Abstract In the final months of 2010, a new global cycle of protests and social movements emerged that, as the following text willargue, has forced us to critically interrogate and transform the accepted ways in which theorists and researchers perceive the relation between aesthetics and politics, performativity and critical practice, modernity and its presupposed mimetic dynamics between the Global North and the Global South. These protest movements will be examined as various instances of the general category that we can call “the Occupy form.” The following research beginswith an overview of the cycle of struggles and protest that were born out of the global revolutions in 1968. After having provided the salient features of this moment of recent political history, this text moves on to considerations of the performative turn in both the arts as well as in politics, thereby allowing for a broader critique of Modernity and for a conceptualization of what one could call as altermodernities. — a category, which obliges the theorist-researcher to reconceive of the very notion of performativity in the process. The research also defines performative event and its aesthetics in contrast to other existing literature such as social performance theory, and it goes on to argue for an aesthetics whose function is to create the conditions for alternative subjectifications. As performative politics works on the social relations to envision and enact a future society in the present, the transformations in dominant spatio-temporality – a constituent part of relationality – as well as bodies – in-between which the social relationality emerges – will be examined. The processes and mechanisms of constructing and imagining collective bodies at the national level, and how performative politics disrupts such processes of homogenization will be also an important part of evaluating the impacts and effects of occupy movements as well as how these performative movements re-appropriated time and space; creating spatio-temporalities different from the established colonial and authoritarian linear progress-centered ones reproduced by the nation-state apparatuses, particularly in the West Asia and North Africa. It will be also argued that a paradigm of imitation and mimesis will come short of explaining the communication and dissemination of protests movement from Cairo to New York, from Istanbul to Madrid, thus proposing the idea of performative contagion as a model to rethink this communication. Although this research makes use of case studies, archived material, and author led interviews with artist-activists, all of which are related to the main subject of this thesis the occupy form of protests and its predecessors largely remains a theoretical endeavor to use performance and theatre studies in the socio-political field,drawing its insights from the tradition of the philosophers of immanence and the thinkers of community in 20th century.
