean lens. I will show that Husserl saw it as an acquaintance with the background or horizon of perceptual objects. He understands reason (Vernunft) as prescribing rules for performance with regard to perceptual objects. Thus Husserl’s view has a wider scope of experience than Kant’s sense of it as a pre-reflective acquaintance with one’s environment. After Ideas I Husserl develops these notions as part of his theory of the intersubjective (...) world. Heidegger takes over the insights of Husserl and brings out the performative turn inherent in phenomenology by critiquing Husserl’s orientation to theoretical perceptual experience. The reference of performative expressions is not determined by the contents but by performance. What is disclosed in the phenomenological notion of sense is the background against which human existence is to be understood. (shrink)

Despite the fact that US presidential candidates commonly position themselves as Washington outsiders, this broadly populist positioning has thus far been significantly undertheorized. On the one hand, scholars of political representation have explored how politicians connect with political audiences; on the other, populism research has focused on the construction, mainstreaming and appeal of populist performances. A detailed theorization of the paradoxical performative operation by which self-styled political outsiders come to be more effective in connecting with political audiences than accomplished (...) politicians has yet to be undertaken. This article explores the performativity of outsider positioning, paying particular attention to its effect on perceptions of legitimacy. The article investigates legitimacy as a complex and paradoxical performative phenomenon that involves multiple competing sources of agency. The case is made that, by discouraging the perception of the political system as a unified whole, populist-style performances by mainstream politicians undermine institutional legitimacy. In a way that is at odds at odds with the cooperative demands inherent in the US federal government, these performances encourage the perception that the self-styled outsider is engaged in a strictly competitive zero-sum game with the institutional structure and its representatives. (shrink)

There is a widespread view that well-learned skills are automated, and that attention to the performance of these skills is damaging because it disrupts the automatic processes involved in their execution. This idea serves as the basis for an account of choking in high pressure situations. On this view, choking is the result of self-focused attention induced by anxiety. Recent research in sports psychology has produced a significant body of experimental evidence widely interpreted as supporting this account of choking in (...) certain kinds of complex sensorimotor skills. We argue against this interpretation, pointing to problems with both the empirical evidence and the underlying theory. The experimental research fails to provide direct support for the central claims of the self-focus approach, contains inconsistencies, and suffers from problems of ecological validity. In addition, qualitative studies of choking have yielded contrary results. We further argue that in their current forms the self-focus and rival distraction approaches both lack the theoretical resources to provide a good theory of choking, and we argue for an expanded approach. Some of the elements that should be in an expanded approach include accounts of the features of pressure situations that influence the psychological response, the processes of situation appraisal, and the ways that attentional control can be overwhelmed, leading to distraction in some cases, and in others, perhaps, to damaging attention to skill execution. We also suggest that choking may sometimes involve performance-impairing mechanisms other than distraction or self-focus. (shrink)

This article examines the work of the Australian performance artist, Stelarc, in terms of philosophies of mind and body. It argues that Stelarc's work can profitably be seen as a kind of performative `research' into the body; Stelarc's actions take the form of a hypothetical or speculative ontology which does not operate in order to represent possibility but to enact possibilities in real time and space. His work is compared with and shown to have some resonances with recent cybernetic (...) and systems theories of cognition, in which cognition is figured as a form of `enaction'. This being so, Stelarc's performances suggest an exemplary mode in which `hypotheses' about alternative corporeal existences may be creatively entertained. (shrink)

In this article, the concept of competence is studied from the point of view of the semiotics of education. It will be claimed that it is a central key concept when we are trying to analyse the meaning of education. Educational action can be reasonably understood as an insecure and complicatedly mediated trial to affect another person's competence. First, the recent discussion about the concept of competence and its relatives is shortly reviewed. Then, competence is analysed and defined according to (...) Greimassian semiotic theory as a basic determining character of an acting subject. At the same time as competence is indispensably central for understanding the subjects of action, it is problematically empirically ineffable. This ineffability has a special meaning in education, where we must try to both plan our own educative action and evaluate the learning of the student according to these invisible features. It is proposed that in the recent discourse of education, the very popular use of the concept of competence is misguided and problematically mixed with its conceptual counterpart performance. From this viewpoint, the concept of competence should rather be connected to the ontological concept of disposition. The problem of multi-dimensionality of competence is considered with the help of the Greimassian conception of modalities to create a richer and more detailed picture of the role of competence in action, and especially in education. (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)

In a historiographical and methodological comparison of Formal Aesthetics and Iconology with the method of Affordance, the latter is to be introduced as a new method in Visual Cultural Studies. In extension ofepistemologically relevant aspects relatedtostyle and history of the artefacts, communicative and furthermoreaction and decisionrelevant aspects of artefacts become important. In this respect, it is the share of artefacts in life that the new method aims to uncover. The basis for this concern is the theory and methodological tools (...) of Visual Semiotics, which I have already presented. A direct comparison of the three methods based on the same example should clarify the points of contact and the respective performance of the methods. For this purpose, theChrist among the Doctorsof Albrecht Dürer from 1506 will be used, which was already examined in 1905 and indirectly in 1915 by the prominent representative of Formal Aesthetics Heinrich Wölfflin,and in 1914 and finally in1943by the founder of Iconology Erwin Panofsky. With the new method thecommunicative-actionand decision relevant aspects and thus their share in life should be shown. (shrink)

Helmut Plesner’s philosophical anthropology introduces not only the division of the world of the living being into self and environment, but also a superstructure over the zip distribution: eccentric positionality. This reflexive ability of the self to relate to itself allows the formation of personal-relative, i.e., social life. The aim of the article is: to trace the possibilities of methodological renewal of sociotheoretical discourse, which opens for him the principle of eccentric positionality.The study uses historical-comparative and logical-analytical methods. Research results. (...) H. Plesner in the idea of eccentric positionality unfolds the perspective and possible practical consequences of the establishment of human openness in the world, not stopping at the danger of finally breaking the anthropological framework of his philosophy, dissolving it in the concept of personal socialization.Conclusion. Plesner’s «social» is presented as a life phenomenon – it is the highest manifestation of life, and the process of personalization of life manifestations is a process of socialization. Taking the self beyond oneself in eccentric positionality is something more than separating oneself from the environment, opposing oneself to it and establishing an attitude towards it. In the course of establishing the relation to oneself, the self does not form it automatically – the positioning of eccentricity cannot be carried out directly – which enables a special space favorable for the «inter-self» existence of living beings, a specific sphere of «inter-self» relations – the sphere of social existence. (shrink)

In the age of the `return to the empirical' in which the theoretical disputes of an earlier era seem to have fallen silent, we seek to excavate the intellectual conditions for reviving theoretical debate, for it is upon this recovery that deeper understanding of the nature and purpose of empirical social science depends. We argue against the all too frequent turn to ontology, whereby critical realists have sought an epistemological guarantor of sociological validity. We seek, to the contrary, to crystallize (...) a culturally-based, hermeneutic account of a rational social science. Derived from disputes within the sociology of culture, on the one hand, and the long-standing concerns of interpretive philosophy, on the other, we offer a cultural-sociological approach to epistemology. We view the production of truth in social science as a reading of a meaningful social world, and as a performance of truth-claims that is constrained by evidence, but whose success depends on other contextual factors. We conclude that the rationality of social science can be achieved only by forgoing ontology. Theories are abstractions of investigators' meanings that allow the interpretation of social meanings in turn, whether those are actions, relations, or structures. Successful explanations are those that intertwine these meaning structures of investigators and actors in an effective way. (shrink)