Τι είναι τα Κίτρινα Γιλέκα; Δεν μπορούμε εμείς, ως συντακτική της Βαβυλωνίας να μιλήσουμε εκ μέρους κάποιου κινήματος ενόσω ακόμη κινείται. Ούτε, βέβαια, μπορούμε να το αγνοήσουμε και να μην μιλήσουμε γι' αυτό. Χρειάζεται να αναστοχαστούμε αυτά τα κινήματα, να δούμε ποια είναι η σύνδεσή τους και η σημασία τους για εμάς. Σκοπός του παρόντος τόμου είναι να θέσει τη βάση αυτού του αναστοχασμού σε έναν διάλογο με τα κείμενα των ανθρώπων που ζουν αυτό το κίνημα, που μετέχουν σε αυτό, (...) που βιώνουν τη συλλογική πράξη που το αναδημιουργεί σε κάθε βήμα. Οι εξεγέρσεις του 21ου αιώνα δεν δίνουν απαντήσεις, αντίθετα φέρνουν στο φως τα πραγματικά ερωτήματα. Παρακολουθούμε τα Κίτρινα Γιλέκα όχι σαν θεατές ενός αγώνα από την κερκίδα, αλλά ως ενεργοί συνένοχοι στην προσπάθεια της κοινωνίας να απεγκλωβιστεί από το κράτος και το κεφάλαιο, να σπάσει τα δεσμά της. Συζητώντας για τα Κίτρινα Γιλέκα συζητάμε για το παρόν και το μέλλον μας. Και πριν μιλήσουμε, αυτή τη φορά, είναι σωστό πρώτα να ακούσουμε. (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)

Ranciere's Aisthesis: Scenes from the Aesthetic Regime of Art -Irfan Ajvazi.

Reading Ranciere's The Ignorant Schoolmaster - Irfan Ajvazi .

Rancière’s The Emancipated Spectator - Irfan Ajvazi.

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)

Jacques Rancière’s conception of equality as an axiomatic presupposition of the political is important, because it bypasses the tradition which defines equality in terms of Aristotle’s conception of geometric equality. In this paper, I show that Rancière’s theory both espouses a monism, according to which inequality implies equality, and relies on a concept of the free will, which is incompatible with monism. I highlight this tension by bringing Rancière’s theory into conversation with the great monist of the (...) philosophical tradition, Baruch Spinoza. (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)

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)

Contemporary philosopher Jacques Rancière has been criticized for a conception of “politics” that is insensitive to the diminished agency of the corporeally oppressed. In a recent article, Dana Mills locates a solution to this alleged problem in Rancière most recent book translated into English, Aisthesis, in its chapter on Mallarmé’s writings on modern dancer Loïe Fuller. My first section argues that Mills’ reading exacerbates an “homonymy” (Rancière’s term) in Rancière’s use of the word “inscription,” which means (...) for him either a vicious literal carving on living bodies, or else a virtuous figurative carving on nonliving bodies. The former, I call “bodily carving,” while the latter is the “corporeal writing” that I take Mallarmé to affirm in Fuller. My second section observes that Rancière himself misses a homonymy in Mallarmé on Fuller, namely “dance,” meaning either “ballet” or dance in general (including Fuller’s). My third section concludes that Rancière’s chapter on Fuller includes another “dance” homonymy, meaning either “concert dance” or what I term a new “art of meta-movement” in Fuller. The latter art, I conclude, is equivalent to Mallarmé’s “corporeal writing,” and can be understood as a new form of dance education, in pursuit of a new utopia of worker-dancers. (shrink)

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)

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. (...) class='Hi'>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)

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)

This study uses new arguments to reinvestigate the relation between aesthetics and politics in the contemporary debates on democratic theory and radical democracy. -/- First, Carl Schmitt and Claude Lefort help delineate the contours of an aesthetico-political understanding of democracy, which is developed further by studying Merleau-Ponty, Rancière, and Arendt. -/- The ideas of Merleau-Ponty serve to establish a general "ontological" framework that aims to contest the dominant currents in contemporary democratic theory. It is argued that Merleau-Ponty, Arendt, and (...) Rancière share a general understanding of the political as the contingently contested spaces and times of appearances. However, the articulation of their thought leads to reconsider and explore under-theorized as well as controversial dimensions of their work. -/- This search for new connections between the political and the aesthetic thought of Arendt and Merleau-Ponty on one hand and the current widespread interest in Rancière's aesthetic politics on the other make this book a unique study that will appeal to anyone who is interested in political theory and contemporary continental philosophy. (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)

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)

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)

The last ten to fifteen years have seen the publication of numerous books and articles considering the relation between images and politics. The reasons for this development are obvious: footage of the World Trade Center attacks and photos from Abu Ghraib and Guantanamo (to give just a few examples) have clearly demonstrated that images not only respond to political events, but also play an important part in shaping them. Images have therefore been blamed for their complicity in these events (in (...) ways that literature and music, for instance, have not), and these accusations have prompted artists, philosophers and theoreticians to investigate how images can also be used to think critically about political events. This text examines two quite different, though not opposed, explorations of this last question: Georges Didi-Huberman’s 'Quand les images prennent position' (2009) — the first volume in a book series entitled 'L’Œil de l’histoire' — and Judith Butler’s 'Frames of War' (2009). In addition to these, a number of Jacques Rancière’s recent writings will be included in the discussion. (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)

Pocos otros temas despiertan más polémicas que el de los vínculos entre filosofía y política: que quienes se dedican a la filosofía no deben verse influenciados por la política, que si a la política le corresponde ser auxiliada por la filosofía, que si el saber filosófico tiene que desligarse de las posiciones políticas, que si a las instituciones académicas de las humanidades les conviene independizarse del poder de turno, etc. Todas estas son discusiones que heredamos (no sin reformularlas y, por (...) lo tanto, retransformarlas) desde la Antigüedad, en la que ya aparecería, de la mano de Platón, la figura del rey filósofo. Este libro reúne una variedad de abordajes que atraviesan debates sobre juicios de hecho y de valor, sobre la democra-cia como forma de gobierno y sobre la intervención de la historia en el vínculo de la filosofía y la política. Recuperando el pensamiento antiguo y moderno, pero concentrándose en la obra de intelectuales contemporáneos, los autores ponen en movimiento dilucidaciones de grandes como Max Weber, Jacques Rancière, Louis Althusser, Philippe Lacoue-Labarthe y Leo Strauss, entre otros. Así, ofrecen aquí un vívido panorama de las controversias que habitan los entrecruzamientos entre filosofía y política, coronando el volumen con la traducción de un texto de Claude Lefort, hasta el momento inédito en español. (shrink)

«Demokrasi, insani varoluşa içkin olanakları hem pozitif hem de negatif özgürlükler bağlamında hayata geçirme ve her tekil insanın kendisini ne ise o olarak algılama arzusuna eşlik edecek “ontolojik haysiyet eşitliği” talebinin sesidir. Dile getirdiğim eşitliğe dayalı demokrasi talebi, aynı zamanda, egemenlik ilişkilerinin hiyerarşik yapılanmasına karşı bir direnişi de temsil eder. Bu kitaptaki her bir bölüm bu direnişe açılan yeni bir pencere olarak okunursa kitap amacına ulaşmış olacaktır». (editör) Eray Yağanak -/- Ülkemizin çeşitli üniversitelerinden on bir yazarın kaleme aldığı bu kitapta, (...) çağdaş felsefenin Mill, Nietzsche, Popper, Rawls, Habermas, Dworkin, Laclau, Mouffe, Badiou, Rancière ve Pettit gibi önemli figürlerinin demokrasi anlayışları incelenmektedir. (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)

Identity politics is subject to similar critiques in contemporary public debate and political theory. A central topos of this critique is that identity politics is essentializing: it fixes subjects to their social position and resorts to a politics of particularity that leads to divisions in national citizenship and democratic discourse (the communitarian and liberal position) and to divisions within social movements (the critical position). Contrary to this one-sided critique, we propose a different interpretation with the concept of “constructivist identity politics.” (...) We show that political identities are not essentialistically given, but emerge from processes of social and political construction; that they are actively produced, learned, and practiced by political (sub)cultures and movements. In these processes of construction, political articulation and agency are produced, enabling subjects to critique relations of domination and discrimination. Following radical democratic theory, we argue that the particular political perspectives of identity politics thus enabled do not endanger democracy or solidarity in social movements, but contribute to their further democratization by actualizing the universal principles of democracy in particular disputes. While the construction processes of identity politics tend to essentialize and produce exclusions, critical reflection on such tendencies is also inherent to identity politics. This understanding also enables a critique of such identity politics that is not oriented towards the democratic values of equality and freedom and blocks critical self-reflection. After an overview of contemporary identity politics critique, we elaborate this constructivist understanding following debates in feminist and postcolonial theory since the 1980s. Building on this, we systematically develop the notion of constructivist identity politics by differentiating three aspects of it: subjectification, articulation, and representation. We refer to approaches by Foucault, Rancière, Laclau/Mouffe, and Hall and illustrate the respective aspects through examples of migrant self-organizations as well as gay culture and queer critique. (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)

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)

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)

In this paper, I interrogate the question of how aesthetics might be used in terms of an antifascist project. The exposition includes two main steps. First, drawing on the work of Umberto Eco and Sven Reichardt, I introduce a perspective on fascism, in which I identify its character as synthetico-paradoxical. Then, I utilize Jacques Rancière’s conception of aesthetics as politics to show how a decentralized understanding of what makes good art can disrupt fascism by appealing to the sense of (...) re-recognition of the individual political subject. (shrink)

La discusión acerca de la pospolítica que encontramos en autores como Mouffe, Rancière, Žižek reduce la cuestión a una negación del antagonismo y al diagnóstico del presente político como un triunfo del modelo consensual-liberal. El presente artículo tiene por objetivo desplazar la noción de pospolítica hacia otros horizontes de discusión del pensamiento político contemporáneo. Para ello proponemos el concepto de escenarios pospolíticos en el cual se agrupan diferentes descripciones del mundo donde se plantea la ausencia, posible o actual, de (...) lo político. Con esto se busca llevar la discusión sobre la pospolítica más allá del marco actual que la restringe a un debate con el liberalismo y a las consecuencias del neoliberalismo sobre la imaginación y las prácticas políticas presentes. (shrink)

Recently, given the fomenting protests following the murders of George Floyd, Breonna Taylor and Ahmaud Arbery (amongst countless others), much discussion has erupted amongst contemporary artist-activists about the proper place for art and the aestheticization of politics. This is, of course, by no means a novel conversation. Historically, the aestheticization of politics has been disparaged perhaps most vocally by those such as Adorno and Horkheimer, but this critique has its most well-known roots in Plato. Plato’s critique is levelled at the (...) theatre and poetry, particularly the habituation effects of its consumption; specifically, Plato saw that the tragedy embodied by those performers inhabiting the stage and the enraptured audiences who engaged at the level of emotions. Plato censured the putatively groundless feelings demonstrated by actors and their transposition, artificiality’s ripple effect. Consider, for example, the actor performing the role of Achilles who extravagantly expresses grief without truly undergoing it. Audience members inhere towards an unmerited emotional hunger-cum-satisfaction for those putatively irrational feelings of loss by way of weeping and wailing. For Plato, such identification is devoid of proper evaluative grounding and, therefore, is corruptive. Plato’s critique can be considered an evaluation of the kind of rational emotional arrest that occurs through artificial emotional uptake. However, one could counter Plato’s position by noting how, regardless of whether these emotions are performed or the actors “truly” feel them, they may serve a political purpose and greater ends—bridging the audience together with performer/artist, allowing an “as if” simulative scenario. (shrink)

This essay explores the complex relationship between gender and aesthetics, namely through the lens of the transgender movement. After a brief study of the challenges related to the history of gender variance and normativity, the essay will follow the trajectory of Kant’s Critique of Judgment, focusing primarily on the conception of the sublime, and move to explore connections with the work of gender theorist and public health advocate Benjamin T. Singer, whose work develops a rhizomatic model of the transgender sublime. (...) Utilising this framework, the discussion will then examine connections and parallels with the work of Rancière and later Gianni Vattimo. The final section will then explore the concept of aesthetic emergencies from Santiago Zabala, Vattimo’s pupil, who associates both Rancière and Vattimo with this concept while at the same time drawing from Heidegger’s writings. Through a re-examination of the sublime and the work of these theorists, this paper will illuminate potential new connections, pathways, and possibilities for the transgender movement, aesthetic theory, and political engagement. (shrink)

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

The reviewer connects Derrida's Gloss of the Genesis event to the book under review and discusses the topic of the book under review as an important site for discussing our zeitgeist.