observation made by JacquesRancières 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.
perfect example of what French philosopher
JacquesRancière, 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
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
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 JacquesRancière, 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 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.
: 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 JacquesRancière’s term: JacquesRancière, The Ignorant
Schoolmaster: Five Lessons in Intellectual Emancipation. Translated by
Kristin Ross. Stanford, CA: Stanford University Press, 1991.
EDKINS 9781526119032 PRINT.indd 11
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 JacquesRancière. Chang offers
modes of social organisation; and this is critical for any
movement seeking social change. JacquesRancière 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
remind us that, for moral perfectionism, the act of interpreting is
prioritized over the interpretation. By, then, reading this claim
alongside the work of JacquesRancière, 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
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, JacquesRancière, Giorgio
Agamben, Maurice Blanchot and Michel de Certeau, but also D.T. Suzuki
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 JacquesRancière’s new landscape of the sensible in ethical