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Materialising the political in Thailand
Eli Elinoff

asserting their own agency, producing politics in their own right. Such a reading speaks to the way the political is an aesthetic field, what Jacques Rancière ( 1999 ) describes as ‘distribution of the sensible’. Here, what Bennett calls ‘Thing-Power’ evokes the limits of human capacities reflecting the ineffable character of political forces. Similarly, De Vries ( 2006 ) refers such god-like forces as the ‘absolute’ epistemological limits of human action (Bennett, 2010 : 3). In this sense, exploring the ways materials are used to challenge, affix, or trouble the

in Political theologies and development in Asia
Childhood between the prior to and the not yet
Kevin Ryan

into a particular shape, albeit in accordance with the perceived interests of those who are to be acted upon in this way, which is not all that different from assuming that it is both necessary and inevitable that some ‘categories of people’ must be forced to be free. As for the contentious issue of ‘standard ideas’, I think Jacques Rancière’s more radical approach to politics can offer a critical perspective on this. A distinctive feature of Rancière’s approach is that he does not project the principle of equality into the future as a goal to be achieved through

in Refiguring childhood
Marc James Léger

The most helpful definition of avant-garde art we have today, one that is adequate to contemporary forms of socially engaged art and to the global political economy of culture as we know it, is that proposed by John Roberts in Revolutionary Time and the Avant-Garde . 1 While Roberts’ theory has some affinity with Jacques Rancière’s work in the sense that he first distinguishes between the ontology of art and the heteronomy of non-art, he further proposes that art’s worldly materials are part of art’s ‘ontology of conceptualisation

in Vanguardia
Abstract only
Stavros Stavrides

experience, space concretizes relations between actually existing people (“singularities” according to Paolo Virno – we will return to this), which shape the horizon of the sensible. What Jacques Rancière actually suggests is that the “distribution of the sensible” is a socially regulated process which does not simply dominate thought (as in the ideological dressage established by relevant ideological apparatuses) but, crucially, experience, what is to be experienced. Experience may become a social fact only when it is shared, only when it is represented (expressed

in Common spaces of urban emancipation
Abstract only
Stella Gaon

continentalists do not crudely advocate radical contingency, anarchy, insubordination, contestation, rupture or some such aim simply in the place of identity, rule or stability (Markell, 2006: 2). On the contrary, because those such as Ernesto Laclau, Chantal Mouffe, Sheldon Wolin, Michael Hardt and Antonio Negri, and Jacques Rancière do all concede that ‘some sort of rule is unavoidable’, as Markell puts it, their theories are in fact troubled, even while they are enriched, by the paradox that ‘democracy’ means both the ideal of popular rule in which ‘the people’ (‘we’) rule

in Democracy in crisis
Young people, subjectivity and revolutionary border imaginations in the Mediterranean borderscape
Chiara Brambilla

well as the itineraries of the mobile subjects that cross it (see also Strüver, 2005 : 8–10). Following this, within the borderscape, different stories are represented and different practices are enacted. This corresponds to what Jacques Rancière ( 2010 : 139) calls ‘politics as process’, which ‘occurs when there is a disruption of a hegemonic or dominant mapping of the sensible’ (Aitken, 2014 : 162), involving the constant inclusion of something new that ultimately prevents the emergence of a sedimented objectified political structure (see also

in Border images, border narratives
James Thompson

that an aesthetics of care can be a demonstration, a showing of caring, but, more significantly, it can be the actual moment of building a more just distribution of caring and increase participants’ capacity to care and be cared for. The understanding of aesthetics here is, on the one hand broad, signalling aesthetic in the sense of the appreciation of something crafted, artistic or beautiful. However, on the other hand, I am also using it in a more particular sense borrowed from the work of Jacques Rancière and his framework of the ‘distribution of the sensible

in Performing care
Open Access (free)
From critical theory to technical politics
Graeme Kirkpatrick

over their interpretation quickly involve accusations of betrayal. Among those, like Alain Badiou, Jacques Rancière and indeed Feenberg, who retain their conviction that willed, wholesale changes of social system in wealthy countries remain possible and desirable, 1968 stands as confirmation. As such, their collective memory is an ideological bulwark against cynicism and nihilism, both of which serve as gateway drugs to political apathy and capitulation. This has a profound bearing on the mature thought of the philosophers of the class of ’68. Feenberg’s theory is

in Technical politics
From sick talk to the politics of solidarity
Sean Parson

exclude them from the political and physical spaces of the city. In chapter 5, I turn to the activism and politics of anarchist homeless activists in resisting the cities’ attempts to exclude the homeless. I turn to two important political theorists to make sense of the resistance of Food Not Bombs: Jacques Rancière and Eduard Glissant. Rancière’s short piece “Ten theses on politics” provides a powerful understanding of the way that disruptive actions and resistance expand political space, while Glissant’s idea of right to opacity examines the complex relationship of

in Cooking up a revolution
Representing Africa through suffering
Graham Harrison

lament. It has also shown how in a very direct sense, images are personal. The way I ‘receive’ images is not only a story about the image but also about me. No image is received abstractly; cognitively it is viewed and categorised by each viewer. The work done in the conjoined acts of viewing and categorising is profoundly emotional and it requires us to explore further the kinds of emotional dynamics that often emerge in the representation of suffering. Images and emotions The speaking image Jacques Ranciere (2009: 33) defines the image as both a representation and

in The African presence