“Performativity” Butler says “is construed of that power of discourse to produced effects through re-iteration, to produce what it declares.” Performativity however, is only possible within the constraints of “iterability.” We are spoken more than we speak, done more than we do; therefore we are “constrained by what remains radically unthinkable” and, in the area of sexuality “by the radical unthinkability of desiring otherwise”. Inhabiting a sexed position then always engages citational practices, “citing the law under and through the force of prohibition and taboo, with the threat of ostracism and even death compelling and controlling the shape of production but without fully pre-determining it.” “Agency” then, according to Butler’s reconfiguration, is always “on drugs”. It is always under the influence of language and can only take place within our reiteration of the reiterable. Continue reading
- The event aspect of performativity [the moment, now] is linked to the materiality of an installation in through simultaneousness of action/experience, or the event aspect of artistic production [performance] continues to take effect within the installation.
- Performativity is a constitutive part of the installation
- The installation alone is what generates the performativity
- A Performance Installation has its own individual context; by means of the performative elements it embraces the live elements of the external context and thereby incorporates categories from everyday routine and life.
- The extent of the performativity of an installation in terms of its appearance cannot be completely predicted or controlled here. Performative Installation thus unites within itself presence and representation, ephemeral and static elements, event and duration and immateriality and materiality. The direct effect and the indirect work enter into a synthesis. In a Performative Installation the dialectics of subject and object are annulled. Both are given a new common identity here.
Text quoted from performative installation, Angelika Nollert, 2003:pp.13
Image reproduced from http://artjetset.com/2009/08/30/roman-ondak-performative-installation-at-moma-2/. For more information about the work at MOMA 2009 click here
‘Austin writes that the performative utterance must constitute the action that it describes or states:
‘to utter the [performative] sentence…is not to describe my doing in what I should be said in so uttering to be doing or to state that I am doing it: it is to do it‘ i,e I now pronounce you man and wife. Thus […] the uniqueness of the performative utterance lies not in its efficacy but in the fact that it is dependent on the self-referentiality of the utterance, its explicit reference to itself.’ pp12
Austin and Benveniste agree that in order for an utterance to be effectively performative it must occur under the appropriate circumstances. For Austin  the circumstances are appropriate if those involved [speaker, listener, witnesses] view them as conforming to the traditions and conventions of society. Benveniste  merely writes that a performative statement, in order to be authentic, must be uttered under contextual conditions that are themselves perceived as valid.’pp19
In ‘What is a Speech Act? [1971, 46-53], John Searle articulates a number of conditions in decribing ‘how to promise’ and suggests how they might be generalized to apply to other explicitly perofrmative speech acts. The most important among them are related to the authority of the speaker to make the statement under the circumstances in which it is made; the speaker’s sincerity and the listener’s belief in the plausibility of the predicated proposition. Once can effectively promise only what one intends to do and is capable of doing.’ pp19
For further reading with regard to the illocutionary, the perlocutionary, the constative, the performative etc see J L Austin How to do things with words
Text reproduced from Performance in the Texts of Mallarme, Shaw, Mary Lewis 1993:pp12
Image reproduced from http://www.tamarinnorwood.co.uk/about/
‘Writing and occasion instead become collapsed into one: writing about occassions is the occasion for writing. The occasion is not prior to the text ; it is the performance of the text itself, in the act of addressing.’