In a recent book (_Lying and insincerity_, Oxford University Press, 2018), Andreas Stokke argues that one lies iff one says something one believes to be false, thereby proposing that it becomes common ground. This paper shows that Stokke’s proposal is unable to draw the right distinctions about insincere performative utterances. The objection also has repercussions on theories of assertion, because it poses a novel challenge to any attempt to define assertion as a proposal to update the common ground.

In this paper, we propose a performative account of hinge epistemology to make the case for a feminist hinge epistemology. We characterize it as follows: 1) there are hinges that enable and govern our ordinary epistemic practices, functioning as rules; 2) these hinges are enacted and actualized in the specific actions of agents that participate in such practices; 3) this makes room for the transformation and emergence of hinges; 4) against this background, we argue in favor of the possibility (...) of feminist hinges. This novel account opens the way for hinge epistemology to be useful for feminist goals in epistemology, which we believe is the ultimate criterion for hinge epistemology to be legitimately feminist. (shrink)

Some philosophers argue that we should be suspicious about shame. For example, Nussbaum endorses the view that shame is a largely irrational or unreasonable emotion rooted in infantile narcissism. This claim has also been used to support the view that we should largely abandon shaming as a social activity. If we are worried about the emotion of shame, so the thought goes, we should also worry about acts which encourage shame. I argue that this line of reasoning does not license (...) the leap from the critique of shame to the critique of shaming. This is because shaming does not always aim to inflict shame on its targets. Many acts of shaming (which I label ‘performative shaming’) should simply be understood as aiming to serve their characteristic function of shoring up social norms and standards. (shrink)

Despite its prevalence today, the practice of purely performative resuscitation (PPR)—paradigmatically, the ‘slow code’—has attracted more critics in bioethics than defenders. The most common criticism of the slow code is that it’s fundamentally deceptive or harmful, while the most common justification offered is that it may benefit the patient’s loved ones, by symbolically honoring the patient or the care team’s relationship with the family. I argue that critics and defenders of the slow code each have a point. Advocates of (...) the slow code are right that not all PPR is wrongly deceptive or harmful to the patient or his family, and that the symbolic aspect of medicine is itself morally significant. But the critics are also correct: slow codes are prima facie wrong. I argue that pursuing a slow code amounts to treating the patient as a tool for others’ benefit—hence, treating him as an object—and that this instrumentalizing quality constitutes one core prima facie wrong of the practice. I also build a case for the idea that the slow code may not always be all-things-considered wrong, specifying certain limited conditions under which acts of PPR might ultimately be permissible. Thus, the symbolic dimension of medical treatment is indeed morally important, both in morally favorable and in morally problematic respects—namely, in its symbolic denial of the patient’s humanity. (shrink)

Dispossession describes the condition of those who have lost land, citizenship, property, and a broader belonging to the world. This thought-provoking book seeks to elaborate our understanding of dispossession outside of the conventional logic of possession, a hallmark of capitalism, liberalism, and humanism. Can dispossession simultaneously characterize political responses and opposition to the disenfranchisement associated with unjust dispossession of land, economic and political power, and basic conditions for living? In the context of neoliberal expropriation of labor and livelihood, dispossession opens (...) up a performative condition of being both affected by injustice and prompted to act. From the uprisings in the Middle East and North Africa to the anti-neoliberal gatherings at Puerta del Sol, Syntagma and Zucchotti Park, an alternative political and affective economy of bodies in public is being formed. Bodies on the street are precarious - exposed to police force, they are also standing for, and opposing, their dispossession. These bodies insist upon their collective standing, organize themselves without and against hierarchy, and refuse to become disposable: they demand regard. This book interrogates the agonistic and open-ended corporeality and conviviality of the crowd as it assembles in cities to protest political and economic dispossession through a performative dispossession of the sovereign subject and its propriety. (shrink)

In conventional identity politics subjective differences are understood negatively, as gaps to be overcome, as lacks of sameness, as evidence of failed or incomplete unity. In _Alterity Politics _Jeffrey T. Nealon argues instead for a concrete and ethical understanding of community, one that requires response, action, and performance instead of passive resentment and unproductive mourning for a whole that cannot be attained. While discussing the work of others who have refused to thematize difference in terms of the possibility or impossibility (...) of sameness—Levinas, Butler, Derrida, Foucault, Deleuze, Guattari, Zizek, Jameson, Heidegger, Bakhtin—Nealon argues that ethics is constituted as inexorable affirmative response to different identities, not through an inability to understand or totalize the other. _Alterity Politics_ combines this theoretical itinerary with crucial discussions of specific and diverse sites of literary and cultural production—the work of William S. Burroughs, Amiri Baraka, Andy Warhol, Ishmael Reed, Rush Limbaugh, and Vincent Van Gogh—along with analyses of the social formation of subjects as found in identity politics, and in multicultural and whiteness studies. In the process, Nealon takes on a wide variety of issues including white male anger, the ethical questions raised by drug addiction, the nature of literary meaning, and the concept of “becoming-black.” In seeking to build an ethical structure around poststructuralist discourse and to revitalize the applied use of theoretical concepts to notions of performative identity, _Alterity Politics_ marks a decisive intervention in literary theory, cultural studies, twentieth-century philosophy, and performance studies. (shrink)

Derogatory terms can be powerful mechanisms of subordination, while re-appropriating these terms can be a strategy to fight back against social injustice. I argue that projects seeking to reclaim slurs have a performative structure that raises particular hazards. Whereas more familiar forms of protest may fail to bring about their intended result, attempts to re-appropriate slurs can fail to be understood as transgressive acts at all. When attempts at reclamation fail, their force is distorted; context and convention lead the (...) hearer to give uptake to the speech act as a traditional deployment of the slur. The force of this traditional use is to validate and re-entrench the very norms the act was intended to subvert. This is the precarious structure of reclamation projects: when successful, reclamation is the subversion of powerful mechanisms of oppression, but when unsuccessful, the act has the ironic force of constituting mechanisms of oppression. (shrink)

This chapter argues that the distinction between ambitious and modest transcendental arguments, developed and deployed by various authors in the wake of Stroud’s influential critique of transcendental reasoning, may be pointless when applied to transcendental arguments from performative inconsistency that have moral statements as their conclusions. If moral truth is assertorically constrained, then any modest moral transcendental argument from performative inconsistency can be converted into an ambitious moral transcendental argument. The chapter provides an account of performative inconsistency (...) and suggests an alternative to the widespread reading of transcendental conditionals in terms of an ‘if-then’-sentences whose antecedents express a proposition to the effect that some x is possible and whose consequents express a statement to the effect that some y is actual. (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)

ABSTRACT Performative activism is a critical label that is applied to instances of shallow or self-serving support for social justice causes. The accusation rests on a distinction between what is said by supposed supporters and what they actually do. One of the challenges of understanding the rhetoricity of the phrase “performative activism” is that its definition seems to place it at odds with the most common scholarly definitions of “performative,” in which there is little or no difference (...) between saying and doing. Nonetheless, making a distinction between what is said and done is rhetorically effective in itself. By understanding the accusation of performative activism as a type of critique, we can begin to see how such critical gestures are better understood as demands rather than condemnations. (shrink)

The aim is to examine the performative acts and gender constitution in the context of the Second British Invasion. Despite the pervasive character of patriarchy and the prevalence of sexual difference as an operative cultural distinction, gender was not passively scripted on the bodies of many British singers. The subversive performances did not exclude suffering and marginalization but simultaneously undermined compulsory coherence.

A volcano emerged from a cornfield in Michoacán, Mexico, on February 20, 1943. Its sudden appearance alarmed residents in surrounding villages and excited outsiders who traveled to the Meseta Purépecha to see the spectacular natural phenomenon. Within the first two years of activity, the residents of two of the towns nearest the volcano had to evacuate before their communities were completely covered with lava. The Mexican government took advantage of the natural disaster to show off generous aid to Indigenous communities (...) and promote an agenda favoring modernization. In recovery from the Mexican Revolution in the mid-twentieth century, the federal government reshaped national policy to focus on modernization. The miraculous birth of a volcano in a remote western village provided the perfect opportunity for national newspapers to tout effective government aid for the seemingly helpless Indigenous communities. What newspaper articles omitted was the tireless work of local leaders to shape the government assistance. Most local advocates already had a platform, while women and non-Spanish speakers had limited opportunities to communicate their ideas widely. Initial government assistance was not formulated with the well-being or culture of the residents in mind, but local highlanders soon realized that the government relied on their compliance. This gave local leaders the power to advocate for their needs. (shrink)

In this paper we investigate the role of performative contradictions in legal discourse. First of all we identify the argumentative roles of performative contradictions and two possible interpretations of them. With this done, we show that one use of performative contradictions can be fruitfully applied in analysing normative speech acts implementing norm enactment, namely, those speech acts that are designed to produce new legal norms. We conclude the paper by showing that our analysis provides strong support for (...) Robert Alexy's claim-to-correctness thesis, according to which speech acts of the norm-enacting kind raise a claim to correctness. (shrink)

Commentary on Smrdu M. (2022) Kaleidoscope of pain: What and how do you see through it. Constructivist Foundations 17(2): 136–147. I unpack Smrdu’s kaleidoscope metaphor, putting it into dialogue with enactive work on the performative body in order to cash out how it can capture the qualitative differences of the experience of chronic pain.

In order to maximize human performance, defence forces continue to explore, develop, and apply human performance enhancement (HPE) methods, ranging from pharmaceuticals to (bio)technological enhancement. This raises ethical, legal, and societal concerns and requires organizing a careful reflection and deliberation process, with relevant stakeholders. We discuss a range of ethical, legal, and societal aspects (ELSA), which people involved in the development and deployment of HPE can use for such reflection and deliberation. A realistic military scenario with proposed HPE application can (...) serve as a starting point for such an iterative and participatory process. Stakeholders can discuss this application, modify its features, and design appropriate processes around it – for instance, procedures for informed consent. We propose that organizing aspects into these three categories – ethical, legal, and societal – can help involve appropriate interlocutors at different moments: legal aspects with people in strategy or management roles, from the start of a project; ethical aspects with people in operations and medical roles, during development; and societal aspects with people in communication and personnel roles, during deployment. Notably, we developed and discussed this framework and the three aspects in close collaboration with personnel from the military. (shrink)

The objective of this paper is to examine how artificial intelligence systems (AI) can reproduce phenomena of social discrimination and to develop an ethical strategy for preventing such occurrences. A substantial body of scholarship has demonstrated how AI has the potential to erode the rights of women and LGBT+ individuals, as it is capable of amplifying forms of discrimination that are already pervasive in society. This paper examines the principal approaches that have been put forth to contrast the emergence of (...) biases in AI systems, namely causal, counterfactual reasoning, and constructivist methodology. This analysis demonstrates the necessity of considering the sociopolitical context in which AI systems are developed when evaluating their ethical implications. To investigate this conjunction, we apply the theory of gender performativity as theorized by Judith Butler and Karen Barad. This illustrates how AI functions within the social fabric, manifesting patriarchal configurations of gender through an analysis of the notorious case of the COMPAS system for predictive justice. In conclusion, we demonstrate how reframing of gender performativity theory, when applied to AI ethics, permits us to consider the social context within which these technologies will operate. This approach enables an expansion of the interpretation of the concept of fairness, thereby reflecting the complex dynamics of gender production. In the context of AI ethics, the concept of "fairness" pertains to the capacity of an algorithm to generate results dealing with sensitive categories, such as gender, ethnicity, religion, sexual orientation, and disability, in a manner that does not engender forms of discrimination and prejudice. The gender dimension needs to be reconsidered not as an individual feature but as a performative process. Moreover, it enables the identification of pivotal issues that must be addressed during the development, testing, and evaluation phases of AI systems. (shrink)

Creative collective actions can have the potential of true performative utterances opening windows of opportunities for new realities to emerge, for new possible worlds to be created—the realm of the arts is the realm of the “possible.” Group poetry writing can be a performative, dialogic act, and a transformative, revolutionary one as well. Collective artistic creations can break the isolation that the capitalistic patriarchal system imposes on us, helping us connect with one another, giving us hope.

In response to the interruption of all levels of education following COVID-19, we start by underlining the difference between emergency remote teaching and online learning. Next, we inquire into the question of presence in physical and virtual classrooms, and offer a discussion of presence as “being-here-now,” a “movement toward becoming,” and as gelassenheit or “releasement toward things.” We highlight the materiality of communication, and the performative production and transformation of the classroom space. Finally, we illustrate how performative writing (...) enhances the sense of being-here-now, and facilitates the co-inhabiting of online learning spaces that lack co-presence of bodies in the same physical environment. (shrink)

Professor Recanati's book is a major new contribution to the philosophy of language. Its point of departure is a refutation of two views central to the work of speech-act theorists such as Austin & Searle: that speech acts are essentially conventional, & that the force of an utterance can be made fully explicit at the level of sentence-meaning & is in principle a matter of linguistic decoding. The author argues that no utterance can be fully understood simply in terms of (...) its linguistic meaning, but that only a contextual inference can provide an adequate framework. In pursuit of this argument, he deals with the major issues of pragmatics & speech-act theory: conversational implicatives & indirect speech acts, the classification of illocutionary forces, the performative/constative distinction, delocutivity, locutionary meaning, non-literal uses of languages, the principle of expressibilty, & the difference between institutional & communicative illocutionary acts. (shrink)

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

This article draws on the conceptual link between power and causality to develop an account of the relational, discursive, and performative dimensions of power. Each proposed dimension of power is grounded in a different understanding of social causes: relational-realist, discursive-hermeneutic, and performative-pragmatic. For the purposes of empirical analysis, this dimensional schema crosscuts the classic sources of power typology developed by Michael Mann and others, thus rendering the conceptual apparatus for pursuing sociological research on power more complex and explanatorily (...) effective. The schema is illustrated by an example from comparative-historical sociology: explaining the storming of the Bastille and its effects. A series of research questions for investigating the relative autonomy of performative power is proposed. Finally, the current schema is situated vis-à-vis classic sociological theories of power, including the arguments of Steven Lukes, Michel Foucault, and Pierre Bourdieu, among others. (shrink)

Sometimes, political bald-faced lies pass for truth. That is, certain groups of people behave according to them – behave as if the political bald-faced lies were true. How can this phenomenon be explained? I argue that to explain it we need to take political bald-faced lies to be performative utterances whose goal is to bring about a worldly state of affairs just in virtue of making the utterance. When the former US-President tweeted ‘we won the election’, people stormed Capitol (...) Hill to protest election fraud and some were killed. In this way, the bald-faced lie was successful in passing for truth. My performative view of political bald-faced lies is to be preferred over various other views such as the contempt for truth view (Lynch 2021), the deception view (Lackey 2013), and the value-signaling view (Stanley 2012). These alternative views fail to adequately account for how political bald-faced lies pass for truth. (shrink)

Utterance of a sentence in poetry can be performative, and explicitly so. The best-known of Geoffrey Hill’s critical essays denies this, but his own poetry demonstrates it. I clarify these claims and explain why they matter. What Hill denies illuminates anxieties about responsibility and commitment that poets and critics share with philosophers. What Hill demonstrates affords opportunities for mutual benefit between philosophy and criticism.

The phenomenon of performativity has recently sparked debates about the status of the economic discourse. This paper aims to discuss the subjectivist idea that if economics ‘performs’ social reality, rather than merely reflects it, then every theory can be considered ‘true.’ My main goal is to point out three limits of performativity. First, not all theories can be performative since some do not produce empirical landmarks for agents. Second, social institutions restrict performativity. Third, I emphasize the necessity that a (...) theory to be self-fulfilling. This article is a prelude to a new kind of performative studies based on an original definition: a theory performs the world if it implies a behavioral regularity which leads to a general coordination between agents. That is to say, if it becomes a convention à la David Lewis. (shrink)

Augustine was undeniably a dogmatic thinker, but he also had an “aporetic side” which makes him more relevant to Christian philosophers today than isgenerally recognized. Augustine’s first experience of reading philosophy came from Cicero’s Hortensius, from which Augustine gained an appreciation for philosophical scepticism which he never lost. Thus, in all of his works and in all periods of his life, Augustine’s characteristic way of doing philosophy is aporetic, rather than either systematic or speculative. Paradoxically, Augustine’s faith in the truth (...) of Holy Scripture and Church Doctrine gave him a freedom to explore theological and philosophical conundra and, if he could not resolve them, admit frankly that he could not do so. Like Socrates, Augustine was wise partly because he admitted to being puzzled about things that others took for granted. Some of the perplexities which occupied him are: (a) the nature of time; (b) whether it is possible to show someone (without using words) what walking is if one is already walking; (c) whether one is responsible for what one does in one’s dreams; (d) whether one can think about sadness or pleasure by having an image of it in one’s mind, but without experiencing any sadness or pleasure in the thought, and (e) (perhaps most famously, in the Confessions) how one can want something that he does not believe to be good. (shrink)

School leaders are expected to act with integrity, but values are always contested: one person’s ‘moral purpose’ is not the same as another’s. Researchers have explored these issues from different angles. One approach focusses on individual leaders, seeking to understand how their values inform their practice. Other work highlights that individual values are only part of the story: values are embedded within professional norms and organisational cultures, while policy and governance frameworks serve to structure and constrain individual agency, particularly in (...) marketised and performative systems. This paper draws on examples from recent research in England to argue that leadership responses to structural constraints should be seen on a spectrum in terms of how far they reflect individual agency and values, proposing four possible categories – ‘toxic leadership’, ‘pragmatic compliance’, ‘principled infidelity’ and ‘authentic agency’. It also discusses the question of how values operate at locality and national levels as well as within individual schools and draws the analysis together into a conceptual frame. (shrink)