Search results

You are looking at 31 - 40 of 164 items for :

  • "Jacques Rancière" x
  • Refine by access: All content x
Clear All
Abstract only
On the humanism of precarious works
Anna Dezeuze

Postscript Postscript: on the humanism of precarious works Against ‘de-humanising’ abstractions Concrete, here and now, everyday, relative, immanent: the vocabulary that describes the precarious works in this study outlines a specific field of experience. This is a field on a human scale – unspectacular, unmonumental, as fragile as our relations and as finite as our brief lives. It is the space of the human condition, variously described by Hannah Arendt, Jacques Rancière, Giorgio Agamben, Maurice Blanchot and Michel de Certeau, but also D.T. Suzuki and Robert

in Almost nothing
Abstract only
Political, cultural, green
Andrew Patrizio

Gaia’ (2011) and ‘Facing Gaia: A New Enquiry into Natural Religion’ (2013) coopt the deep ecological vocabulary of James Lovelock to mediate on climate change, science and culture (including art practice). 48 Latour follows others we have already noted in raising the problem of scale, seeking to address ‘the total disconnect between the range, nature, and scale of the phenomena and the set of emotions, habits of thoughts, and feelings that would be necessary to handle those crises’, 49 moving to reframe Jacques Rancière’s new landscape of the sensible in ethical

in The ecological eye
Abstract only
Epstein at the crossroads
Christophe Wall-Romana

political terms as we will see. Meanwhile, thinkers of the cinema as diverse as Edgar Morin, Jean Mitry, and Siegfried Kracauer in the 1950s and 1960s, and Gilles Deleuze, Jean-Luc Godard, and Jacques Rancière in the 1980s and 1990s, have uniformly recognized in Jean Epstein both a remarkable filmmaker and among the first committed philosophical thinkers of cinema (see chapter 6). The time has come to take these influential figures at their word and give Epstein the critical appraisal that has been so long in coming. For his double attainment – as key director and

in Jean Epstein
Abstract only
Chari Larsson

that has dominated French intellectual thought since the 1980s. This is a line of thought that can be traced from Theodor Adorno’s oft-cited warning not to write lyric poetry after Auschwitz, through to Jean-François Lyotard’s reading of the Kantian sublime. Lyotard famously compared the attempt to exterminate the Jews to an earthquake that exceeds the tools used to measure its impact. 5 More recently, philosophers such as Giorgio Agamben, Jean-Luc Nancy and Jacques Rancière have all, in various and interconnected ways, questioned the prohibition of representation

in Didi-Huberman and the image
Sarah Turner’s Perestroika
Kim Knowles

experience of it. In Maurice Merleau-Ponty’s theory of perception, this equates to a form of reversibility: ‘the look […] envelops, palpitates, espouses the visible things’. 31 By opening up these tangible interstices, Perestroika ’s formal approach activates a tactile reading. For Turner, as for Jacques Rancière, ‘[t]houghts and things, exterior and interior, are captured in the same texture, in which the sensible and the intelligible remain undistinguished’. 32 Inter-subjectivity and intermediality combine to carve out multiple spaces between, with the former

in British art cinema
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Abstract only
Bryce Lease

. This positioning of the theatre as a crucial space in the public sphere is a concrete move away from the one-way relationship between theatre, audiences and critics, which renders the former as a passive object to be interpreted by the latter. As Paweł Mościcki has argued, political theatre today is not, contrary to a widespread opinion, an empty word. ‘You just need to fill it with new content, discarding old habits and unnecessary nostalgia. Activating new interactive forms of engagement’ (2008:  9). Jacques Rancière claimed that ‘politics is, above all, an

in After ’89
Abstract only
Staging art and Chineseness
Jane Chin Davidson

changes of those conditions in China has brought Chineseness into the forefront of the socio-political economy of representation. Althusser’s exploration of Maoist thought was developed later by his students, including Jacques Rancière and Alain Badiou, both of whom have contributed significantly to contemporary art discourse while conserving in varying degrees the use of Maoist alternatives to capitalism through discourse.28 The fragments and traces of historical materialism in the structural philosophies for art, affecting representation and identity, can be seen as

in Staging art and Chineseness
(eco)feminist interpellations of Chineseness in the work of Yuk King Tan, Cao Fei, and Wu Mali
Jane Chin Davidson

’s students Jacques Rancière and Alain Badiou.16 The anti-bourgeois and anti-rightist campaigns in China would become the model for French intellectuals, which I argue had left an impact on the future of political philosophy in globalization. Feminists like Kristeva were enamored of Mao’s empowerment of women, even as the Confucian system connecting gender to kinship and the state perpetually underlies the definition of ‘woman.’ For instance, the familial term funü came to represent the equality of woman as worker while the sexual term nuxing became the signifier of the

in Staging art and Chineseness
Abstract only
Tijana Vujošević

would be impossible without first defining the communist individual.The groundwork for the study of subjectivity in Western cultural theory has been established by Louis Althusser, Jaques Lacan, Michel Foucault, Gilles Deleuze, Felix Guattari, and Jacques Rancière. Despite numerous and sophisticated differences, including radically Introduction 9 different opinions on individual agency, these theorists all believe that the terms of discourse and representation fundamentally define who an individual is or is not. Battles over defining the identity of the citizen are

in Modernism and the making of the Soviet New Man