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Anne Ring Petersen

Mieke Bal’s concept of migratory aesthetics and Jacques Rancière’s distinction between ethics and politics. I also refer to Iain Chambers’ thoughts on migration and modernity in the Mediterranean region, as well as anthropologists Didier Fassin and Richard Rechtman’s analysis of a paradigmatic change in the Western relationship to history, from looping back on and celebrating historical victories to looping back on the history of the wrongs of genocide, colonisation, the trade in enslaved people, etc. Fassin and Rechtman argue that one outcome of this shift is that

in Migration into art
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Imagining ways of ‘being together’
Declan Long

manipulating images, and from the construction of dedicated display and exchange systems appropriated from recognisable consumer culture frameworks –​all of which together create a ‘social’ artwork that cannot be addressed merely in terms of its beneficial ‘dialogical’ potential. We are here edging towards that ‘dream of a suitable political work of art’ as imagined by Jacques Rancière, insofar as fundamental to Collins’s efforts is a ‘rupturing’ of ‘the very logic of meaningful situations’: Holiday in someone else’s misery presents a complicated and complicating

in Ghost-haunted land
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Anne Ring Petersen

keywords visibility and recognition. Several of the scholars mentioned above for their work on the topic of art and migration have underscored the artwork’s potential to question the dominant orders of visibility and invisibility in order to ‘transform the visual field of politics’, to borrow T. J. Demos’s succinct words.118 Chapters 4 and 6 in the present volume explore how this potential may be activated to challenge or transform the existing politics of representing migrants and migratory culture. Demos uses Jacques Rancière’s theory of the politics of aesthetics as

in Migration into art
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Andrew Klevan

Foucault, Christian Metz. If he was updating his essay, Plantinga could now add Emmanuel Levinas, Jacques Rancière, and Gilles Deleuze. Introduction 5 not speak to prevailing academic pursuits. At the risk of appearing grand, I would like Part III to construct a field out of individual interventions that have never been brought together. More modestly, I would like to shine a light on an existence that has hitherto been somewhat clandestine and then exhibit it in a coherent form. This will, I hope, help the aesthetic evaluation of film to situate itself in relation

in Aesthetic evaluation and film
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Counter-power in photography from slavery to Occupy Wall Street
Nicholas Mirzoeff

means representation. Rather, as Jacques Rancière has put it, ‘[o]‌riginally representation was the exact contrary of democracy’ (Rancière 2009, 53). It is instead an ‘oligarchic form’, precisely the mode of governance that is so palpable under global neo-​liberalism. The commons that is endeavouring to emerge is the interaction of indigenous and urban knowledge. Perhaps the most striking example of this interaction was the People’s Agreement of Cochabamba (2010), a document drawn up in response to the scientific consensus on anthropogenic climate change that is

in Image operations
Sruti Bala

alteration, a critique prominently raised by Jacques Rancière (2009). Rather, it is about a joint effort at making things worth paying attention to, in a way that foregrounds this effort as a central concern. In the realm of the performance itself, different people jointly contribute to this work of spectatorship. Cordero does not employ a realistic approach to the task of feeling someone else’s sense of home. Rather, she assumes her position as a spectator of someone who is not there, and attempts to embody this presence next to an absence. She recounts being taken by

in The gestures of participatory art
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Emergencies and spectatorship
Sam Haddow

as somehow passive and voyeuristic, and the latter an uncomfortable thought of the ways in which spectatorial appetites  –​especially those that spectators are unwilling to admit  –​may be catered for by people who produce spectacles. I consider this latter worry in Chapter 1, in a discussion of the IS murder videos produced for western spectators. In terms of the debates around spectatorial ‘passivity’, Jacques Rancière’s The Emancipated Spectator is still one of the most valuable contributions of recent years. Rancière dismisses the ‘passive’ argument, calling

in Precarious spectatorship
Open Access (free)
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
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Carolyn Steedman

called the vast condescension of posterity.49 Other kinds of historian have been plain-speaking about our desires: social historians’ desire that our historical subjects be the way we want them to be. In 1977, Jacques Rancière addressed a History Workshop held in Oxford on the topic of ‘French social historiography … and the real deep gap between French social history as an intellectual product and the organised working-class movements’. He emphasised social history’s effacement by Annales-school longue durée history in general, and the ‘motionless history’ of Leroy

in Poetry for historians
Epstein’s philosophy of the cinema
Christophe Wall-Romana

memories, everything is projected together, side by side, upon the same square of screen’ (1921a: 144–5). Wall-Romana_Epstein.indd 180 11/02/2013 17:10 epstein’s philosophy of the cinema  181 Guattari call Spinoza ‘the infinite becoming-philosopher’ (ibid.: 60). But it might be indeed Epstein’s interest in both Spinoza and cinema that proved the determining factor for Deleuze. The case is much more straightforward in the philosophy of politics and aesthetics of another philosopher who arrived on the scene in the 1980s: Jacques Rancière. He addresses Epstein head

in Jean Epstein