Connecting Research with Communities through Performative Social Science

A pioneer in Performative Social Science, Kip Jones makes a case for the potential of arts-based social science to reach audiences and engage communities. Jones contextualises both the use of the arts in Social Science, as well as the utility of Social Science in the Arts and Humanities. The discussion turns next to examples from his own work and what happens when Art talks to Social Science and Social Science responds to Art. The benefits of such interaction and interdisciplinarity are outlined in relation to a recently completed project using multi-methods, which resulted in the production of a professional short film. In conclusion, Performative Social Science is redefined in terms of synthesis that can break down old boundaries, open up channels of communication and empower communities through engagement

Embodied conversations: Performance and the design of a robotic dancing partner

This paper reports insights gained from an exploration of performance-based techniques to improve the design of relationships between people and responsive machines. It draws on the Emergent Objects project and specifically addresses notions of embodiment as employed in the field of performance as a means to prototype and develop a robotic agent, SpiderCrab, designed to promote expressive interaction of device and human dancer, in order to achieve ‘performative merging’. The significance of the work is to bring further knowledge of embodiment to bear on the development of human-technological interaction in general. In doing so, it draws on discursive and interpretive methods of research widely used in the field of performance but not yet obviously aligned with some orthodox paradigms and practices within design research. It also posits the design outcome as an ‘objectile’ in the sense that a continuous and potentially divergent iteration of prototypes is envisaged, rather than a singular final product. The focus on performative merging draws in notions of complexity and user experience. Keywords: Embodiment; Performance; Tacit Knowledge; Practice-As-Research; Habitus.</p

The Performativity of Literature Reviewing: Constituting the Corporate Social Responsibility Literature through Re-Presentation and Intervention

Although numerous books and articles provide toolkit approaches to explain how to conduct literature reviews, these prescriptions regard literature reviewing as the production of representations of academic fields. Such representationalism is rarely questioned. Building on insights from social studies of science, we conceptualize literature reviewing as a performative endeavor that co-constitutes the literature it is supposed to “neutrally” describe, through a dual movement of re-presenting—constructing an account different from the literature, and intervening—adding to and potentially shaping this literature. We discuss four problems inherent to this movement of performativity—description, explicitness, provocation, and simulacrum—and then explore them through a systematic review of 48 reviews of the literature on Corporate Social Responsibility (CSR) for the period 1975-2019. We provide evidence for the performative role of literature reviewing in the CSR field through both re-presenting and intervening. We find that reviews performed the CSR literature and, accordingly, the field’s boundaries, categories, priorities in a self-sustaining manner. By reflexively subjecting our own systematic review to the four performative problems we discuss, we also derive implications of performative analysis for the practice of literature reviewing

How Did I Get to Princess Margaret? (And How Did I Get Her to the World Wide Web?)

The paper explores the growing use of tools from the arts and humanities for investigation and dissemination of social science research. Emerging spaces for knowledge transfer, such as the World Wide Web, are explored as outlets for "performative social science". Questions of ethnics and questions of evaluation which emerge from performative social science and the use of new technologies are discussed. Contemporary thinking in aesthetics is explored to answer questions of evaluation. The use of the Internet for productions is proposed as supporting the collective elaboration of meaning supported by Relational Aesthetics. One solution to the ethical problem of performing the narrations of others is the use of the writer's own story as autoethnography. The author queries autoethnography's tendency to tell "sad" stories and proposes an amusing story, exemplified by "The One about Princess Margaret" (see Appendix). The conclusion is reached that the free and open environment of the Internet sidelines the usual tediousness of academic publishing and begins to explore new answers to questions posed about the evaluation and ethics of performative social science

Recreating Reality: Waltz With Bashir, Persepolis, and the Documentary Genre

This paper examines Ari Folman’s Waltz With Bashir (2008) and Marjane Satrapi’s Persepolis (2007) to elucidate how artists, distributors, and audiences shape and define the porous boundaries of the documentary genre, and how such perceptions are shaped within a digital context. By analyzing how each film represents reality; that is, how documentaries attempt to represent the real world, this paper explores the elements of performativity within animated documentary as a reflection of both the growing fluidity of the documentary genre and the instability of the indexical in a digital age. In a digital context, where the “real” can be manufactured at an increasing rate, stronger skepticism and cynicism push the documentary genre towards more subjective explorations, with animated documentaries serving as a key example of how genre distinctions have fluctuated in response

Diversity, inequality and a post-structural politics for education

This paper considers the contribution to understanding educational inequalities offered by post-structural theories of power and the subject. The paper locates this consideration in the context of the ongoing endeavour in education studies to make sense of, and identify ways of interrupting, abiding educational exclusions and inequalities. The paper examines the potential of Judith Butler's work, in particular her engagement with Foucault?s concepts of productive power and subjectivation, and the articulation of these ideas with the notion of the performative constitution of subjects, for making sense of the processes through which students come to be particular sorts of subjects of schooling. The paper argues that taking up these understandings not only enables us to better understand the endurance of particular configurations of educational inequalities, it also opens up new possibilities for interrupting these through a post-structural politics that seeks to displace prevailing discourses and constitute students differently through every-day practices of preformative reinscription

Performance and …

In titling our chapter 'Performance and...' our intention is not to privilege performance studies over theatre studies or drama but rather to call to attention the longstanding proposition that performance (studies) 'resists or rejects definition' (Schechner, Richard, 1998, 'What Is 'Performance Studies' Anyway?' in: P. Phelan and J. Lane (eds.), The Ends of Performance, NYU Press, p. 360) and as such highlight the potential it holds for interdisciplinary scholarship and the way in which the idea of performance has been conceived fluidly and expansively, both key concerns of all the volumes reviewed here. We are, we hope, at a point in the development of performance and theatre studies where there is an understanding, acceptance and exploration of the mutually constructive and beneficial interweaving of these two 'traditions' of scholarship within the broader field of drama. In the books we look at, both 'theatre' and 'performance' are brought to bear on the matters at hand almost interchangeably, with established text-based dramas taking their place alongside works in the performance art tradition to further arguments pertaining to a variety of disciplines. Such plurality of approach is a defining feature of the works we have chosen to discuss and binds them to a common purpose: the exploration of drama/theatre/performance in, with and between other disciplines and discourses in the pursuit of illuminating the world around us in more meaningful ways

Performativity, fabrication and trust: exploring computer-mediated moderation

Based on research conducted in an English secondary school, this paper explores computer mediated moderation as a performative tool. The Module Assessment Meeting (MAM) was the moderation approach under investigation. I mobilise ethnographic data generated by a key informant, and triangulated with that from other actors in the setting, in order to examine some of the meanings underpinning moderation within a performative environment. Drawing on the work of Ball (2003), Lyotard (1979) and Foucault (1977, 1979), I argue that in this particular case performativity has become entrenched in teachers’ day-to-day practices, and not only affects those practices but also teachers’ sense of self. I suggest that MAM represented performative and fabricated conditions and (re)defined what the key participant experienced as a vital constituent of her educational identities - trust. From examining the case in point, I hope to have illustrated for those interested in teachers’ work some of the implications of the interface between technology and performativity