Performative paradigm for businesses
(last edited: 2025)
author(s): Lorena Croceri
This exposition is in progress and its share status is: visible to all.
Performative Paradigm for Businesses
Reconfiguring Strategy, Presence and Creative Leadership
This article introduces the Performative Paradigm as an innovative framework for business development, leadership and strategic positioning. Moving beyond traditional rational models, the performative approach integrates embodiment, narrative, and emotional architecture into the very core of professional structures.
Rather than separating personal presence from strategic decision-making, this paradigm understands the body, desire, and symbolic expression as essential tools for navigating uncertainty and generating sustainable innovation. Drawing from performance studies, psychoanalytic thinking, and affect theory, the article explores how performative logic can be applied to projects, teams, and leadership styles—especially within multidisciplinary or creative industries.
Far from being abstract, the paradigm proposes concrete methodologies and real cases where performative alignment has shifted business dynamics: from burnout to embodied clarity, from fragmentation to integrated vision. Aimed at entrepreneurs, consultants, and visionary leaders, this article opens a liminal path where doing and being converge.
Collective Gesture Memory
(last edited: 2023)
author(s): Majid Sarnayzadeh
This exposition is in progress and its share status is: visible to all.
It cannot be denied that, collective or ensemble memory is a most important cultural part of a community. From a social cognitive point of view, the network can play a crucial role in understanding the world environment and human communication. It was a main question for me that "why my people understand some modern artistic works of local arts groups deeper than others, especially in physical theater field?". And the question lead me to the importance of collective or ensemble memory in creative artistic process.
I assumed that designing and producing a performance based on collective memory (in my world, collective gesture memory) in a creative process help us to have a deeper connection with our audience. For instance, I produced a short dance based on the Islamic prayer (Namaz and Vodhu) titled Kariznew that was performed in Attakkalari Biennial 2011 in Bangalore and in Bandar Abbas 2012; however, in our Islamic culture dance is a reprehensible phenomenon. Our local audience found the forms, rhythms and movements as a familiar phenomenon; however, they did not sure about the origin of the forms and movements.
In my opinion, understanding and receiving the world or in other word "sensory perception" is cultural based; and collective gesture memory is a big part of the perception process. Therefore, by considering the elements of the collective gesture memory we can produce and design artistic projects with deeper communication between performers and audience.
I presented the conceptual framework in PSI th20 in 2014 in Shanghai Theater Academy.