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)

Twenty-five years after the delivery of political democracy, the Edenic projects of nonracialism and the Rainbow Nation have failed because there was no fuller appreciation of what is meant by ubuntu. The version of ubuntu that was used and applied immediately after 1994 should have focused first on re-empowering the Black social groups. Instead, attempts to rebuild all races and forge social cohesion were made through the defunct Truth and Reconciliation Commission and short-term sporting codes like the 1995 Rugby World (...) Cup, the 1996 Africa Cup of Nations and the 2010 FIFA World Cup. That understanding of ubuntu was a sanitised quick fix that could not undo centuries of dehumanisation, as characterised by apartheid. Ubuntu Beyond Identities presents the true meaning of ubuntu, which has its roots in communitarian societies and their value systems, and redefines it within the premises of lived African experiences. As part of an international benchmark on the viability of local value systems aimed at a fulfilled citizenry, the book compares ubuntu to its counterparts of Jantelagen in Sweden and Confucianism in China. The book emphasises that society is a lived space beyond the monetary capital production and seeks to empower South Africans with conceptual and practical tools to become dignified and fulfilled citizens. It explains the notions of ownership and examines two types: the private, which promotes individual profits aimed at a zero-sum game, and the primordial, which is meant to deliver to the communal table of society for the benefit of an entire nation. (shrink)

A powerful new examination of the performative that asks "what's next?" for this well-worn concept.

Myles Brand offered a provocative defense of Intercollegiate Athletics (IA) by arguing that it is substantively similar to traditional performing arts, such as art or music, and so should be accepted by faculty as a legitimate part of university's educational mission. Randolph Feezell characterized Brand’s analogical argument as ‘sophistic’ and defended the reasonableness of what Brand termed the ‘Standard View’ of athletics whereby it is peripheral to a liberal arts education. I contend that Brand did not bring his persuasive analogical (...) argument to its logical conclusion: IA should contribute to a new, first-of-its kind academic major in Competitive Sport. Feezell’s criticisms of Brand’s analogical argument were unpersuasive, and his conception of a liberal arts education was outdated. As a result, I defend the legitimacy of a Competitive Sport major comparable to a Music Performance major and give a detailed description of its rigorous, liberal-arts based curriculum that integrates faculty and coaching instruction through shared learning objectives and outcomes. I conclude by identifying, and responding to, several practical issues if such a major were to be implemented in a US university. (shrink)

This study examined the relationship between two types of mathematical flexibility – potential flexibility, which indicates individuals’ knowledge of multiple strategies and strategy efficiency, and practical flexibility, which refers to individuals’ flexible performances when solving math problems. Both types of flexibility were assessed in the domain of linear equation solving. Furthermore, two types of beliefs – self-efficacy and use of flexible cognition – were investigated as potential moderators between potential and practical flexibility. 121 8th grade students from China took part (...) in this study. Results indicate that potential flexibility positively predicted practical flexibility. Additionally, self-efficacy and use of flexible cognition might moderate the relationship between these two types of flexibility, suggesting that potential flexibility may lead to different degrees of practical flexibility depending on different levels of beliefs. Implications of these findings for research on mathematical flexibility and for educational practice are discussed. (shrink)

Pedagogy in general is not only ruled by planning, explicit normative framings, and governmental strategies, but its topics, such as the success or the failure of teaching or learning processes or learners’ precarious or promising personality development, are also decisively influenced by unspoken, silent, corporal, spatial, material, barred, or alienated dimensions of pedagogy. Gender as an analytical category encloses these dimensions, as well as being a social category. In this essay, three sets of arguments, referring to implicit or tacit knowing, (...) to bodiliness and corporeality, and to performativity and mimesis will be used to explain the tacit side of gender as a dimension of pedagogy. (shrink)

Before the trains of thought have been firmly laid down, we ask in this article about the very nature and histories of the speculative of the speculative-materialist turn. We do this from the intertwined interfaces of curious feminist materialisms, foregrounding sexual difference, post-positivist critique and posthumanist performativity such as is being done in various strands of feminist theory today. The question of speculation plays a constitutive role in feminist critique and in several new or neo-materialist traditions. In fact, many (...) interesting materialisms—Marxism, French feminism—can be named ‘speculative’. We argue that in spite of what the recent ‘speculative turn’ professes, speculative materialisms have a complex genealogy. Speculation functions transversally in a materialist genealogy -connecting the archive of feminist approaches in particular. In order to be able to imagine a different world we need to think through a stifled and sexually differentiated present from which a qualitative shift and political breakthrough can be formulated, and hopefully achieved. However, in what is currently called ‘speculative realism’ or ‘object-oriented ontologies’ neither speculation nor the speculative are reflected upon as a heritage from and alliance with feminist and politically materialist positions. What are the onto-epistemological stakes of this body of work? And what ethico-political horizons are drawn here? We stand speculative before such turn. (shrink)

Philosophers of history in the past few decades have been predominantly interested in issues of explanation and narrative discourse. Consequently, they have focused consistently and almost exclusively on the historian’s output, thereby ignoring that historical scholarship is a practice of reading, thinking, discussing, and writing, in which successful performance requires active cultivation of certain skills, attitudes, and virtues. This paper, then, suggests a new agenda for philosophy of history. Inspired by a “performative turn” in the history and philosophy (...) of science, it focuses on the historian’s “doings” and proposes to analyze these performances in terms of epistemic virtue. It argues that historical scholarship is embedded in “practices” or “epistemic cultures,” in which knowledge is created and warranted by means of such virtues as honesty, carefulness, accuracy, and balance. These epistemic virtues, however, are not etched in stone: historians may highlight some of them, exchange one for another, or reinterpret their meaning. On the one hand, this suggests a rich area of research for historians of historiography. To what extent can consensus, conflict, continuity, and change in historical scholarship be explained in terms of epistemic virtue? On the other hand, the proposal outlined in this article raises a couple of philosophical questions. For example, on what grounds can historians choose among epistemic virtues? And what concept of the self comes with the notion of virtue? In addressing these questions, philosophy of history may expand its current scope so as to encompass not only “writings” but also “doings,” that is, the virtuous performances historians recognize as professional conduct. (shrink)

This book traces the deployment of intermedial aesthetics in the works of early twentieth-century female performers. By destabilizing medial and genre boundaries, these women created compelling and meaningful performances that negotiated turn-of-the-century American social and cultural issues.

Contemporary ICTs such as speaking machines and computer games tend to create illusions. Is this ethically problematic? Is it deception? And what kind of “reality” do we presuppose when we talk about illusion in this context? Inspired by work on similarities between ICT design and the art of magic and illusion, responding to literature on deception in robot ethics and related fields, and briefly considering the issue in the context of the history of machines, this paper discusses these questions through (...) the lens of stage magic and illusionism, with the aim of reframing the very question of deception. It investigates if we can take a more positive or at least morally neutral view of magic, illusion, and performance, while still being able to understand and criticize the relevant phenomena, and if we can describe and evaluate these phenomena without recourse to the term “deception” at all. This leads the paper into a discussion about metaphysics and into taking a relational and narrative turn. Replying to Tognazzini, the paper identifies and analyses two metaphysical positions: a narrative and performative non-dualist position is articulated in response to what is taken to be a dualist, in particular Platonic, approach to “deception” phenomena. The latter is critically discussed and replaced by a performative and relational approach which avoids a distant “view from nowhere” metaphysics and brings us back to the phenomena and experience in the performance relation. The paper also reflects on the ethical and political implications of the two positions: for the responsibility of ICT designers and users, which are seen as co-responsible magicians or co-performers, and for the responsibility of those who influence the social structures that shape who has power to deceive or to let others perform. (shrink)

Using the Grounded theory, we took 15 Chinese entrepreneurs as the research objects and constructed the entrepreneurial process model of dynamic evolution of entrepreneurial motivation. The model includes seven themes, such as egoist motivation, bottleneck, altruistic motivation, TP/MTP, empathy, responsible leadership, CSR implementation and entrepreneurial performance. Through the analysis of the internal relations between these elements, we abstracts the law of the dynamic evolution process of entrepreneurial motivation of Chinese entrepreneurs, and reveals the mechanism of the dynamic evolution process of (...) entrepreneurial motivation. The theoretical contribution of this paper is mainly reflected in the following two aspects: it enriches and expands the research results in the field of entrepreneurship motivation of Chinese entrepreneurs. From the perspective of entrepreneurial motivation, this study analyzes the dynamic evolution process of Internet entrepreneurs’ entrepreneurial motivation, extracts the rules of entrepreneurial process of dynamic evolution of Internet entrepreneurs, and provides a new path for enriching and expanding the research on Internet entrepreneurs’ entrepreneurial motivation. The study of turning point that enriches and complements the dynamic evolution of entrepreneurs’ entrepreneurial motivation. Using grounded theory, this paper deeply analyzes the reasons for the dynamic evolution of entrepreneurial motivation, and provides empirical evidence for the research on the evolution of localized entrepreneurial motivation in China. (shrink)

I explore how gender can shape the pragmatics of speech. In some circumstances, when a woman deploys standard discursive conventions in order to produce a speech act with a specific performative force, her utterance can turn out, in virtue of its uptake, to have a quite different force—a less empowering force—than it would have if performed by a man. When members of a disadvantaged group face a systematic inability to produce a specific kind of speech act that they (...) are entitled to perform—and in particular when their attempts result in their actually producing a different kind of speech act that further compromises their social position and agency—then they are victims of what I call discursive injustice. I examine three examples of discursive injustice. I contrast my account with Langton and Hornsby's account of illocutionary silencing. I argue that lack of complete control over the performative force of our speech acts is universal, and not a special marker of social disadvantage. However, women and other relatively disempowered speakers are sometimes subject to a distinctive distortion of the path from speaking to uptake, which undercuts their social agency in ways that track and enhance existing social disadvantages. (shrink)

Within the biotech era, art that addresses life issues and brings biological life into the artistic context cannot avoid using biotechnology as the technology that facilitates interventions into living matter. Art not only intervenes in the living matter in laboratories but aims to show and cultivate tissues and various living cultures in the gallery space. Galleries have turned from spaces for showing artifacts into event spaces, performances and workshops. In this context, the idea of growing living entities within the artistic (...) milieu testifies to a performative turn, a shift from representational to performative modes of art. Due to the imperative to perform, art which addresses biotechnology requires the presence of living tissues and other living substances in gallery spaces or spaces meant to show art to the public. The author identifies three sorts of microperformativity carried out by biotechnological art in the sense of managing life at the micro level. The most original of these and specific to art that works with living organisms involves the real-time action of living microorganisms or bioengineered tissues within the artistic context in full public view. For this sort of performativity, the artist induces microorganisms or engineered tissues to perform by themselves for the audience. Tratnik examines the project CellF by Guy Ben Ary as an example of such microperformativity. (shrink)

This book brings together contributions from scholars across the humanities. A wide-ranging exploration of the interface between performance and nature. Examines the use and usefulness of ideas of ‘performance’ for understanding human-nature relationships. Draws on different disciplines and intellectual traditions and on different conceptions of ‘performance’ and ‘nature’. Contributions are rooted in real-world contexts and problems, explored through detailed ethnographic work. Explores domains as diverse as allotments and bioinvasion, fox hunting and green politics. Makes a distinctive contribution to the ‘cultural (...) turn’ in environmental research. (shrink)

Teacher identity is defined in its relations, on the one hand, to curriculum and, on the other, to students: to be identified as a teacher is to be taken by the latter as a bearer of the former. In this essay I consider some variations on theorising teacher identity within these relational terms. Beginning with the educational task of cultivating student subjects within the often impersonal aims of curriculum, I reject a correspondingly personalised production of teacher identity that would humanise (...) education through the teacher's personality. Turning instead to the idea of a teaching role defined by institutional authority, I look at two perspectives from which the teacher's identity can be theorised as a matter of performing that role. Jane Gallop's performative definition of teaching highlights the teacher as a pre-existing role but is fundamentally concerned with the teacher's self-understanding, this fails, however the relational requirements of teaching. Ultimately, bringing performativity into the context of the transferential relation between teacher and student provided by Plato's Symposium , I argue that student desire produces teacher identity in response to the teacher's performed relation to truth. (shrink)

The Corporate Social Performance (CSP) model (Wood, Acad Manag Rev 164:691–718, 1991) assesses a firm’s social responsibility at three levels of analysis—institutional, organizational and individual—and measures the resulting social outcomes. In this paper, we focus on the individual level of CSP, manifested in the managerial discretion of a firm’s principles, processes, and policies regarding social responsibilities. Specifically, we address the human resources management of employees as a way of promoting CSR values and producing socially minded outcomes. We show that applying (...) the humanist philosophy to the managerial discretion of a business organization leads to the creation of an “autonomy supportive work environment”—as defined by the self-determination theory—which in turn, facilitates the internalization of social values, citizenship behaviors, and cooperation. The objective of promoting self-determination at work (i.e., the core of a humanist management) fits well with the ontology of social responsibility since autonomy and consideration of individuals as moral actors are central tenets. Furthermore, we show that applying humanistic management philosophy to the discretion of managers can lead to socially responsible outcomes. First, intra-organizational stakeholders (e.g., employees) are treated with respect and focus is put on their well-being, satisfaction, and self-actualization at work. Second, as employees’ need of self-determination is addressed by managers, it is likely that pro-social behaviors toward other stakeholders of the organization will be adopted, leading to socially responsible outcomes for extra-organizational stakeholders (Gagné, Motiv Emot 77:58–75, 2003). Thus, this paper ultimately posits that humanistic management applied to the HRM can be a solution for developing and maintaining socially responsible outcomes as determined at the individual level of the CSP model, through managerial discretion. (shrink)

The end of aesthetic experience -- Don't believe the hype -- The fine art of rap -- Affect and authenticity in country musicals -- The urban aesthetics of absence : pragmatist reflections in Berlin -- Beneath interpretation -- Somaesthetics and the body/media issue -- The somatic turn : care of the body in contemporary culture -- Multiculturalism and the art of living -- Genius and the paradox of self-styling.

This paper introduces the concept of performance circuits as a means for understanding economic transactions. The concept of the performance circuits emphasizes the script-like sequences and the existing cultural narratives that enable the believable performances of those scripts. The concept of performance circuits allows for Zelizer’s concept of relational work to be applied in ethnographic studies of economic life, decomposing the constituent parts that enable the accomplishment of value in the marketplace. The paper opens with a dramaturgical performance at the (...) United States Federal Reserve and then turns to microstudies of handicraft production, modern art markets, and neighborhood branding to demonstrate how one can study market dramas unfolding, sometimes unremarkably, emotions being generated, and background representations making loosely scripted actions understandable. (shrink)

Performance appraisals are widely used as an HR instrument. This study among 332 police officers examines the effects of performance appraisals from a behavioral ethics perspective. A mediation model relating justice perceptions of police officers’ last performance appraisal to their work affect, perceived supervisor and organizational support and, in turn, their ethical (pro-organizational proactive) and unethical (counterproductive) work behavior was tested empirically. The relationship between justice perceptions and both, ethical and unethical behavior was mediated by perceived support and work (...) affect. Hence, a singular yearly performance appraisal was linked to both ethical and unethical behaviors at work. The finding that ethical and unethical aspects of employee behavior share several of the same organizational antecedents, namely organizational justice perceptions, has strong practical implications which are discussed as well. (shrink)

The idea of “performance legitimacy” is sometimes proposed as a distinctive source of legitimacy, according to which a government may attain legitimacy by means of good performance. Jiwei Ci (2019) argues that the idea of performance legitimacy is not merely an empirically inaccurate description of how actual existing governments seek to attain legitimacy. Rather, Ci argues that good performance can never be a source of legitimacy, even if a government can maintain good performance indefinitely. My aim in this article is (...) to evaluate Ci’s criticism of performance legitimacy. I will identify three distinct arguments in Ci’s criticism. I will argue that the first two are unsuccessful, while the third points to a problem for performance legitimacy that is serious, though perhaps not fatal. The main difficulty for performance legitimacy turns out to be its capacity to generate a type of civic agency that enables citizens to conceive of themselves as part of a single body politic, rather than a mere collection of individuals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)

The so-called linguistic turn in philosophy intensified (rather than overcame) the rationalism that has haunted Western ideas about knowledge since antiquity. Orthodox accounts continue to present knowledge as a linguistic, logical quality, expressed in statements or theories that are well justified by evidence and actually true. Restating themes from the author's Knowledge and Civilization (2004a), I introduce an alternative conception of knowledge designed to overcome these propositional, discursive, logocentric presumptions. I interpret knowledge as a quality of artifacts. A surgical (...) operation or a bridge may be as good examples of knowledge as any true scientific proposition or theory. I define the quality that marks an artifact as a work of knowledge as superlative artifactual performance. To explain knowledge in these terms is not to offer a metaphysical or epistemological theory of its essence or concept. Instead, I am explaining knowledge in terms of its good, its value, the human point of caring to know. (shrink)

This study assesses the causal relationship between corporate social performance (CSP) and financial performance (FP). We perform our empirical analyses on a sample of 179 publicly held Canadian firms and use the measures of CSP provided by Canadian Social Investment Database for the years 2004 and 2005. Using the “Granger causality” approach, we find no significant relationship between a composite measure of a firm’s CSP and FP, except for market returns. However, using individual measures of CSP, we find a robust (...) significant negative impact of the environmental dimension of CSP and three measures of FP, namely return on assets, return on equity, and market returns. This latter finding is consistent, at least in the short run, with the trade-off hypothesis and, in part, with the negative synergy hypothesis which states that socially responsible firms experience lower profits and reduced shareholder wealth, which in turn limits the socially responsible investments. (shrink)

Even among critics not particularly concerned with detective fiction, Dashiell Hammett’s fourth novel, The Glass Key , is famous for carrying the so-called objective method to almost obsessive lengths: we are never told what the characters are thinking, only what they do and look like. Anyone’s decisions about anyone else’s intentions are interpretive decisions, dependent on correct presuppositions—on having the right interpretive key. The novel’s title, in part, refers to this kind of key. Ned Beaumont, the protagonist, has to decide (...) how to govern his relationship with Janet Henry; one of his major clues to her mind is a dream that she tells him, a dream that climaxes in an attempt to lock a door against an onslaught of snakes. Dream interpretation is difficult enough to begin with, and Janet Henry compounds that difficulty by telling the dream twice. In the first version, the attempt to lock the door succeeds; in the second, the key turns out to be made of glass and it shatters. Ned Beaumont, in deciding which dream to us as his key, chooses the second —but it is a choice based on an intuitive mix of experience and faith, knowledge and hunch.A reader often faces the same difficulties that Ned Beaumont does. Reading a book, too, requires us to make a choice about what key to use to unlock it, and that choice must often be based on an intuitive mix of experience and faith, knowledge and hunch. For example, as I shall show, the experience of reading certain texts—not all, but a significant number of them—is problematic because it depends in part on whether the reader has chosen, before picking them up, to approach them as popular or serious. My argument hinges on two prior claims. First, I contend that one way of defining genres is to consider them as bundles of operations which readers perform in order to recover the meanings of texts rather than as sets of features found in the texts themselves. To put this crudely but more modishly, genres can be viewed as strategies that readers use to process texts. Second, I argue that popular literature and serious literature can be viewed as broad genre categories. Peter J. Rabinowitz is associate professor of comparative literature at Hamilton College. He is currently working on a book about literary conventions and is also active as a music critic for such publications as Fanfare and Ovation. His previous contributions to Critical Inquiry are “Truth in Fiction: A Reexamination of Audiences” and “Who Was That Lady? Pluralism and Critical Method”. (shrink)

This chapter is perhaps best treated as a ‘site’ rather than a treatise. It employs disrupted writing strategies, based in turn on ‘walking’ practices and the authors’ background in performance, as tools for playful debate, collaboration, intervention, and spatial meaning-making. The chapter, like our walking, is intended to be porous; for others to read into it and connect from it and for the specificities and temporalities of sites to fracture, erode, and distress it. It draws on the outcomes of (...) previous works including site-specific performance works such as Mis-Guided Tours or published Mis-Guides, ‘drifts’, mythogeographic mapping, public art or installations, explorations of the Wienfluss, excavations of subterranean library stacks, and a recently installed network of plaques across an English seaside resort. (shrink)

In recent years restorative practice in schools has been heralded as a new paradigm for thinking about student behaviour. Its premise is to provide solutions to indiscipline, to restore relationships where there has been conflict or harm, and to give pupils a language with which to understand wrongdoing. This article offers a critique of practitioners’ use of scripts with which to facilitate the restorative conference, one of the key strategies of restorative practice. To do so I turn to J.L. (...) Austin and Stanley Cavell whose writing on performative and passionate utterance point to the educational importance of making room for freedom in speech and emotion, over performance. Indeed, it is through making room for negative emotion, or silence, as observed in Cavell’s reading of King Lear, that we can see an opening up of the possibilities present in restorative practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 104-117 MuseSearchJournalsThis JournalContents[Access article in PDF]Performative Somaesthetics: Principles and ScopeEric C. MullisJohn Dewey's aesthetic has been invoked in recent discussions because many have realized that it resists the pull toward conceptualism that characterizes a great deal of aesthetic theory. Further, Art as Experience—Dewey's chief work on the philosophy of art—is rich with ideas that call for development. Richard Shusterman's work does (...) just this as it suggests that Dewey's approach is a practical alternative to those that hinder a comprehensive understanding of art and/or ignore art's capacity to enrich the quality of lived experience. More specifically, Shusterman develops key Deweyan ideas by considering the aesthetic merits of popular music and by exploring Dewey's "somatic naturalism," that is, a naturalism that strives to understand the role played by the human body in aesthetic experience. Somaesthetics is the pragmatic discipline that explores somatic practices and ultimately demonstrates how they can lead to the attainment of fulfilling experiences. Shusterman argues that various disciplines can be taken up in order to improve the clarity of somatic functioning, perception, and thought as they "help us reconstruct our attitudes or habits of feeling to give us greater flexibility and tolerance to different kinds of feeling and bodily behavior." 1 Ultimately, Dewey's emphasis on the everyday origins of aesthetic experience is combined with his rejection of mind-body dualism in order to demonstrate how aesthetic experiences can be cultivated through such practices. One is not limited to going to museums and reading art criticism in order to have meaningful aesthetic experiences because somaesthetics shows how one's body can be transformed into a locus of aesthetic value.This said, we also find that similar techniques are used in the training of actors, dancers, and other performance artists. Performative somaesthetics explores the body disciplines that are instrumental to the performer's craft—that allow him or her to master the body and to enhance its expressive powers. In this article I would like to explore a few elements of this [End Page 104] craft in order to flesh out what the performance arts can reveal about the aesthetic body. In order to do so I will need to first say something about Shusterman's pragmatist aesthetic and the Deweyan foundation of that approach. After this is done I will discuss what I take to be a few core principles of performative somaesthetics and, with them in mind, will go on to discuss the relationship between practical and performative somaesthetics.Aesthetic MeliorismIn Art as Experience Dewey describes the process of "doing and undergoing," in which the energies and forces of the environment mix with those of the organisms that inhabit it. 2 For human beings life is lived to its fullest when difficult situations arise and are efficiently dealt with, that is, when the energies of particular situations are ordered and brought into accord with those of the individuals within them. This, in turn, renders experience meaningful as it simultaneously produces a sense of agency and solves particular problems. Ultimately, Dewey notes that the process of doing and undergoing is the foundation of aesthetic experience because it marks those intense organic moments that stand out from the broader context of humdrum or chaotic experiences: "Art... unites the very same relation of doing and undergoing, outgoing and incoming energy, that makes an experience to be an experience." 3 Aesthetic experience, like any instance of doing and undergoing, involves the organization of energies, which solves a characteristically aesthetic problem. For artists this may be the problem of adequately expressing emotion and for observers it may be interpreting or judging the quality of a work. Regardless, for Dewey the aesthetic must not be conceptually or institutionally divorced from its broader context, for doing so not only ignores its natural origins but also limits its ability to imbue the world with meaning. Hence, Shusterman writes that for Dewey, "if anything is to have human value, it must in some way serve... (shrink)

Scholars have traditionally explained away torture as an act of monstrosity. Hannah Arendt has proposed instead a socio-cultural explanation of the phenomenon. Modern rationality, she suggests, constitutes the legitimacy principle that grounds the bureaucracy of repression and that perpetrators can ultimately tap into for the purpose of justifying their deeds. I will suggest, instead, that modern technical rationality is per se not sufficient to justify torture. Rather, to do so, it must undergo a profound transformation as a result of its (...) being linked to deeper moral logics. Linkage, in turn, is a matter of cultural performance. To tackle the question of legitimacy in torture, it is therefore necessary to address its cultural pragmatics. Jeffrey Alexander’s latest work on social performance can help in this respect. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that the recent calls for slowing down the development of AI, as promoted by the technology industry, do not signify a shift towards reason and considerate economics. Instead, as these calls are firmly embedded in narratives where the power to decide for the majority of (...) humanity lies solely with the CEOs of AI companies, they are indicative of a relentless pursuit of economic interests. The technology industry has consistently downplayed criticism over the years. -/- While patterns of creative output can be replicated without a thorough understanding of underlying concepts, the editorial highlights the distinction between the current AI technology's reliance on extensive pre-existing human-generated data for pattern recognition and the performative process inherent in art practice. This performative process, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and with reference to an earlier publication of the editorial's author, continually 'strives to extend itself towards the unknown.' -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 89-93 [Access article in PDF] Richard Shusterman, Performing Live: Aesthetic Alternatives for the Ends of Art (New York: Cornell University Press, 2000) Performing Live can be ascribed to post-modern American pragmatism in its widest expression. The author's intention is to revalue aesthetic experience, as well as to expand its realm to the extent where such experience also encompasses areas alien to traditional (...) aesthetics (for example, popular art or the somatic arts of self-improvement), reaching "the art of living" and reclaiming life itself as performance.After the introduction, titled "Aesthetic Renewal for the Ends of Art: An Overture," the text is organized in two main parts: "Aesthetic Experience and Popular Art" and "Soma, Self, and Society." Along with its ambitious title, the book's organization and structure promise a consistency of approach and narrative that somewhat dissolves during the reading. Shusterman recognizes that the stylistic problems that arise from a compilation of articles spanning ten years, mixing newly written and revised articles, but appeals to the reader's appreciation of the "quality of the mix" (11). Despite this feature, he is a lucid and thoughtful communicator and his writing style is excellent.In order to propose new or revitalized alternatives for the ends of art, Shusterman [End Page 89] explores the crisis in traditional visions of art, pointing to the compartmentalization and lack of credibility in current artistic thought and practice. Hegel, Walter Benjamin, Gianni Vattimo, and Arthur Danto provide him with the philosophical arguments accounting for the modern "exhaustion" of art. He supports a dialectical approach, both naturalistic and historicist, and builds a solid case for the possibility of alternatives in aesthetic thought and experience. He proposes two alternatives in his introduction: The two most prominent sites for today's aesthetic alternatives are clearly the mass-media popular arts and the complex cluster of disciplines devoted to bodily beauty and the art of living as expressed in today's preoccupation with aesthetic lifestyles. (7) It is unclear why these alternatives are "clearly" "the two most prominent." The author does not build a case for this assumption or for the "newness" of these alternatives. The "compilation style" mentioned above and this lack of justification for one of the most original elements in the book make this text often read as a philosophical drafting board. Keeping these characteristics in mind and also critically pondering the degrees of success in the enterprise, the reader must give Shusterman credit for taking risks while suggesting concrete examples for an experiential, holistic philosophy. In this sense, he mentions (in a different context) that "all of us [are caught] between conceptual history and futuristic speculation" (145), and he takes to heart this situation and its challenges.The first chapter in Performing Live aims to redeem or revalue the concept of aesthetic experience. For Shusterman, the loss of "felt experience" in art makes the interest in this concept utterly relevant for art's survival. He traces the lineage of this aesthetic philosophy to John Dewey, Monroe Beardsley, Nelson Goodman, and Arthur Danto. Besides focusing on these authors, his analysis revisits some of the main currents of thought in Western philosophy on the topic (for example, Plato, Hume, Kant, Dickie, Adorno, Benjamin, Gadamer). He concludes that a pragmatic approach to aesthetics, applying the concept of aesthetic experience directionally (as a means towards the actual experience rather than as a definable concept), can provide new paths for revitalizing art. Throughout the text this concept is also used expansively. The post-modern justification of the proposed aesthetics, by allowing the extension of aesthetic experience to embrace "the art of living," can leave the reader wondering if Shusterman has not simply turned Kierkegaard's existentialist stages to self-realization upside down.The second chapter is an open defense of popular art, carried out by contesting the main complaints found in current art criticism. Shusterman's defense is not directed to the products of popular art, but against the claim that popular art is aesthetically "worthless." His definition of "popular art... (shrink)

Socio-economic status and mathematical performance seem to be risk factors of mathematics anxiety in both children and adults. However, there is little evidence about how exactly these three constructs are related, especially during early stages of mathematical learning. In the present study, we assessed longitudinal performance in symbolic and non-symbolic basic numerical skills in pre-school and second grade students, as well as MA in second grade students. Participants were 451 children from 12 schools in Chile, which differed in school vulnerability (...) index, an indicator of SES. We tested an explanatory model of MA that included SES and longitudinal performance in basic numerical skills as predictors. The results showed a direct effect of SES on MA and a mediating effect of performance in symbolic and non-symbolic comparison tasks in pre-school. However, in second grade, only performance in symbolic comparison significantly mediated the SES-MA relationship. These findings suggest that performance in non-symbolic comparison plays an important role in explaining MA at initial stages, but that its influence is no longer significant by the time children reach formal instruction in second grade. By contrast, as children’s formal educational experience in mathematics increases, MA becomes linked primarily to symbolic numerical tasks. In sum, SES affects MA and this is due in part to the effect of SES on the development of numerical learning in pre-school, which in turn has an impact on subsequent, more complex learning, ultimately leading to differences in MA. We discuss the implications of these findings for preventing and acting upon the emergence of MA. (shrink)

Building from J.L. Austin's concept of ‘performative,’ this essay explores the production of subjectivity and of educational subjects by applying important work from Judith Butler on Foucault, Derrida, and as centrally illustrative, through an analysis of sex and gender. Given this analytical framework, the turn is then to queer performativity and the possibility of performative power in pedagogy. The last draws assistance from Valerie Walkerdine, Homi Bhabha and especially James Donald.

In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)

This paper explores the conduct of performance appraisals of nurses in a New Zealand hospital, and how fairness is perceived in such appraisals. In the health sector, performance appraisals of medical staff play a key role in implementing clinical governance, which, in turn, is critical to containing health care costs and ensuring quality patient care. Effective appraisals depend on employees perceiving their own appraisals to be fair both in terms of procedure and interaction with their respective appraiser. We examine (...) qualitative data from interviews and focus groups, involving 22 nurses in a single department, to determine whether perceived injustices impact on the effective implementation of the appraisal system. Our results suggest that particular issues had been causing some sense of injustice, and most of these were procedural. Potential solutions focus on greater formalisation of the performance appraisal process, and more training for appraisers and appraisees. (shrink)

The paper intends to bridge the existing gap between aesthetic knowledge and contemporary society. The first part focuses on the cultural turn in aesthetics, the roots of which can already be found in the English criticism of the eighteenth century. This enterprise is inspired by a methodology that regards aesthetics as a "meeting place" of many disciplines and varying cultural traditions. A second type of cultural turn is carried out by writers (e.g. Baudelaire): the target of their polemic (...) is the concept of aesthetic disinterestedness. According to them, the beautiful, instead, has to create the greatest interest because it is none other than the promise of happiness. However, the two different approaches are not so incompatible as seems at first sight. Finally, the text focuses on the New Age and the culture of performance, which, even if presenting opposite traits, have one thing in common: they translate at the empirical and factual level experiences that originally belonged to another sphere, namely the spiritual and the symbolic. (shrink)

The main section of this volume of essays addresses the topic of 'Performativity in Literature and Music', a subject of high contemporary relevance since a substantial part of recent reflections in the humanities are concerned with the performance aspect of cultural activities, particularly in the arts. This decisive reorientation of scholarly interests in the arts, trendily called the 'performative turn', has yielded significant contributions to an increasingly refined understanding of artistic processes from an up-to-date perspective, and specifically what (...) has been called the 'crisis of the work concept' has sharpened our awareness of the need of finding the 'proper' object of such scholarly investigations, which, as in most traditional studies, cannot be exclusively the written documents of our cultural heritage, but additionally, and essentially so, their actualizations in performance situations. This volume for the first time offers a set of careful case studies from a wide range of artistic genres (narrative fiction, poetry, opera, instrumental music, songs, jazz) and historical phases (from Elizabethan verse to 21st-century HD opera performances) which give detailed insight into consequences of addressing issues of performativity in the field of word and music studies. Closely examined examples range, in music, from the romantic reception of Bach and the opera singer Maria Malibran through Mahler and Schoenberg to Brigitte Fassbaender, Philip Glass and Charles Mingus, and, in literature, from Sidney through Yeats and Celan to Katherine Mansfield, Alejo Carpentier and Toni Morrison. In addition, the volume contains a smaller section on 'Surveying the Field' of word and music studies which includes an essay of general reflection on interart relationships and an attempt at identifying new features of the 'musicalization of fiction'. This collection of essays will be relevant to students and scholars from a wide variety of fields: performance studies, intermediality studies, art theory, musicology, voice studies, literary criticism, and philosophy. (shrink)

The popular debates about the future organization of work through artificial intelligence technologies focus on the replacement of human beings by novel technologies. In this essay, we oppose this statement by closely following what has been developed as AI technologies and analyzing how they work, specifically focusing on research that may impact work organizations. We develop this argument by showing that the recent research and developments in AI technologies focus on developing accurate and precise performance models, which in turn (...) shapes organizational patterns of work. We propose that the increased interest in the relationship between human cognition and performance will shortly bring human cognition to the focus on AI systems in workplaces. More specifically, we claim that the cognitive load measurement will shape human performance in manufacturing systems shortly. (shrink)

This manuscript provides an overview of forensic DNA data banks and their use, with some focus on existing programs established in the U.S., Canada, and the U.K. The intent is to provide a constructive analysis of both strengths and weaknesses in performance, and especially to suggest directions for improvement. Implementation of these suggestions will be crucial to allow DNA data banks to be most effective in advancing societal goals of enhancing public safety and collective security.

The medial prefrontal cortex (mPFC) has been the subject of intense interest as a locus of cognitive control. Several computational models have been proposed to account for a range of effects, including error detection, conflict monitoring, error likelihood prediction, and numerous other effects observed with single-unit neurophysiology, fMRI, and lesion studies. Here, we review the state of computational models of cognitive control and offer a new theoretical synthesis of the mPFC as signaling response–outcome predictions. This new synthesis has two interacting (...) components. The first component learns to predict the various possible outcomes of a planned action, and the second component detects discrepancies between the actual and intended responses; the detected discrepancies in turn update the outcome predictions. This single construct is consistent with a wide array of performance monitoring effects in mPFC and suggests a unifying account of the cognitive role of medial PFC in performance monitoring. (shrink)

Der Beitrag rekapituliert einige grundlegende Anliegen der konstruktivistischen Wende der politischen Repräsentationstheorie und ihrer normativen Folgen. Er behandelt die Performativität politischer Repräsentation, die politische Meinungen und kollektive Subjektivitäten und damit Handlungsmacht erst hervorbringt. Die Wende, bzw. der „constructivist turn“, impliziert ein Abwenden von der Vorstellung, demokratische Repräsentation sei als neutrale Spiegelung oder Vertretung gesellschaftlicher Gruppen und Interessen zu verstehen und betont stattdessen die Her(aus)stellung des Kollektivs durch den Prozess seiner Repräsentation.

In this article I reconsider the issue of ?transfer? in education. Received views of learning transfer tend to rely upon a version of representation in which the world and the learner are held apart. The focus falls on how this gap can be closed; how learning can be transferred. A sociomaterial perspective, by contrast, puts learner and world back together, making each available to the other. Bringing the materialist sensibility of actor-network theory to bear and drawing on empirical data collected (...) as part of a small-scale qualitative study of the experience of graduate teachers when moving from education into work, it is argued that transfer, and by implication, learning, primarily concerns the practical and takes multiple forms: contingently composed of social, textual and material practices of knowledge production, learning transfer is a relational effect of the intersection of these practices. Empirical analyses point to the practice of two broad patterns of learning transfer, termed here the representational and the relational. Thinking learning transfer as performed through disparate agencies and practices challenges the self-evidences of perspectives on learning which characterize contemporary education. Here, learning is primarily seen in terms of the intrinsic capabilities of people, regardless of the object-dependent qualities of their learning and lives. This human-centricity raises significant epistemological and ethical issues which are addressed by way of a discussion of the embedded normativities and politics of the practices of representational and relational transfer. (shrink)

. This paper investigates the mechanisms of knowledge production of twenty-first century robotics-inspired morphology. How robotics influences investigations into the structure, development, and change of organic forms? Which definition of form is presupposed by this new approach to the study of form? I answer these questions by investigating how robots are used to understand and generate new questions about the locomotion of extinct animals in the first case study and in high-performance fishes in the second case study. After having illustrated (...) the landscape of twentieth-century morphology, I will reflect on the definition of form adopted in twenty-first century robotics-inspired morphology as well as on the differences between this approach to the study of form and the so-called nature-inspired disciplines, such as bionics or biomimetics. In the conclusion, I suggest that we are now in a material turn in morphology, characterized by the coexistence of the robotic, the virtual, and the real, which enables an understanding of how the structures and dynamics of shapes change over time. (shrink)