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The purpose of this paper is to ask how forms of “performative” interventions can prompt processes of re-thinking, which can, in turn, instigate the critical production of public space. Most importantly, it also asks how this methodology can manifest within various cultural and political contexts. Today, public spaces tend to be controlled either by the state or by private corporations. Neoliberal policies promote commercial interests, which subsequently drives inequality and determines what can and cannot be accessed by the public. The public spaces that are currently present in the neoliberal cities are, in fact, “pseudo” public spaces.

In an attempt to form new understandings of this problem, the authors’ approach is rooted in feminist theories of performativity, which focus on how identities are persistently re-produced through performance. These theories consider how the “self” is always entangled within everyday life interactions and how it is shaped by both societal and bodily practices. Framing spaces as shapable, informed by the embodied dialectic relations between spaces and social relations, the study uses forms of performative methodology to create productive disruptions and “constructed situations” (Debord, 2012). This methodology consists of intervention within these spaces in order to produce alternative public space and forms of publicness. Based on research conducted at the Sheffield School of Architecture, as well as a four-day invited workshop at the Floating University Berlin, this study investigates applications of performative practice methodology in the cities of Amman and Berlin.

The paper will begin by exploring how the two cities are regulated through various political and planning policies that affect public spaces. This line of enquiry will also involve questioning physical, social and political access to public space in these contexts and analysing the various actants, performative actions and processes that were involved in producing performative interventions.

The paper will conclude by discussing the potential and limitations of applying and translating such approaches in public spaces within different cultural and political contexts. As such, the study proposes a new methodological framework for re-thinking and provoking the critical production of public space through forms of performative spatial practice.

The purpose of this paper is to introduce the concept of performative struggle through the use of an interpretative case story focussed on a strategic decision-making process concerning infrastructural development. Performativity is about “world-making” (Carter et al., 2010), based on the assumption that conceptual schemes are not only prescriptions of the world, for the practices flowing from these abstract ideas bring into being the world they are describing. The focus on agency and multiplicity in the academic debate on performativity in organizational settings are combined, resulting in the conceptualization of a multitude of performative agents struggling to make the world.

The methodological approach of this paper is based on an interpretative analysis of contrasting narratives that are told by political-executives in a strategic decision-making process. These narratives are based on in-depth interviews and participant observation. The interpretative case story, exhibiting the strategic decision-making practices of Aldermen, Delegates and Ministers – focusses on the moments of performative struggle based on strategic narrative practices.

The interpretative case story will exhibit the way in which a multiplicity of agents reflects on the performative dimension of the decision-making process, anticipates on its performative effects and attempts to manipulate the strategic vision that is actualized into reality. Moreover, the agents are not primarily concerned with the actualization of a specific infrastructural project; they are more concerned with the consequences of decision making for their more comprehensive strategic visions on reality.

The notion of performative struggle has not yet been explicitly studied by scholars focussing on performativity. However, the concept can be used as an appropriate lens for studying meaning making within ethnographic studies on organizational processes such as for instance culture change intervention and strategy formation. The concept of performative struggle is especially useful for understanding the political dimension of meaning making when studying an organizational life-world through the use of ethnographic research.

The originality of this paper lies in the innovative conceptualization of struggle between a multiplicity of reflexive agents in the debate on performative world-making. Moreover, the incorporation of the perspective of performative struggle within organizational ethnographic research is valuable for the development of organizational ethnographic methodology.

This research explores the various ways in which performative inquiry was implemented in a graduate organizational theories course within an educational leadership cohort at a medium- sized urban Canadian research university. Drawing on Fink’s framework for significant learning experiences, the researchers used performative inquiry to enact the “Practice” and “Reflection” domains of his pedagogical model. The data show that as the course unfolded, the class experienced a shift from instructor-centered transmission of information to a curriculum co- constructed by students and instructors. We conclude with ways in which educational leadership professors can incorporate performative inquiry as a teaching strategy to enhance the learning process for aspiring educational leaders.

The methodological debate relating to accounting research using actor‐network theory (ANT) has primarily focused on how ANT generates performative studies that significantly differ from ostensive studies. These discussions have in many ways (and for good reasons) distanced performative from ostensive research. Recently, however, several scholars have emphasized the interdependencies between ostensive and performative aspects when it comes to knowledge development, thereby underlining the need to coordinate ostensive and performative studies and bring them closer together. The purpose of this paper is to discuss the methodological opportunities and limitations for ANT researchers who seek to move closer to ostensive research.

The basis for exploring the opportunities and threats stemming from integration at the methodological level is a comparison of performative and ostensive case study methodologies as they have been presented in research. Robert K. Yin's case study methodology is chosen to represent an ostensive view whereas performative case study methodology is represented by the methodological reflections of Bruno Latour, John Law, and Michel Callon.

The paper illustrates how the process is a balancing act. On the one hand, it requires performative researchers to relate more closely to aspects decisive for ostensive researchers; yet, on the other, they need to preserve the distinctiveness of the performative approach.

This paper exemplifies these issues with reference to management accounting research and contributes by clarifying the methodological implications of moving performative research closer to ostensive research.

This article positions actor–-network theory (ANT) as a practice perspective and deploys it to explore the performative practices of internal consultancy teams as they implemented major programmatic change projects within a global telecommunication company. The change process required the creation of a “change network” that emerged as a boundary spanning and organising network as the consultants sought to implement and translate a highly structured change methodology and introduce new meta-routines within the organisation.

By combining the methodological datum of ANT to “follow the actors” (whatever form they take) with the guiding principle of practice theory to focus on practices rather than practitioners, the research explored the in-between temporal spaces of performative practices as they unfolded in relation to standardised routines, material artefacts and the tools and techniques of a systematic change methodology. By a method of “zooming out” and “zooming in” the research examined both the larger context of action and practice in which the change network emerged and the consultants' performative practices; but without falling into static macro–micro dualism, or a purely ethnographic “thick description” of practice. The research is based on interviews (25), participant observation and a review of the extensive documentation of the change methodology.

The findings indicate both how consultants' performative practices are embedded in the social and material arrangements of a change network, and why the intentional, expert or routine enactment of a highly standardised change methodology into practice is intrinsically problematic. Ultimately, the consultants could not rely on knowledge as a fixed, routine or pre-given empirical entity that predefined their actions. Instead, the consultants' performative practices unfolded in temporal spaces of in-betweenness as their actions and practices navigated shifting and multiple boundaries while confronting disparate and often irreconcilable ideas, choices and competing interests.

As an ANT practice perspective, the research blends mixed methods in an illustrative case study, so its findings are contextual, although the methodological rationale may be applicable to other contexts of practice.

The theoretical framing of the research contributes to repositioning ANT as practice theory perspective on change with a central focus on performative practice. The illustrative case demonstrates how a boundary spanning “change network” emerged and how it partly defined the temporal spaces of in-betweenness in which the consultants operated.

Over the past 15 years, there has been a growing interest in the potential of movement-based artistic practices for exploring aspects of the urban experience. As a visual artist and a geographer, I have become increasingly interested in how the movement-based practice of performative walking might be used as an ‘inventive method’ for examining and understanding aspects of how we live in cities.

In this chapter, I draw upon the insights gained from four recent projects to explore performative walking's potential as a mode of enquiry. These projects were conducted in and around Edinburgh, Scotland, between 2016 and 2019. Each project was designed to create an affective ‘friction’ and enhance participants' sensitivity to space and place through practices such as hyper-slow walking, repetitive walks, walking in the dark and creating spaces for imaginary games. The projects demonstrated to me that performative walking can help uncover emotional and hidden geographies by combining, and bringing to bear upon these spaces, the visual, sensory, historical, mythical, remembered, personal, projected and, importantly, the imagined.

I conclude that performative walking is a valuable form of research which should be given parity with other forms of urban inquiry, such as public consultations, in dialogues about our future cities. Furthermore, I propose that attempts should be made by those interested in developing ‘inventive’ methods in urban inquiry, including those interested in developing creative geographies, to evaluate more systematically the contribution that performative walking might make to ways in which we understand, and develop, our cities.

This paper aims to analyse the longitudinal performative effects of accounting, focusing on how accounting shapes the stability/instability of economic frames over time.

To explore the performative effects of accounting over time, a longitudinal case study narrates the transformation of a large, listed manufacturing company's financial strategy over 20 years. Using extensive document collection, the authors trace the shift from an “industrial” frame to a “shareholder value” frame in the mid-1990s, followed by the gradual entrenchment of this shareholder value frame until its decline in the wake of the financial crisis in 2008.

Our findings show how accounting has different performative temporalities, capable of precipitating sudden shifts between different economic frames and stabilising an ever-more entrenched and narrowly defined enactment of a specific frame. We conceptualise these different temporalities as performative moments and performative momentum respectively, explaining how accounting produces these performative effects over time. Moreover, in contrast to extant accounting research, the authors provide insight into the performative role of accounting not only in contested but also “cold” situations marked by consensus regarding the overarching economic frame.

Our paper draws attention to the longitudinal performative effects of accounting. In particular, the analysis of how accounting entrenches and refines economic frames over time adds to prior research, which has focused mainly on the contestation and instability of framing processes.

This paper aims to understand the dialectical relationship between place-making and identity formation of factory women in a free trade zone (FTZ) in the Global South.

Inspired by Judith Butler’s notions of performative acts and performativity, the paper uses poststructuralist discourse analysis to analyze data – oral and written texts – generated through a fieldwork study conducted in an FTZ in Sri Lanka.

Performative acts and the performativity of the occupants in the FTZ demarcate the boundary of the zone and articulate the identities of its occupants. Furthermore, the study shows that, in this process, such performativity and performative acts function as a form of “glue” to amalgamate the places of the zone space as kalape, a complex socio-geographical landscape in flux.

This study provides a new insight into the relationships between discursive-performative acts, place-making and identity formation of (factory) women in the neoliberalized (zone) space(s) of the Global South.

By articulating the FTZ as a (neoliberalized) space in a perpetual present, the study provides new insight into the relationships between performative acts, place-making and identity formation (of factory women) in the zone space.

The purpose of this paper is twofold. First, it seeks to articulate a framework for different conceptions of accounting’s performativity. Second, it aims to advance a Baradian posthumanist understanding of accounting’s performativity.

The paper traces different foundational conceptions of performativity and then articulates and substantiates different conceptions of accounting’s performativity. It advances one of these conceptions by producing a Baradian posthumanist understanding of accounting’s performativity.

Seven conceptions of performative accountings are articulated: accounting as a (counter)performative illocution; accounting as a performative perlocution; accounting as a self-fulfilling prophecy; accounting as an overflowing frame; accounting as a controlled relational agency; accounting as a mediator; and accounting as an exclusionary practice. It is argued how a posthumanist understanding of accounting as an exclusionary practice turns accounting from a world-knowing practice into a world-making practice. As such, it should be called to account.

Posthumanist qualitative accounting research that conceives of accounting as an exclusionary practice focuses on how accounting is a material-discursive practice that intra-acts with other practices, and on how there is a power-performativity in the intra-actions that locally and temporarily (re)produces meaningful positions for subjects and objects and the boundaries between them.

A posthumanist understanding teaches practitioners to be attentive to and accountable for the exclusions that come with accounting or, more generally, with measurement. Accounting raises ethical concerns.

This paper articulates different conceptions of accounting’s performativity and makes the case for empirical non-anthropocentric examinations of accounting as an exclusionary practice.

This article addresses issues of calculation and economization in contemporary public organizations. In particular, it investigates how choices of organizing emergency health-care have been affected by accounting as a performative device. Special attention has been paid to how accounting brings about performative consequences in shaping the medical profession and its context.

The article employs qualitative research methods and draws its analysis on empirical data from in-depth interviews at an emergency health-care unit in Sweden.

It is demonstrated how accounting, in the form of calculations of treatment time and number of patients, enables performative consequences for medical professional work. It is also demonstrated how the use of accounting engages (re)descriptions of practices and roles, creates accounts of patients, and helps to sustain such (re)descriptions. Accounting terms (such as efficiency and control) have been reframed into medical terminology (such as health-care quality and security), ensuring and retaining (re)described medical professional work in terms of practices and emerging roles.

This article contributes to (1) the literature on accounting practices within health-care contexts by demonstrating a case where the accounting ideas and practices of medical professionals are coexistent and interwoven and (2) the increasing body of literature focusing on accountingization by showing how emerging calculative technologies carry performative power over medical professional work through formative (re)descriptions.