Performance Philosophy is an international network open to all researchers concerned with the relationship between performance & philosophy.

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Knowing by singing: song, acoustic ecologies and the overflow of meaning - CfP RAI 1-3 June 2018

Started by Valeria Lembo Aug 30. 0 Replies

We invite 250-word abstracts for an anthropology and interdisciplinary conference on the theme of 'Art, materiality and representation'. The event will be held at the Clore Centre, British Museum in…Continue

Tags: Voice, Sound, Embodiment, Ecology, Epistemology

Listening After Oliveros

Started by Ed McKeon Aug 17. 0 Replies

The School of Fine Art, History of Art & Cultural Studies and School of Music at the University of Leeds are very excited to announce Listening after Pauline Oliveros: A Meditation.Thursday 12…Continue

What does the structureless of shock look like?

Started by Jim Daly. Last reply by Bernard Roddy Feb 22. 1 Reply

You can't impose structure on shock, can you? Continue

Bishop and Bourriaud

Started by Bernard Roddy. Last reply by Monica Gontovnik Aug 19, 2016. 1 Reply

Claire Bishop's book, Artificial Hells, provides a useful resource to engage with a set of works in performance of relevance to studio practice today. I am uploading my notes on the the first pages…Continue

Blog Posts

Aesthetics of Contemplation: Poetry Leaves

Posted by Jack Beglin on October 3, 2017 at 14:06 0 Comments

He met her in the foyer of a theatre, novel in her hand, clip board in his hand,

Market research on the tip of his tongue,…


Playing with Virtual Realities - Introduction

Posted by Einav Katan-Schmid on September 25, 2017 at 17:00 0 Comments


The project Playing with Virtual Realities takes place in the research group, at the Excellence Cluster an Interdisciplinary Laboratory, Humboldt University of Berlin.

The project explores how VR-technology and the embodied practices of gaming and dancing enact and design imagination and perceptual experience. The project is a collaboration of gaming, dancing, VR design, philosophy of technology, embodied…


Dance movement therapy contextualised within a Shambhala Buddhist Vision of Enlightened Society.

Posted by Jack Beglin on September 23, 2017 at 17:30 0 Comments

Context :

This essay was written during my visiting scholarship to Naropa University, Boulder, Colorado U.S.A, August - December 2016. Naropa is a Buddhist inspired University founded in 1974 by…


International University “Global Theatre Experience” The Ostrenko Brothers and Embodied Statues of the Psyche

Posted by Jack Beglin on September 15, 2017 at 17:30 0 Comments

ArtUniverse is an international arts agency created in 2006 in Great Britain with the mission;

‘ To develop transnational cultural collaboration and exchange between arts and culture workers, to strengthen international cultural links through artistic expression and to…



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Call for Contributions

parallax special issue: “Performative Afterlife”

If the significance of a work of art or literature shifts according to the itinerary of its transformative re-iterations across time, space and media, so must the terms of its analysis. For many years, a number of important developments in fine art practice, the history of art, and performance studies have been linked, at least implicitly, by a vigorous interrogation of the status of (art)works and identities, traditionally conceived of as stable or objectifiable. This issue of parallax seeks to explore this ongoing reflexion, unfolding across a number of disciplines, academic and otherwise, in the hopes of highlighting practical and ethical implications of performative iterability.

It is possible to distinguish between two broad approaches to problematising the conventional relations between an event and its archive: either by considering the archive to itself be active, inventive, performative, or by questioning the pure presence of the performative event, seeing it as already putting into play its future remains. Contemporary art history and fine art practice have tended to take the first approach, tracing the historicity of archival remains and their transformative migration (through citation, translation and interpretation, etc.). On the other hand, current scholarship in performance studies has privileged the second, shifting its focus from a long-standing infatuation with the impossibility of retrieving the event from its archive to a conception of performance as staging its own afterlife (Warburg, Benjamin), in the sense of an inscription of the future in the present. ‘Performative acts,’ Rebecca Schneider has pointed out, ‘are always reiterative, and as such are already a kind of document or record’ exposed to the coming of time. This concept of an afterlife (Nachleben) that doesn’t necessarily wait for the curtain to fall is related to a notion of the performative as iterability, a ‘rehearsal’ that transforms even as it repeats.

Far from constituting a mere problematic of methodology, this shift in perspective speaks to a concern with the possibility of social transformation. If works of art or literature, as Walter Benjamin suggests, ‘transform with the collective because they live in it,’ they inevitably become the precarious site of history’s perpetual reworking. As one consequence, the concept of afterlife is able to intervene in current debates on participation in its move away from an emphasis on the immediacy of the event in contemporary art and performance practice towards more durational and expansive conceptions of partaking, contributing and sharing. In light of this we are particularly interested in contributions from philosophical, (art-)historical, performance or cultural studies perspectives that enquire into the political and ethical implications of performative iterability and the afterlife of performance as they relate to the deconstructability of institutions, disciplines, archives, works, identities and cultural histories.

The editors invite proposals that speak to, but need not be limited to, the following areas:

-   The performative afterlife of works and artifacts (histories of reception, commentary, translation, citation and reproduction in view of ongoing transformations and dislocations: intermedial and cross-spatio-temporal migrations)

-       Performance and/as document

-       Re-enactment

-       Haunting of past and future

-       Theatricality and rehearsal

-       The concept of afterlife as it relates to Psychoanalysis (deferral/afterwardness)

-       The non-present remaining of events

-       Theoretical engagements with iterability, afterlife (Nachleben), survival (survivre) and related concepts in the work of Jacques Derrida, Walter Benjamin, Aby Warburg, Samuel Weber, Judith Butler, Bernard Stiegler et al.

Submission deadline for abstracts: 1st October (early submissions are encouraged)

Final Articles by May 1st.

Please submit abstracts of 400 words and a small biography to the editors:

Swen Steinhauser:

Neil Macdonald:

parallax is an international peer reviewed journal of philosophy and cultural theory based at the University of Leeds, UK. The journal publishes four themed issues a year. Details of the most recent editions can be found at:

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