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Jacques Rancire
Jacques Rancire
Althussers student- has departed from the path set by his teacher Rancires aesthetic theory connects aesthetics with politics
Aesthetics: the multiple ways in which any social order establishes, manages, privileges or marginalizes different modes of perception "distribution of the sensible: communal forms of naturalized perception based on what is allowed to be "visible or audible, as well as what can be said, made or done redistribution of the sensible: Politics
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Principle of equality
Deranty (2010) an axiom: Equality between individuals must be postulated because it can never be definitively proven. the scope of the principles application: Once postulated, the principle transforms the way in which individuals, society, politics and the arts are seen. Democracy means equality.
Museum of Education
Museum of Education
Rancires materialism
Deranty (2010) Paradoxical: not premised upon a single, firmly defended metaphysical option, but emerges rather from a mode of thinking and writing that is sensitive to the constant exchanges and blurrings between mental and material realities.
Discursive, conceptual realities, by informing the views of material realities, determine the types and forms of practice, and thus indirectly shape the material, The material, being the only plane in which practical meanings can be realized, determines thoughts and discourses. There are possibilities for redistribution of the sensible.
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Contents
Introduction Images as operations and regime of imageness Rancire's deconstructive redirection of Barthes argument Conclusion
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not primarily manifestations of the properties of a certain technical medium but operations: relations between a whole and a part; between a visibility and a power of signification and affect associated with it; between expectations and what happens to meet them A regime of imageness: a regime of relations between elements and functions
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Bressons images
Bressons (1966) Au Hasard Balthazar
Not a donkey, two children and an adult; nor the techniques of close-ups and the camera movements
Do not derive from the properties of the cinematic medium
Operations that couple and uncouple the visible and its signification of speech and its effect, which create and frustrate expectations Even presuppose a systematic distance from ordinary employment
Museum of Education
Museum of Education
Museum of Education
Museum of Education
Contents
Introduction Images as operations and regime of imageness Rancire's deconstructive redirection of Barthes argument Conclusion
Museum of Education
Museum of Education
The privilege Barthes assigns to the photographic punctum: an exaggerated form of realism- defined by Rancire as hyper-resemblance Hyper-resemblance is the original resemblance, the resemblance that does not provide the replica of a reality but attests directly to the elsewhere whence it derives. It never disappears.
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Museum of Education
Art as displacement between two image functions- the unfolding of inscriptions carried by bodies and the interruptive function of their naked, non-signifying presence
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Photography as an art
By placing its particular techniques in the services of this dual poetics, by making the face of anonymous people speak twice overas silent witnesses of a condition inscribed directly on their features, their clothes, their life setting; and as possessor of a secret we shall never know, a secret veiled by the very image that delivers them to us.
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Secondly, art of the aesthetic regime breaches ontological divisions between fine and applied art, or between art and non-art categories. The third shift instituted by the aesthetic regime repeals the privilege assigned to the written word and art's story-telling functioning Aristotelian poetics.
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Museum of Education
A historical perspective
Artistic images were redefined in a mobile relationship between brute presence and encoded history
An encyclopedia of the shared human inheritance: remote life-forms, works of art, popularized bodies of knowledge, thanks to mechanical presses and the new procedure of lithography New exchange between artistic images and commerce in social imagery
Criticism of imagery: Marx, Balzac, Freud
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Museum of Education
Pure art: whose results no longer compose images, but directly realize the idea in selfsufficient material form
Loie Fuller, whose dance consists in the folding and unfolding of a dress lit up by the play of spotlights
Becoming-life-art: which abolishes the distance of the image so as to identify its procedures with the forms of a whole life in action, no longer separating art from work or politics
Vertovs eye-machine
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Museum of Education
None of these three forms thus defined can function within the confines of its own logic
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Naked image
The image that does not constitute art because what its shows us excludes the prestige of dissemblance and the rhetoric of exegeses.
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Ostensive image
It asserts its power as that of sheer presence, without signification but it claims its power in the name of art.
Voici- 100 Years of Contemporary Art
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Metamorphic image
It is impossible to delimit a specific sphere of presence isolating artistic operations and products from forms of circulation of social and commercial imagery and from operations interpreting this imagery. The images of art possess no peculiar nature of their own that separates them in stable fashion from the negotiation of resemblances and the discursiveness of symptoms.
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The labour of art thus involves playing in the ambiguity of resemblances and the instability of dissemblances, bringing about a local reorganization, a singular rearrangement of circulating images.
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Contents
Introduction Images as operations and regime of imageness Rancire's deconstructive redirection of Barthes argument Conclusion
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Conclusion
Media- functions; images- operations Technical devices; social production
Rhetoric of exegesis
Material embeddedness of discursive practices, constant exchanges and blurrings between mental and material realities Emancipated spectators as artists
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References
Deranty, J.-P. (Ed.). (2010). Jacques Rancire: key concepts. Acumen. Rancire, J. (2007). The future of the image. The future of the image (pp. 1-31). (G. Elliott, Trans.). New York and London: Verso.
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