Category Archives: Artículo en cuotas

What can social research learn from the savage detectives’ mode of inquiry?

[El nombre de esta sección es “artículos en cuotas”. La idea es, como en una novela por entregas, ir subiendo partes de papers a medida que vayan saliendo. El texto abajo es el segundo post de este tipo. Es un (muy) borrador de la primera parte de un capítulo para el libro Organization 2666 editado por Christian de Cock, Sine Nørholm Just, y Damian O’Doherty. Como el título lo indica el libro reunirá contribuciones que conectan la literatura de Roberto Bolaño y los estudios de las organizaciones]

What can social research learn from the savage detectives’ mode of inquiry? José Ossandón

Image result for Los Detectives salvajes “Soñé que era un detective viejo y enfermo que buscaba gente perdida hace tiempo. A veces me miraba casualmente en un espejo y reconocía a Roberto Bolaño” (Bolaño quoted in Trelles 2008: 271)

“Los detectives de Bolaño, pues, como en sus poemas, como en sus sueños y como en la mayoría de sus ficciones, son poetas en búsqueda permanente de otros poetas pero que, a su vez, serán objeto de búsquedas posteriores que repiten las circunstancias  y las carencias singulares de las suyas” (Trelles 2008: 287)

 

Crime fiction has been read as a mirror of social research.

In The Arcades Project, Benjamin (1999) notes that Allan Poe’s Dupin is like a physiognomist. Like the ‘Man of the Crowd’, who reads the signs hidden in the masses, Dupin deciphers the traces left in the bourgeois domestic space. The detective’s inquiry works at a level of abstraction that Benjamin recognizes as the key to 19th century society. Like financial commodities and collections, the detective’s mode of knowledge production works by assembling series out of previously unconnected events. Carlo Ginzburg (1983, 2004) has developed the comparison further. In his view, it is in the 19th century that the case study, represented in figures such as Peirce, Morelli and Freud, reaches its consolidation as a scientific method. It is this type of ‘abductive’ research that is represented in Conan Doyle’s Holmes. Sherlock is a sharp reader of signs, a non-stopping abductive machine that can connect a unique trace with massive amount of updated scientific knowledge in order to come up with the hypothesis that will solve the case. Continue reading

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How to write after performativity? (part 1)

[Este es una prueba de un nuevo tipo de post en este blog. El nombre de la sección por ahora es “artículos en cuotas”. La idea es, como en una novela por entregas, ir subiendo partes de papers a medida que vayan saliendo. El texto abajo es un primer intento. Es un borrador de la primera parte de un capítulo para el libro A Routledge Companion to ANT, editado por Anders Blok, Ignacio Farías & Celia Roberts. Por cierto, sugerencias sobre como debería seguir la historia son muy bienvenidos]

How to write after performativity? José Ossandón.

First installment of a chapter prepared for A Routledge Companion to ANT, edited by Anders Blok, Ignacio Farías & Celia Roberts. Non-proof read draft.

I. The question

The editors of this volume confronted each invited contribution with a question. The question posed for this chapter is ‘how to write after performativity?’ What is this chapter about?

Performativity

This chapter is not about performativity at large. It is not about the ‘performativity turn’ (Muniesa 2014) in the social sciences and humanities. It is not about the philosophy of language of Austin and Searle, it is not about Butler or Derrida, and it is not about Lyotard. It is about the particular extension of Actor-Network theory initiated by Michel Callon to the study of markets, movement which is normally associated with the word performativity[1]. The chapter does not deal with all the different theories Callon has successfully introduced in the study of economic problems. The chapter only tangentially touches issues such as Callon’s particular approach to the qualification of goods (Callon et al 2002), hybrid forums, affected groups and technological democracy (Callon 2009, TCS), and innovation (Akrich et al 2002). The chapter focuses on what Callon has – in part in order to distinguish his own emphases from the many other branches of the performativity turn – termed ‘performation’[2]: his theory to explain the ‘emergence and logic of calculative agencies’ (Callon 1998a: 24).

After performativity

After, writes Peter Sloterdijk, ‘is the name for a break, an epoche, in the traditional sense of the word, which indicates both the caesura and also the time following it’ (Sloterdijk 2016: pp[3]). After performativity is, then, not against, versus, or even beyond performativity; it refers to the possibilities that have been opened and were not before the breach introduced by the theory of interest here. It is, as it were, about the performativity of performativity. Continue reading