Search results

You are looking at 61 - 70 of 164 items for :

  • "Jacques Rancière" x
  • Refine by access: All content x
Clear All
Open Access (free)
Entanglements and ambiguities
Saurabh Dube

, turning on collective mentalities and anonymous forces in the unfolding of the past. Yet such readings ignore Michelet’s actual procedures of research and writing, which arguably recast both “hermeneutic” and “scientific” methods in order to create a genuinely “modernist” historical scholarship. Michelet’s history writing, Jacques Rancière has argued, brought to the fore the salient but repressed

in Subjects of modernity
Abstract only
Anne Ring Petersen

keywords visibility and recognition. Several of the scholars mentioned above for their work on the topic of art and migration have underscored the artwork’s potential to question the dominant orders of visibility and invisibility in order to ‘transform the visual field of politics’, to borrow T. J. Demos’s succinct words.118 Chapters 4 and 6 in the present volume explore how this potential may be activated to challenge or transform the existing politics of representing migrants and migratory culture. Demos uses Jacques Rancière’s theory of the politics of aesthetics as

in Migration into art
Abstract only
Nijinsky, Delaunay, Duchamp
Mary Shaw

that argument was Maurice Blanchot in his 1959 Le Livre à venir . 8. Jacques Rancière makes a powerful argument affirming and defining Mallarmé’s engagement with the world in La Politique de la sirène (1996), which builds on Marchal’s research in La Religion de Mallarmé , as does Anna Sigrídur Arnar, from a different angle, in The Book as Instrument (2011). Arnar also gives a useful overview situating many works of Mallarmé criticism over several decades with respect to this question. 9. All of these texts can be found with extensive critical apparatus

in 1913: The year of French modernism
Open Access (free)
Alternative pasts, sustainable futures
David Calder

Giraud, Le murmure des plantes, web, https://fr.ulule. com/murmure/ (created December 2012, last accessed November 2017).  9 The nature of that participation varies from one practice to the next, and the politics of participation are (of course) contested. See Bishop, Artificial Hells; Claire Bishop, ed., Participation (London: Whitechapel Gallery, 2006); Grant Kester, The One and the Many: Contemporary Collaborative Art in a Global Context (Durham, NC: Duke University Press, 2011); Jacques Rancière, The Emancipated Spectator (London: Verso, 2011); and Gareth White

in Street theatre and the production of postindustrial space
Marc James Léger

since the rise of resistance movements against neoliberalism call for radicalised constituent politics that displace to a great extent the ‘cultural politics of representation’ of postmodern cultural studies. 1 It is not enough, as Jacques Rancière has it, to assert art’s weak ability to change the world through the singularity of its objects and the transformation of attitudes. 2 There is a politics to aesthetics, but at the limits of that proposal, the question remains: what politics? For Rancière, a politics of aesthetics should not be focused on avant

in Vanguardia
Stavros Stavrides

spaces, however, are meant to indicate that an overarching common world can be identified with a specific society and condensed within its state institutions. This world is supposed to be emphatically connected with promises of social cohesion and peace. In urban public space, contemporary forms of domination thus appear as legitimate, productive, and suitable for the reproduction of the corresponding social order. By this logic, public space becomes a site of contestation over the very possibility of the common. Jacques Rancière writes, for example, that politics

in Common spaces of urban emancipation
Abstract only
The topos of/for a post-politics of images?
Anne-Laure Amilhat Szary

consensus, who is subverting what? A post-political analysis is the opposite of searching for consensus in a democracy where, after an election, power is exercised on behalf of the entire community. In the post-political context, artistic intervention is considered powerful because the presence of the work makes it possible to renew the presence of contradiction within the political arena. Whilst nearing Jacques Rancière's notion of ‘dissensus’ ( 2008 ), Chantal Mouffe goes further, insisting on the fact that art could be ‘agonistic’ inasmuch as, beyond stemming debate

in Border images, border narratives
Sruti Bala

alteration, a critique prominently raised by Jacques Rancière (2009). Rather, it is about a joint effort at making things worth paying attention to, in a way that foregrounds this effort as a central concern. In the realm of the performance itself, different people jointly contribute to this work of spectatorship. Cordero does not employ a realistic approach to the task of feeling someone else’s sense of home. Rather, she assumes her position as a spectator of someone who is not there, and attempts to embody this presence next to an absence. She recounts being taken by

in The gestures of participatory art
Abstract only
Marcos P. Dias

Melbourne in 2010 – and also to my participation in Ciudades Paralelas , a series of performance interventions in functional urban spaces curated by Lola Arias and Rimini Protokoll artist Stefan Kaegi in the city of Cork (in Ireland) in 2012. My account of participation is based on Jacques Rancière’s ( 2009a ) critique of the emancipated spectator and on Eco’s ( 1989 ) conceptualisation of the ‘open work’, and highlights the importance of dissensus as a key factor in the participatory outcome of both performance art and the machinic city. Finally, in Chapter 6 I turn

in The machinic city
Abstract only
Andrew Klevan

Foucault, Christian Metz. If he was updating his essay, Plantinga could now add Emmanuel Levinas, Jacques Rancière, and Gilles Deleuze. Introduction 5 not speak to prevailing academic pursuits. At the risk of appearing grand, I would like Part III to construct a field out of individual interventions that have never been brought together. More modestly, I would like to shine a light on an existence that has hitherto been somewhat clandestine and then exhibit it in a coherent form. This will, I hope, help the aesthetic evaluation of film to situate itself in relation

in Aesthetic evaluation and film