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In this short book, Jacques Rancière takes stock of the state of contemporary politics and examines current developments in the light of his writings. Rancière takes issue with what he sees as the consolidation in recent years of an increasingly oligarchic class of professional politicians within the system of representative democracy, while simultaneously objecting to leftist animosity towards electoral politics. He discusses a wide range of contemporary political movements and figures, from Nuit debout and Marine le Pen to Occupy, Trump, Syriza and Podemos, and he offers a trenchant critique of a variety of ideas and thinkers associated with radical politics, such as the ideas of immaterial labour and cognitive capitalism and the concept of insurrection put forward by the Invisible Committee. But above all he talks about the time in which it makes sense to talk about all this, a time for which history has made no promises and the past has left no lessons, only moments to be extended as far as possible. In politics, there are only presents. It is at every moment that the bonds of unequal servitude are renewed or that the paths of emancipation are invented.
Presented in the form of a dialogue between Jacques Rancière and Eric Hazan, this timely reflection by one of the most influential radical thinkers writing today will be of interest to a wide readership. -
In this important new book the leading philosopher Jacques Rancière continues his reflections on the representative power of works of art. How does art render events that have spanned an era? What roles does it assign to those who enacted them or those who were the victims of such events?
Rancière considers these questions in relation to the works of Claude Lanzmann, Goya, Manet, Kandinsky and Barnett Newman, among others, and demonstrates that these issues are not only confined to the spectator but have greater ramifications for the history of art itself. For Rancière, every image, in what it shows and what it hides, says something about what it is permissible to show and what must be hidden in any given place and time. Indeed the image, in its act of showing and hiding, can reopen debates that the official historical record had supposedly determined once and for all. He argues that representing the past can imprison history, but it can also liberate its true meaning. -
In this important new book the leading philosopher Jacques Rancière continues his reflections on the representative power of works of art. How does art render events that have spanned an era? What roles does it assign to those who enacted them or those who were the victims of such events?
Rancière considers these questions in relation to the works of Claude Lanzmann, Goya, Manet, Kandinsky and Barnett Newman, among others, and demonstrates that these issues are not only confined to the spectator but have greater ramifications for the history of art itself. For Rancière, every image, in what it shows and what it hides, says something about what it is permissible to show and what must be hidden in any given place and time. Indeed the image, in its act of showing and hiding, can reopen debates that the official historical record had supposedly determined once and for all. He argues that representing the past can imprison history, but it can also liberate its true meaning. -
The development of Rancière's philosophical work, from his formative years through the political and methodological break with Louis Althusser and the lessons of May 68, is documented here, as are the confrontations with other thinkers, the controversies and occasional misunderstandings. So too are the unity of his work and the distinctive style of his thinking, despite the frequent disconnect between politics and aesthetics and the subterranean movement between categories and works. Lastly one sees his view of our age, and of our age's many different and competing realities. What we gain in the end is a rich and multi-layered portrait of a life and a body of thought dedicated to the exercise of philosophy and to the emergence of possible new worlds.
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The development of Rancière's philosophical work, from his formative years through the political and methodological break with Louis Althusser and the lessons of May 68, is documented here, as are the confrontations with other thinkers, the controversies and occasional misunderstandings. So too are the unity of his work and the distinctive style of his thinking, despite the frequent disconnect between politics and aesthetics and the subterranean movement between categories and works. Lastly one sees his view of our age, and of our age's many different and competing realities. What we gain in the end is a rich and multi-layered portrait of a life and a body of thought dedicated to the exercise of philosophy and to the emergence of possible new worlds.
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In this book the influential philosopher Jacques Rancière, in discussion with Peter Engelmann, explores the enduring connection between politics and aesthetics, arguing that aesthetics forms the fundamental basis for social and political upheaval. Beginning from his rejection of structuralist Marxism, Rancière outlines the development of his thought from his early studies on workers' emancipation to his recent work on literature, film and visual art. Rather than discussing aesthetics within narrow terms of how we contemplate art or beauty, Rancière argues that aesthetics underpins our entire `regime of experience'. He shows how political relations develop from sensual experience, as individual feelings and perceptions become the concern of the community as a whole. Since politics emerges from the `division of the sensual', aesthetic experience becomes a radically emancipatory and egalitarian means to disrupt this order and transform political reality. Investigating new forms of emancipatory politics arising from current art practices and social movements, this short book will appeal to anyone interested in contemporary art, aesthetics, philosophy and political theory.
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In this book the influential philosopher Jacques Rancière, in discussion with Peter Engelmann, explores the enduring connection between politics and aesthetics, arguing that aesthetics forms the fundamental basis for social and political upheaval. Beginning from his rejection of structuralist Marxism, Rancière outlines the development of his thought from his early studies on workers' emancipation to his recent work on literature, film and visual art. Rather than discussing aesthetics within narrow terms of how we contemplate art or beauty, Rancière argues that aesthetics underpins our entire `regime of experience'. He shows how political relations develop from sensual experience, as individual feelings and perceptions become the concern of the community as a whole. Since politics emerges from the `division of the sensual', aesthetic experience becomes a radically emancipatory and egalitarian means to disrupt this order and transform political reality. Investigating new forms of emancipatory politics arising from current art practices and social movements, this short book will appeal to anyone interested in contemporary art, aesthetics, philosophy and political theory.
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The time of the landscape is not the time when people started describing gardens, mountains and lakes in poems or representing them in works of art: it is the time when the landscape imposed itself as a specific object of thought. It is the time when both the harmony of arranged gardens and the disharmony of wild nature led to a revolution in the criteria of the beautiful and in the meaning of the word "art." It coincided with the birth of aesthetics, understood as a regime for shaping how art is seen and thought, and also with the French Revolution, understood as a revolution in the very idea of what binds together a human community. The time of the landscape is the time when the conjunction of these two upheavals brought into focus, however hazily, a common horizon: that of a revolution that no longer concerns only the laws of the state or the norms of art, but the very forms of sensible experience. This brilliant and wide-ranging book will be of interest to students and scholars in philosophy, literature, the visual arts, and the humanities generally, and to anyone interested in critical theory and philosophy.
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The global triumph of democracy was announced thirty years ago, promising an age of consensus in which the dispassionate consideration of objective problems would give birth to a world at peace. Today, these grand hopes lie in ruins, and the era touted as new has turned out to be remarkably similar to the old order. To understand why this might be so, we need to examine the nature of the consensus itself, which is not the peace that it promised but rather the map of a territory on which new forms of warfare are being waged. The objective reality that imposed itself at the end of the 1990s was an absolutized and globalized capitalism which has produced ever more inequality, exclusion and hate. In this book Jacques Rancière delivers a frank and piercing critique of the globalized capitalist consensus. The invasion of Iraq, the riots on Capitol Hill and the rise of the European far right all attest to the true nature of this consensus, as does the current state-sanctioned racism which exploits the disenchanted progressive tradition and is led by an intelligentsia that claims to be left-wing. At the same time, Rancière praises the dynamism of social movements which affirm the power of the assembly of equals and its capacity for worldmaking: autonomous protest collectives have proven themselves capable of opening breaches in the consensual order and challenging the post-1989 system of domination.
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Faced with growing inequalities and new forms of domination and exploitation, can the movement of emancipation take on a new life today, or has it been arrested by the powers of repression and normalization?
In order to address this question, Jacques Rancière pays close attention to the sociopolitical rhythms of our time, listening for the figures of trembling and oscillation that are often drowned out by the deafening hubbub of the media. He questions the relationship between democracies and the very concept of democracy, and questions what, in the social movements and protests taking place today, offers a possibility of emancipation. Emancipation means breaking out of the established hierarchies, proposing a ludic attitude of free-floating distance and bringing into it a space of equality to replace the dominant order of inequalities.
In five conversations on politics, art, literature, philosophy and cinema, Jacques Rancière and Aliocha Wald Lasowski consider the form, experience and collectives which characterise emancipation. In so doing, they imagine the world of tomorrow and the radical utopias that will bring it closer to us.