Editing Performativity (section)

== Various applications ==
Performance offers a tremendous interdisciplinary archive of social practices. It offers methods to study such phenomena as body art, ecological theatre, multimedia performance and other kinds of performance arts.<ref>Carlson (1996)</ref> 
 
Performance also provides a new registry of kinaesthetic effects, enabling a more conscientious observation of the moving body. The changing experience of movement, for example as a result of new technologies, has become an important subject of research.<ref>Wells (1998)</ref> 
 
Moreover, the performative turn has helped scholars to develop an awareness of the relations between everyday life and stage performances. For example, at conferences and lectures, on the street and in other places where people speak in public, performers tend to use techniques derived from the world of theatre and dance.<ref>Thrift (1997)</ref> 
 
Performance allows us to study nature and other apparently 'immovable' and 'objectified' elements of the human environment (e.g. architecture) as active agents, rather than only as passive objects. Thus, in recent decades environmental scholars have acknowledged the existence of a fluid interaction between man and nature. 
 
The performative turn has provided additional tools to study everyday life. A household for example may be considered as a performance, in which the relation between wife and husband is a role play between two actors.

=== Economics and finance ===
In economics, the "performativity thesis" is the claim that the assumptions and models used by professionals and popularizers affect the phenomena they purport to describe; bringing the world more into line with theory.<ref>{{Cite journal|url = http://kieranhealy.org/files/drafts/performativity.pdf|title = The Performativity of Networks|last = Healy|first = Kieran|date = 2015|journal = European Journal of Sociology|volume = 56|issue = 2|pages = 175–205|doi = 10.1017/S0003975615000107|s2cid = 152199942|access-date = 2015-11-19}}</ref><ref name="doing">{{cite book|title=Doing Economics|date=2010|publisher=The Open University|location=Milton Keynes|isbn=978-1-8487-34692|page=493}}</ref> It also refers, more largely, to the idea of economic reality as a ceaselessly provoked reality and of things such as performance indicators, valuation formulas, consumer tests, stock prices or financial contracts constituting what they refer to.<ref name="provokedeco">{{cite book |last=Muniesa |first=Fabian |title= The Provoked Economy: Economic Reality and the Performative Turn |url=https://doi.org/10.4324/9780203798959 |year=2014 |publisher=Routledge |doi=10.4324/9780203798959 |isbn=978-1-138-96180-7 }}</ref> This theory was developed by [[Michel Callon]] in ''The Laws of the Markets'', before being further developed in ''Do Economists Make Markets'' edited by [[Donald Angus MacKenzie]], Fabian Muniesa and Lucia Siu, and in ''Enacting Dismal Science'' edited by Ivan Boldyrev and Ekaterina Svetlova.<ref>{{cite book | url=http://press.princeton.edu/titles/8442.html | title=Do Economists Make Markets?| date=21 July 2008| isbn=9780691138497}}</ref><ref>{{Cite book | url=http://www.palgrave.com/de/book/9781137492104# | title=Enacting Dismal Science - New Perspectives on the Performativity of Economics &#124; Ivan Boldyrev &#124; Palgrave Macmillan| work=SpringerLink}}</ref> The most important work in the field is that of [[Donald Angus MacKenzie|Donald MacKenzie]] and Yuval Millo<ref>{{Cite journal|last1=MacKenzie|first1=Donald|last2=Millo|first2=Yuval|date=2003|title=Constructing a Market, Performing Theory: The Historical Sociology of a Financial Derivatives Exchange|journal=American Journal of Sociology|volume=109|issue=1|pages=107–145|doi=10.1086/374404|jstor=10.1086/374404|s2cid=145805302|issn=0002-9602}}</ref><ref>{{Cite journal|last=Mackenzie|first=Donald|date=March 2006|title=Is Economics Performative? Option Theory and the Construction of Derivatives Markets|url=https://www.cambridge.org/core/journals/journal-of-the-history-of-economic-thought/article/is-economics-performative-option-theory-and-the-construction-of-derivatives-markets/C7CA1D5B71539D86DC13E8F43C9C6AAB#fndtn-information|journal=Journal of the History of Economic Thought|language=en|volume=28|issue=1|pages=29–55|doi=10.1080/10427710500509722|s2cid=14201125|issn=1469-9656}}</ref> on the social construction of financial markets. In a seminal article, they showed that the option pricing theory called [[Black–Scholes model|BSM]] (Black-Scholes-Merton) has been successful empirically not because of the discovery of preexisting price regularities, but because participants used it to set option prices, so that it made itself true.

The thesis of performativity of economics has been extensively criticized by Nicolas Brisset in ''Economics and Performativity''.<ref>{{cite book|title=Economics and Performativity|last=Brisset|first=Nicolas|publisher=Routledge|year=2018}}</ref> Brisset defends the idea that the notion of performativity used by Callonian and Latourian sociologists leads to an overly relativistic view of the social world. Drawing on the work of [[J. L. Austin|John Austin]] and [[David Lewis (philosopher)|David Lewis]], Brisset theorizes the idea of limits to performativity. To do this, Brisset considers that a theory, in order to be "performative", must become a convention. This requires conditions to be met. To take a convention status, a theory will have to:

* Provide social actors with a representation of their social world allowing them to choose among several actions ("Empiricity" condition);
* Indicate an option considered relevant when the agreement is generalised ("Self-fulfilling" condition);
* Be compatible with all the conventions constituting the social environment ("Coherency" condition);<ref>{{Cite journal|last=Brisset|first=Nicolas|date=2016-04-02|title=Economics is not always performative: some limits for performativity|journal=Journal of Economic Methodology|volume=23|issue=2|pages=160–184|doi=10.1080/1350178X.2016.1172805|s2cid=148033117|issn=1350-178X}}</ref>

Based on this framework, Brisset criticized the seminal work of MacKenzie and Millo on the performativity of the [[Black–Scholes model|Black-Scholes-Merton]] financial model.<ref>{{Cite journal|last=Brisset|first=Nicolas|title=On Performativity: Option Theory and the Resistance of Financial Phenomena|date=December 2017|url=https://www.cambridge.org/core/journals/journal-of-the-history-of-economic-thought/article/on-performativity-option-theory-and-the-resistance-of-financial-phenomena/5EA4680D1294F9D4593FCAB4FBAB1421#fndtn-metrics|journal=Journal of the History of Economic Thought|language=en|volume=39|issue=4|pages=549–569|doi=10.1017/S1053837217000128|s2cid=158017241|issn=1053-8372}}</ref> Drawing on the work of [[Pierre Bourdieu]], Brisset also uses the notion of [[Speech act|Speech Act]] to study economic models and their use in political power relations.<ref>{{Cite journal|last=Brisset|first=Nicolas|date=2018-01-02|title=Models as speech acts: the telling case of financial models|url=https://doi.org/10.1080/1350178X.2018.1419105|journal=Journal of Economic Methodology|volume=25|issue=1|pages=21–41|doi=10.1080/1350178X.2018.1419105|s2cid=148612438|issn=1350-178X}}</ref>

MacKenzie's approach was also criticized by [[Uskali Mäki|Uskali Maki]] for not using the concept of performativity in accordance with Austin's formulation.<ref>{{Citation|last=Mäki|first=Uskali|title=Performativity: Saving Austin From Mackenzie|date=2013|url=https://philpapers.org/rec/MKIPSA|work=EPSA11 Perspectives and Foundational Problems in Philosophy of Science|pages=443–453|editor-last=Karakostas|editor-first=Vassilios|publisher=Springer|access-date=2020-04-14|editor2-last=Dieks|editor2-first=Dennis}}</ref> This point gave rise to a debate in [[economic philosophy]].<ref>{{Cite journal|last=Guala|first=Francesco|date=2015-05-10|title=Performativity Rationalized|language=en|location=Rochester, NY|ssrn=2616814}}</ref><ref>{{Cite journal|last=Brisset, Nicolas|date=2017-09-01|title=The Future of Performativity|url=https://journals.openedition.org/oeconomia/2746|journal=Œconomia. History, Methodology, Philosophy|language=en|issue=7–3|pages=439–452|doi=10.4000/oeconomia.2746|issn=2113-5207|doi-access=free}}</ref>

=== Gender studies ===
[[Judith Butler]] theorized gender as constructed by repeated acts. Acts that people come to perform in the '''mode''' of '''belief''' which cite existing norms, analogous to a script. Butler sees gender not as an expression of what one is but as something that one does. The appearance of a gendered essence is merely a "performative accomplishment".<ref>{{cite journal |last1=Butler |first1=Judith |date=1988 |title=Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory |url=https://www.jstor.org/stable/3207893 |journal=Theatre Journal |volume=40 |issue=4 |page=520 |doi=10.2307/3207893 |jstor=3207893 |access-date=May 3, 2024}}</ref> Furthermore, they do not see it as socially imposed on a self that is prior to gender, as the self is not distinct from the categories which constitute it. According to Butler's theory, homosexuality and heterosexuality are not fixed categories. For Butler, a person is merely in a condition of "doing straightness" or "doing queerness," where these categories are not natural but historical and socially constititued.<ref name=":0" />

"For Butler, the distinction between the personal and the political or between private and public is itself a fiction designed to support an oppressive status quo: our most personal acts are, in fact, continually being scripted by [[hegemonic]] [[social conventions]] and [[ideologies]]".<ref>{{Cite web |last=Felluga |first=Dino |title=Introduction to Judith Butler, Module on Performativity |url=https://www.cla.purdue.edu/academic/english/theory/genderandsex/modules/butlerperformativity.html |access-date=2006-10-30 |website=www.cla.purdue.edu}}</ref>

=== Management studies ===
In management, the concept of performativity has also been mobilized, relying on its diverse conceptualizations (Austin, Barad, Barnes, Butler, Callon, Derrida, Lyotard, etc.).<ref>{{Cite journal|last1=Gond|first1=Jean-Pascal|last2=Cabantous|first2=Laure|last3=Harding|first3=Nancy|last4=Learmonth|first4=Mark|date=2016|title=What Do We Mean by Performativity in Organizational and Management Theory? The Uses and Abuses of Performativity|journal=International Journal of Management Reviews|language=en|volume=18|issue=4|pages=440–463|doi=10.1111/ijmr.12074|s2cid=54218711|issn=1468-2370|url=http://dro.dur.ac.uk/15626/1/15626.pdf}}</ref>

In the study of management theories, performativity shows how actors use theories, how they produce effects on organizational practices and how these effects shape these practices.<ref>{{Cite journal|last1=Marti|first1=Emilio|last2=Gond|first2=Jean-Pascal|date=July 2018|title=When Do Theories Become Self-Fulfilling? Exploring the Boundary Conditions of Performativity|journal=Academy of Management Review|language=en|volume=43|issue=3|pages=487–508|doi=10.5465/amr.2016.0071|s2cid=59273544 |issn=0363-7425|url=http://openaccess.city.ac.uk/17819/1/MG%20AMR%202017%20CRO%20VERSION.pdf}}</ref><ref>{{Citation |last1=Gond |first1=Jean-Pascal |title=The Performativity of Theories |date=2022 |url=https://link.springer.com/10.1007/978-3-319-48352-8_56-1 |work=Handbook of Philosophy of Management |pages=1–25 |editor-last=Neesham |editor-first=Cristina |place=Cham |publisher=Springer International Publishing |language=en |doi=10.1007/978-3-319-48352-8_56-1 |isbn=978-3-319-48352-8 |access-date=2023-02-23 |last2=Carton |first2=Guillaume |editor2-last=Reihlen |editor2-first=Markus |editor3-last=Schoeneborn |editor3-first=Dennis}}</ref>

For instance, by building on Michel Callon's perspective, the concept of performativity has been mobilized to show how the concept of [[Blue Ocean Strategy]] transformed organizational practices.<ref>{{Cite journal|last=Carton|first=Guillaume|date=2020-02-03|title=How Assemblages Change When Theories Become Performative: The case of the Blue Ocean Strategy|journal=Organization Studies|volume=41|issue=10|language=en|pages=1417–1439|doi=10.1177/0170840619897197|s2cid=213852753|issn=0170-8406}}</ref>

=== Journalism ===

The German news anchorman [[Hanns Joachim Friedrichs]] once argued that a good journalist should never act in collusion with anything, not even with a good thing. In the evening of November 9, 1989, the evening of the fall of the [[Berlin Wall]], however, Friedrichs reportedly broke his own rule when he announced: "The gates of the wall are wide open." („Die Tore in der Mauer stehen weit offen.”) In reality, the gates were still closed. According to a historian, it was this announcement that encouraged thousands of East Berliners to march towards the wall, finally forcing the border guards to open the gates. In the sense of performativity, Friedrichs's words became a reality.<ref>{{cite web | url=http://www.bild.de/unterhaltung/tv/mauerfall/der-schoenste-fehler-in-40-jahren-tagesthemen-54357108.bild.html | title=Zum Jubiläum - der schönste Fehler in 40 Jahren "Tagesthemen"| date=2 January 2018}}</ref><ref>{{Cite news | url=https://www.washingtonpost.com/wp-dyn/content/article/2009/10/30/AR2009103001846.html | title=Mary Elise Sarotte -- How an accident caused the Berlin Wall to come down| date=November 2009| last1=Sarotte| first1=Mary Elise}}</ref>

===Video art===

Theories of performativity have extended across multiple disciplines and discussions. Notably, interdisciplinary theorist [[José Esteban Muñoz]] has related video to theories of performativity. Specifically, Muñoz looks at the 1996 documentary by Susana Aiken and Carlos Aparicio, "The Transformation."<ref>{{cite book|title=Disidentifications: Queers of Color and the Performance of Politics|author=Muñoz|author-link=José Esteban Muñoz}}</ref>

Although historically and theoretically related to performance art, [[video art]] is not an immediate performance; it is mediated, iterative and citational. In this way, video art raises questions of performativity. Additionally, video art frequently puts bodies and display, complicating borders, surfaces, embodiment, and boundaries and so indexing performativity.