machinery that puts
these means in the service of the dialectic force that is (artistic) mediation. Their at
times minute realignments and refractions of the theatre space and of spectating conventions thus contribute to the prominent debate on ‘spectatorship’. JacquesRancière
rightly challenged, in The Emancipated Spectator, the widely assumed binary of a ‘passively’ consuming spectator and an audience getting ‘actively’ up on their feet. As he
aptly demonstrated, many ‘interactive’ performances fail in the crucial task of challenging the underlying dominant ‘partition
of writing. Michel de Certeau and the poetics of historiography’, The South Atlantic Quarterly, 100:2 (2001), pp. 465–482; JacquesRancière, The
Names of History. On the Poetics of Knowledge (1992), University of Minnesota Press,
Minneapolis MN, 1994. See also Frank Kermode’s remarks on history-as-writing in
History and Value, Clarendon Press, Oxford, 1988, pp. 108–127.
28 See above, Chapter 3.
29 Illustrated Guide to the National Museum in Naples. Sanctioned by the Ministry of
Education, Richter, Naples, 1909.
STEEDMAN 9781526125217 PRINT.indd 193
33 Rowbotham, Woman’s Consciousness, Man’s World, 120.
34 Eve Meltzer, “Antepartum,” in Systems We Have Loved: Conceptual Art, Affect, and
the Antihumanist Turn (Chicago: Chicago University Press, 2013), 9.
35 Louis Althusser, “Ideology and Ideological State Apparatuses,” in Lenin and Philosophy,
and Other Essays, trans. Ben Brewster (New York: Monthly Review Press, 1971),
36 In various ways, and using variations on the term, theorists like JacquesRancière,
Michel Foucault, and Judith Butler have addressed the ways in which subjects are
is a significant part of the horror of Davis’ suicide: in making her video
she transforms herself into a text, and thus the existence of the girl in
the film depends entirely upon the spectator. She exists for us because
she kills herself for us.
Can the spectator avoid this awful responsibility? Or does the fact
that her presence is assumed in the making of the video always render
her partly culpable for its construction? In asking this question, we are
moving into what JacquesRancière calls the ‘intolerability of the image’,
which was discussed in the
of practically all others, of the
three primary colours red, yellow and blue. Nor do these colours mix with
each other, but provide unified fields of colour: a blue wall, a red
lampshade, a yellow sweater, the copies of Mao’s Little Red
Book that proliferate on the bookshelves. As JacquesRancière
points out, the frankness and incorruptibility of these primary colours
‘s’opposent aux dégradés de nuances et à la
spiritual centre of Robert Bresson’s film
of Le Journal d’un curé de campagne (1951) (and that was
already used in Nouvelle Vague ): ‘Ô quelle merveille que
de pouvoir regarder ce qu’on ne voit pas! Ô miracle de nos yeux
This sequence has provoked what is probably the most
sustained and serious criticism of Histoire(s) du cinéma from
JacquesRancière who argues that this particular montage
Andrew Gibson says the same thing about Rancière’s notion of aesthetic politics and Badiou’s inaesthetics. See ‘The Unfinished Song: Intermittency and Melancholy in Rancière’, in M. Robson (ed.), JacquesRancière: Aesthetics, Politics and Philosophy (Edinburgh: Edinburgh University Press, 2005), pp. 61–76; and Beckett and Badiou: The Pathos of Intermittency (Oxford: Oxford University Press, 2006), pp. 162–71.
JacquesRancière later criticized the work of Bourdieu and Passeron of the
1960s on the grounds that their analyses had reinforced the view that ordinary
people live in ‘méconnaissance’ [ignorance] of the real conditions of their
existence which can be identified by a ‘Sociologist King’ in a malign tradition
going back to Plato’s conception of the function of the ‘Philosopher King’.1
Perhaps himself sensing this deficiency in his earlier work, Bourdieu began in
the 1970s to articulate an epistemological position which would protect the
William Outhwaite (ed.), Brexit: Sociological Responses (London: Anthem Press,
2017), pp. 101–10, at p. 108.
41 JacquesRancière has done some very valuable research into the history of libertarian socialism, and has found that there are historical precedents for this kind of
re-ordering. See his La Nuit des prolétaires: Archives du rêve ouvrier (Paris: Fayard,
1981), chapters 7 and 11.
42 For example, the organisation responsible for uniting the French Colonies of Africa
may have been renamed as the Financial Community of Africa, but the states that
ADSSD AM 281J AM I B1 Marty, Affaire, p. 10.
41 Mark Michael Smith (ed.), Hearing History: A Reader (Athens: University
of Georgia Press, 2004).
42 Sophia Rosenfeld, ‘On being heard: a case for paying attention to the
historical ear’, American Historical Review, 116, 2 (2011), pp. 316–34.
JacquesRancière, The Politics of Aesthetics: Distribution of the Sensible
(London: Bloomsbury, 2013). Jean-Rémy Julien, ‘Paris: cris, sons, bruits:
l’environnement sonore des années pré-révolutionnaires d’après Le
Tableau de Paris de Sébastien Mercier’, in Jean-Rémy Julien et