I love Habermas’s simple move: to separately and comparatively analyze the propositional and performative dimensions of communication, in order to illuminate the universal norms implicit in all communicative acts.

When what is done in a speech act (an implied performative truth) contradicts what is said in its content (an explicit propositional truth), we encounter what’s known as a performative contradiction.

A famous example: “This sentence is a lie.” The act of asserting implies truthfulness, but the content denies it—undermining itself through its own performance. A more familiar example: “I don’t care what you think of me.” If that’s true, why say it? The act of saying it appeals to the very judgment it pretends to reject.

Performative contradictions throw tacit performative truths into sharp relief—truths that otherwise slip by unnoticed. They function like ethnomethodological breaching experiments: by violating invisible norms, they make them visible. Communicative acts, it turns out, are ethnomethods—and if Habermas is right, they are universal ones. “Anthropomethods”, maybe?

Habermas’s mature project was to uncover and clarify the norms presupposed by all communicative practice—not what we say about norms, but what our saying always already performs. In doing so, he sought universal norms of communicative rationality—structures that transcend the relativity of our claims by grounding them in the conditions that make understanding itself possible.

Vulgar appropriation of philosophical language drives me nuts. People love the mouthfeel of philosophical terms, but they cannot tolerate the practical consequences of actual understanding. So they make words forged expressly to say something new and elusive and different and level them down to say something old and obvious and same. (And don’t even get me started on appropriation of design language, which is, essentially the leveling down of practical phenomenological language to please the ontic palate.)

“Performative” is a particularly egregious example — one that reverses its intended meaning. In vulgar usage, it’s taken to mean theatrical, inauthentic: the speaker is just being an actor before an audience.

But in Habermas’s framework, and in the philosophical tradition in which Habermas works, performativity is not about deception, it is about action. What is performed in communication is not less real than what is said — it is more real.

Speech actions speak louder than words.