Performance Philosophy Performance Philosophy is an emerging interdisciplinary field of thought, creative practice and scholarship. As an international, peer-reviewed, open access journal, <em>Performance Philosophy</em> publishes articles that interrogate what this field might be and what might be possible within it. Performance Philosophy en-US Performance Philosophy 2057-7176 <p>Authors who publish with this journal agree to the following terms:</p> <ul> <li>Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="">Attribution-NonCommercial-ShareAlike License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal, provided it is for non-commercial uses; and that lets others excerpt, translate, and build upon your work non-commercially, as long as they credit you and license their new creations under the identical terms. </li> <li>Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.</li> <li>Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See <a href="" target="_new">The Effect of Open Access</a>).</li> </ul> Intervention as Intoxication! <p>This guest edited journal issue follows on from the Performance Philosophy Biennial 2019 in Amsterdam. Featuring a wide range of research and contribution styles, reworked and elaborated further for this issue, contributors consider alternative ways of ‘intervening’. The central suggestion to rethink ‘intervention as intoxication’ resonates throughout all articles, highlighting the embodied, entangled, and aesthetic dimensions of intervention. Some of the contributors go on to consider intervention as subversion of institutions beyond the well-known discourse on institutional critique. </p><p>In this editorial, in addition to introducing the authors, the editors and Biennial organizers characterize alternative ways of intervening in this issue as a search for humble ways of responding to socio-political issues and as a positioning of new knowledge(s). By way of opening, the editors recommend to consider listening as intervention, along the lines of Gemma Corradi Fiumara’s notion of ‘apprentices of listening’(1990, 57).</p> Ricarda Franzen Sophie van Balen Copyright (c) 2020 Ricarda Franzen, Sophie van Balen 2020-02-24 2020-02-24 5 2 172 182 10.21476/PP.2020.52298 Interruption—Intervention: On the interval between literature and music in Jean Luc Nancy’s “Myth Interrupted” <div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>This paper focuses on the role of mimesis and more specifically, the role of musical performance in creating communities by examining the oscillations between </span><span><em>muthos</em> </span><span>and </span><span><em>logos</em> </span><span>that inform contemporary thinking around community and institutions.</span></p><p><span>The starting point is Jean-Luc Nancy’s (1991) intervention—or interruption— into the totalitarian or “immanentist” tendency of myth, a tendency that is especially at play in European modernity’s image of itself as a myth-less community as well as in contemporary or “(new) fascism” (Lawtoo 2019). For Nancy, the notion of myth must not be rejected but “interrupted,” so that “there is a voice of community articulated in the interruption, and even out of the interruption itself” (1991). What replaces myth in his account is “literature” a notion that arguably informs the contemporary movement of performance philosophy (Corby 2015). </span></p><p><span>Why literature and not musical performance? </span>In posing this question, this paper turns back to ancient Greek <em>mousik?</em> as a sonorous performance that interrupts the interruption, giving rise to the interval. Countering the myth of myth, I develop an account of <em>mousik?</em> that mobilizes rhythm, spacing, and iterability to suggest a notion of community that exchanges communion for performative communication, producing an intervened institution interrupted from within: an in— stitution.</p></div></div></div></div> Daniel Villegas Vélez Copyright (c) 2020 Daniel Villegas Vélez 2020-02-24 2020-02-24 5 2 183 202 10.21476/PP.2020.52277 A ‘What If’ Exercise: On the institution of the art school <p>We are increasingly experiencing an antagonistic polarization within the art schools. This seems to reflect the contemporary socio-political atmosphere, ruled by inequalities and injustices, fuelled by a narrative of scarcity and competition and by a very broadly spread mistrust, when not aggression, towards the very idea of the institution. As a matter of fact, schools are one of the few institutions in the theatre field providing a space for such polarizing relationships: they provide a space for friction, for conflict even.</p><p>This paper approaches the theatre school as an institution and a thinking entity, in the attempt to explore the forms of agonism that it makes possible, and how they can support positive forms of polarization. It assumes the perspective that “we are the institution” and, by acknowledging the agency that each of us has within artistic institutions, suggests some ways of thinking and practicing theatre school <em>otherwise</em>.</p> Silvia Bottiroli Copyright (c) 2020 Silvia Bottiroli 2020-02-24 2020-02-24 5 2 203 220 10.21476/PP.2020.52287 From the Opium of the People to Acid Communism: On the dialectics of critique and intoxication <p>There seems to be an inherent tension between intoxication and critique. We tend to associate intoxication with immersion, participation, and proximity, while critique is usually connected to the distance, separation, and an outsider-perspective. In this article I want to analyze this tension, but I also want to explore the possibilities, with the German philosopher and critic Walter Benjamin as my guide, of a critical intoxication and/or intoxicated critique. What would be the social, political and aesthetic implications for such juxtaposition for both of these categories?</p> Thijs Lijster Copyright (c) 2020 Thijs Lijster 2020-02-24 2020-02-24 5 2 221 235 10.21476/PP.2020.52276 Rooted Hauntology Lab: Attempts at vegetal curation <p>In this paper I share my personal attempt of co-working with plants as ghosts and how this has started to shape a curatorial practice that tries to resist extractivism. I wanted to rethink my own practice as a curatorand investigate how to shape relations and ethics differently. For this work I turned towards plants and ghosts as my teachers and allies. They pointed me towards strategies of being-with, generosity and sympoiesis, which I am trying totranspose into a (life-)practice. <em>Rooted Hauntology Lab </em>as an artistic-curatorial project is both the result and ongoing practical playground for this experimentation.</p> Ingrid Vranken Copyright (c) 2020 Ingrid Vranken 2020-02-24 2020-02-24 5 2 236 251 10.21476/PP.2020.52289 Toxic Climates: Earth, people, movement, media <p>Planet Earth is toxic. Its atmosphere unbreathable. Its environments deadly intoxicated by the dehumanizing forces of xenophobia, environmental degradation and violence. As its peoples are increasingly on the move to make a worthy living, exclusion, borders and conflict are normal occurrences rather than exceptions in daily life. And, as toxic substances dissipate and spread through representations circulating through the media they cloud the sight of the human beings in front of us. In the face of the intoxicating and dehumanizing forces at play, we need remedies for sobering up rather than intoxicating ourselves further. Remedies for living with contamination and hybridity rather than altering these state. Conceiving of citizenship as a right that has to be performed, enacted and claimed and recognizing how contemporary states of crisis (in the paper referred to as ‘the triple mobility crisis’) intensifies and radicalizes disputes over spatial rights and their representation in current media ecologies this video paper explores the potentiality of merging the positions of academics and media activists. </p>Drawing on Anna Tsing's call for “contamination” as a catalyst from which future “world-making projects, mutual projects and new directions – may emerge” (2015, 27), we ultimately propose a radical humanizing intervention in and beyond institutions. We take off from a conception of practice as an activity that “interrupts all ordering activities and is interrupted by them” (Arendt 1971, 197). The video paper is created through a cooperation between academic performance researchers (Haldrup, Samson) and media activist collective Other Story (McGowan), and it seeks ways of addressing, expressing and enacting citizenships by repositioning academic lecturing in ‘other’ settings. The settings chosen for this intervention are, respectively, the streets at Nørrebro station (a central mobility hub in Copenhagen's most multi-ethnic neighborhoods) and Sjælsmark (a deportation center for rejected asylum seekers in Denmark). Both places epitomize the issues addressed in academic discourses on mobility, spatial rights and citizenship.<p>In line with the work of Other Story, and partly inspired by Levinas and his ethics of the “nakedness of a face, the absolute defenseless face, without covering, clothing or mask” (1998, 21), we aim to actualize the emergence of shared sensibilities affecting our own embodied citizenships in the encounter with others. In doing this, we may view the video paper as an audio-visual gesture that brings together discursive propositions and situated spaces together. Situated in two sites relating to the themes “toxic climates” and “acts of citizenship,” the video paper seeks to address its themes through embodied thought. By doing so we, experiment with how speech acts relate to the world, but also deal with what we see as an inherent paradox in academic discourse: the paradox between, on the one hand, wanting to reach out to change the toxic climates of today, and, on the other hand, being trapped in language and specific academic ways of engaging with the world. While the video paper does not claim to deliver a coherent solution or solve this paradox, it does nonetheless reframe the role of thinking into a situated position from where ethical relations might emerge by questioning how we approach and transform toxic climates today, and to what extent media, performance and language can change the toxic world we live in.</p> Michael Haldrup Kristine Samson Madeleine Kate McGowan Copyright (c) 2020 Michael Haldrup, Kristine Samson, Madeleine Kate McGowan 2020-02-24 2020-02-24 5 2 252 259 10.21476/PP.2020.52283 The Physical Consequence to Knowing: A speculative report <p>This is my first attempt at approaching the notion of agency as a practice though the mode of dancing and writing; deconstructing and reconstructing what I know experientially and what I am trying to comprehend theoretically. I am looking for a way of releasing bodily capacities from the jurisdiction of the mind, whose cartesian definition I don't attempt to deny, as most people I have the chance to work with and teach exhibit in one way or another proof of the fact they’ve embodied the concept. All the while, I am considering philosophical texts, anatomical texts, and (science) fiction; I am taking into account my bodily experience, I am dancing and I am writing, I am teaching, conversing, occasionally making progress, occasionally falling back to the embrace of old habits, making unnecessary assumptions, and failing. Repetition is a part of the study. Minimal difference is a part of the study. Changing perspective is a part of the study. My strategy includes not trying to fix but approach with care and attention every step I am taking; every achievement, every set-back; every question and every answer. I assume my learning curve to be cyclical, as I continue to practice in public, always vulnerable but eager to engage in an exchange.</p> pavleheidler Copyright (c) 2020 pavleheidler 2020-02-24 2020-02-24 5 2 260 292 10.21476/PP.2020.52286 An-aesthetic: Performed philosophies of sensation, confusion, and intoxication <span style="font-kerning: none;">In Michel Serres’ <em>The Five Senses: A Philosophy of Mingled Bodies</em>, he establishes an opposition between two mouths: the anaesthetising, speaking mouth of discourse and analysis and the aesthetic, tasting mouth of sensation. This article uses Serres’ model of the two mouths to think about the performance of knowledge and philosophy in a sensory performance event and the potential of intoxication to unveil or reveal through a process of ‘making strange’. The article begins with an outline and reading of Serres, considering his writing on the two mouths and their indicative models of knowledge, before moving to think about philosophies of confluence or confusion; the pouring or flowing together of different forms of knowing. This is coupled with outlining two modes of intoxication (losing oneself into the status quo and a process of estrangement) to think about the politics of aesthetic sensory experience in the age of commodification of live(d) experience. The second half of the article turns to a dining-performance event by Kaye Winwood entitled <em>After Dark</em> (2016). The event is used as a basis for more personal reflections, considering the ways intoxication makes strange and enters into performance as a revelatory experience. The article proposes a number of interconnected arguments: that sensory experience and embodiment offer a mode of knowledge; that intoxication as ‘making strange’ has potential as a philosophical gesture; and that in that estrangement, there is potential to resist the coopting of live(d) or sensory experience in an economy of commodification. <br /></span> Paul Geary Copyright (c) 2020 Paul Geary 2020-02-24 2020-02-24 5 2 293 302 10.21476/PP.2020.52282 Blow your mind! Shards hailing, on superfluous violence to stop surviving <p>David Buckel set himself on fire to publicly stage the horrors of climate change, Delores “Lolita” Lebrón performed a sensational act in the US congress hall, hailing bullets while calling out: <em>¡Viva Puerto Rico Libre!</em></p><p>When do we recognize violence as violence? When is the absence of a counter-attack a form of compliance? Do the desires of activists need an expression of violence to establish an ‘otherwise’ that’s carefully repressed? In “Blow your mind! Shards hailing, on superfluous violence to stop surviving” various instances of violence weave together, obscuring the difference between theatre, terrorism, assault and sensational act.</p><p>The end of the world is a future for those who have been living like survivors. To explore the potential of violence as resistance, the author proposes to fight as an armless aimless army of vulnerables.</p><p>‘Violence happens upon you. But that’s not really true for everyone. As a white cis-woman with passport privilege, I can say I’m interested in violence. <em>Interested in, interested in. </em>Violence doesn’t surround me. It may happen to me, but I would perceive it as an extraordinary event, a happening. I approach violence. <em>I approach, I approach </em>– there’s enough comfortable distance to repeat my sentence and imagine it echoing.’</p><p> </p> Simon(e) van Saarloos Copyright (c) 2020 Simon(e) van Saarloos 2020-02-24 2020-02-24 5 2 303 315 10.21476/PP.2020.52288 Altering Bodies: Thinking of intervention through impersonation <p>This essay stages a philosophical dialogue between one of Plato’s earliest and shortest works, <em>Ion</em>, and Philippe Lacoue-Labarthe’s deconstructive reflections on Diderot’s paradox of the actor. It takes the rhapsodic practice of the ancient figure of Ion as a reference point for thinking about the performer’s intoxicating nature and investigates its philosophical, bodily and psychological implications as well as its critical potential. It will proceed in three stages. The first part takes a detailed look at the absolute focal point of <em>Ion, </em>namely the analogy between the rhapsode’s intoxication and the Heraclean lodestone. The second part addresses the ‘logic’ of the magnet specifically from Ion’s point of view, which entails a critique of Socrates’ assumption of Ion being ‘out of his wits’ when he performs. The final part shows, with the help of Lacoue-Labarthe’s radicalization of Diderot’s paradox – the actor is nothing and everything at the same time – how Ion’s intoxicating impersonations can be considered an imperative for catharsis and critical intervention.</p> Niki Hadikoesoemo Copyright (c) 2020 Niki Hadikoesoemo 2020-02-24 2020-02-24 5 2 316 331 10.21476/PP.2020.52281 Understanding Anti-performance: The performative division of experience and the standpoint of the non-performer <p>Performance theorists have long been drawn to the potential of performance to subvert established institutions. The results of performance are never fully determined in advance; performances subject established images to reinterpretation; they take place before an audience that can criticize and intervene. But performative principles also play a role in maintaining established institutions and ways of being. Performance demands that participants take on roles and perform them more or less effectively. Performance also establishes a separation between the relatively active people who have the authority to perform publicly important roles and relatively passive audiences who observe those institutionalized performances. In this paper I argue for a balanced view of the subversive potential of performance, taking seriously the tradition of anti-theatricality, in order to determine the role of performance both in undermining and<em> </em>in upholding established institutions, and I call attention to the potentially subversive (but often contradictory) role of what I call <em>anti-performance</em>, the attempt (which is just as contradictory as performance itself) to move beyond the performativity that is imposed by established institutions, in order to achieve new forms of being that are experienced not only as “played” but as “real.”</p> Joseph Grim Feinberg Copyright (c) 2020 Joseph Grim Feinberg 2020-02-24 2020-02-24 5 2 332 348 10.21476/PP.2020.52279 On (In)security: A conversation on education and intergenerational dialogues <span style="text-align: justify;">This paper presents a Q&amp;A conversation held at the Performance Philosophy Biennial in Amsterdam, 2019. Three presentations responded to the conference call of ‘intervening in the habit of academia as a place for mature or adult voices,’ by exploring ways of making space for children’s voices. Connected by a focus on intergeneration dialogues, children’s disruption and the possibilities of empowerment, both within education and within familial structures, the three presentations opened a discussion about interpellation, sensitivity and (in)security. This paper presents this discussion in a reworked and extended format, offering insight into the presentations on the day, the subsequent conversation and the overarching questions that these dialogues provoke.</span> Carolin Bebek Kate Katafiasz Karian Schuitema Benjamin Weber Copyright (c) 2020 Carolin Bebek, Kate Katafiasz, Karian Schuitema, Benjamin Weber 2020-02-24 2020-02-24 5 2 349 368 10.21476/PP.2020.52285