Skip to main content

Posts

Showing posts from June 18, 2011

notes on the vocabulary of performatism -raoul eshelman

Raoul Eshelman interviewed by M K Harikumar
Raoul Eshelman Notes on the Vocabulary of Performatism

A person’s sensibility is unimportant to performatism. Sensibility assumes a special psychological state, a “mental or emotional responsiveness toward something” (American Heritage Dictionary). In performatism, this sort of psychological sensitivity is not needed because performatist literature, art, movies etc. use very crude formal means to force their audiences to believe in something. Performatist works are structured so that they affect everyone, not just a person with a special sensibility.


The existential outsider is a figure dating from the late 1940s and ’50s. This person has been so alienated by the traumatic events of WWII that he (or, of course, she) creates an authentic realm of his own that appears foreign and strange to everyone else—Camus’s enigmatic hero in the The Stranger is typical. The philosopher Emanuel Levinas, also writing in the 1950s, defines the indi…

notes on the vocabulary of performatism -raoul eshelman

Raoul Eshelman interviewed by M K Harikumar
Raoul Eshelman Notes on the Vocabulary of Performatism

A person’s sensibility is unimportant to performatism. Sensibility assumes a special psychological state, a “mental or emotional responsiveness toward something” (American Heritage Dictionary). In performatism, this sort of psychological sensitivity is not needed because performatist literature, art, movies etc. use very crude formal means to force their audiences to believe in something. Performatist works are structured so that they affect everyone, not just a person with a special sensibility.


The existential outsider is a figure dating from the late 1940s and ’50s. This person has been so alienated by the traumatic events of WWII that he (or, of course, she) creates an authentic realm of his own that appears foreign and strange to everyone else—Camus’s enigmatic hero in the The Stranger is typical. The philosopher Emanuel Levinas, also writing in the 1950s, defines the indi…

notes on the vocabulary of performatism -raoul eshelman

Raoul Eshelman interviewed by M K Harikumar
Raoul Eshelman Notes on the Vocabulary of Performatism

A person’s sensibility is unimportant to performatism. Sensibility assumes a special psychological state, a “mental or emotional responsiveness toward something” (American Heritage Dictionary). In performatism, this sort of psychological sensitivity is not needed because performatist literature, art, movies etc. use very crude formal means to force their audiences to believe in something. Performatist works are structured so that they affect everyone, not just a person with a special sensibility.


The existential outsider is a figure dating from the late 1940s and ’50s. This person has been so alienated by the traumatic events of WWII that he (or, of course, she) creates an authentic realm of his own that appears foreign and strange to everyone else—Camus’s enigmatic hero in the The Stranger is typical. The philosopher Emanuel Levinas, also writing in the 1950s, defines the indi…

notes on the vocabulary of performatism -raoul eshelman

Raoul Eshelman interviewed by M K Harikumar
Raoul Eshelman Notes on the Vocabulary of Performatism

A person’s sensibility is unimportant to performatism. Sensibility assumes a special psychological state, a “mental or emotional responsiveness toward something” (American Heritage Dictionary). In performatism, this sort of psychological sensitivity is not needed because performatist literature, art, movies etc. use very crude formal means to force their audiences to believe in something. Performatist works are structured so that they affect everyone, not just a person with a special sensibility.


The existential outsider is a figure dating from the late 1940s and ’50s. This person has been so alienated by the traumatic events of WWII that he (or, of course, she) creates an authentic realm of his own that appears foreign and strange to everyone else—Camus’s enigmatic hero in the The Stranger is typical. The philosopher Emanuel Levinas, also writing in the 1950s, defines the indi…