Giovanbattista Tusa explores the geophilosophical possibility of rethinking the figure of the earth in twentieth-century Western philosophical thought and suggest new opportunities for thinking that open up with the twenty-first century. On the one hand, “Earth” as a Western concept has been reduced to an exhaustible resource—an endangered planet condemned to its own ending. On the other hand, another continent seems to have emerged in contemporary philosophical thought in reaction to this brutal relationship with the planet—“Earth” as a dark, impenetrable (...) and indestructible reserve, the last resource of thought. A materialization of an unconditional power, this Earth seems to reproduce the original need for a wild, ultimate refuge for the philosophical thought of the twentieth century. To this archaic Earth of thought, whose survival seems to depend on preserving itself untouched, and untouchable, I confront another possibility, the geo-anarchy of other earths—the material insurrection of planetary energies. (shrink)

Ernesto Neto's installation at the Panthéon in Paris, Leviathan Toth (2006), brings us into a semiotics of intensities that does not belong to the ‘aesthetic regime’ as described by Jacques Rancière but rather to a Diagrammatic Agency of Contemporary Art. In this case study, the latter is constructed after Deleuze and Guattari – from a politics of the Body without Organs critically and clinically identified to a Body without Image.

This chapter contains sections titled: Introduction Of Masters, Intellectuals and Inequality On Lessons, Equality, Democracy Focus and Contributions to the book Notes Acknowledgement References Bibliography Jacques Rancière.

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 argues that an engagement with the powerful critical insights of Žižek’s theory of ideology and practice of cultural critique is a necessary step for any art historical methodology which aims to fully account for a work of art’s function within the society of its creation and reception, and to explain how it came to play such a role. However, any attempt to situate cultural artefacts within historically contingent networks of social relations requires an account of historical change incompatible (...) with any formalist or transcendentalist methodology. Moreover, if it is to be of any use as an academic discourse, art history must be able to account for the specifities of ‘art’ as a distinct—but not autonomous—sphere of human activity. It is precisely these two issues that a wholesale importation of Žižek’s writing into the domain of art history encounters. A solution must be found whereby the critical lessons of Žižek are not ‘lost in translation’. In this vein, the present article begins by outlining Žižek’s conception of ideology and elucidating the problematic consequences of any straightforward application of its parameters as an art historical methodology. It then reads the interventions of Jacques Rancière and Judith Butler as providing the necessary theoretical tools by which one can construct the possibility of a powerful Žižekian art historical methodology. (shrink)

Although there is ample interrogation of advertising/commercial/media culture in critical pedagogy, there is little attention paid to the fine arts and to aesthetic experience. This lacuna is all the more perplexing given Paulo Freire’s use of artist Francisco Brenand’s illustrations for his culture circles. In this essay I will return to Freire’s original description of the relationship between fine art images and conscientizacao in order to map out the future of the image in critical pedagogy. This return to the origin (...) of the use of images in literacy programs will highlight the interdependent nature of word and image but also will demonstrate some of the long standing misconceptions of the way fine art images function in relation to education and politics. In conclusion I will suggest that if images have a future in critical pedagogy, then this future must ultimately move beyond Freire. As an alternative genealogical anchoring point for the development of the aesthetics of critical literacy, I suggest a turn to the work of Jacques Rancière. Through his conceptualization of the “pensive image” as well as the “emancipated spectator” we can begin to understand how the fine art image can work to realize Freire’s democratic ideals without relying on Freire’s problematic formulation of the image-pedagogy relationship. In conclusion, I suggest that the philosophical model necessary to support critical literacy is not Freire’s culture circle so much as Kant’s aesthetic community now revitalized via Rancière’s own aesthetics of dissensus. (shrink)

In The Future of the Image (2007) Jacques Rancière states that the end of images is behind us. He argues for an aesthetics of the image that acknowledges the continuing power of images as educating documentations of traces of history, as directly affecting interruptions, and as open-to-combining signs of the visible and the sayable ad infinitum. But does Rancière's claim also concern the future of cinema? His cinematic references, in a Deleuzian sense, are mostly to modern time-images. Is the future (...) of film indeed a form of the time-image, or has the ‘heart’ of cinema moved beyond this image-type? This paper proposes to look at a third category of cinematographic images, based in the third synthesis of time as developed by Deleuze in Difference and Repetition. This filmic image, that could be called the neuro-image, is connected to the impure regime of images typical for the database logic of the digital age. By comparing Alain Resnais's Hiroshima Mon Amour (1959) to the television seriesFlashForward (2009), I will analyse the temporal operations of the image of the time-image to these images of a new regime of images, the image of and from the future.1. (shrink)

The article presents an introduction to the Special Issue on the French philosopher Jacques Rancière who raises a provocative voice in the current public debate on democracy, equality and education. Instead of merely criticizing current practices and discourses, the attractiveness of Rancière's work is that he does try to formulate in a positive way what democracy is about, how equality can be a pedagogic or educational (instead of policy) concern, and what the public and democratic role of education is. His (...) work opens up a space to rethink and to study, as well as to ‘re-practice’, what democracy and equality in education are about. He questions the current neutralisation of politics that is motivated by a hatred of democracy. This questioning is for Rancière also a struggle over words. Against the old philosophical dream of defining the meaning of words, Rancière underlines the need for the struggle over their meaning. The aim of the article is to clarify how and why education, equality, and democracy are a major concern throughout his work and to offer an introduction to the articles collected in the Special Issue. (shrink)

Increased attention to the relationship between democracy and education in the UK has been accompanied over the past thirteen years by an interest in how art can be used to promote democratic citizenship.While this approach has led to increased funding for the arts, it is not without its problems,and has often entailed an apolitical and instrumentalist view of both art and education. This paper turns to the political philosophy of Mouffe and Rancière, the work of Rancière in aesthetics, and Biesta’s (...) educational philosophy to develop an alternative way of understanding the significance of art for democracy and education. Building on their work, I take a performative and collective view of democratic subjectivity as the basis on which to construct this alternative understanding. I further argue that this conceptualisation can aid our understanding of democratic learning and our ability to provide opportunities for it through art and educational practice. (shrink)

Embodying and balancing the European avant-garde movement of the 1920s and the dialectical U.S. neo-avant-garde aesthetics of the 1960s, Robert Breer encompassed various art forms in his painting,...

Hastings reads the novel Comme dans un film des frères Coen by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” therefore recalling the name of the actress (...) with the same name. He gradually loses contact with his wife and his son, a successful painter, and is transformed into “the man who was not there” another character from a movie by the Coen brothers entitled The Barber: the man who was not there. Hastings asks: How could one get lost with a GPS? After the main character had initially bought his GPS for a trip in Australia in order to find his way, it started to go beyond its role as a road guide and questioned where he was in his relationship with his wife, in his career as a writer, and in his skin as a mature man. Not only was the GPS not fulfilling its purpose but also it started to ruin a fragile relationship hoping to find its way back to love during a last minute trip in Australia. Even after destroying the annoying talkative GPS, it continued to disrupt the couple in the plane on the way back to Canada. As much as Gwyneth the GPS is synonymous with escape and freedom, it is also showing the main character the wrong way, the way out of his reality, out of his family and out of his life. His attempts to free himself from Gwyneth are worthless, her image is still there, haunting his thoughts like images from a movie. But the displacement happens at another level than just the diegetic one. The confrontation of the text with moving images has consequences on the shape of the text itself. The mapping of the text on the page is influenced by this amalgam. The white page becomes a space where words are rearranged in different ways, some of which suggest poetry, other cartoons or cinematic images. The displacement of literature in areas that were previously foreign to it is at the heart of creative activity, and determines its renewal. Hastings presents the consequences resulting from the confrontation with the GPS, both on the mapping of one’s identity as well as the mapping and the shaping of the text itself. (shrink)

This article focuses on Jacques Rancière’s reflections on Alfredo Jaar’s The Rwanda Project in the context of wider discussions of the politics of naming the dead. Against the claim that his reflections reveal a depoliticizing, universalist commitment to naming all the dead, it contends that foregrounding the relation between naming and counting in this discussion shows Rancière’s focus to be the policing and politics of naming. In an original argument, it focuses specifically on how, for Rancière, in this context, individualized (...) proper names function politically and dissensually. To do so it explores Rancière’s analysis of the role of the mainstream media during the Rwandan genocide in perpetuating the police order which divided nameable individuals from anonymous masses, thereby constituting living and dead Rwandans as of little or no account, and his account of how Jaar’s art is able to disrupt the ‘partition of the sensible’ underpinning this count. The article concludes by considering how Rancière’s ideas about the relationship between naming and counting and between politics and police serve as a useful supplement to and extension of existing discussions of grievability. (shrink)

In this article I re-examine the role that aesthetics play in Paulo Freire's pedagogy of the oppressed. As opposed to the vast majority of scholarship in this area, I suggest that aesthetics play a more centralised role in pedagogy above and beyond arts-based curricula. To help clarify Freire's position, I will argue that underlying the linguistic resolution of the student/teacher dialectic in the problem-posing classroom is an accompanying shift in the very aesthetics of recognition. In order to demonstrate the always (...) already aesthetic nature of all education, I will turn to the aesthetic philosophy of Jacques Rancière. Through Rancière we can begin to understand how the pedagogy of the oppressed is predicated on an aesthetic redistribution of the sensible, of what can be seen and what can be heard. As Rancière will confirm, if we truly want to understand the aesthetics of pedagogy, we cannot simply see aesthetics as external to teaching and learning. Rather, education as an aesthetic event has to be taken seriously, and aesthetics should regain primacy in discussions of critical pedagogy. (shrink)

In this paper I chart the seismic shift that has occurred over the past three decades in attitudes towards the interpretation of visual images. My strategy implies the argument that the reading of visual images would appear to be an inevitability given the accelerating change of attitudes towards pictures as containers of determinate knowledge. French critical theorists (Foucault, Barthes, Derrida et. al.) dominated debate on interpretation of text and image in the 1980s, where my survey begins. Michel Foucault dismissed the (...) image (in Madness and Civilization 1959/1988) as a fascinating site for the madness of dreams but one standing outside of reasoned interpretation because of an inherent excess of meaning and deeply hidden attributes and allusions. Generally, however, when images were discussed using identifiable interpretive strategies in the 1980s the framework was a variant of semiotic analysis (Marin, Eco and Barthes – who famously, diverges from this mode in Camera Lucida). I use W. J. T. Mitchell’s Iconology: Image, Text, Ideology 1986 as a focal text from the 1980s and follow this with two of his publications on images, one from 1995 and another from 2005 to demonstrate the dramatic shift in the approach to pictures across almost three decades. Around these focal texts by Mitchell I reference other texts and trends that culminate in the more recent proliferation of texts related to visual studies and the re-emergence of aesthetics. (shrink)

This paper investigates the philosophical method of Jacques Rancière, with special attention to use of the 'presumptive tautology'. It distinguishes between the Enlightenment conception of method as universally applicable technique, and the philosophical conception of method as a certain style that has been invented by a certain person. Ultimately, the paper puts the methodology of Rancière's The Ignorant Schoolmaster under scrutiny.

This paper explores the ethical challenges involved in the ways public representation structures our experiences of atrocities and facilitates an adequate awareness of and response towards the suffering of others. It points out that such an analysis should not exhaust itself in answering what makes public representations of human suffering ethically suspicious and intolerable, but should rather extend this task by clarifying how the public forms sentiments about their social and political reality by elucidating under which conditions public representation promotes (...) broader political agendas. One of the central tenets of human rights advocacy is the widespread conviction that exposure to images and stories of human rights abuse has a mobilizing effect on western audience whose exposure to such knowledge can motivate them to intervene and prevent future atrocities. In order to assess the basic implications of such a conviction we must answer at least three principal clusters of questions. First, how do public representations of atrocities affect individuals and their capacities to conceive and respond to social injustices and the suffering of others? Under what circumstances may agents respond effectively to shocking content? Second, how do social powers operate within the field of perception in order to control how the viewing public is affected? And how do these effects inform and galvanize political support or opposition regarding concrete historical events? Finally, what can be said about the responsibilities of visual representation? Whose agency is it that images inform, and what reforms are necessary to make representations of suffering ethically effective means to encourage better acknowledgment of individual and collective responsibilities that would motivate the public to meet its moral and political obligations? This paper ultimately suggests that in order for politically implicated images to have an immediate critical effect on individuals and their agency, they need to cultivate alternative modes of perception.Article first published online: 21 DEC 2015. (shrink)

This essay describes a performance by the Greek theatre collective, Blitz Theatre – Late Night – as constituting a theatrical response to current political crises in Europe. What I call a ‘theatre of the impasse’ seeks to bear witness to the experience of impasse, where impasse and crisis must be fundamentally distinguished. Impasse is revealed where crisis admits of no decision adequate to the situation; and, correspondingly, where theatre loses faith in the power of decision to resolve its conflicts. I (...) situate these claims with reference to Carl Schmitt’s and Walter Benjamin’s dispute over political theology, arguing that a theatre of the impasse might be thought as an ‘allegorical’ theatre in Benjamin’s terms. Blitz Theatre’s Late Night reveals, thereby, the concealed truth of the impasse: a founding human sociality experienced as world immanence. In doing so doing, I argue, this theatre frustrates every hope for the kind of political theology of the stage envisaged by Schmitt. I read the performance, instead, as an elegy to Nancy’s inoperative community, at the centre of which are the figure of lovers, bound to, yet unable to take possession of, one another. Staging impasse, Late Night allegorises the fragile human community, exposed in its fundamental precarity. (shrink)

This article tries to explore the shifts in contemporary urban Bengali cinema and map and historicize the main trends in relation to changes in the political fortunes of the city. In this context, the article tentatively wishes to accomplish two things: one, to show the main trends in urban Bengali film-making, post-1990s; and two, to read closely two recent Bengali films, in a search for ways of mapping this newness. The article first identifies three new possibilities in Bengali cinema: first, (...) the inward-looking, often apolitical sketches that celebrate liberal development and psychosomatic indulgences, second, the sentimental, community-based films that sometimes take political changes on board as well, and attempt to bridge the rural-urban divide; third, cult-ish films of a newer pedigree that show impatience with old Left and progressive values, and are also technically experimental and avant-garde. The second objective of the article is to discuss specifically two contemporary filmmakers – Moinak Biswas and Suman Mukhopadhay – and place their films within this ferment. (shrink)

The Call for Papers invokes a history of thinking about images in terms of Western traditions, culminating in the ‘apocalyptic discourses of today’s cultural climate’ Jacques Rancière describes in The future of the image. Not considered in this scenario are other ways of looking at, being moved by, thinking about, going with and feeling through images, which I will unfold in this paper. Starting with filmmaker Merata Mita from Aotearoa New Zealand, who contrasts living images of her ancestors in documentaries, (...) ‘very much alive’ to her, with outsiders’ selective collecting of those images ; linking with Natalie Robertson’s tracing of takiaho, by which descendants keep connections with their ancestors in film fragments alive; I will also remember Aby Warburg’s notion of Nachleben – the ‘survival’, ‘continuity’ and ‘metamorphosis’ of images and motifs, and finally engage Mitchell’s consideration of a road not taken by Rancière in contemplating The future of the image. The paper explores a range of experiences, actions, reflections and emotions bundled in the terms appropriation and iconicity: from engaged encounters to consumptive misuse in the first case, from fleeting celebrity fame to a particular form of material presence that contributes to identification and community building in the latter. By bringing Māori and Pacific ways of thinking together with minor European thought traditions the paper shows that images, as appearance into visibility and doability, can not only connect the imagination with reality. They can also open up new and old realms of possibilities through affective and effective iconicity. Whether or not this can happen depends on the prevailing kind of belonging. (shrink)

As is made evident in Rosalyn Deutsche’s recent book, Hiroshima After Iraq, Hiroshima keeps returning through the way diverse artistic genres evoke parallels between the bombing of Hiroshima and subsequent atrocities. After contrasting US and Japanese perspectives on the event of the bombing and drawing on Walter Benjamin’s concept of temporal plasticity, this essay ponders the future anterior of Hiroshima, its continuous will-have-beens, as new films and re-analyses of older ones continue to restage its significance.

Este trabajo pretende problematizar, a partir de una declaración de Martine Joly, el lugar del fotoperiodismo en el régimen estético del arte, de acuerdo con la comprensión de Jacques Rancière, de las relaciones entre estética y política.

This essay conducts a reading of Jean-Luc Nancy’s and Jacques Rancière’s respective theorizations of the image. Using Nancy’s notion of literary communism, I first show how he and Rancière conceive the image as a site of community’s open writing and contestation. My reading then demonstrates how this “communism of the image” exposes Rancière’s repetition of an ontological gesture that he has attempted to dismiss as Heideggerian.

This article interrogates Andrew Feenberg’s thesis that modern technology is in need of ‘re-aestheticization’. The notion that modern technology requires aesthetic critique connects his political analysis of micro-contexts of social shaping to his wider concern with civilization change. The former involves a modified constructionism, in which the motives, values and beliefs of proximal agents are understood in terms of their wider sociological significance. This remedies a widely acknowledged blind-spot of conventional constructionism, enabling Feenberg to identify democratic potential in progressive agency (...) at the scene of technology design. Feenberg argues that the aesthetics of naturalistic modernism may serve as a bridge between such interventions and cultural transformation. Referring to developments in design culture, especially as this relates to the human-machine interface on digital artefacts, the article suggests that this part of Feenberg’s argument has been falsified. This kind of aesthetic modernism is hegemonic in contemporary design and it has not brought about significant progressive advance. In conclusion, the article suggests a different approach to aesthetic critique that is based on difference rather than wholeness, and on the principle that there is no inherent correspondence of aesthetic standards and ethics in technology design. (shrink)

The indexicality of film and sound recordings remains an unresolved problem in contemporary documentary theory. The prevailing conceptualisation of the documentary assigns it the status of a sober discourse, a framing in which history is modelled as absent cause and the unqualified distinction between fiction and non-fiction is considered sacrosanct. The denotative literalism characteristic of indexical media, however, confounds this conceptualisation, which in turn encourages the devaluing of documentary aesthetics; the documentary is not a medium of art, it is said, (...) but of argument. In this article, I examine how philosopher Jacques Rancière offers an alternative account of the documentary grounded on aesthetics rather than sobriety. I show how, in rethinking the absent cause model of history as well as the relationship between fiction and nonfiction, Rancière's aesthetic approach resolves the conceptual problem posed by indexicality and brings clarity to the value and function of indexical media with respect to the documentary. (shrink)

This article considers the role of disembodiment in the visual art and films of David Lynch. This line of inquiry, I argue, allows us to consider the ways scholars do and do not conceptualise the relationship between Lynch’s works of different mediums. Specifically, I pursue the conviction that Lynch’s preoccupation with an injured or fragmented body corresponds to his intermedial creative practice. I turn my attention to Lynch’s early short film The Alphabet (1968) which exemplifies how the violence inflicted on (...) the body represents the violence wreaked by the separation of art into different media. Using Jacques Rancière’s definition of mediality and his idea of the sensorium, I offer a new perspective on the questions of disembodiment that manifest in tricky and unpredictable bodies in Lynch’s work and thus on how we should read Lynch’s output as joined up across mediums. 1. (shrink)

Angelaki, Volume 18, Issue 4, Page 179-194, December 2013.