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);
JacquesRancière, The Emancipated Spectator (London: Verso, 2011); and
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 JacquesRancière and his framework of the ‘distribution of the sensible