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Journal articles on the topic 'Philosophy Of Performance'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Muttaqin, Ali. "Implikasi Aliran Filsafat Pendidikan dalam Pengembangan Kurikulum Pendidikan Islam." DINAMIKA : Jurnal Kajian Pendidikan dan Keislaman 1, no. 1 (February 3, 2017): 67–92. http://dx.doi.org/10.32764/dinamika.v1i1.105.

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Islamic education phenomenon with its kinds and shapes has good philosophic evidence. Philosophy of education is application of philosophyc ideas in education which has essential values to aim the purpose and the performance of Islamic education. Generally, the tendencies in philosophy had created the typology of Islamic education philosophy. Its tendencies influenced the development Islamic education curriculum. This paper tries to explain the tendency of education philosophy which influenced Islamic education curriculum.Keyword : Philosophy , Islamic education curriculum

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2

Bowie, Andrew. "The ‘Philosophy of Performance’ and the Performance of Philosophy." Performance Philosophy 1, no. 1 (April 10, 2015): 51. http://dx.doi.org/10.21476/pp.2015.1131.

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The notion of the 'philosophy of x', which has recently tended to become part of many subjects, from music to management, tends to obscure a range of important issues. The idea behind it seems to be that, by designating one's reflections on a subject as the ‘philosophy’ of whatever it is one is reflecting about, one achieves some kind of higher insight. Such an approach arguably grants too much to a subject whose main manifestation is actually endless disagreement on fundamental issues. In the light of this less flattering view of philosophy I want to suggest that we may sometimes achieve more by thinking of some of our practices, particularly in the aesthetic domain, as manifestations of what philosophy might become, rather than just thinking of those practices as objects of philosophical analysis.

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Meyer-Dinkgräfe, Daniel, and Anita S. Hammer. "Performance as Philosophy — the universal language of the theatre revisited." Nordic Theatre Studies 28, no. 2 (February 21, 2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25520.

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The history of philosophy is widely considered as the history of exercises in speculation. However, it is also possible to understand philosophy not as the outcome of speculation, but at the attempt by philosophers to explain, make sense of, and ultimately share, their own experiences of a very subtle, powerful and spiritual nature. The growing field of performance philosophy begins to acknowledge the potential of considering philosophy as an expression of immediate experience rather than distant speculation. This acknowledgement can take the shape of employing performance to express philosophy — in more immediately experienced ways than verbal language is ever able to convey. Writing about this non-verbal dimension is difficult, and the result limited by its very nature, but in this article, we discuss the principle, and provide an example in the performance philosophy, captured under the term of body thinking, of German philosopher and dancer Aurelia Baumgartner.

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Meyer-Dinkgräfe, Daniel, and Anita S. Hammer. "Performance as Philosophy — the universal language of the theatre revisited." Nordic Theatre Studies 28, no. 2 (February 24, 2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25604.

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The history of philosophy is widely considered as the history of exercises in speculation. However, it is also possible to understand philosophy not as the outcome of speculation, but at the attempt by philosophers to explain, make sense of, and ultimately share, their own experiences of a very subtle, powerful and spiritual nature. The growing field of performance philosophy begins to acknowledge the potential of considering philosophy as an expression of immediate experience rather than distant speculation. This acknowledgement can take the shape of employing performance to express philosophy — in more immediately experienced ways than verbal language is ever able to convey. Writing about this non-verbal dimension is difficult, and the result limited by its very nature, but in this article, we discuss the principle, and provide an example in the performance philosophy, captured under the term of body thinking, of German philosopher and dancer Aurelia Baumgartner.

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Breemen, Alice. "Performance Philosophy: audience participation and responsibility." Performance Philosophy 2, no. 2 (January 31, 2017): 299. http://dx.doi.org/10.21476/pp.2017.2267.

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This article critically assesses the position of the spectator in philosophy and (participatory) performances. By means of an in-depth reading of Rancière’s notion of the emancipated spectator, Kester’s theory of dialogical aesthetics and a case study of the performance Order of the Day, an account of the changing position of the audience in contemporary society and in artistic events is established. Research into the responsibility of the spectator in both philosophy and performance can broaden our understanding of the production and perception of knowledge in an age of media omnipresence. The field of Performance Philosophy provides potential for analyzing where performance and philosophy overlap and how this contributes to asking critical questions and generating new perspectives on how we occupy certain positions in society.

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Cameron MacKenzie. "The Performance of Non-Philosophy." symplokē 22, no. 1-2 (2014): 311. http://dx.doi.org/10.5250/symploke.22.1-2.0311.

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Cull � Maoilearca, Laura. "Editorial - Performance Philosophy Vol 1." Performance Philosophy 1, no. 1 (April 10, 2015): 1. http://dx.doi.org/10.21476/pp.2015.1133.

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Oxer, J. P. "The philosophy of performance evaluation." IEEE Engineering Management Review 30, no. 4 (October 2002): 119–20. http://dx.doi.org/10.1109/emr.2002.1167292.

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Rondhuis, Thecla, and Karel van der Leeuw. "Performance and Progress in Philosophy." Teaching Philosophy 23, no. 1 (2000): 23–42. http://dx.doi.org/10.5840/teachphil20002311.

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Lagaay, Alice. "Minding the Gap – of Indifference: Approaching ‘Performance Philosophy’ with Salomo Friedlaender (1871-1946)." Performance Philosophy 1, no. 1 (April 10, 2015): 65. http://dx.doi.org/10.21476/pp.2015.1127.

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The concept of "Creative Indifference" put forward by Salomo Friedlaender in his 1918 magnum opus, Schöpferische Indifferenz, provides much food for thought from a Performance Philosophy perspective. Friedlaender's work, which has been largely overlooked by academic philosophers until now, was in fact hugely influential in expressionist Dada circles at the time of its publication. It also contributed to shaping Gestalt Therapy theories and practice, thereby relating to a number of bodywork movements that continue to inform performance practice and Performance Philosophy alike. In this short text, Alice Lagaay begins to explore the manner in which Friedlaender/Mynona can be seen as a Performance Philosopher “avant la lettre”, and how the notion of "Creative Indifference” might be fruitful in the ongoing "Mind-the-Gap”- debate relating to the relation between “Performance" and "Philosophy".

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Cull � Maoilearca, Laura, Theron Schmidt, and Daniel Watt. "Editorial - Performance Philosophy Vol 2(1)." Performance Philosophy 2, no. 1 (July 29, 2016): 1. http://dx.doi.org/10.21476/pp.2016.21121.

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This editorial introduces Volume 2, Issue 1 of Performance Philosophy, including articles that respond to an open call for submissions and the introduction of a new section, [Margins], that supports�creative, non-standard approaches to the manifold relationships that may arise out of the conjunction between performance and philosophy.

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Cull � Maoilearca, Laura, K�lina Gotman, Eve Katsouraki, and Theron Schmidt. "Editorial - Performance Philosophy Vol 2(2)." Performance Philosophy 2, no. 2 (January 31, 2017): 162. http://dx.doi.org/10.21476/pp.2017.22132.

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Schmidt, Theron. "Editorial - Performance Philosophy Vol 3(1)." Performance Philosophy 3, no. 1 (June 25, 2017): 1. http://dx.doi.org/10.21476/pp.2017.31169.

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Daddario, Will. "The Open Field of Performance Philosophy." Performance Philosophy 4, no. 2 (February 1, 2019): 325–31. http://dx.doi.org/10.21476/pp.2019.42250.

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This editorial introduces issue 4.2 of the Performance Philosophy journal. As a culmination of an "open call" for proposals, this edition prompts the reflection, "What is open?" The editorial pursues that question in order to map the open field of Performance Philosophy as it currently presents itself in this historical moment.

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Brandon, James M. "Bertolt Brecht: Performance and Philosophy (review)." Theatre Journal 59, no. 2 (2007): 330–32. http://dx.doi.org/10.1353/tj.2007.0085.

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Hollingshaus, Wade, and Will Daddario. "Performance Philosophy: Arrived Just in Time?" Theatre Topics 25, no. 1 (2015): 51–56. http://dx.doi.org/10.1353/tt.2015.0002.

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Tangen, Stefan. "Performance measurement: from philosophy to practice." International Journal of Productivity and Performance Management 53, no. 8 (December 2004): 726–37. http://dx.doi.org/10.1108/17410400410569134.

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Oesmann, Astrid. "Bertolt Brecht: Performance and Philosophy (review)." Modern Drama 50, no. 3 (2007): 460–62. http://dx.doi.org/10.1353/mdr.2007.0058.

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Berger, M. I. "What philosophy brings to performance technology." Performance + Instruction 28, no. 7 (August 1989): 30–32. http://dx.doi.org/10.1002/pfi.4170280708.

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Bryan, Jenny. "Philosophy." Greece and Rome 65, no. 2 (September 17, 2018): 269–77. http://dx.doi.org/10.1017/s0017383518000220.

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Three recent volumes indicate a growing appreciation of the significance and complexity of Plato's account of mousikē in the Laws. Anastasia-Erasmia Peponi's edited work, Performance and Culture in Plato's Laws, collects fifteen diverse chapters by prominent scholars in Greek literature, philosophy, and culture to produce an immensely rewarding and original range of perspectives on Plato's treatment of performance and poetics in the Laws. As Peponi notes in her brief introduction, the complexity of the cultural background that Plato manipulates and appropriates in the Laws, as well as the intricacy of the Platonic appropriation itself, combine to present a very real challenge to any scholar seeking to understand them. In addition, it is hard to see that any robust treatment of the Laws’ political theory can avoid getting to grips with the fundamental connections between politics and performance established within the dialogue. Any reader with an interest in either Plato's political philosophy or his poetics will be well rewarded by time spent with this volume. The chapters are divided into four sections, which focus in turn on issues of cultural identity (‘Geopolitics of Performance’), the role of the choruses in Magnesia (‘Conceptualising Chorality’), the Laws’ treatment of genre (‘Redefining Genre’), and the later reception of the Laws’ poetics (‘Poetry and Music in the Afterlife of the Laws’). In the second of the volume's two chapters on cultural identity, Ian Rutherford considers the Laws’ representation of Egypt as a culture that successfully resists political and moral decline via a commitment to stability in mousikē. Setting Plato's account against the external evidence, Rutherford suggests that the Laws offers a partial fiction of stable Egyptian mousikē, useful not least for the implications of its possible critical connection to Dorian culture. In the last of five chapters on the Laws’ interest in the civic apparatus of choral performance, Peponi demonstrates the singularity of choral performance in the work. Whereas the Laws treats most types of performance as producing pleasure in the spectator, in the case of choruses, the emphasis is on the pleasure and experience of the performers. Peponi argues that this shift in focus represents a Platonic attempt to ‘de-aestheticize’ the chorus. In this way, Plato seeks to rehabilitate mousikē by divesting it of the psychological and aesthetic flaws identified in the Republic’s extended critique. However, as Peponi notes in conclusion, the Laws is not altogether comfortable with this sort of performative pleasure. In the first of five chapters on genre, Andrea Nightingale discusses the Laws’ manipulation of generic diversity in service of the unified truth represented by the law code at its heart. Nightingale presents a fascinating and original analysis of the law code as a written text rather different in character from that criticized in the Phaedrus as a pharmakon that destroys our memory of truth. Rather, it serves to encourage the internalization of truths by obliterating the citizens’ memories of previous unwanted cultural norms. In the volume's final chapter, Andrew Barker turns to Aristoxenus for help in making sense of Plato's suggestion that music can be assessed as ‘correct’ or ‘incorrect’, or as ‘good’ or ‘bad’. Contrasting the Platonic focus on mimesis and ethical correctness with Aristoxenus’ assessment of music ‘by the standard of its own intrinsic values’ (413), Barker suggests that, of the two treatments, Plato's is the furthest removed from general Greek opinion. These varied and illuminating chapters are representative of the scope and quality of the volume, which not only serves to open up new directions for research on the Laws but also makes plain that the Laws is at least as important as the Republic for a thorough understanding of Plato's views on art and culture, and their relation to politics.

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Susanto, Irwan. "SOLUSI PENGEMBANGAN UMKM MELALUI ONTOLOGI." Performance 23, no. 1 (August 18, 2017): 17. http://dx.doi.org/10.20884/1.performance.2016.23.1.290.

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SMEs proved as the most contributor (92.71%) to the Indonesian employment. Ironically SMEs have many problems. Several attempts were employed, but they were unsucceessful. This article reached the problem solution through onthological philosophy as the novelty. Through descriptive analysis, SMEs were viewed from four dimensions (quantity, autonomy-correlation, dynamic of the process, meaning-value). The result of the study of onthology that described the reality of SMEs Indonesian context is the con-cept of businesses activities which cannot stand alone. It must correlate with the govern-ment and the environment and society and proceed dynamically to adjust to the environ-ment that is formed from the value of the nation's character (togetherness, brotherhood, mutual cooperation). The implications of onthology are the concept of SME development that should be based on the character of SMEs. SMEs still need protection and proactive support on both micro-businesses and macro-businesses aspect of SMEs, by all stake-holders such as government, business associations, universities. To make SMEs grow, it needs government’s integrated policies that can encourage the development of SMEs.

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Kornhaber, David. "Every Text is a Performance: A Pre-History of Performance Philosophy." Performance Philosophy 1, no. 1 (April 10, 2015): 24. http://dx.doi.org/10.21476/pp.2015.1125.

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This article traces a genealogy of performance philosophy along two separate lines within the history of the twentieth-century academy. On the one hand, it locates within the long history of philosophically-informed studies of dramatic literature a partial model for the work of performance philosophy, one that applied philosophical scrutiny to dramatic texts without ever extending the same consideration to theatrical performance—in spite of the practical theatrical work of many of this movement’s leading academic proponents. On the other hand, it identifies in the poststructualist rethinking of textual authority an opening for the reconsideration of philosophical communication that returns performance to a place of philosophical potential that it has not securely held since before Plato’s dialogues. It is argued that the intersection of these two trend lines in academic thought should be regarded as constituting an important intellectual genesis point for the emergence of performance philosophy and a useful means of approaching the purposes and boundary points of the field.

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Corby, James. "Failing to Think: The Promise of Performance Philosophy." Performance Philosophy 4, no. 2 (February 1, 2019): 576–90. http://dx.doi.org/10.21476/pp.2019.42239.

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Performance Philosophy, at its most hopefully imagined, seems to promise to succeed where other philosophical discourses and performative practises have come up short—perhaps even failed. That is to say, far from simply announcing a relatively modest interdisciplinary venture between philosophy and performance, Performance Philosophy seems invested with a radical potential that would, if realised, reveal a paradigm of creation and/or interpretation that is quite new and distinct. Its achievements, if successful, would be beyond the compass of performance and philosophy conceived independently of each other. Even the term itself, ‘Performance Philosophy’, conveys a certain paratactical momentum that seems directed towards a profound artistic, intellectual, and disciplinary miscegenation where neither performance nor philosophy would remain separate and intact and neither would be subordinated to or conditioned by the unchanged disciplinary genealogy and underpinnings of the other. Though exciting in prospect, this is far from unproblematic. Is performance, as an act of deliberate creative expression, not to some degree pulling in the opposite direction to truth-revealing, knowledge-bearing philosophy? Or does Performance Philosophy relate only to more elastic understandings and redefinitions of philosophy? More specifically, this article asks what ‘thinking’ ‘itself’ might be in the context of Performance Philosophy and what sort of ‘knowledge’ it might give rise to. It will be argued that against the usual measures of epistemological success Performance Philosophy must be judged to fail. However it will then explores whether, in a move reminiscent of the aesthetics of failure of early German Romanticism, it is precisely failure that seems to hold the promise of opening up new epistemological ground.

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Erler, Michael. "Argument and Performance: Alcibiades’ Behavior in the Symposium and Plato’s Analysis in the Laws." Peitho. Examina Antiqua 8, no. 1 (October 24, 2017): 213–24. http://dx.doi.org/10.14746/pea.2017.1.13.

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Argument and literary form, and how they both relate to each other, are crucial aspects of any interpretation of the Platonic dialogues. Plato the author and Plato the philosopher always work hand in hand in that Plato the author tries to serve Plato the philosopher. It is, therefore, an appropriate principle for approaching the study of Plato’s philosophy to take into account the literary aspects of the dialogues and to ask how Plato’s literary art of writing could possibly support his philosophical message and, for instance, to consider what this relation means in the context of the debate about developementalism versus unitarianism in Plato’s philosophy. In the present paper , I argue that the performance of the characters plays an important role in this context. I discuss various passages in the Laws which analyse the weakness of the will and I compare what Plato says there with the performance of Alcibiades in the Symposium. I conclude that the passages in the Laws can be read as a kind of commentary on Alcibiades’ behavior and I consider what this relation means in the context of the debate about developementalism versus unitarianism in Plato’s philosophy

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Erler, Michael. "Argument and Performance: Alcibiades’ Behavior in the Symposium and Plato’s Analysis in the Laws." Peitho. Examina Antiqua, no. 1(8) (October 24, 2017): 213–24. http://dx.doi.org/10.14746/peitho.2017.12226.

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Argument and literary form, and how they both relate to each other, are crucial aspects of any interpretation of the Platonic dialogues. Plato the author and Plato the philosopher always work hand in hand in that Plato the author tries to serve Plato the philosopher. It is, therefore, an appropriate principle for approaching the study of Plato’s philosophy to take into account the literary aspects of the dialogues and to ask how Plato’s literary art of writing could possibly support his philosophical message and, for instance, to consider what this relation means in the context of the debate about developementalism versus unitarianism in Plato’s philosophy. In the present paper , I argue that the performance of the characters plays an important role in this context. I discuss various passages in the Laws which analyse the weakness of the will and I compare what Plato says there with the performance of Alcibiades in the Symposium. I conclude that the passages in the Laws can be read as a kind of commentary on Alcibiades’ behavior and I consider what this relation means in the context of the debate about developementalism versus unitarianism in Plato’s philosophy.

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Böhler, Arno, Eva-Maria Aigner, and Elisabeth Schäfer. "Einleitung. Philosophy On Stage. Immanenz in zeitgenössischer Kunst und Philosophie." Performance Philosophy 3, no. 2 (December 21, 2017): 310. http://dx.doi.org/10.21476/pp.2017.32192.

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Diese bi-linguale Sonderausgabe des Performance Philosophy Journals, die erste in deutscher und englischer Sprache, ist das Ergebnis des Forschungsprojekts „Artist-Philosophers. Philosophy AS Arts-based Research“, das vom Österreichischen Wissenschaftsfonds (FWF): AR275-G21 im Kontext des Programmes zur Entwicklung und Erschließung der Künste (PEEK) gefördert wurde. Eine zentrale Fragestellung des PEEK-Projekts lautete: „Was geschieht mit dem traditionellen Bild der Philosophie, wenn Philosoph_innen beginnen, den Prozess des Philosophierens im öffentlichen Raum aufzuführen und kunst-basierte Praktiken in ihre Disziplin einzubeziehen?“ Ausgehend von unserer Annahme, dass Bedeutungen und Möglichkeiten aus differenziellen Beziehungen heraus generiert werden, die jemand mit anderen in einem konkreten weltlichen Milieu immanent teilt, haben wir im Verlauf des genannten Forschungsprojektes zwei Veranstaltungen realisiert, aus denen diese Publikation maßgeblich hervorgegangen ist: Das Forschungsfestival Philosophy On Stage #4 „Artist-Philosophers. Nietzsche et cetera“, das im November 2015 am Tanzquartier Wien stattfand, sowie die Konferenz „Immanenz in zeitgenössischer Kunst und Philosophie“ im Angewandte Innovation Lab (AIL) Wien. Diese Ausgabe des Performance Philosophy Journals umfasst Beiträge von: Arno Böhler, Laura Cull Ó Maoilearca, Paulo de Assis, Susanne Valerie Granzer, Alice Lagaay, Dieter Mersch, John Ó Maoilearca, Freddie Rokem, Elisabeth Schäfer, Andreas Urs Sommer, Marcus Steinweg, Tanja Traxler, Stephen Zepke.

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Corby, James. "The Contemporary Quarrel Between Performance and Literature? Reflections on Performance (and) Philosophy." Performance Philosophy 1, no. 1 (April 10, 2015): 36. http://dx.doi.org/10.21476/pp.2015.1112.

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This article argues for an understanding of performance as being motivated by a principle of autotelicity that suspends all considerations other than those of the performance itself as it unfolds in creative free play. It is argued that it is this ‘principle of performance’ that underpinned Plato’s rejection of poetry in favour of philosophy, in a foundational, mutually definitional rupture that he characterises as stemming from an ancient quarrel. This principle of performance survived both in and beyond philosophical discourse. It can, as this paper argues, be understood as being at work in the idealised conception of ‘literature’ that developed during the ‘theory’ explosion of the 1960s and 70s, as in institution that is, at least potentially, capable of saying anything. This article asks whether Performance Philosophy risks either undermining the principle of performance by making it subservient to the project of philosophy (and thereby reiterating Plato’s foundational move), or whether it hopes to put that principle to work philosophically in a way that does not limit it (and thereby reinscribe the recent but apparently exhausted ideals of the theory explosion, substituting ‘literature’ with ‘performance’). Either way, it is claimed, there may be important genealogical work for Performance Philosophy to do.

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Gauß, Eva Maria, and Rainer Totzke. "On Performative Philosophy – 10 impulses for discussion from [soundcheck philosophie]." Performance Philosophy 1, no. 1 (April 10, 2015): 74. http://dx.doi.org/10.21476/pp.2015.1130.

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Since 2011, the philosophy-performance festival, [soundcheck philosophie] has been gathering protagonists in German-speaking countries, who seek and intend to cultivate a certain practice in philosophy. This practice takes philosophy - focussing not only on written texts but also on the fundamental oral situations that take place within pilosophy - and presents it artistically and/or through media. In this context. The term ‘Performative Philosophy’ is meant as a working concept for finding criteria and developing contemporary expressions and forms of doing pilosophy. The [soundcheck philosophie] festival and the association responsible for it, Expedition Philosophie / Internationale Gesellschaft für Performative Philosophie, are understood as a forum for discourse. The 10 theses at the end of this article are intended to initiate discussion. Informed by the well-known yet unique structure of an oral conversation, where a lot of things are mentioned out of context and the topic often remains to be discovered, we would also like to contribute impulses for conversation. With this in mind, we have incorporated 10 conversational impulses that answer, tell, ask, state, chat, riddle and reflect about the undertaking of the project of Performative Philosophy.

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Cull, Laura. "Philosophy as Drama: Deleuze and Dramatization in the Context of Performance Philosophy." Modern Drama 56, no. 4 (December 2013): 498–520. http://dx.doi.org/10.3138/md.s87.

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Papchenko, Elena, Ruslan Bazhenov, Emma Bestaeva, and Sergey Bogatenkov. "Philosophy of technology: performance review and expected development." SHS Web of Conferences 72 (2019): 01019. http://dx.doi.org/10.1051/shsconf/20197201019.

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The paper is related to viewing the genesis and prospects for the development of one of the most important branches of philosophy - the philosophy of technology. The authors begin their survey with the time when a grounding of the philosophy of technology was given, i.e. when technology became comprehensible in terms of a philosophical and philosophical point of view until such extended studies concerned to the technology that developed into one of the most dominating factors in social development. It is reported that exact antipodes of opinion were made up in the classical philosophy of technology. Criticism of technology lasted long till its sacral significance and understanding technological reality requirements. Finally, it culminated in creating various approaches to study technology: engineering, humanitarian, social and philosophical. However, a pragmatic approach to the technology observation and development outcomes developed gradually. The paper comes to the point that contemporary philosophy of technology is harmonious and holistic in nature.

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Yazon, A. D., and K. Ang-Manaig. "Teacher’s Educational Philosophy, Teaching Style and Performance." KnE Social Sciences 3, no. 6 (June 4, 2018): 760. http://dx.doi.org/10.18502/kss.v3i6.2418.

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Earl, John H. "Global Asset Allocation: Philosophy, Process, and Performance." CFA Digest 30, no. 4 (November 2000): 40–42. http://dx.doi.org/10.2469/dig.v30.n4.767.

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Kirkkopelto, Esa. "For What Do We Need Performance Philosophy?" Performance Philosophy 1, no. 1 (April 10, 2015): 4. http://dx.doi.org/10.21476/pp.2015.117.

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In my short manifesto I consider the interrelation of the emergence of performance philosophy and the simultaneous emergence of practice-based or artistic research in the humanities and the higher education in arts. The need for performing artists to have recourse to philosophical discourse is motivated by an attempt to establish their new political and academic role as artist-researchers, as well as to understand the nature and the significance of the knowledge they produce. Performance philosophy opens up a new academic practice in which performance, performance makers and performers can make contact with philosophical thinking without the advocacy of intermediary disciplines and in equal dialogue with them, learn to think in their own terms, and become understood by others. It builds upon a collective attempt to give an answer to what performing arts and artists can do in an age where ‘performance’ has become a denominator of global capitalism.

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Alifuoco, Annalaura. "�Alive� Performance: Toward an Immersive Activist Philosophy." Performance Philosophy 3, no. 1 (June 25, 2017): 126. http://dx.doi.org/10.21476/pp.2017.3187.

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This paper proposes to analyse the �virtual,� unsighted potentials of the artistic and critical practice of performance through abstraction, deconstruction and remediation of its �body.� It argues that the ontological distinction between material and immaterial representation can be dislodged by the proposition of? an ontogenesis of emergence of the dynamic dimension of affect. Such self-organising, recursive system of forces and energies elicits change and transformation expanding the sensual and aesthetic practice of performance as alive art.These arguments connect concepts from aesthetic and political theory with philosophical ideas of virtual multiplicity, relationality, counter/intuition and (dis)individuation passing via the work of Brian Massumi, Teresa Brennan, as well as other theorists. The approach intersects methodologies and epistemologies from activist philosophy, science and art with the radical contingencies implicit in performance as a �technology of existence� (in)formed by tendencies of distribution of affective intensities and temporal (re)modulation of shared perception.Ultimately, I propose to imagine performance as a vital archive of perceptive experience marked by a representational impossibility, a failure to appear fully. This actual condition of emergent abstraction enables however a bodily state of intensity and emergency to flesh out an experiential, visceral field of affective modes of becoming and becoming-other in related mo(ve)ments of aliveness traversed by the ungrasped pulse of a past yet to be/come.

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Antze, Rosemary Jeanes. "Dance of India: Culture, Philosophy and Performance." Dance Research Journal 17, no. 2 (1985): 98–100. http://dx.doi.org/10.1017/s0149767700015503.

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36

Birch, David. "Re‐orienting semiotics: Performance philosophy and theory." Continuum 2, no. 2 (January 1989): 7–25. http://dx.doi.org/10.1080/10304318909359362.

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Wariyatno, Nanang Gunawan, Han Ay Lie, Fu-Pei Hsiao, and Buntara Sthenly Gan. "Design Philosophy for Buildings’ Comfort-Level Performance." Advances in Technology Innovation 6, no. 3 (May 27, 2021): 157–68. http://dx.doi.org/10.46604/aiti.2021.7309.

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The data reported by Japan Meteorological Agency (JMA) show that the fatal casualties and severe injuries are due to heavy shaking during massive earthquakes. Current earthquake-resistant building standards do not include comfort-level performance. Hence, a new performance design philosophy is proposed in this research to evaluate the quantitative effect of earthquake-induced shaking in a building. The earthquake-induced response accelerations in a building are analysed, and the response accelerations related with the characteristic property of the building are used to evaluate the number of Seismic Intensity Level (SIL). To show the indispensability of the newly proposed comfort-level design philosophy, numerical simulations are conducted to evaluate the comfort level on different floors in a building. The results show that the evaluation of residents’ comfort levels should be considered in the current earthquake-resistant building design codes.

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Yang, Xiao Long. "Difference and Identity in Piano Performance Information." Proceedings 47, no. 1 (June 2, 2020): 59. http://dx.doi.org/10.3390/proceedings2020047059.

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With the arrival of the information society, the research on the philosophy of music art has been paid more and more attention to, and the difference and identity in the information of piano performance is worth our deep thinking. In the new era of social information, it is a timely topic which breaks through the traditional research methods of piano art and utilizes the research system of information philosophy. Based on the perspective of information philosophy, this paper attempts to reveal the difference and identity of the main body of piano performance information by observing the ontology and law of music art research and applying the basic principle of information philosophy theory. Thus, the guiding significance of information philosophy in piano performance is discussed and further analyzed.

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Ó Maoilearca, John. "Laruelle, Immanence, and Performance: What Does Non-Philosophy Do?" Performance Philosophy 3, no. 3 (December 21, 2017): 718. http://dx.doi.org/10.21476/pp.2017.33143.

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François Laruelle’s ‘non-philosophical’ practice is connected to its performative language, such that to the question 'what is it to think?, non-philosophy responds that thinking is not “thought”, but performing. Non-philosophy is equally described by Laruelle as ‘transcendental practice’, an ‘immanent pragmatics’, or a ‘universal pragmatics’ that is ‘valid for ordinary language as well as for philosophy:’ He insists that we look at ‘that-which-I-do-in-saying and not just what I say’ – for the latter is simply what happens when thought is ‘taken hold of again by philosophy.’ Resisting this hold, non-philosophy performs re-descriptions of philosophy that, in doing so, produce effects on how philosophical texts are seen. All the same, it is notable that Laruelle objects to the focus on activity within the concept of a speech act, and instead emphasizes the ‘descriptive passivity’ that an immanent pragmatics obliges; statements that manifest ‘by their very existence what they must describe in the last instance – statements identically descriptive and performative.’ What Laruelle calls a ‘Performed-Without-Performation’ would be an action of the Real, or the ‘in-One’ – philosophical language seen as a performed without we using this or any language to perform. In this essay, this complex thought is compared with certain concepts and practices of performance that do not come from philosophy so explicitly (Allan Kaprow’s, Richard Schechner’s and Michael Kirby’s especially), but may well offer a key to understanding this passive action of the Real.

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Mullis, Eric. "Performance and the philosopher’s costume: Richard Shusterman as the Man in Gold." Studies in Costume & Performance 5, no. 1 (June 1, 2020): 13–31. http://dx.doi.org/10.1386/scp_00011_1.

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This article discusses philosopher Richard Shusterman’s artistic collaboration with Yann Toma which entails the use of costume, photography and public performance. The project advances the interdisciplinary field of somaesthetics and raises questions about conventions of professional philosophy, including what philosophers conventionally wear and how philosophical inquiry is advanced. Aspects of costume theory and contemporary movement performance are used to analyse Shusterman’s autobiographical methodology and the project’s performative aims.

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CULL, LAURA. "Performance as Philosophy: Responding to the Problem of ‘Application’." Theatre Research International 37, no. 1 (January 26, 2012): 20–27. http://dx.doi.org/10.1017/s0307883311000733.

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This article begins from the premise that a ‘critical turning point’ has been reached in terms of the relationship between performance and philosophy. Theatre and performance scholars are becoming increasingly engaged in philosophical discourse and there are growing amounts of work that take philosophy – from the work of Plato to Heidegger and Deleuze – as their guiding methodology for performance analysis. However, this article argues that we need to go further in questioning how we use philosophy in relation to performance, and that theatre and performance scholarship should attempt to go beyond merely applying philosophical concepts to performance ‘examples’. One way to do this, the article suggests, is by questioning the very distinction between performance and philosophy, for instance by exploring the idea of performance as philosophy. The article concludes by drawing from the work of figures such as Allan Kaprow, Henri Bergson, François Laruelle and John Mullarkey to argue that philosophers and performance scholars alike might extend their conception of what counts as thinking to include not only activities like performance, but embodied experiences and material processes of all kinds.

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Bar-Elli, G. "Ideal Performance." British Journal of Aesthetics 42, no. 3 (July 1, 2002): 223–42. http://dx.doi.org/10.1093/bjaesthetics/42.3.223.

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Мелякова, Юлія Василівна. "PERFORMANCE IN THE METHODOLOGY OF PHILOSOPHY OF LAW." Bulletin of Yaroslav Mudryi National Law University. Series: Philosophy, philosophies of law, political science, sociology 3, no. 38 (September 1, 2018): 110–18. http://dx.doi.org/10.21564/2075-7190.38.140009.

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Мелякова, Юлія Василівна, Світлана Борисівна Жданенко, and Владислав Олегович Еґерт. "PERFORMANCE IN THE METHODOLOGY OF PHILOSOPHY OF LAW." Bulletin of Yaroslav Mudryi National Law University. Series: Philosophy, philosophies of law, political science, sociology 3, no. 42 (June 19, 2019): 96–106. http://dx.doi.org/10.21564/2075-7190.42.170729.

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Sanecka, Anna. "“Odd and Luna” – pedagogical fairy tale about otherness and being different." Journal of Education Culture and Society 11, no. 1 (June 27, 2020): 73–91. http://dx.doi.org/10.15503/jecs2020.1.73.91.

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Aim. The aim of the article is to present the pedagogical potential of the puppet performance “Odd and Luna” staged in Wroclaw Puppet Theatre. The performance is interpreted from the philosophy of dialogue’s point of view, focused mainly on the philosophy of Polish philosopher Józef Tischner. Methods.The plot and the main theme of the performance – the otherness, loneliness and meeting the Other as a way of overcoming one’s own lack of self-confidence and fear of being different – are described and analysed. The contents of the performance are studied in order to find in its significant categories present in philosophy of dialogue: “the Other”, “the face”, “the meeting”, “the speech”/ “the word” and “the dialogue” Results and conclusion. The article shows that such difficult subject as otherness on the one hand and being different on the other, can be shown and discussed within a stage performance as a relatively easy way of transferring to the children the values and demands of social life like openness to differences, openness to dialogue and relations, willingness of meeting Other and building one’s own identity and self-confidence. Mentioned above characteristics seem quite important in Polish increasingly diversifying society.

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Camp, Pannill. "May Philosophy Flourish: Pantheisticon, Freemasonry, and Eighteenth-Century Ritual Philosophy." Journal of Medieval and Early Modern Studies 51, no. 3 (September 1, 2021): 553–75. http://dx.doi.org/10.1215/10829636-9295065.

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In eighteenth-century Europe, ritual performance behavior was consciously used for philosophical purposes. The richest documented instances of this involved Freemasonry, a voluntary fraternal order that drew tens of thousands of men, across Europe and beyond, into a secretive ritual practice. Masons understood ritual, the core of Masonic “craft,” as a philosophical activity in itself. Supporting this claim requires a critique of the prevalent view that Freemasonry was uniquely compatible with specific Enlightenment philosophical constructs—constitutional monarchism in political thought and deistic Newtonianism in natural philosophy. Rather than expressing these specific philosophical views, Masonic ritual effectuated philosophical reflection apart from the outside world. John Toland's proto-Masonic ritual document Pantheisticon shows how early modern rituals fostered thinking in lodge settings and distinguished between Masonic and “profane” entities. On this basis it can be argued that performance in this era and beyond should be understood as the generative containment of knowledge.

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Garcin Marrou, Flore, Amalia Boyer, Charlotte Hess, Maria Kakogianni, Liza Kharoubi, Esa Kirkkopelto, Camille Louis, et al. "What Is Philo-Performance? A roundtable." Performance Philosophy 1, no. 1 (April 10, 2015): 148. http://dx.doi.org/10.21476/pp.2015.1117.

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This article is an edited transcript of the roundtable entitled “What is Philo-Performance?” that took place in Paris on 28 June 2014, within the framework of the “Theatre, Performance, Philosophy International Conference: Crossings and Transfers in Anglo-American Thought”. The conference was organized by Julien Alliot, Flore Garcin-Marrou, Liza Kharoubi and Anna Street from the LAPS, a French research group on performance philosophy.

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Wang, Yingyan. "Examination on Philosophy-Based Management of Contemporary Japanese Corporations: Philosophy, Value Orientation and Performance." Journal of Business Ethics 85, no. 1 (April 9, 2008): 1–12. http://dx.doi.org/10.1007/s10551-008-9727-y.

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Parry-Davies, Ella, and Eliesh S.D. "Siting Performance Philosophy: Positions, Encounters and Reflections at Beirut: Bodies in Public." Performance Philosophy 1, no. 1 (April 10, 2015): 255. http://dx.doi.org/10.21476/pp.2015.1116.

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Beirut: Bodies in Public was a three-day workshop that took place in Beirut, Lebanon from 9-11 October 2014, supported by a Performance Philosophy grant for interim conference events. The workshop integrated academic research with performances, movement workshops, film, and site-specific responses to the city, and welcomed disciplinary perspectives from a broad range of fields. In this article, the convenors Ella Parry-Davies and Eliesh S.D. reflect on the central issues and encounters foregrounded by the event, and the disciplinary or methodological implications of the project for performance philosophy. Taking as its central provocation the controversial statement: “Art in public spaces doesn’t exist anymore”, the workshop sought to address the role of embodied practice in Beirut’s precarious public sites. Insofar as philosophy can be ‘performed’, it is grounded in the particularities of its social space, an utterance shaped by its historical and geopolitical locality. As a practice of performance philosophy, then, Beirut: Bodies in Public triangulated these two forms-of-knowing with a third: the interrogation presented by the site itself - its potentialities, contingencies and challenges.

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Cull Ó Maoilearca, Laura. "From the Philosophy of Theatre to Performance Philosophy: Laruelle, Badiou and the Equality of Thought." Labyrinth 19, no. 2 (March 14, 2018): 102. http://dx.doi.org/10.25180/lj.v19i2.97.

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This article draws from François Laruelle's non-standard philosophy to locate gestures of philosophical "authority" or 'sufficiency" within recent work in the philosophy of theatre - including material from contemporary Anglo-American philosophical aesthetics, and texts by Alain Badiou, such as In Praise of Theatre (2015). Whilst Badiou initially appears magnanimous in relation to theatre's own thinking - famously describing theatre as "an event of thought" that "directly produces ideas" (Badiou 2005: 72) - I argue that this very benevolence, from a Laruellean perspective, constitutes another form of philosophical authoritarianism. In contrast, I indicate some affinities between Laruelle's non-standard aesthetics and the emerging field of Performance Philosophy - one aim of which, as distinct from the philosophy of theatre, would be to allow performance to qualitatively extend our concepts of thinking and/or to be attentive to the ways in which performance has already provided new forms of philosophy.

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