ABSTRACT
The performative encounter operated as an effective tactic for unsettling the stability and necessity of state and capitalist driven economies of production and subjectivation. It was hoped to manifest the revolutionary force seen to be lying dormant within the masses. The performative encounter of Berlin Dada, the active participation of the public was held as ideal. This was clear in that, for the most part, participation was solicited and encouraged. Encounters like Baader's nude spectacle in Steglitz and the Dada Republic in the Nikolassee required some level of consensus and direct engagement. For the Situationist International (SI) the Dada movement effectively explored the limits and possibilities of language and finally closed off the specialized role of art. The SI as revolutionary organization, refuses to reproduce within itself any of the hierarchical conditions of the dominant world. Dada was marked by an almost inescapable teleology that informed the segregation of art from revolution, audience from director, initiator from public.
