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Nothing really matters. All the things that we do not do, have or become in our lives can be important in shaping self-identity. From jobs turned down to great loves lost, secrets kept and truths untold, people missed and souls unborn, we understand ourselves through other, unlived lives that are imaginatively possible. This book explores the realm of negative social phenomena - no-things, no-bodies, non-events and no-where places - that lies behind the mirror of experience. Taking a symbolic interactionist perspective, the author argues that these objects are socially produced, emerging from and negotiated through our relationships with others. Nothing is interactively accomplished in two ways, through social acts of commission and omission. Existentialism and phenomenology encourage us to understand more deeply the subjective experience of nothing; this can be pursued through conscious meaning-making and reflexive self-awareness. The Social Life of Nothing is a thought-provoking book that will appeal to scholars across the social sciences, arts and humanities, but its message also resonates with the interested general reader

This article explores the social and relational aspects of surprise: a reaction to the sudden discovery of unexpected knowledge. Drawing on the micro-sociological perspectives of phenomenology, dramaturgy and symbolic interactionism, I present a five-stage trajectory of this social emotion, charting its emergence, feeling, meaning, responses and function. Surprise emerges from situated encounters when an unexpected incident causes a break in the script. This evokes a subjective experience of flustering and dual consciousness, which separates the actor from their role. The signified meanings of surprise include shifts of biographical identity, changes in power and status, and concerns about the exposure of epistemological naivety. Actors perform expressive gestures of surprise in line with cultural feeling and display rules, using dramaturgical techniques of impression management; these include dramatic realisation and verbal response cries. Team-mates cooperatively enact reparative interaction rituals, such as apologies, token exchange and feigned non-reaction, which restore the normal appearance of a scene. Surprise therefore has the paradoxical quality of being disruptively cohesive. While its immediate expression marks a momentary disturbance, it ultimately functions to maintain interaction order.

This article identifies and explores the realm of 'social nothingness': objects, people, events and places that do not empirically exist, yet are experienced as subjectively meaningful. Taking a phenomenological approach, I investigate how people perceive, imagine and reflect upon the meanings of unlived experience: whatever is significantly not present, never appeared or cannot happen to them. These 'negative symbolic social objects' include no-things, no-bodies, non-events and no-where places: for example, rejected roles, unpursued careers or absent people. Reversing some key concepts from phenomenology, I examine the process of 'negative noesis' (subject-object relations) in three aspects. 'Negative intentionality' describes people's motivational stance towards absent things, such as feelings of missing, wishing, haunting, avoidance or surrender. 'Negative embodiment' is the corporeal grounding of negational acts, through experiences of impairment, incapacity, severance, disturbance and decline. 'Negative temporality' describes the recognition of past or future impossible selves and their place within biographical identity stories.

Nothing is a sociologically neglected terrain, comprising negatively defined phenomena, such as non-identification, non-participation and non-presence. Nevertheless, these symbolic social objects are created and managed through meaningful social interaction. Nothing is accomplished either by active commission (doing/being a non-something) or by passive omission (not-doing/not-being something). I explore these dichotomous forms through four dimensions of negative social space: non-identity; inactivity; absence; and silence. Paradoxically, nothing is always productive of something: other symbolic objects come into being through the apprehension of phantoms, imaginaries, replacements and alternatives, which generate further constitutive meanings. A sociological analysis illuminates these processes, revealing how much nothing matters.

This article explores the paradox of shy performativity, whereby people who identify as shy in everyday life can nevertheless give confident displays on stage. Professional performing artists' accounts reveal that this is both enabled and complicated by transformations in consciousness concerning the Meadian social self. While taking on a fictional persona can provide liberating opportunities for the transcendent subject 'I', the critically self-doubting 'Me' reappears at certain moments, such as stage fright, transitions in and out of character, and disruptions of a scene's dramatic frame. Managing the shifting boundaries between contrivance and reality creates ontological dangers, the brave pursuit of which presents a thrilling challenge for the shy performer. Symbolic Interactionist and dramaturgical theories are therefore applied alongside concepts of edgework and flow to analyse shy performance art as voluntary risk-taking action.

This article explores the discursive construction, regulation and performance of the body in the context of the swimming pool. The near-naked state of the swimmer's body presents a potential threat to the interaction order, insofar as social encounters may be misconstrued as sexual, and so rituals are enacted to create a 'civilized' definition of the situation. The term 'performative regulation' is introduced to theorize this process, as a synergy of the symbolic interactionist models of dramaturgy (Goffman) and negotiated order (Strauss) and the post-structuralist concept of disciplinary power (Foucault). The regulation and representation of the swimmer's body can be understood as mutually constitutive mechanisms, enforced by the pool-as-institution but enacted through the embodied practices of individual actors in the pool-as-interaction. Crossley's notion of reflexive body techniques is applied to interpret this dualistic process in relation to communicative gestures and facework rituals, which implicates both individual and social bodies in the somatization of the interaction order.

This article revisits the concept of the total institution (TI), critically assessing the extent to which it has changed from being repressively coercive to relatively voluntaristic. I propose two new concepts, the 'Reinventive Institution' (RI) and 'performative regulation', to take the debate forward. The model of the TI outlined in Goffman's Asylums has been (mis-)interpreted as rendering its inmates powerless, but they also demonstrated agency through gestures of resistance. Conversely, RIs, which members elect to join for purposes of self-improvement, appear to celebrate the subject's autonomy but suggest a unique form of social control based on mutual surveillance. This performative regulation is enacted through the interaction order, as members actively produce, negotiate and legitimate the exercise of power.