Animals are present in many corners of our consciousness and can help us in the creative process of writing. It is in the writing, and especially writing on the edge of ignorance, that knowledge of a new kind is produced. In this process, animals have a specific power of attraction, like many famous novels have shown. Taking a close look at the concept of becoming-animal that is in itself embedded in these authors' poetic and nearly prophetic language, animal writing is seen as an extension of dirty, interruptive or feminine writing. The French novel La peau de l'ours-The bear's skin illustrates how becominganimal operates in fiction writing, producing a strong effect both on writer and reader. Animal writing is a molecular encounter with the wild animals that live in us and as such it is also an upheaval of the self.
To extend and enrich the debate on critical performativity, this paper proposes that critical management studies should create a strategic link with organisational aesthetics through an alliance with critical artists doing interventions in organisations. These artists produce social change at the margin of organisations and our task as critical researchers is to give a voice to their artistic action in the field of management. Art performance is presented as a research method and a political action able to give critical performativity a new impulse. Two dance performances in a bank are described and analysed: while the first one is a failure the second produces confusion and embodied tension in the bank's lounges. The aesthetic tactics used in this art performance are counter-performative: dancers introduce slowness and hesitation of bodies in a context of extreme closure and discipline. Art performance is described as a deed: its only value is that it could be done, which calls for more artistic action in corporate everyday life.
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