performativity


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performativity

a situation arising from the application of technology to science and scientific procedures explored by Jean Francois LYOTARD in his highly influential work The Postmodern Condition: a report on knowledge (1979). Lyotard notes that although technology initially aids scientists‘ EMPIRICAL inquiries, as MODERNITY matures this technology begins to dominate science. Science then becomes harnessed to the principle of‘optimal performance’ – that is the maximising of outputs (information produced) for the minimum input of time and energy. Consequently, it is then possible to purchase proof in much the same way as a piece of equipment. Lyotard believes this relegates science to the status of a DISCOURSE or LANGUAGE GAME, thus compromising its claim to a privileged view of reality. This, in turn, can be seen to create problems for traditional accounts of knowledge and EPISTEMOLOGY due to a subsequent lack of consensus regarding appropriate criteria with which to judge rival claims. Lyotard, however, does not view this situation as problematic holding that the reliance upon science was restrictive and tended to silence other voices and stifle other ways of knowing. See GRAND NARRATIVE, DIFFEREND, PAGANISM, LYOTARD.
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They cover the plurality of approaches, disciplines, and theories; from methodological choice to methodological mix; and explanation, theorizing, and performativity. Among specific topics are the eroding artificial-natural distinction: some consequences for ecology and economics, team agency and conditional games, from an individual to a holistic lens: reassessing marketing models to deliver impact, social statistics using strategic structuralism and pluralism, and assembling economic actors: time-varying rates and the new electricity consumer.
"Their comments express a tension between the old view of what it means to be a teacher - commitment, service to the school and pupils' learning - and the new managerialist view: accountability, performativity and meeting standards in a new, corporate world.
This is often described as the "terrors of performativity"--the obsessive desire to perform toward performance indicators (proxies to fitness in the market) terrorizes one's cognitive space and displaces what does not fit with that consequentialist, Machiavellian outlook.
1-11) The poem's opening two stanzas can serve as examples of the kind of performativity that translators engage in; Rozewicz sets out not only to create a new world, with subjects and objects, but also evokes actions, such as cutting the bread and eating.
The individual contributors cover mind/body sexual politics, patriarchal cultural constructs, the anatomy of sex and power in relation to myth and culture, denigration of female anatomy, and gender performativity. From Persepolis to Bollywood, and from fairy tales to crime fiction, the contributors to "Unveiling Desire" show how the struggle for women's liberation is truly global.
The Centre of Performing arts MITOS's work has references in cultural heritage and its contemporary function, perception and performativity. It specialises in the production of experimental ancient Greek drama performances.
The mediation enacted by the color granted the drawings a performativity that seemed at odds with their private nature, insisting that we look at them as more than automatist reverie or unconscious desire.
Hence, the racial grotesque in Ralph Bakshi's Coonskin (1975), Black performativity in Wendell B.
Besides its multidisciplinary design, the ground-breaking nature of ARTIVISM lies in the application of the core concepts of performativity and liminality, as well as in an examination of the way to advance and refine these concepts and to create new analytical tools to respond to recent social phenomena.
by the intervention of countervailing norms." Even in Gender Trouble, Butler raised the possibility of "subversive performativity," and over the years her interest in that possibility has developed in such works as Excitable Speech (1997), Precarious Life (2006), Frames of War (2010), and (with Athena Athanasiou) Dispossession: The Performative in the Political (2013).
He first differentiates queer performativity from queer performance, defining the former as "a self-conscious political commitment" and the latter as "the presentation of a static identity .
The second section on 'text' examines rock and pop genres, in terms of their history, politics, and sexuality (Chapter 3), genres of 'black' music (Chapter 4), the meanings of music as text (Chapter 5) and theories of performativity (Butler) and distinction (Bourdieu), as they have been employed in popular music studies (Chapter 6).