Bad parrhesia: the limits of cynicism in the public sphere

This paper examines the limits of Cynical parrhesia. Based on fieldwork with artist-activists in post-recession Dublin, I recount their fraught efforts to use adventurous artistic expression provoke a critical awakening an audience strangers, who instead respond derision. My focus is thus narrow but prevalent feature artists’ work and lives, public’s experience challenging genres provocative public criticism: encounter unintelligibility alienation sphere. deploy ‘bad parrhesia’ as tool through which consider factors that mitigate against artists establishing desired relationship audiences. Nevertheless, though these parrhesiastic encounters do not succeed, argue they yield absence social relations anti-social kind. Departing from readings parrhesia form individualism, corrosive relationality, or playful reaction failures liberal democratic politics, make case for framing contestation over kinds criticism are judged be intelligible valuable responses moments cultural crisis northern democracies. Cet article examine les limites de la « parrhésie cynique ». Sur base d’un travail terrain dans ville Dublin en poste-récession avec des artistes activistes, je décris leurs difficiles pour utiliser une artistique aventureuse afin provoquer un éveil critique d’étrangers, qui répond au contraire dérision. Je me concentre donc sur caractéristique étroite mais répandue du et vie artistes, ainsi que l’expérience face à styles critiques publiques provocantes : rencontre l’inintelligibilité l’aliénation sphère publique. déploie mauvaise » comme outil permettant d’examiner facteurs empêchent d’établir relation souhaitée le public. Néanmoins, bien ces rencontres parrhesiastiques ne réussissent pas, soutiens qu’elles débouchent pas sociales, plutôt antisocial S’écartant lectures forme d’individualisme, rationalité, ou réaction ludique contre échecs politique démocratique libérale, plaide encadrer types sont jugées réponses intelligibles valables aux crise culturelle démocraties libérales Nord. Seomra 2 was mainstay pub Mount Stevens. Dingy serving selection only most familiar beers, it flouted trend replacing such venues chic cocktail bars coffee houses. Located part dense controversial housing regenerations, neighbourhood had – until recently been off city planners’ radar. The nevertheless devoted local following, would gather there quiz nights, lunches performances musicians. Tonight, were surprise. A neighbour throwing party weekly music night, more common rock-trad-pop cover combo, group greeted by troupe experimental theatre performers. No one knew anyone group, went name ‘The Fish Bowl’. When performers emerged stage, mix curious silence good-humoured jeering fairly intoxicated crowd. actors, dressed metallic spandex suits, persevered began reciting collection obtuse, spoken word poetry. Halfway show, artist pulled fishnet out bag placed his head before dancing off-key accompaniment fellow performer. By this point, crowd uncontainable. People shouting jokes at days afterwards those attendance exchanged amusing video clips images what agreed bewildering performance. friend, Heather, seated table back next her neighbour, Alan. finally retreated he turned Heather said, audible undertones, ‘I think misjudged target audience.’ hand, muttered, ‘maybe we’re cultured enough, hilariously bad’. 12 months young Ireland 2016 2017, recounts produces confusion censure. While artwork elsewhere invite generative reactions, also often met bafflement, frustration ridicule. therefore reasonably frequent altogether consequences engaging spaces. emerges between when produce intended galvanise urban conceptual entry point Foucauldian reading parrhesia, ‘obligation’ speak manifest risky truths others (Foucault 2019: 5). Drawing Foucault’s theorisation modern Cynic, reflections association Cynicism helpful understanding hope establish audiences, well why audiences refuse it. At heart Cynicism, Foucault writes, commitment staging ‘practical scandals’ (2019: 172) maintaining ‘a polemical attitude’ 150) vis-à-vis conventions political institutions. Owing recent realignment arts development policies stance has become increasingly attractive artists, worry function art instrumentalised source wealth-creation fuelled exclusionary processes regeneration. Yet displays always understood valued whom may have pre-established relationship. view themselves courageous provocateurs, uninitiated perceived humorously pretentious. They benefited privileged position pedestalled critics, wasted energy esoteric forms expense mutual understanding. presents paradox: both central cultivation attitude barrier type necessary successfully navigate encounter. draws together parrhesiast, city, highlight can impede collective engagement It argues achieve two key prerequisites ‘good’ expression: carefully navigated relationship, shared value critique. In sense, my argument builds philosophical accounts (Marar 2014) anthropological analyses democracy (Englund 2018; Boyer 2013) we learn instances judgements regarding counts good shared. To situate Special Section, analysis trains ethnographic spotlight ‘morphology’ values undergirding ‘grammar’ orders game (Fedirko al. 2021). Rather than manifestation individualism 2018) liberalism’s ironies (Boyer 2013), predicated parrhesiast’s ability uphold apparently contradictory truth-telling understanding, interlocutor where brand failed reveal negative about rules structure successful That being while bond established cases, ‘anti-social’ (Højer 2019, 2004) kind indeed forged. Taking cue re-centre non-Durkheimian relationality (Candea 2015; Coleman 2009), avenue onto considering looks like after trust breached intelligibility thrown into question. Consistent literature, nonetheless, active effects. case, simmer following foreground overlooked disagreement constitutes worthwhile worth revisiting account art, order ground am tracing contemporary production Dublin. First, I’ll (2019, 2011) its offshoots explore how Højer’s ‘anti-social contract’ offers productive vantage debates democracy. will then discuss why, critically minded even fails rouse Parrhesia notion antiquity criticism, citizen majority, councillor prince. interested kinship 43), genealogical correlation ancient world, Christian spiritualism practices ‘telling truth oneself’ role patient penitent (2011: 8). Across historical iterations, characterised certain features: (a) virtue, (b) technique (c) say, emanates ‘duty’ 45) truth, meaning opposed theatrical dissimulations ‘flattery’ 19) ‘rhetoric’ 21). Because truth-telling, requires parrhesiast know right ‘circumstances’ 23). Finally, unsettled ‘game’ 24) power agreement. Thus, requirement ‘similitude choice existence’ parties 29) Ziyad Marar (2014) calls ‘mutual understanding’ value. If criteria met, ‘bad’ parrhesia: ‘saying anything mind … without taking care’ 41). isn’t any expression; unalloyed executed, must precisely because risk. Moreover, notes ‘in inferiority interlocutor’ 44), clear high ‘social status’ historically capable 118). As writes ‘is equally given citizen, some, specially prestigious’ 92). What made powerful status persons could influence ‘the interest city’ 113). cuts ‘discrepancy’ identifies politics: ‘egalitarian’ ideal posits expressing reality select few For Foucault, paradigmatic example skill Cynicism. Cynics particularly relevant here, tested thin boundary helps us understand failed. discussions explicitly deals democracy, art. fifth century bc, varieties re-emerged several contexts since. occupied ambiguous society: ridiculed sought elite, proffered polemical, popularly accessible critique, preaching, combative dialogue scandalous behaviour 169). aggressively championed frankness lambasted luxury, hypocrisy sophistry. described failure Greek philosophy linkages decadence structures world’ 166). An iconoclastic mode existence, defined emphasis practice doctrine, antinomian, ‘scandalous mores, manifesting ‘essential truths’ via ‘visible, spectacular provocation’ 167). respect, (2011) posited antecedent ‘anti-cultural function’ 189) notes, figure Cynic eccentric critic recapitulated expectation, dominant since Renaissance, live singular life, entirely reducible usual dimensions norms’ 187). Indeed, quality life led Simmel describe structural ‘outsiders’, distinctive figures whose lives marked refusal ‘intelligibility’ 190) making system life’s lack system’ 191). Similarly, affinity unmediated ‘modern idea artist’s very takes, should constitute some testimony truth’ thesis consistent accounts, emphasised antagonistic, anti-cultural thrust many 20th-century European avant-garde movements (Bishop 2012: 78). From Dadaism Surrealism Situationism, core precepts surfaced period: positive attributed inverts scandalises tests consensus culture’ 2011: within. Here, pause important tension accept based fundamentally function, succeed. enough willingly agreement, proffered. other words, pre-existing attitude. see, forthcoming encounters, neither present. result, seen positions vocal provocateurs meaningfully turning attention small clique initiated artists. find flourishing wake bad then, humour, withdrawal. contribution does (2004) originates Mongolian concept hel am, category diffuse danger carrying ‘connotations dispute’ ‘powers harm’ ‘misfortune’ (2004: 50). Højer demonstrates ‘“creative” principle working disintegration just negatively integration society’ 52). categories, argues, require theory makes space qualities mutuality, reciprocity togetherness. Against assumption ‘that you take each other’s view’, re-centres ‘avoidance’, ‘enmity’, ‘suspicion’, ‘withdrawal’ ‘indifference’ relational 61). Not corrective Durkheimian sociality principally mutuality. aim contribute Ethnographies situated possessive intersubjective 2018), politics 2013). sense particular slight adjustment required case. ethnography free speech Finnish radio, Englund (2018) describes series confrontations public-service broadcasters bigoted listeners. stem disagreements voice, subject: broadcasters, constituted intersubjectively dialogue, listeners, internal expressed singular, fearless voice. contends listeners’ self-expression akin defines tight, proprietary inner truths, counterposed intersubjectivity. recentre another aspect emphasises: Arguably, Englund’s share These incontinent clumsily compromises interlocutor. describing ways subject contestation. compromise discourse nonetheless actively generating relations, if variety. Second, Boyer’s (2013) Reykjavik’s satirical 2010 mayoral campaign, campaign’s humour ironic distance multi-vocality dominance range ideologies elite actors. draw person appreciating perhaps underemphasises secondary whether likely acknowledge publicly visible homogeneous entrenched reaction. closes door engagement. unfamiliar unvalued audiences; less subservient difficult nurturing rebellious distinctiveness. tendency engage remains conundrum Irish sector. follows, contextual laid groundwork encounters. character backdrop shifts planning production, limitations stance. Since 1990s, experienced drift away function. Two contributed sea change. turn’ heralded global rise ‘participatory’ work: treats matter stages situations designed leave participants heightened belonging, empowerment genre sees auteur co-author, even, deprived communities targeted, quasi-social worker. Though received ardent continues dominate sector 2012, 2005). Simultaneously, swell ‘culture-led’ policies, ‘creative model among familiar. Championed Richard Florida (2003), approach capitalises capacity creative labourers designers, tech workers attract upwardly mobile consumer areas. pioneered North America widely applied (Peck meant trained sort community-oriented advocates eager platform. However, turn, alliance signalled inoculation art’s Culture-led models involve overt repurposing bohemianism kick-starting economic growth (McGuigan 2009: 293). frequently legions precariously employed patch gaps services 14). folded policymaking modes production. ‘Creative’ approaches enthusiasm featured centrally state’s response recession, during time earmarked ‘creative’ allies Ireland’s return prosperity. Under auspices variety policy programmes Creative Alliance, Ireland, Percent Art Scheme encouraged government City Council reinvigorate vacant sites temporary collectives, pop-up exhibitions studios. nominally emphasise ‘creativity’ ‘community’ predominantly repackaged existing entrepreneurialism network actors (Lawton 2010). targeted regeneration derelict buildings ‘blighted’ neighbourhoods centre, demolished estates, quick-fix projects demonstrated exacerbate inequalities (O’Callaghan Lawton 2016). step factors, might tolerance means giving oxygen relations. confluence appears way preserve ‘anti-cultural’ edge. More this, appeal participatory solidarity innocuous entertainment, as, words artist, ‘mercenary mechanic ruling class’. Ironically, however, turn toward antinomian lifestyles hurdle easy relationships noted labour class. complicated address elsewhere. vast literature attests challenge characterising straightforwardly classed terms (e.g. Bain McLean 2013; McRobbie 2011; Menger 1999). purposes analysis, significant benefit least sense: enjoy roles politically producers, allow them court ear impact consensus. Heather’s remark opening vignette attests, especially gentrifying neighbourhoods, did same access awareness weren’t ‘cultured enough’. prestige why: definitionally achieved sufficient deemed socially purveyor granted sanctioned platform expression. Artists undoubtedly enjoyed role, yet thought indulgently squandered position, abstruse reflection prevalence lived, call spent nine twelve living public–private row backside site Dublin’s estates. area housed blocks tenements early years Republic, Stevens working-class. recently, renewed efforts. arrived, rode heels flush hip cafes spaces, residency appearing adjacent estate. addition spending Stevens, participated twice-weekly workshops state-funded institutions interviewed dance, theatre, visual performance sectors, innumerable hours attending shows 50-odd studios, theatres galleries. regularly encountered involvement newcomers, class differences establishment straightforward nor predictive fail his/her audience. significant, varying socio-economic backgrounds, misused status. returned antagonistic spectacle, rendered opaque, humorous unpleasant leaves catch-22. allows vaguely planners, investors curators keen mobilise ‘participatory art’ stopgap appear ‘outside’ ‘against’ behalf abstractly see producing now clear. Shortly arriving workshop institution Meeting House. Several professional amateur attended classes run visiting culminating open staged cavernous studio two-storey ceilings, three white walls, 20-metre-long bay modernist windows looking park During first half performance, ‘performative intervention’. second showcased practitioner dance involves microcosmically slow, hyper-controlled, extemporaneous movements. evocative form, so powerfully convey extreme physical emotional states establishes strong connection artist. slow pace movement, appreciate uninitiated. Bot