Jacques Rancière

Agamben is hard to pin down both theologically and philosophically. He attempts to construct miraculous minutiae out of un-miraculous things. Hence this work is the act of profaning the unprofanable. What ontological stature, what imaginative configuration and what spatio-temporal coordinates this move articulates are less than forthcoming. Indeed it is possible that Agamben disavows these entirely in favour of a Benjaminian eternal 'as if' structure, one which sees in the most mundane the traces of an eternal and secular redemption. But (...) this remains problematic; this idiosyncratic moment seems devoid of any real comprehension or description of themes concerning the rest of us mortals, such as temporality, finitude or the spatial and imaginative presentation of that which promises to redeem us. (shrink)

Book chapter: "Deleuze en Norteamérica: errancias y destinos".

Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...) quanto attiene specificamente lo statuto filosofico dell’immagine, si può dire che sia proprio questo passaggio che consente a Deleuze stesso di modulare la sua riflessione riponendo maggiore attenzione all’elemento temporale rispetto invece al movimento — concetto dal quale, ciononostante, l’indagine sul cinema aveva preso abbrivio. (shrink)

Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...) quanto attiene specificamente lo statuto filosofico dell’immagine, si può dire che sia proprio questo passaggio che consente a Deleuze stesso di modulare la sua riflessione riponendo maggiore attenzione all’elemento temporale rispetto invece al movimento — concetto dal quale, ciononostante, l’indagine sul cinema aveva preso abbrivio. (shrink)

Eine Kritik des "Verflüssigungsprimats" - Antinormativität und Antiinstitutionalismus - der poststrukturalitischen politischen Theorie.

Hay que enunciarlo sin contratiempos: no habría manera, el día de hoy, de pensar la subjetividad, si no se lo hace políticamente. La reafirmación de la reflexión contemporánea sobre las subjetividades -de acción, de enunciación, de sensibilidad, de pasión, etc.- sólo es posible llevarse a cabo si se acepta lo político como su ámbito. Y si se trata de pensar lo político, en el día de hoy, habría que dejar de lado una inmensidad de hábitos de pensamiento y habría que (...) diagnosticar (describir-inventar-críticamente) más bien, la constelación problemática de lo que acontece realmente como este hoy. (shrink)

El texto evalúa una de las maneras predominantes de la recepción de Gilles Deleuze. Establece una crítica de los desencuentros y misreadings en torno a la filosofía de Deleuze. Muestra esos desencuentros como un proceso sin contexto ni densidad histórica, sin unos mínimos elementos que permitan comprender los complejos procesos de su recepción. Mucho menos su genealogía. Para ello, el texto evalúa la lectura de Deleuze que hace Jacques Ranciere, a la luz de la recepción de ambos en el contexto (...) universitario norteamericano. (shrink)

Bestaat de kernactiviteit van de meester erin om zijn eigen kennis uit te leggen en over te dragen? De Franse filosoof Jacques Rancière laat zien dat een gelegenheidsexperiment van Joseph Jacotot ons een ander voorbeeld aanreikt: de onwetende meester. In zijn boek De onwetende meester: vijf lessen over intellectuele emancipatie (Le maître ignorant: Cinq leçons sur l'émancipation intellectuelle) stelt hij dat de onwetende meester evengoed of zelfs beter in staat is leerlingen iets te leren dan de wetende meester. Rancière neemt (...) in feite twee onderwijspraktijken als voorbeeld: de traditionele praktijk van de wetende meester die uitleg geeft en kennis overdraagt en de experimentele praktijk van de onwetende meester die geen uitleg geeft maar vooral gericht is op de verificatie van aandacht. In dit artikel wil ik op basis van een korte analyse van deze twee praktijken laten zien hoe we uit Rancière’s boek een model kunnen afleiden voor het articuleren van de theoretische principes die impliciet in onderwijspraktijken werkzaam zijn. Dit model is gestoeld op het volgende uitgangspunt: door een succesvolle of juist problematische onderwijspraktijk als voorbeeld te nemen kunnen we de theoretische principes articuleren die erin werkzaam zijn. Dit schept de mogelijkheid om de focus van de van de praktijken naar de principes te verleggen. Hierdoor wordt de onderwijspraktijk op een nieuwe manier inzichtelijk en kunnen we haar theoretisch expliciteren. (shrink)

We met Jacques Rancière on Saturday, May 27, 2017, at the School of Fine Arts shortly before his speech at the B-Fest 6 International Anti-Authoritarian Festival, organized by Babylonia Journal, with a central slogan “We are ungovernable”. Rancière is among the most important European philosophers alive and his work does not need further introductions. In the cloudy morning of Sunday 28 May, we sat beneath the Acropolis to have a coffee with the philosopher. The transcript of our conversation reflects the (...) vigor of thought and the passion of a truly democratic thinker. (shrink)

In this article, it is claimed that by considering Rancière’s understanding of politics of aesthetics alongside Stengers’ conception of the ecology of practices, it is possible to think about the autonomy of artistic practices which would be created and sustained politically. Rancière demonstrates that the artistic autonomy was previously subordinated to a variety of historical imperatives, while Stengers warns about an apolitical mission of the great narrative of the Anthropocene. Both philosophers make a case for talking about the autonomy of (...) artistic practices based on political differing, but in Stengers’ philosophy, the political principle of dissensus is supported by an ecological perspective. She argues for a symbiotic consensus, where the political is defined as being both contradictory and attuned to the situational interconnectedness. In the destructive environment of the Anthropocene, Stengers challenges the tradition of critical reflexivity and proposes a way out – the autonomy of practices that is not universally given but needs to be constantly recomposed together. (shrink)

Against the enthusiasm for dialogue and deliberation in recent democratic theory, the Italian philosopher Roberto Esposito and French philosopher Jacques Rancière construct their political philosophies around the nondialogical figure of the third person. The strikingly different deployments of the figure of the third person offered by Esposito and Rancière present a crystallization of their respective approaches to political philosophy. In this essay, the divergent analyses of the third person offered by these two thinkers are considered in terms of the critical (...) strategies they employ. Contrasting Esposito’s strategy of “ethical dissensus” with Rancière’s strategy of “aesthetic dissensus,” it is argued that Esposito’s attempts to recruit the figure of the third person to dismantle the dispositif of the person are politically problematic, while Rancière’s alternative account of the third person is more promising for political theory and practice. (shrink)

We met Jacques Rancière on Saturday, May 27, 2017, at the School of Fine Arts shortly before his speech at the B-Fest 6 International Anti-Authoritarian Festival, organized by Babylonia Journal, with a central slogan “We are ungovernable”. Rancière is among the most important European philosophers alive and his work does not need further introductions. In the cloudy morning of Sunday 28 May, we sat beneath the Acropolis to have a coffee with the philosopher. The transcript of our conversation reflects the (...) vigor of thought and the passion of a truly democratic thinker. (shrink)

If we compare it with the fellow notion of liberty, equality has an ambivalent place in modern political thinking. Whilst it counts as one of the fundamental norms, many think that equality is valuable only as a way to realise some features of liberty. I take a historical perspective on this issue, and try to identify some of the pre-modern roots of such an ambivalent attitude towards equality. I do this by using Jacques Rancière’s political model as an analytical framework (...) and by taking a visual route, focusing on classical iconographic representations in which equality was present in the images’ subtexts. Ambrogio Lorenzetti’s allegory of good government is one iconic exposition of equality as a positive condition of civil peace. Already there, however, the positive value of equality is counterposed to the figure of violent retributive justice. Similarly, in the Christian narrative, equality is endorsed as the original condition of creatures under God, but is also associated with violent death. This signals one pre-modern root behind the ambivalence towards equality, particularly when the latter is understood dynamically, as levelling. Such a reversal of value finds an apotheosis, I suggest, in the revolutionary icon of the guillotine, a dramatic representation of equalisation that had a strong influence on modern political thinking. In J. E. Millais’ first painting, of Jesus in the House of his Parents, I find a more positive legacy of Christian equality in modern political thinking. (shrink)

This article explores the force and limitations of Jacques Rancière’s novel attempt to rethink the relationship between aesthetics and politics. In particular, it unravels the paradoxical threads of the fundamental contradiction between two of his steadfast claims: (1) art and politics are consubstantial, and (2) art and politics never truly merge. In taking Rancière to task on this point, the primary objective of this article is to work through the nuances of his project andforeground the problems inherent therein in order (...) to break with the “talisman complex” and the “ontological illusion” of the politics of aesthetics in the name of a new understanding of the social politicity of artistic practices. (shrink)

This article addresses Rancière’s critique of Aristotle’s political theory as parapolitics in order to show that Aristotle is a resource for developing an inclusionary notion of political community. Rancière argues that Aristotle attempts to cut off politics and merely police (maintain) the community by eliminating the political claim of the poor by including it. I respond to three critiques that Rancière makes of Aristotle: that he ends the political dispute by including the demos in the government; that he includes the (...) free masses only incidentally because, by chance, the rule is political, not based on mastery; and that he attempts to close off politics by determining in advance what speech counts as speech. I argue that Aristotle attempts to institute this contest by accepting the incommensurable claims of arithmetic and geometric equality. Aristotle puts this conflict at the root of political life in such a way that serves Rancière’s larger project of perpetuating politics. (shrink)

In this paper I describe how Kant’s idea about the impossibility of moral luck has come to influence, via Rawls, recent writings in egalitarian theory. I argue that this influence has been detrimental for the study of equality. Further, I claim that the major deficiencies of this post-Rawlsian egalitarianism (nicely described by Elizabeth Anderson’s title “luck egalitarianism) are both effectively critiqued and corrected by the understanding of equality and its value located in John Dewey’s writings.

In this article, it is claimed that by considering Rancière’s understanding of politics of aesthetics alongside Stengers’ conception of the ecology of practices, it is possible to think about the autonomy of artistic practices which would be created and sustained politically. Rancière demonstrates that the artistic autonomy was previously subordinated to a variety of historical imperatives, while Stengers warns about an apolitical mission of the great narrative of the Anthropocene. Both philosophers make a case for talking about the autonomy of (...) artistic practices based on political differing, but in Stengers’ philosophy, the political principle of dissensus is supported by an ecological perspective. She argues for a symbiotic consensus, where the political is defined as being both contradictory and attuned to the situational interconnectedness. In the destructive environment of the Anthropocene, Stengers challenges the tradition of critical reflexivity and proposes a way out – the autonomy of practices that is not universally given but needs to be constantly recomposed together. (shrink)

The paper investigates the relationship between political oratory and literature in Romania during the second part of the 19th century. Extending the theories of Jacques Rancière, Fredric Jameson, Slavoj Žižec, and Leonidas Donskis, I analyze the relationship between politics and literature by comparing a set of illustrative speeches delivered by Take Ionescu and P. P. Carp, who distinguished themselves as brilliant political orators and also as personalities who gave up literature in order to assume a political career. My main goal (...) is to determine how much of one’s appetite for aesthetic autonomy turns into mere appetite for political autonomy, and thus for dissent and dissidence. Both examples chosen for illustration brought me to the conclusion that prior literary habits and practices into a politician’s public career can determine his/her ways of legitimizing party-switches or volatile doctrinarian attitudes. (shrink)

The present paper explores diffident and dissident practices reflected by the political talk at the end of the 19th-century in Romania. Relying on Jacques Rancière’s theories on the ‘aesthetic regime of politics,’ the introduction sketches a historical frame and proposes a focus change: the relation between ‘politics’ and ‘aesthetics’ does not stand on a set of literary cases, but on political scripts as such. Thus, the hypotheses investigated by the next three parts can be formulated as follows: 1. though determined (...) by an ideological direction (Conservative or Liberal), the political speech still preserves his tendency towards aesthetic autonomy. 2. oratorical merits (hinting at aesthetic autonomy) can turn into practices of political autonomy, diffidence and, then, dissidence. Methodologically, two types of aesthetic practices organize the chosen materials; both the diffident script and the theatre of dissidence help us to perceive how the philosophical and moral meaning of these practices could change into an ideology of dissidence. The formalization of diffident practices, their conversion to outspoken dissidence, also corresponds to the symmetrical symptom of unlimited authority; when old-time politicians warned on ‘Caesarism,’ ‘Vizierate,’ ‘Despotism,’ ‘Omnipotence’ or ‘Tyranny,’ the Romanian society had already been training for a long experience of ‘dictatorship.’. (shrink)

This article explores the force and limitations of Jacques Rancière’s novel attempt to rethink the relationship between aesthetics and politics. In particular, it unravels the paradoxical threads of the fundamental contradiction between two of his steadfast claims: (1) art and politics are consubstantial, and (2) art and politics never truly merge. In taking Rancière to task on this point, the primary objective of this article is to work through the nuances of his project andforeground the problems inherent therein in order (...) to break with the “talisman complex” and the “ontological illusion” of the politics of aesthetics in the name of a new understanding of the social politicity of artistic practices. (shrink)

Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...) should correspond, but they fail to recognize sensation as a site where the ecological cause can be fought. Jacques Rancière argues for the political force of the senses, but his distribution of the sensible does not address the particularity of sensory experience. I identify the difference between these approaches within recent relational or ecological aesthetics and my position on sensibility, and indicate some of the problems involved in referring to the senses. I set out the concepts that are central to the cultivation of relational sensibility: style, autofiguration, and the mobility of sensory meaning, extrapolated from Maurice Merleau-Ponty’s discussion of Paul Cézanne. They amount to positioning the senses ontologically as movements along lines of conceptual-sensory connection and implication, based on the transfer of meanings created artistically through style and autofiguration. (shrink)

Quien enseña sin emancipar no solo embrutece, predicaba Joseph Jacotot, sino que también adoctrina. Pasado un siglo y medio desde entonces, el filósofo y esteta francés emérito de la Universidad de París VIII y European Graduate School Jacques Rancière, en un ejercicio característico de la filosofía de la educación, publica en 1987 El maestro ignorante a partir de la experiencia de Jacotot. A lo largo de su vida y producción literaria, Rancière reflexiona concienzudamente sobre la naturaleza del proceso de enseñanza (...) y aprendizaje humano y se pregunta: ¿es posible enseñar? ¿qué decide el alumnado en su proceso de aprendizaje? ¿Cuáles son los límites de la palabra transmitida en el aprendizaje? ¿Es la determinación del saber un ejercicio del poder? ¿Son todos los seres humanos capaces de comprender lo que otros hacen y saben? ¿Qué relación hay entre el poder del maestro y el poder de la palabra? (shrink)

La pedagogía es un tema crucial en el pensamiento de Rancière y juega un rol principal en su obra El maestro ignorante, texto que el presente escrito analiza y cuestiona. Su propuesta emancipadora establece como punto de partida una igualdad de inteligencias que en este escrito hemos denominado «isonousía», y según nuestra hipótesis, esta igualdad lleva aparejada una desigualdad de las voluntades (anisothelema). En consecuencia, la propuesta de Rancière no altera en absoluto “el orden explicador” que denuncia, pues el maestro (...) emancipador ya no tiene que corregir la ignorancia, pero sí la pereza; no ha de impartir un conocimiento superior, pero sí imponer una voluntad superior. (shrink)

Bestaat de kernactiviteit van de meester erin om zijn eigen kennis uit te leggen en over te dragen? De Franse filosoof Jacques Rancière laat zien dat een gelegenheidsexperiment van Joseph Jacotot ons een ander voorbeeld aanreikt: de onwetende meester. In zijn boek De onwetende meester: vijf lessen over intellectuele emancipatie (Le maître ignorant: Cinq leçons sur l'émancipation intellectuelle) stelt hij dat de onwetende meester evengoed of zelfs beter in staat is leerlingen iets te leren dan de wetende meester. Rancière neemt (...) in feite twee onderwijspraktijken als voorbeeld: de traditionele praktijk van de wetende meester die uitleg geeft en kennis overdraagt en de experimentele praktijk van de onwetende meester die geen uitleg geeft maar vooral gericht is op de verificatie van aandacht. In dit artikel wil ik op basis van een korte analyse van deze twee praktijken laten zien hoe we uit Rancière’s boek een model kunnen afleiden voor het articuleren van de theoretische principes die impliciet in onderwijspraktijken werkzaam zijn. Dit model is gestoeld op het volgende uitgangspunt: door een succesvolle of juist problematische onderwijspraktijk als voorbeeld te nemen kunnen we de theoretische principes articuleren die erin werkzaam zijn. Dit schept de mogelijkheid om de focus van de van de praktijken naar de principes te verleggen. Hierdoor wordt de onderwijspraktijk op een nieuwe manier inzichtelijk en kunnen we haar theoretisch expliciteren. (shrink)

This article explores the notion of pedagogical authority as exercised in the Community of Inquiry, the method for facilitating Philosophy for Children (P4C). It argues that the teachers’ pedagogical authority in a Community of Inquiry is not predicated on their intellectual superiority or status. Rather it finds its legitimacy in their role as instigators of students’ thinking skills, which are assumed to be already possessed by the learners. This thesis is discussed in relation to Rancière’s concept of the dissociation of (...) the will and the intellect, which is treated here as conceptual complement to the existing interpretation of pedagogical authority as understood and practiced by scholars in the field of P4C. (shrink)

We met Jacques Rancière on Saturday, May 27, 2017, at the School of Fine Arts shortly before his speech at the B-Fest 6 International Anti-Authoritarian Festival, organized by Babylonia Journal, with a central slogan “We are ungovernable”. Rancière is among the most important European philosophers alive and his work does not need further introductions. In the cloudy morning of Sunday 28 May, we sat beneath the Acropolis to have a coffee with the philosopher. The transcript of our conversation reflects the (...) vigor of thought and the passion of a truly democratic thinker. (shrink)