The politics of writing and the performativity of ordinary people's speech in Jacques Rancière's method of equality Resumo O objetivo deste artigo é refletir sobre o método da igualdade de Rancière e sobre como ele configura uma operação... more
The politics of writing and the performativity of ordinary people's speech in Jacques Rancière's method of equality Resumo O objetivo deste artigo é refletir sobre o método da igualdade de Rancière e sobre como ele configura uma operação dissensual que desloca os objetos, temas e discur-sos de seu lugar habitual nos quadros interpretativos cotidianos e convencionais, para reintroduzi-los no campo das invenções de diferentes formas de linguagem, manifes-tações e argumentos. A inspiração que Rancière encontrou na obra de Foucault nos ajuda, em primeiro lugar, a compreender o papel da narrativa ficcional e da fabulação na escrita do homem ordinário e os aspectos subversivos e políticos de sua literarie-dade. Ressaltamos que o método da igualdade nos questiona sobre a construção de novas formas de escrita acadêmica que abrem espaço para outras teorizações e racio-nalidades, além de buscarem redefinir o status de outros textos considerados "não acadêmicos" na produção de uma poética do conhecimento. Palavras-chave: método da igualdade, poética do conhecimento, Foucault, Rancière, literariedade.
The aim of this article is to reflect on Rancière's method of equality and how it implements a dissensual operation that removes objects, subjects and discourses from their usual place in everyday and conventional interpretative frameworks and reintroduces them into the field of inventions of different forms of language, manifestations and arguments. The inspiration that Rancière has found in Foucault's work helps us firstly to understand the place of fabulation in the writing of the ordinary man and the political and subversive aspects of its literarity. We emphasize that the method of equality questions us about the construction of new forms of academic writing that leave room for other theorizations than those of professional theorists and about the status of other non-academic texts in the production of a poetics of knowledge.
The aim of this article is to reflect on Rancière's method of equality and how it implements a dissensual operation that removes objects, subjects and discourses from their usual place in everyday and conventional interpretative frameworks and reintroduces them into the field of inventions of different forms of language, manifestations and arguments. The inspiration that Rancière has found in Foucault's work helps us firstly to understand the place of fabulation in the writing of the ordinary man and the political and subversive aspects of its literarity. We emphasize that the method of equality questions us about the construction of new forms of academic writing that leave room for other theorizations than those of professional theorists and about the status of other non-academic texts in the production of a poetics of knowledge.
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An interview on the method and the ethics of writing of one of the piornneer and main proponent of the turn-to-affect. He proposes an ethics of the 'far away far ago' and three ethical relations between the researcher, the researchee and... more
An interview on the method and the ethics of writing of one of the piornneer and main proponent of the turn-to-affect. He proposes an ethics of the 'far away far ago' and three ethical relations between the researcher, the researchee and the reader.
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An exploration of the oeuvres of Alphonso Lingis, Kathleen Stewart and Mathieu Brosseau, in regards to the (self-) reflexivity of the researcher. Upon epistemological and ethical grounds, relatedness is methodically stripped out of our... more
An exploration of the oeuvres of Alphonso Lingis, Kathleen Stewart and Mathieu Brosseau, in regards to the (self-) reflexivity of the researcher. Upon epistemological and ethical grounds, relatedness is methodically stripped out of our research. As organizational researchers, we usually write ourselves out of our research;research processes are disconnected to their manifold contexts. And the absence of relatedness prevents engagement, care and deep learning. Separation and distance preclude the challenging of one's presuppositions and thought. On the contrary, research is here presented as learning and performance, and following the footsteps of Lingis, Stewart and Brosseau proposes possible and challenging paths, as well as the contention that it has become epistemologically and ethically desirable to describe organization poetically. Indeed, relatedness implies alternative forms of inquiry and writing, based on exposure and exploration, radical openness, affect and sensitivity, in evocative and reflexive writing.
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English and Spanish abstract below) Pour Hirschman (1983, 1986, 1995), en cas d’insatisfaction, nous n’avons pas que la sortie (exit) ou la loyauté (loyalty) comme capacité d’action, nous pouvons aussi prendre la parole (voice). Mais... more
English and Spanish abstract below)
Pour Hirschman (1983, 1986, 1995), en cas d’insatisfaction, nous n’avons pas que la sortie (exit) ou la loyauté (loyalty) comme capacité d’action, nous pouvons aussi prendre la parole (voice). Mais qu’est-ce qui rend une prise de parole performative ? Nous proposons d’étudier la prise de parole non comme une argumentation ou un signe mais comme une performance (Schechner, 1995, 2002). Une étude exploratoire qualitative, où une prise de parole a consisté simultanément en une grève de la faim et en la dramatisation de cette protestation dans une pièce de théâtre, montre un ensemble de dynamiques performatives. Cinq enseignements quant à la performativité de la prise de parole sont proposés, concernant l’existence de porte(s) de sortie, la théâtralité et la performance, le parasitage de la parole, le rôle des différents contextes et l’ouverture à la conciliation.
Voice performativity Lessons from the Lucernaire case
Summary: For Hirschman (1983, 1986, 1995), in case of dissatisfaction, exit and loyalty are not the only kinds of agency, voice is a third option. But what makes voice performative? We propose to study voicing not as argumentative speech or a sign-making but as performance (Schechner, 1995, 2002). An exploratory qualitative study, in which a voice consisted simultaneously of a hunger strike and the dramatization of this protest in a play, shows a set of performative dynamics. Five lessons regarding voice performativity are proposed, concerning the existence of exit door(s), theatricality and performance, voice parasiting, role of contexts and the openness to conciliation.
Key-words: Voice, Performativity, Performance, Protest
Performatividad de la voz. Lecciones a partir do caso do Lucernaire
Resumen: Para Hirschman (1983, 1986, 1995), en caso de insatisfacción, no sólo tenemos la salida o la lealtad como nuestra capacidad de acción, también podemos tomar la palabra. ¿Pero qué hace una voz performativa? Proponemos estudiar la voz no como un argumento o un signo sino como una performance (Schechner, 1995, 2002). Un estudio exploratorio cualitativo, en el que una voz consistía simultáneamente en una huelga de hambre y la dramatización de esta protesta en una obra de teatro, muestra un conjunto de dinámicas performativas. Se proponen cinco lecciones sobre la performatividad de la voz: la existencia de puerta(s) de salida, la teatralidad y la performance, el parasitismo de la voz, el papel de los diferentes contextos y la apertura a la conciliación.
Palabras Claves: Voz, performatividad, performance, protesta
Pour Hirschman (1983, 1986, 1995), en cas d’insatisfaction, nous n’avons pas que la sortie (exit) ou la loyauté (loyalty) comme capacité d’action, nous pouvons aussi prendre la parole (voice). Mais qu’est-ce qui rend une prise de parole performative ? Nous proposons d’étudier la prise de parole non comme une argumentation ou un signe mais comme une performance (Schechner, 1995, 2002). Une étude exploratoire qualitative, où une prise de parole a consisté simultanément en une grève de la faim et en la dramatisation de cette protestation dans une pièce de théâtre, montre un ensemble de dynamiques performatives. Cinq enseignements quant à la performativité de la prise de parole sont proposés, concernant l’existence de porte(s) de sortie, la théâtralité et la performance, le parasitage de la parole, le rôle des différents contextes et l’ouverture à la conciliation.
Voice performativity Lessons from the Lucernaire case
Summary: For Hirschman (1983, 1986, 1995), in case of dissatisfaction, exit and loyalty are not the only kinds of agency, voice is a third option. But what makes voice performative? We propose to study voicing not as argumentative speech or a sign-making but as performance (Schechner, 1995, 2002). An exploratory qualitative study, in which a voice consisted simultaneously of a hunger strike and the dramatization of this protest in a play, shows a set of performative dynamics. Five lessons regarding voice performativity are proposed, concerning the existence of exit door(s), theatricality and performance, voice parasiting, role of contexts and the openness to conciliation.
Key-words: Voice, Performativity, Performance, Protest
Performatividad de la voz. Lecciones a partir do caso do Lucernaire
Resumen: Para Hirschman (1983, 1986, 1995), en caso de insatisfacción, no sólo tenemos la salida o la lealtad como nuestra capacidad de acción, también podemos tomar la palabra. ¿Pero qué hace una voz performativa? Proponemos estudiar la voz no como un argumento o un signo sino como una performance (Schechner, 1995, 2002). Un estudio exploratorio cualitativo, en el que una voz consistía simultáneamente en una huelga de hambre y la dramatización de esta protesta en una obra de teatro, muestra un conjunto de dinámicas performativas. Se proponen cinco lecciones sobre la performatividad de la voz: la existencia de puerta(s) de salida, la teatralidad y la performance, el parasitismo de la voz, el papel de los diferentes contextos y la apertura a la conciliación.
Palabras Claves: Voz, performatividad, performance, protesta
La recherche se forme et s'exprime dans la texture et l'épaisseur de la langue. Écrire et décrire le qualitatif demandent d'inventer une écriture propre, un travail de création tout comme l'artisan façonne son art ou l'acteur travaille sa... more
La recherche se forme et s'exprime dans la texture et l'épaisseur de la langue. Écrire et décrire le qualitatif demandent d'inventer une écriture propre, un travail de création tout comme l'artisan façonne son art ou l'acteur travaille sa présence et sa voix. L'écriture n'y est pas véhicule mais création de sens. Écrire est un travail de réflexivité et de création, le choix d'une expression, d'une voix, d'une position, d'une présence, d'un engagement. Dans bien des cas l'écriture qualitative est moins reflet que performance.
Creative non-fiction in journalism uses narrative means from fiction to highlight dramatic tensions of reality; it thus puts the subjectivity of authors at the heart of the writing process, in order to capture the unfolding experience and... more
Creative non-fiction in journalism uses narrative means from fiction to highlight dramatic tensions of reality; it thus puts the subjectivity of authors at the heart of the writing process, in order to capture the unfolding experience and practice of ordinary people. The life of academics is punctuated by astonishing, ordinary, ceremonial, or dramatic scenes that sometimes take place in liminal spaces but may constitute a core social part of research practice. The Unplugged “Academic Non-Fiction” section is dedicated to sharing these moments.
This text attempts a minor usage of English, as the major language in management and organization studies. As Deleuze and Guattari have theorized in Kafka, towards a minor literature, a minor usage stutters and stammers the major, breaks with the operation of ‘order-words’, composes a music of words, a painting with words, a silence within words, it is connected to the wider social and political milieu and paves the way for a community to come.
This text attempts a minor usage of English, as the major language in management and organization studies. As Deleuze and Guattari have theorized in Kafka, towards a minor literature, a minor usage stutters and stammers the major, breaks with the operation of ‘order-words’, composes a music of words, a painting with words, a silence within words, it is connected to the wider social and political milieu and paves the way for a community to come.
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Nous proposons d’étudier la communication organisationnelle sous l’angle des affects qu’elle engendre, et de pour cela l’appréhender comme une expérience esthétique en nous situant dans le tournant vers les affects. Après avoir montré les... more
Nous proposons d’étudier la communication organisationnelle sous l’angle des affects qu’elle engendre, et de pour cela l’appréhender comme une expérience esthétique en nous situant dans le tournant vers les affects. Après avoir montré les défis méthodologiques d’une telle option, nous montrons son double mouvement qui s’écarte de la représentation d’un côté vers la présence sensible aussi immédiate que possible et de l’autre vers la réflexivité. Le contact avec la communication sera ainsi d’abord un toucher et un se-laisser-toucher, voire un contaminer, une étude de l’expérience de l’expérience. Ce contact induit ensuite une réflexivité politique et une réflexivité éthique ainsi que la recherche d’une écriture performative capable d’affecter à son tour le lecteur.
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Gilbert Simondon (1924–1989) was a radical process thinker; forms of relatedness and not objects were his focus. This is all the more remarkable as he was not a vitalist prioritizing Gaia or autopoesis. He based his thought on analyses of... more
Gilbert Simondon (1924–1989) was a radical process thinker; forms of relatedness and not objects were his focus. This is all the more remarkable as he was not a vitalist prioritizing Gaia or autopoesis. He based his thought on analyses of technology/technics and communication/cybernetics, and in both cases rejected the perspective of the machine or message as in itself objectifiable. Life objects, machines and societies, according to Simondon, individuate; that is, they are self-evolving, self-generating and self-differentiating in what he calls processes of ‘transduction’. Simondon, in fact, is more a thinker of transindividuation than of individuation. His is a theory of how the pre-individual leads to the transindividual, without the individual ever really playing much of a role. The motor of change and activity is ‘transduction’ – or a force of form-taking that operates on the pre-individual level. Transduction is, thus, the life-force of Simondon’s becoming. It is the energy that propels action, change, event and occurrence. No one in particular is the subject of transduction; transduction is the pre-individual manifestation of an all-encompassing process of genesis. Simondon attends to the genesis of the person, society, information, collective, technology, organization, whatever. We will see that his descriptions of becoming are powerful and theoretically important, but that his ontology (or philosophy) needs to be debated. Transduction is very problematic; how or whether it is knowable (epistemology) remains unclear; and transduction would seem to escape the individual and/or collective will – becoming an all-important life-force outside political or ethical control. Sub-processes of transduction, such as in the development of machines or even social technologies, have been rigorously documented and examined. Simondon studies genesis or how things come to be as they are. Currently, there is renewed interest in his thought, we think because he challenges unreflective functionalism – things are not just as they are: they evolve and become, oppose and break down, signify and deny, reveal and hide. Simondon provides a window on a world of complexification and change; he is a thinker of instability and dynamics; a thinker who matches our contemporary circumstances. This introduction will discuss possible contributions of Simondon to organizational studies, where his process perspective challenges many usual approaches. The emphasis on the pre-individual triggers reflection of what could be called the ‘pre-organizational’ and poses a whole series of theoretical and practical questions.
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This story narratively contends that lessons to be learnt from Enron collapse far exceed punishments of illegal behaviors as well as some new auditing and accounting regulations. But this requires to convince the external validity of a... more
This story narratively contends that lessons to be learnt from Enron collapse far exceed punishments of illegal behaviors as well as some new auditing and accounting regulations. But this requires to convince the external validity of a singular case. Usual ways of claiming external validity doesn’t appear to suit this situation. Participants then try Deleuze’s concept of repetition and examines theinsight this permits to gain on Enron possible lessons. This external validity criteria is finally discussed, still grounded on Enron case.
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Abstract Purpose – A description of the managerial impact on change processes during a takeover with middle management in the telecom industry. Design/methodology/approach – The approach is to use storytelling as a form of analysis of... more
Abstract
Purpose – A description of the managerial impact on change processes during a takeover with middle management in the telecom industry.
Design/methodology/approach – The approach is to use storytelling as a form of analysis of different positions within an organization, as described in a case study.
Findings – By not including the voice of the middle managers, higher management runs into problems in the implementation of change processes.
Research limitations/implications – By using narratives as a source for analysis, the paper does not try to gain objective insights into change processes.
Practical implications – Resistance to change can prove a safeguard against too optimistic change.
Originality/value – The paper shows that several layers of change that interact with one another as proof of the confrontation between grand narratives and ante-narratives.
Keywords Change management, Managers, Organizational culture, Acquisitions and mergers
Purpose – A description of the managerial impact on change processes during a takeover with middle management in the telecom industry.
Design/methodology/approach – The approach is to use storytelling as a form of analysis of different positions within an organization, as described in a case study.
Findings – By not including the voice of the middle managers, higher management runs into problems in the implementation of change processes.
Research limitations/implications – By using narratives as a source for analysis, the paper does not try to gain objective insights into change processes.
Practical implications – Resistance to change can prove a safeguard against too optimistic change.
Originality/value – The paper shows that several layers of change that interact with one another as proof of the confrontation between grand narratives and ante-narratives.
Keywords Change management, Managers, Organizational culture, Acquisitions and mergers
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Nous soutenons sans plus l'interroger que les résultats de nos études de cas sont généralisables. Pourtant, à viser le même critère de validité externe que les études quantitatives, non seulement nous sommes peu convaincants, mais nous... more
Nous soutenons sans plus l'interroger que les résultats de nos études de cas sont généralisables. Pourtant, à viser le même critère de validité externe que les études quantitatives, non seulement nous sommes peu convaincants, mais nous risquons de renoncer aux principaux atouts de notre méthode. Plutôt que nous escrimer vers des lois générales, auxquelles nous ne saurions prétendre, nous gagnerions à rechercher la répétition : les problématiques se répètent, mais la façon d'y faire face est singulière, affirmant une différence à étudier pour elle-même. L'étude de cas alors n'a plus à se prouver comme échantillon représentatif, elle se propose comme un possible : chemin exemplaire, récit ou proposition de monde, ouvrant à une responsabilité qui ne se limite pas à un suivi de règles. Mots-clés : Épistémologie, étude de cas, validité externe, généralisation, répétition, exemple. Repetition of the singular: for a revival of the debate upon generalising from case studies We contend, with no more inquiry, that our case study findings are generalisable. However, aiming at the same external validity criteria than quantitative studies, not only makes us unconvincing, but also may lead us to give up our method main assets. Rather than striving towards general laws, to which we could not pretend, we would be better off seeking for repetition: problematics are repeating, but the way to deal with them is singular, asserting a difference worth studying for itself. The case study has no longer to prove its representativeness, but proposes itself as one possible: exemplar path, narrative or proposition of world, opening up to a responsibility not confined to rules observance.
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Purpose – The purpose of this paper is to show what we can learn from an aesthetics perspective on organizational learning, and especially about some power dynamics unseeable with other perspectives. Design/methodology/approach – An... more
Purpose – The purpose of this paper is to show what we can learn from an aesthetics perspective on organizational learning, and especially about some power dynamics unseeable with other perspectives. Design/methodology/approach – An exploratory ethnographic study based on the turn-to-affect on the case of a theatre play in which many of the bearings that usually guide theatrical creation were removed. Findings – Analysis highlights that an a priori distribution of the sensible that locks routines, representations and roles is seldom questioned in organizational learning programs; the motion enabling organizational learning is less likely to be brought about by a change in power distribution than with the removal of some elements of power that freeze situations; organizational learning diffusion does not only go through norms, rules, values and repositories, but also through affects; and learning runs through a fragile communication of movements, always under the threat of becoming major knowledge and power distribution. Research limitations/implications – This paper is based on a single case. Practical implications – A too tight and close management of organizational learning is likely to thwart and limit its very learning possibilities. Originality/value – Several findings are in contradiction to technological or too managerial approaches to organizational learning. The study hopes to contribute by providing a supplement of complexity in our analysis of organizational learning, notably advocating for taking into account the role of affects, sensibility and the politics of aesthetics.
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ABSTRACT
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À partir de l’analyse de certaines images photographiques liées au programme de politique publique Bolsa Família, mis en place par le gouvernement Lula (Parti des Travailleurs) en 2003, nous montrons des dynamiques politiques créées par... more
À partir de l’analyse de certaines images photographiques liées au programme de politique publique Bolsa Família, mis en place par le gouvernement Lula (Parti des Travailleurs) en 2003, nous montrons des dynamiques politiques créées par ces images, dans les opérations qui la définissent et qui influencent l'interprétation de ce qui est vu. Ces opérations peuvent être exprimées au sein et en dehors de la sphère artistique, elles préconfigurent des énoncés qui font et défont des discours et des récits entre le visible et l'invisible, entre le dicible et le silence. A partir des approches de Butler, Rancière, Foucault et Fassin, nous montrons tant les opérations de cadrage qui distinguent entre des vies misérables et admirables, que d'autres modalités qui ouvrent des lignes d'appropriation, de contre-identifications et de devenir nomades.
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This text is a first version and suffers from various weaknesses. We welcome any comments that could help us transform it into a more robust and performative text. Performative arts can be seen as an organization of performativity.... more
This text is a first version and suffers from various weaknesses. We welcome any comments that could help us transform it into a more robust and performative text. Performative arts can be seen as an organization of performativity. However, how can we study the performativity of the aesthetic experiences brought about by performative arts in a way that could help us make sense of organizational and political aspects involved? And how then to compose an approach that tries to capture and describe the whole of experience in its aesthetic dimensions, but also think it and communicate it? We propose here to use some resources of the "turn-to-affects" to study organizational and political aspects of performativity in performing arts thanks to the study of a theatre play. An affect-led approach has the advantage of placing the researcher in a quasi unmediated contact with the aesthetic experience, of opening her or him up to a wide range of performative dimensions, and of forcing her to reflect on the organizational, political and ethical dimension of the experience.
The Power of Performing in Performing Arts Organizations Studying performativity in performing arts through affects.
The Power of Performing in Performing Arts Organizations Studying performativity in performing arts through affects.
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L'étude de cas commence par la problématique et cherche à résoudre le problème. Mais la résolution est-elle toujours le plus important ? N'est-ce pas aussi la problématique tendant la situation qui devrait être à l'horizon... more
L'étude de cas commence par la problématique et cherche à résoudre le problème. Mais la résolution est-elle toujours le plus important ? N'est-ce pas aussi la problématique tendant la situation qui devrait être à l'horizon de l'étude ? Ceci sera discuté à partir du cas de la problématisation cybernétique du contrôle par Anthony.
« Nous avions deux solutions. Soit la maniere forte et l’autoritarisme. Mais un plan social est toujours un traumatisme. Soit la democratie et la responsabilisation. Nous avons prefere mettre les salaries face a leurs responsabilites [1]... more
« Nous avions deux solutions. Soit la maniere forte et l’autoritarisme. Mais un plan social est toujours un traumatisme. Soit la democratie et la responsabilisation. Nous avons prefere mettre les salaries face a leurs responsabilites [1] . »
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And if the philosophy of knowledge had not begun? (p.219)M. Serres (1985) tastes a glass of Chateau d'Yquem, and opens up to a dimension of knowledge other than the one of clear and distinct ideas, other than the one given by the... more
And if the philosophy of knowledge had not begun? (p.219)M. Serres (1985) tastes a glass of Chateau d'Yquem, and opens up to a dimension of knowledge other than the one of clear and distinct ideas, other than the one given by the sight and the hearing. By tasting, instead of integrating this experience into one word, he deploys it into thousands of facets and clues; instead of analysing it, he merges it into a (con)fusion; instead of (re)presenting it, he places it back in all the depth of memory.After being born to the world thanks to the tongue that speaks (tongue and language are the same word in French), he explains being born again thanks to the tongue that tastes (together with the mouth that smells and the lips that love). Upstream the very experience of the world, comes first an experience of taste, awakening and forming the aesthesia, capable of understanding the transformation (analogous to the cooking, thus opening to knowledge and culture).What is this knowledge, other than representation, analysis and synthesis? What does it teaches us about our way of (not) knowing? And what if the taste, instead of being this second-order sense for knowing, was on the contrary a model for com-prehending the complexity, the mixed, the fusion of differences, the very long journeys that have shaped the given, the memories insisting in the contemporary? Would knowing be as sweet and enjoyable that drinking a glass of Sauternes?
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National audienceÉcrire aujourd'hui en sciences humaines nous place devant une double impossibilité. D'une part l'impossibilité de ne pas parler du vulnérable, de ne pas se laisser ébranler par les situations contemporaines,... more
National audienceÉcrire aujourd'hui en sciences humaines nous place devant une double impossibilité. D'une part l'impossibilité de ne pas parler du vulnérable, de ne pas se laisser ébranler par les situations contemporaines, tout en reconnaissant l'impossibilité de décrire le tout d'une condition, de vouloir expliquer, même de comprendre. D'autre part l'impossibilité de parler du vulnérable, sans pour une part parler pour lui, sans se placer dans un centre qui le rejette en une périphérie, sans subalterniser, réduire, figer. Nous examinerons quelques possibilités ouvertes par le tournant vers les affects pour nous mettre être en recherche, chercher devant des visages, ouverts à l'étrange, sensibles au fragile, dans une posture modeste prête à accueillir, considérer et apprendre à l'écoute et à la rencontre. Nous nous interrogerons avant tout sur les possibilités d'une écriture performance : suscitée et guidée par les affects, écriture mouvement et tremblement, écriture féminine, écriture mineure, inquiète de son éthique et de sa politique. Que peut dire une écriture qui se cherche hors du phallogocentrisme, quelle est sa voix, sa chair, son visage, quelle place et autorité pour son auteur, quels effets sur le lecteur
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Managing the performativity of spaces for control is a new organizational strategy. Parallelly, there is a spatial turn in the academic literature. An affective description of three ethnographical terrains, trying to remain open to the... more
Managing the performativity of spaces for control is a new organizational strategy. Parallelly, there is a spatial turn in the academic literature. An affective description of three ethnographical terrains, trying to remain open to the situational context of the site, allow to reflect on spatial, territorial and regional performativity.
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For Žižek, thought comes from trauma, a trauma that forces us to think, a contact with the real that makes symbolic and the imaginary derailed. Yet there is a mystery in Žižek's performativity. He starts from texts or contemporaneous... more
For Žižek, thought comes from trauma, a trauma that forces us to think, a contact with the real that makes symbolic and the imaginary derailed. Yet there is a mystery in Žižek's performativity. He starts from texts or contemporaneous situations, but not from the trauma which forces to think. He explains the symbolic thanks to other symbolic, connects texts, cultural artifacts and observations but the contact with the trauma remains hidden. This text questions Žižek's rebellion of the self against the self, against the symbolic, against self delusion, in the opacity of one's condition, with the work of Mathieu Brosseau, a French poet, one of whose books was prefaced by Jean-Luc Nancy. In terms of performativity, we oppose two strategies. We can in the manner of Žižek resist the already written symbolic by more symbolic, or a rearrangement of the symbolic (Because there is no way back), and that allows one not to enter in contact with the real that forces one to think, one's traumas (or at least keep them in reserve, not expressed, not symbolized) or we can try to find the trace of a more original than the symbolic or one that blurs / make stutter the symbolic as in the poetry of Brosseau.
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Research Interests: Philosophy, Humanities, Structure, Adaptation, Contrôle, and 6 moreReprésentation, Complexité, M, L, Dialogique, and auto-organisation
International audienceJournées d'études organisées par l'équipe ETHOS de TEM et la SPSG (Société de Philosophie des Sciences de Gestion), en association avec le Centre à Paris de l'Université de Chicag
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Un collectif de voix invite a composer, et non a appliquer, notre propre methode de recherche qualitative. Etre en recherche c'est vouloir comprendre, apprendre et penser et c'est en meme temps lutter contre nos propres... more
Un collectif de voix invite a composer, et non a appliquer, notre propre methode de recherche qualitative. Etre en recherche c'est vouloir comprendre, apprendre et penser et c'est en meme temps lutter contre nos propres resistances, impatiences et preconceptions - et c'est pour tout cela que nous avons besoin de methode. Apprenons a composer notre methode de facon a ce qu'elle nous pousse a nous exposer d'une facon sincere et plurielle, a nous ouvrir a la rencontre et a l'inattendu, avant de vouloir prendre de la distance. Qu'elle nous amene a cheminer, a nous laisser emporter vers ce que nous ne savons pas encore, prets a faire bouger le tenu pour acquis et non a seulement nous caler dans les theories etablies. Qu'elle nous impose de reflechir au contexte de notre recherche, a ses effets sur le monde etudie et sur notre communaute, a notre position, a notre facon d'enqueter, de penser et d'ecrire. En effet, sans un contact profond, sensible, a l'ecoute et reflexif, que pouvons-nous comprendre ? Si la recherche ne nous a pas deranges, defies, mis en mouvement, alors qu'avons-nous appris ? Et si nous n'avons pas tente de penser cette experience de recherche par nous-memes et avec toutes les ressources de la theorie, quelle est notre contribution ? Cet ouvrage s'adresse aux chercheurs, confirmes ou debutants, en theorie des organisations et de la communication, et plus largement en sciences sociales. Il presente d'abord un ensemble de methodes generiques qui agencent des facons originales de s'exposer, de cheminer et d'exercer sa reflexivite. Ensuite il indique une quinzaine de problematiques qui regulierement se posent lors de la composition de sa methode et la facon selon laquelle un chercheur experimente y a fait face. Tâchant de ne pas etre normatif et d'appeler tant a la creativite qu'a la reflexivite, de meler questionnement epistemologique et enjeux ethiques et politiques, il invite - au-dela de faire de la recherche - a " etre en recherche " : avec engagements et doutes, sens et sensibilite, rigueur et style.
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Research Interests: Poetry and Performativity
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Pour mieux comprendre certaines specificites de l'entrepreneuriat culturel et creatif, une enquete qualitative est menee sur l'entrepreneuriat dans la musique de rap. Ce secteur est considere comme un monde d'art au sens de... more
Pour mieux comprendre certaines specificites de l'entrepreneuriat culturel et creatif, une enquete qualitative est menee sur l'entrepreneuriat dans la musique de rap. Ce secteur est considere comme un monde d'art au sens de Becker (1982), regi par des conventions tacites, avec differents cercles d'appartenances et une multitude de producteurs. A l'aide d'une observation participante sur une longue periode et d'une approche autoethnographique, le milieu et l'experience entrepreneuriale sont restitues depuis une position d'insider. Nous montrons dans un premier temps que l'entrepreneuriat rap doit s'adapter aux conventions, structures et evolutions du secteur. Cependant, la recherche empirique suggere de completer cette analyse en proposant d'interpreter l'entrepreneuriat rap comme un style au sens de Mace (2016) : mode d'existence, distinction et formation. La conclusion montre l'interet d'envisager l'entrepreneuriat comme style.
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International audienc
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International audienceQuestion récurrente, question lancinante, adressée si souvent à un chercheur qualitatif : celle qui interroge, ou met en doute, la possibilité de généraliser ses interprétations. Il ne s'agit pas ici de trancher... more
International audienceQuestion récurrente, question lancinante, adressée si souvent à un chercheur qualitatif : celle qui interroge, ou met en doute, la possibilité de généraliser ses interprétations. Il ne s'agit pas ici de trancher sur la possibilité de généraliser. Les types de situations, de designs, d'assertions, de modalités sont trop différents pour une position générale. Nous voudrions néanmoins rappeler les stratégies les plus courantes de réponse à cette interrogation : notamment les arguments du cas intrinsèque, de la complémentarité avec les études quantitatives, de la généralisation théorique, de la transférabilité, du chemin possible et de la répétition des problématiques, avant de questionner la question même
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International audienceEstudar a comunicaçao organizacional com una abordagem afetiva. Exemplos e reflexividade
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International audienceL'approche présentée dans ce chapitre explore au plus près le double mouvement de la recherche vers l'exposition et vers la réflexivité. Ici suivre ce mouvement correspond d'abord à une description... more
International audienceL'approche présentée dans ce chapitre explore au plus près le double mouvement de la recherche vers l'exposition et vers la réflexivité. Ici suivre ce mouvement correspond d'abord à une description phénoménologique de la façon selon laquelle l'expérience au contact du terrain nous affecte, suivi d'une réflexion à partir du mouvement créé par ce contact affectif. La réflexivité est tout à la fois politique et éthique. Une écriture performative permet de transmettre l'expérience affective au lecteur
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For Žižek, thought comes from trauma, a trauma that forces us to think, a contact with the real that makes symbolic and the imaginary derailed. Yet there is a mystery in Žižek's performativity. He starts from texts or contemporaneous... more
For Žižek, thought comes from trauma, a trauma that forces us to think, a contact with the real that makes symbolic and the imaginary derailed. Yet there is a mystery in Žižek's performativity. He starts from texts or contemporaneous situations, but not from the trauma which forces to think. He explains the symbolic thanks to other symbolic, connects texts, cultural artifacts and observations but the contact with the trauma remains hidden. This text questions Žižek's rebellion of the self against the self, against the symbolic, against self delusion, in the opacity of one's condition, with the work of Mathieu Brosseau, a French poet, one of whose books was prefaced by Jean-Luc Nancy. In terms of performativity, we oppose two strategies. We can in the manner of Žižek resist the already written symbolic by more symbolic, or a rearrangement of the symbolic (Because there is no way back), and that allows one not to enter in contact with the real that forces one to think, one...
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Liminality is an anthropological concept that has been influential in contemporary social studies. This article is written from an organisation culture and studies perspective wherein liminality has been seen: (i) as something that must... more
Liminality is an anthropological concept that has been influential in contemporary social studies. This article is written from an organisation culture and studies perspective wherein liminality has been seen: (i) as something that must be controlled, (ii) as a utopian call to creativity, and (iii) as a dystopian entrapment. Liminality has to do with whether the study of practice has been excessively cognitive whereby the human is reduced to concepts of control, efficiency and profit; and whereby the soma (Gr.) of the physical body is marginalised as mind, spirit, and ideation are prioritised. Thus, what of sarx (Gr.) or the flesh of existence (see Merleau-Ponty, Klossowski)? In this article we explore liminality evaluating its relationship to bodily-ness / bodyless-ness, affect and text. We start with a discussion of liminality as originated by the anthropologists van Gennep and Turner, and as pushed aside by Weick, but lionised as creativity by Kostera, and denounced as stagnation by Szakolczai. This is followed by an auto-ethnographic case study. The case study points to the unheimisch 2 of liminality which we examine via Pierre Klossowski’s manifoldness. Realising that text about liminality and its embodiment easily becomes paradoxical (unembodied and affectless), we present a non-textual (i.e., not written) visual reaction to the case; again, in the spirit of Klossowski; and we conclude with reflections co-inspired by Maurice Merlau-Ponty on the physical affectivity of liminality.
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International audienceA partir de l'expérience croisée d'une actrice et d'un spectateur, une approche ethnographique nous fait entrer dans la fabrique de l'expérience esthétique pour la pièce Prazer. En soustrayant des... more
International audienceA partir de l'expérience croisée d'une actrice et d'un spectateur, une approche ethnographique nous fait entrer dans la fabrique de l'expérience esthétique pour la pièce Prazer. En soustrayant des éléments de pouvoirs (celui du metteur en scène, du texte, du récit...), la pièce est de part en part mise en mouvement, mouvement qui va affecter le spectateur d'une manière accentuée. Réflexion sur le politique dans la théâtre et le rôle des affects
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Nous proposons de penser l'entrepreneuriat social dans la perspective de l'economie de la contribution. La reflexion se fonde sur une recherche contributive avec un projet sanitaire dans une communaute occupant illegalement un... more
Nous proposons de penser l'entrepreneuriat social dans la perspective de l'economie de la contribution. La reflexion se fonde sur une recherche contributive avec un projet sanitaire dans une communaute occupant illegalement un terrain au Bresil. Le projet a depasse l'action de l'entrepreneur et les resultats ont depasse les esperances, avec plusieurs niveaux de contribution et surtout de tres nombreux contributeurs. La notion de contribution nous invite a concevoir l'entrepreneuriat social comme co-individuation, l'entrepreneur comme contributeur et la recherche elle-meme comme contribution
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Etude de cas montrant les differences culturelles dans les decisions et l'adoption des outils de gestion. Le cas suit une entreprise thailandaise, dirigee par une famille chinoise et sous-traitante d'un leader europeen.
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Exploring magic as a creative necessity in contemporary business, this book clarifies the differences between magic as an organizational resource and magic as fakery, pretence and manipulation. Using this lens, it highlights insights into... more
Exploring magic as a creative necessity in contemporary business, this book clarifies the differences between magic as an organizational resource and magic as fakery, pretence and manipulation. Using this lens, it highlights insights into the relationship between anthropology and business, and organizational studies. Ours is an economy dependent on magic; success depends on innovation and creativity producing unexpected, unpredictable and amazing offerings and results. Magic is dangerous and unpredictable. The Enlightenment and Modernism abhor the uncontrollable, nonlinear and indeterminant. The Social Sciences have tried to protect us from disorder, chaos and mystery. The dilemma is that we need the inspiration and surprise that we so dread and fear. This book is about the two-edged sword of magic and our dependence and rejection of the radical relatedness it entails. Do our desires influence the course of nature; can we ‘will' the good and the bad in our relationships, business outcomes and individual actions? This book explores our dependency on, and fear of, magic. It explores how our organizations, economy and finances are all co-dependent on magical thought and actions; whereby we are inherently linked to magic's roller coaster of possibilities, necessities, fears and alternatives.
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International audienceThe "Other" certainly remains a too generic and emphatic category. We would like to underline three figures of the different, as possible ways of relating to the other, having methodological and epistemic... more
International audienceThe "Other" certainly remains a too generic and emphatic category. We would like to underline three figures of the different, as possible ways of relating to the other, having methodological and epistemic but also political, ethical and aesthetic consequences that are very different. These three figures do not pretend to be exhaustive or universal, but they appear useful for taking part in the debates and to better understand one's position, one's voice, one's writing style, one's method and the associated dangers and debates.The other as the foreigner and as a non-thematizable face.The other whose encounter creates, sometimes violently, creative assemblagesThe other as a différend (dispute)
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When voices are no longer heard and circulate the lies, when faces are no longer seen and gazes turned away, what possibility is left to oppose? To invade the space with one's body, to accumulate the meat to make mass, to form a... more
When voices are no longer heard and circulate the lies, when faces are no longer seen and gazes turned away, what possibility is left to oppose? To invade the space with one's body, to accumulate the meat to make mass, to form a crowd. In other words, to occupy, to be preoccupied, to look after. But how can the researcher account for this dynamics of the flesh, tell what the bodies say, tell the space reformulated by these organizing bodies, describe such a massive and flexible atmosphere? Occupy universities and schools: body matters Brazil, end of 2016. The temporary Government wants to pass a constitutional amendment that would freeze public spending, including spending for public schools and universities. Higher education is likely to become even more reserved to an elite of money, the only one who can afford private universities, or the secondary education that leads to it. Besides, sport, arts, literature and social sciences would no longer be mandatory. And the law wants to impose a 'political objectivity'; i.e. to prevent opinions from being expressed or discussed in those places. More than 2000 schools and universities are then occupied by students and teachers, maintaining the premises, organizing alternative courses, protesting while taking care of their space. The police and the army will repeatedly dislodge these occupying bodies, sometimes violently. Whereas, as Foucault has clearly demonstrated, it was these institutions, schools and universities, that used to enclose and discipline bodies, it is now the bodies that try to save them, so that they do not spread out in a collection of bodies that just work. These places are occupied. In French it is said that a line is occupied, when it is engaged. Communication is no longer possible, because bodies are engaged. An occupation is a matter of bodies, bricks, banners, and media. Only one face was to be seen, that of a young schoolgirl in front of the parliamentarians who asks them to come to see the occupation, to come with their bodies. It is the bodies that connect, that unite. Style We would like to argue that what is at stake, what is threatened, is a lifestyle, a form of life. If style is above all a matter of sensitive quality, of appearance, it is also one of the plans where human existence or social adventure qualify, struggle and even win (Mace, 2016). By occupying, by defending a habitat, it is also a habitus and a habit that they defend, i.e. an aesthetic and an ethos, an ethics. They defend a singular way of being in common, of engaging, of passing on. What the laws may entail is a confiscation of form, the stifling of a lifestyle, of a form of life, as much in its daily practices as in the values it affirms, and also in the possibilities of individuation that he promotes. But how to investigate a style, with its rhythms, vibrations, paces, tonalities, distinctions, with its forms-forces, reliefs, punctuations, dynamics of spacing? This very vocabulary of style leads us to turn to affects. We would like to try to think what the turn to affects in a Deleuzian logic might mean to study such a situation. For Deleuze, the stylist is the one who creates a foreign language inside his own language, and pushes it to its musical limit. The aim will then not to represent the occupation as an expression of a style but to make it feel, moving from the logic of sense to the logic of sensation (Deleuze, 1981). The sensation for Deleuze acts directly on the nervous system, which is flesh, without passing through the brain, through figuration, through a story. Giving to feel sensation is like entering the picture, touching the unity of feeling and be felt. It is to see the occupation as the performance of a theater of repetition. It is to paint the forces, to paint the cry rather than the horror. Gesture that Deleuze looks for with Francis Bacon, who leads him to invoke: Pity the meat! This form of life, this lifestyle has to be defended, not only as a matter of diversity, but because this style is for us one of the most cherished value.
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Observation is supposed to give the deepest and most direct access to organizations. However, observing as I might, I find it hard to make sense of what is to be seen. Sense cannot be derived directly from the seen as Geertz has... more
Observation is supposed to give the deepest and most direct access to organizations. However, observing as I might, I find it hard to make sense of what is to be seen. Sense cannot be derived directly from the seen as Geertz has convincingly shown. He advocated for thicker descriptions, as being the only doors towards a deep unerstanding; i.e. the complex web of significations that any gesture is pointing to. Yet I go on observing, and I quickly feel that sense is overexceeding the mere realms of significations and symbols. Sense is overthrowing, sense is burning. I also feel that this partition of the situation: the observing I (eye) and the observed is far more complex and constructed than Geertz seems to assume. I take the example of an observation in Odin Teatret, a famous Danish theatre troupe. Sometimes participating, sometimes not. And of the observation of my observation. I want to try and walk two paths away from Geertz's route, accompanied by J.L. Nancy and J. Rancière. I observe, as I walk with Nancy. As soon as the first step into Odin Teatret place, what I see is no longer a matter of signification. My body sees as much as my eyes. Sense, the sensible becomes mixed with sensations, sensitivity, sensuality, sensuousness, sentiments... Looking is no more a distant activity. I have contact with, I touch what I look. The sense has a body. The images have a skin. The thought has a weight. Sense is born in the moment, in this place. Sense is always coming, always imminent. Sense is in the approach. Sense is a sense of presence. There are rules, there are symbols, there is engagement, but how it is that all the participants seem to dance all around, that the atmosphere seems to change with the presence of Eugenio Barba? Looking, seeing, are no more a matter of building a representation, of finding a signification. Sense making is not adding more sense to a readymade sense. Meaning is not only plurivocal; sense, here, is a plural singularity, as I am too. I observe again, as I walk along with Rancière. I walk and I walk, I keep on observing. And suddenly I feel that something sounds wrong. This distribution of the sensible, this partition of the sensible classically reproduced by Geertz ‐ there are lives there and works here reveals highly political. As a partition of times and spaces, of the visible and invisible, of voice and noise. I look at the troupe and I see works there, I look at a conference, and I see lives here I guess and I hope. And in my work, can I think what I see? The real has to be fictionalized in order to be thought. Whatever sense they try to convey to me, I need to add my own poem. I don't expect them to give the key that illuminates, just that they teach me how to see. And you who observe my performance. Looking at my observing. Looking at my singular plurality. Don't you feel another contact than representation? What kind of sharing out of the sensible could we invent
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International audienceThe creation of a theatre play rests classically on a rather strict distribution of the roles and of the sensible between the playwright, the director, the actors, the public, the critics, and so on. This helps... more
International audienceThe creation of a theatre play rests classically on a rather strict distribution of the roles and of the sensible between the playwright, the director, the actors, the public, the critics, and so on. This helps everyone to perform their roles and make sense of what they watch. But what happens if this distribution is shaken all over, if the various roles and inputs are shared in among all the participants? For the play Prazer (Pleasure), this distribution has been deconstructed. There is no text, but an inspiring book of Clarisse Lispector (An Apprenticeship or the Book of Pleasures - Uma Aprendizagem ou o Livro dos Prazeres), from which the actors have improvised and written from resonances and experiences triggered by the book. There is no director: directorship is taken over in turn by each of the four actors, with an adviser, with very occasional inputs from a dramaturgist, a choreographer, and with regular feed-backs from amateur spectators. "Text" and staging continue to evolve during the one-year tour across Brazil, and probably after. Many spectators write long feedbacks and critics right after the show or on social networks that bring about changes in elements of acting and mise-en-scène. Several critics and theatre professionals had long contact with the troupe during the creation processes and participated with some friendly spectators to an "observatory of the creation". Lights, décor, video effects… also resulted from a participative process. An author of this proposal is one of the four actors and was at the forefront to the genesis of the project. The research will be a one-year participant observation (we are now half-way in the project), accompanied by interviews of the main participants and collection of the relevant documents. Whereas there will be some moments of autoethnography, this will not result in the main source of reflection. Our focus will not be on the explicit intention of the participants, nor on the strategies to generate such or such performativities. We will rather be in search of elements among the "sensitive" level. The web of sensitive experiences commands ways of perceiving and making sense, it reconfigures experiences and ways of being affected (Rancière, 2011/2013). The sensitive is a component of organization life as much as the discursive or the normative (Linstead & Höpfl 2000; Strati, 2007; Strati & Guillet de Monthoux, 2002), it is linked to affectivity and reflexivity (Letiche, 2009; see also Lingis 1996; Stewart, 1996). Rancière (2000/2006) has contended that although each artistic age is built on a certain "distribution of the sensible" (we would rather translate it as a distribution of the sensitive), our aesthetic age experiences many plays with the rules, roles, norms and framings of each domain of arts. In Prazer, the deconstruction of the distribution resulted in a highly polyphonic, heteroglossic and dialogic play (see Backthin; also Belova, King, Sliwa, 2008) but also in doubts, tensions, fights, ups and downs in the preparation and the performance of the play. It also resulted in unique reactions from spectators: many came several times to (re-)see the play, giving long and supportive feedbacks, sharing out some of their most intimate experiences that they felt were echoed by the play (that we can see as manifestations of emancipated spectators, Rancière, 2008/2009). Certainly this came from the highly personal texts pronounced by the actors, but also from some elements of performativity. Spectators experience pure pleasure of opsis (series of scenes, as beautiful tableaus with intimate effects of lights and poetic visual effects) with a fable made of open references over references, with a loose but shared connection to the inspiring book (we use here the vocabulary of the Film Fable, Rancière, 2001/2006). Another striking element of this play with the sensitive, lies also in its liveliness. The performance seems to always reinvent itself, with changes in the text, order of scenes, effects and ways to speak out and embody the text. Brook (1968) opposes the deadly theatre where text and performance is set, to a living theatre. For Brook, theatre is an auto-destructive art, written on sand. Once a staging is set, an invisible something starts to die. Each form has to be thought again, and bear all the surrounding references. The sensitive has to be constantly re-induced in order to produce its effects. The new aesthetic experience re-launches sensitivity and reflexivity on life and culture. But this works only if both actors and spectator get affected in the present moment of the performance. Stiegler (2005) states that theatre is one of the few sources of renewal and revival of desire in our capitalist economy. This play appears as a never-ending apprenticeship, where learning to live reoccurs each time with its drive of specters and infancies (See Derrida, 2005/2011). An apprenticeship to pleasure from which we want to ground,…