Performativity and the Event: Enacting a Philosophy of Difference

Abstract

The theatre of repetition is opposed to the theatre of representation, just as movement is opposed to the concept and to representation which refers it back to the concept. In the theatre of repetition, we experience pure forces, dynamic lines in space which act without intermediary upon the spirit, and link it directly with nature and history, with a language which speaks before words, with gestures which develop before organised bodies, with masks before faces, with spectres and phantoms before characters.'' Deleuze (1994a, page 10) Introduction:``The theatre of repetition'' Heisenberg Why did I come? And once again I go through that evening in 1941. I crunch over the familiar gravel, and tug at the familiar bell-pull. What's in my head? Fear, certainly, and the absurd and horrible importance of someone bearing bad news. But ... yes ... something else as well. I can almost see its face. Something good. Something bright and eager and hopeful. Bohr I open the door ... Heisenberg And there he is. I see his eyes light up at the sight of me. Bohr He's smiling his wary schoolboy smile. Heisenberg Suddenly I'm free of all the dark tangled currents in the water. Margrethe Look at them. Father and son still. Just for a moment. Even now we are all dead. Bohr For a moment, yes, it's the twenties again. Heisenberg And we shall speak to each other and understand each other in the way we did before. Margrethe And from these two heads the future will emerge. Which cities will be destroyed, and which survive. Who will die, and who will live. Which world will go down to obliteration, and which will triumph. Bohr Come in, come in ...

La idea de espacio público en geografía humana. Hacia una conceptualización (crítica) contemporánea

“…(Hubbard, 2005: 42) Con todo, en esta reacción al absolutismo espacial -proceso inscrito en cierto descrédito hacia los modos de hacer del pensamiento moderno 8 y del positivismo 9 -, se ha ido gestando una nueva conceptualización del espacio urbano que, a la vez que desafía su conceptualización como «realidad dada», propone una nueva ontología relacional y preformativa. En el marco de los giros relacional y performativo, autores como Tim Cresswell (2002) Popke (2003, 2009), Geraldine Pratt (2000, Nigel Thrift (1996, 2000b, Nigel Thrift y John-David Dewsbury (2000) etc. -sobradamente clarificadores a la hora de entender esta tendencia-son los sherpas con los que yo conté para comprender la refundación del espacio público en base a una «ontología práctica».…”

“…Así las cosas, si, según John-David Dewsbury, «this is a world in which the metaphysical referent for truth is now in doubt» (Dewsbury, 2003(Dewsbury, : 1908, ¿qué pueden ser los espacios públicos para una geografía humana que se niegue a su simplificación como estructura objetiva? ¿Cómo conceptualizar este objeto de investigación en base a unos nuevos marcos explicativos?…”

Performing Elusive Mobilities: Ritualization, Play, and the Drama of Scheduled Departures

“…Secondly, it is a -deferred affordance‖ (Bissell, 2009, page 178): a mere -ensemble of possibilities‖ (de Certeau, 2002, page 98) to be actualized, to be caught in other words, through successful movement. Thirdly, is an -irretrievable event‖ (Dewsbury, 2000) which both constrains and allows for the creativity of those who struggle to gather there in time. Fourthly, it is a key -moment‖ (cf.…”

Micropolitical entanglements: Positioning and matter

“…Ethics is, in other words, always contextual -part of a 'context' understood as matter of processual unfoldings (Thrift 2004), embodiment (Bignall 2010), post-human entanglements (Braidotti 2013) and eventful possibilities (Dewsbury 2000). Although it is still related to certain standard norms -as any molecular thing is related to a molar onethe kind of ethics that fuels the work of Deleuze and Guattari is there first and foremost to challenge those norms starting from the 'micropolitics of the social field', the very specific social field in which we find ourselves plugged-in.…”