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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
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