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)

_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)

This essay performs Adorno’s philosophical practice of negative dialectics by attending to two contemporary artworks: Vadim Zakharov’s Adorno Monument and Siah Armajani’s An Exile Dreaming of Saint Adorno. After first developing an understanding of Adorno’s work as a series of etudes capable of enhancing the creative capacity of philosophers in the present, the essay then reveals each artwork’s inherent aporetic tension. Proceeding negatively from each aporia to the environment housing each artwork, the author forges an argument supporting the need for (...) Adorno’s philosophy, especially in situations where the antinomy of art and life opens a space for reflection and critical thought. (shrink)