scholarly journals A thought of performance

2017 ◽  
Vol 2 (2) ◽  
pp. 272 ◽  
Author(s):  
Tero Nauha

In this article I attempt to trace the path of my artistic research, which began from the application of schizoanalysis in performance and which now explores the possible limits of thought in order to regard how performance thinks in specifically different ways from discursive forms of thought, such as philosophy. The main argument starts from the notion – borrowed from French thinker, François Laruelle - that philosophical thought does not tell us more about the Real than any other gestures of thought. I begin from a speculative relationship between the apparatus of cognitive capitalism. I conclude by superpositioning the post-humanist thought of Laruelle and Karen Barad with the concept of ‘non-standard’ performance as fictioning. As a whole, the article aims to propose a performative approach to artistic research in these terms.

2015 ◽  
Vol 1 (1) ◽  
pp. 175 ◽  
Author(s):  
Tony Fisher

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


1943 ◽  
Vol 3 (2) ◽  
pp. 152-163
Author(s):  
Joseph G. Rayback

In his autobiography, Cheerful Yesterdays, Thomas Wentworth Higginson, looking back on the long crusade that ended with the abolition of Negro bondage in the United States, declared: “The anti-slavery movement was not strongest in the educated classes, but was primarily a people's movement, based on the simplest human instincts and far stronger … in the factories and shoe-shops than in the pulpits and colleges.” Few people have challenged this statement, which Higginson made in 1898; probably because the scarcity of material on the subject has prevented a thorough examination of all its implications, and especially of the main argument that the laboring man was the real force behind the antislavery crusade.Yet there is sufficient evidence to throw serious doubt upon the accuracy of Higginson's statement, evidence which reveals that workers in shops and factories often exhibited an almost callous unconcern for the entire crusade.


2018 ◽  
Vol 10 (1) ◽  
pp. 48-75 ◽  
Author(s):  
Robin McCoy Brooks

ABSTRACTThe author investigates a notion of self as political possibility from a multi-displinary perspective that engages the psychoanalytic and philosophical thought of Jung, Žižek, Badiou and Heidegger. The political subject is one who has encountered the real of a particular societal void through the neighbor's unbidden appeal and is thus violently wrenched out of the indifference of banal **existence into a possibility of political action in a world gone mad. To illuminate her theoretical arguments, the author includes her own auto-ethnographic study into the conditions from which an egalitarian-based clinic of care emerged amidst the horror of the AIDS plague when there was no societal support in place. Lastly, the author engages Heidegger's (secondarily Jung and Badiou's) secular reading of the apostle Paul's Christian revolution as a means of elaborating on the transcendental dimension of thought and the conditions for its collective and co-experienced political possibility in today's moment in history.


1987 ◽  
Vol 3 (2) ◽  
pp. 335-338 ◽  
Author(s):  
N. Scott Arnold

Since Schweickart asserts that I have not addressed his main argument, let me consider briefly the four claims he advances at the beginning of his second reply.Regarding 1: To argue, as I have, that there would be a strong tendency for market socialism to degenerate into capitalism, it is necessary to spell out carefully what capitalism is. Following Marx, I defined capitalism as a system in which the workers do not control the means of production and the workers sell their labor power as a commodity. As G.A. Cohen has pointed out (Cohen, 1978, pp. 219–23), this definition can be given a rechtsfrei characterization in terms of effective powers over means of production and labor power. Actual legal arrangements are not the issue. In my original paper, I never said that the workers would sell the means of production. Thus 1 is irrelevant. The real questions are: (a) Who effectively controls the means of production? (b) Who effectively gets the profits? If the answer to both of these questions is, “Not the workers,” it follows that the workers are effectively proletarians and the system is a form of capitalism.


2018 ◽  
Author(s):  
◽  
Henrik Hellstenius

This is a presentation of the project “Music with the Real”, undertaken from 2014–2017 within the Norwegian Artistic Research Programme, at the Norwegian Academy of Music. The artists in the project were percussionist Håkon Stene, the composers Carola Backholt, Matthew Shlomowitz, Henrik Hellstenius, Johannes Kreidler and Clemens Gadenstätter, and the ensemble Asamisimasa. In this exposition you find all the works that was composed in the project together with articles about the project and videos from concerts and seminars.


ARCHALP ◽  
2019 ◽  
Vol 2 NS (Issue 2 Ns, July 2019) ◽  
pp. 35-42
Author(s):  
Michael Jakob

Observing the alpine landscape as a heritage object means reconstructing its aesthetic history, understanding those meanings and values that, over time, have led to its growing patrimonialization. A short history after all: it is in fact only since the second half of the eighteenth century that the Alps become, thanks to the scientific and artistic research, the object of aesthetic perception by European urban societies. A cultural and aesthetic construct that, starting from Haller and Rousseau, through Ruskin and other authors, goes as far as modern Alpine architecture. With a basic ambivalence: the immutability that the European aesthetic gaze has always conferred to the Alps, despite the continuous transformation and mutability of the Alpine landscape in real processes. The value of the Alps as a heritage, paradoxically depends, above all on the heritage still to be built, where this verb has primarily a conceptual value. The policies that automatically define the totality of the Alps as a heritage are not only actually impossible, but tend to create wastelands. The real care of the Alpine heritage therefore lies in its permanent reinvention.


2015 ◽  
Vol 23 (2) ◽  
pp. 131-156 ◽  
Author(s):  
Thomas Noutsopoulos

Seaford’s recent work has revived and further substantiated a line of argument that had been developed by Marxist scholars claiming a central role for money in the genesis of philosophical thought. In a nutshell, this line of argument holds that beneath the abstractions in which philosophy breathes and with which philosophy works we can trace the real abstraction of the money form as embodiment of abstract social labour. Following this perspective, I will try to demonstrate the role money plays in Plato’s Republic, focusing on Book i.


1953 ◽  
Vol 22 (64) ◽  
pp. 27-32
Author(s):  
D. B. Gregor

L'impérialisme athénien, by Jacqueline de Romilly, recently published, is an important contribution to Thucydidean studies; and as foreign books usually not only cost more but take longer to read, it may save time and money to give here a summary of the argument.The authoress intends her discussion of the main theme to throw light on the vexed question of the genesis of the History; but with this part of the work we are less concerned. It will be enough to say that she believes Thucydides to have been aware of the ἀληθ∊στἁτη πρóφασıς right from the start (roughly, because the events narrated at the beginning of Bk. II, obviously pre-415, exactly correspond to the phraseology of the speeches at the end of Bk. I, which imply that πρóφασıς); that the subsequent insertions are the Pentekontaetia, the second part of the Athenian's speech at Sparta, the Funeral Oration, Pericles' last speech and obituary notice, details of Brasidas (clearly post-Lysander) in Bk. IV, the personality of Alcibiades, and the Melian Dialogue; and that these insertions were made after 404, when the disastrous end of the war unloosed attacks on the Periclean régime.Her main argument, however, is that Thucydides' real subject was the Athenian Empire; because (i) the ‘real cause’ was Athenian imperialism, which alarmed Sparta; (ii) it is the background to every major event described (e.g. Plataea, Mytilene, Pylos, Sicily); (iii) the speeches fall into two classes: attack on or defence of the Empire; (iv) he ignores home-politics, because in fact party-differences were only one of degree between extreme and moderate imperialists; (v) the work is a homogeneous unit, whereas many never came to regard the war as one (e.g. Andocides, Pax 9; Aeschines, de F.L. 176); and (vi) the two factors which Pericles selected as guaranteeing victory—the fleet and the treasury—are the same as those on which her empire rested.


Author(s):  
Bram Ieven

What if we approached Constant’s New Babylon not simply as a semi-architectural project firmly rooted in the politics and counter-culture of the early 1960s, but as a wild assemblage of aesthetic and political ideas that we can use to understand the nature of our own time? New Babylon, this article's main argument goes, is an artistic research project purposely working in multiple artistic mediums at the same time; it employs and puts to work the d​istinct forms o​f conceptual and aesthetic knowledge that writing, architectural design and painting can produce to patiently close in on its goal: a radical critique of existing society that takes play and creativity as the principles for political change. A speculative art history dealing with these kind of artistic projects, should use the insights and ideas that art produces to understand the present. This argument is unfolded and illustrated in the articles by performing an comparative analysis of New Babylon and the main features of contemporary capitalism (precarity, flexibility, mobility and communication).


2009 ◽  
Vol 26 (2) ◽  
pp. 117-119
Author(s):  
Katherine Bullock

Taking an expansive notion of what is a “veil” and recognizing its immemorialrelationship to sacredness, Jennifer Heath has put together a wonderfulcollection of essays about it. The twenty-one female contributors considerthe veil from a variety of viewpoints: academic, personal memoir, and artistic.Her introduction and epilogue presents the book’s overall goal and asummation. The main argument is that “the veil” has been (and will remain)part of human society, in countless cultures and religions, for thousands ofyears. It can be a piece of cloth, a mask, or even related to the mystery of nature (as in the ancient Greek goddess Nyx [Night], drawing the veil ofdarkness across earth, while Selene [Moon] rises wearing a veil [p. 5].).”Current debates over veiling focus only on Islamic veiling and its relationshipto women’s oppression, which politicizes and narrows the understandingof this practice.There is no singular truth to “the veil,” Heath suggests, and that is preciselythe feeling one gets, for after reading the entire collection, one is nowiser to “the” meaning of “the” veil. The “truth” of the veil, rather, is thatthe current debate over it (does it or does it not oppress women?) detractsfrom the real issues women face: ...


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