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Anne Ring Petersen

observation made by Jacques Rancières in The Night of Labor: The Workers’ Dream in Nineteenth-Century France (Philadelphia: Temple University Press, 1989). 2 Meskimmon, Contemporary Art and the Cosmopolitan Imagination, p. 92. 3 Ibid., p. 92. 4 Julien, ‘Planet’, p. 176. 5 De Angelis et al., ‘Introduction: Disruptive Encounters – Museums, Art and Postcoloniality’, p. 11. 219

in Migration into art
Rethinking ‘directors’ theatre’
Peter M. Boenisch

perfect example of what French philosopher Jacques Rancière, one of several intellectual inspirations of the thinking behind the present study, terms mésentente, or dissensus. He introduces the term to describe a peculiar form of misunderstanding, which is 2 Directing scenes and senses not the conflict between one who says white and another who says black. It is the conflict between one who says white and another who also says white but does not understand the same thing by it or does not understand that the other is saying the same thing in the name of whiteness

in Directing scenes and senses
The primary aesthetics of Chartism
Mike Sanders

appropriations of the theatrical. From there, the chapter moves to a more general, and conceptual, analysis of the interconnections between the platform and the stage which argues for an understanding of theatre as a deep, generative structure which makes radical politics possible. This analysis draws heavily on the work of Jacques Rancière, particularly his concept of ‘primary aesthetics’. As Malcolm Chase’s and Robert Poole’s contributions to this collection demonstrate, there are multiple interconnections between the theatre and radical politics in the early nineteenth

in Politics, performance and popular culture
Community engagement and lifelong learning
Author: Peter Mayo

In this broad sweep, Mayo explores dominant European discourses of higher education, in the contexts of different globalisations and neoliberalism, and examines its extension to a specific region. It explores alternatives in thinking and practice including those at the grassroots, also providing a situationally grounded project of university–community engagement. Signposts for further directions for higher education lifelong learning, with a social justice purpose, are provided.

Open Access (free)
Jenny Edkins

: Persons and Politics. Ithaca, NY: Cornell University Press, 2011. 15 Frantz Fanon, Black Skin, White Masks. Translated by Charles Lam Markmann. London: Pluto, 1986: 109. 16 Stultification is Jacques Rancière’s term: Jacques Rancière, The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation. Translated by Kristin Ross. Stanford, CA: Stanford University Press, 1991. EDKINS 9781526119032 PRINT.indd 11 22/02/2019 08:34

in Change and the politics of certainty
Jane Chin Davidson

artistic expression. This viewing position is a reminder that the video installation is a quasi-philosophical form with its legacy in theatrical conceptualism as well as ontological models of film and performance that have been informed by a diversity of critical theories, such as those articulated by Rey Chow and Shu-mei Shih, whose work addresses cinema and Chineseness, but also aligns with the feminist perspectives of Trinh T. Minh-ha and Teresa de Lauretis and the philosophical influences of Maurice Merleau-Ponty, Henri Bergson, and Jacques Rancière. Chang offers a

in Staging art and Chineseness
Caroline Turner and Jen Webb

modes of social organisation; and this is critical for any movement seeking social change. Jacques Rancière writes: Within any given framework, artists are those whose strategies aim to change the frames, speeds and scales according to which we perceive the visible, and combine it with a specific invisible element and a specific meaning. Such strategies are intended to make the invisible visible or to question the self-evidence of the visible.11 Art is at the heart of such strategies because of its capacity to offer alternative ways of seeing and knowing and

in Art and human rights
Clare Woodford

exemplarity to remind us that, for moral perfectionism, the act of interpreting is prioritized over the interpretation. By, then, reading this claim alongside the work of Jacques Rancière, I will emphasize his claim that spectators are always already engaged in such interpretation, but too often do not trust the legitimacy or authority of their own interpretation over that of others

in Cinema, democracy and perfectionism
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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
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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