The Emancipated Spectator

The Emancipated Spectator

Language: English

Pages: 134

ISBN: 1844677613

Format: PDF / Kindle (mobi) / ePub


The theorists of art and film commonly depict the modern audience as aesthetically and politically passive. In response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a communal performance.

In this follow-up to the acclaimed The Future of the Image, Rancière takes a radically different approach to this attempted emancipation. First asking exactly what we mean by political art or the politics of art, he goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?

Introduction to Philosophy - Thinking and Poetizing (Studies in Continental Thought)

The Flesh of Images: Merleau-Ponty between Painting and Cinema (SUNY series in Contemporary Continental Philosophy)

Tuning the Mind: Connecting Aesthetics to Cognitive Science

Psychoanalyzing Cinema: A Productive Encounter with Lacan, Deleuze, and Žižek

The Routledge Companion to Postmodernism (3rd Edition)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

its territory … Military force and its ‘hit and run’ war-plan prefigured, embodied and portended what was really at stake in the new type of war in the era of liquid modernity: not the conquest of a new territory, but crushing the walls which stopped the flow of new, fluid global powers …5 This diagnosis was published in 2000. It has scarcely been fully confirmed by the military actions of the past eight years. But melancholic prediction does not revolve around verifiable facts. It simply

its territory … Military force and its ‘hit and run’ war-plan prefigured, embodied and portended what was really at stake in the new type of war in the era of liquid modernity: not the conquest of a new territory, but crushing the walls which stopped the flow of new, fluid global powers …5 This diagnosis was published in 2000. It has scarcely been fully confirmed by the military actions of the past eight years. But melancholic prediction does not revolve around verifiable facts. It simply

foremost a depiction of democratic society as one in which there are too many individuals capable of appropriating words, images and forms of lived experience. Such was in fact the great anxiety of nineteenth-century elites: anxiety about the circulation of these unprecedented forms of lived experience, likely to give any passerby, visitor or reader materials liable to contribute to the reconfiguration of her life-world. This multiplication of unprecedented encounters was also an awakening of

supply each sociologically determinate audience a type of art designed and formatted to suit it. The system gives the humble the small change of its wealth, of its world, which it formats for them, but which is separated from the sensory wealth of their own experience. And Pedro Costa’s films, like any work that eludes this formatting process, are immediately labelled film-festival material, something reserved for the exclusive enjoyment of a film-buff elite and tendentiously pushed in the

characterized by a rather nonchalant curiosity, focusing on a point we cannot see. The pensiveness of photography would then be the tension between several modes of representation. The photograph of Lewis Payne presents us with three images, or rather three image functions, in a single image: there is the characterization of an identity; there is the intentional plastic arrangement of a body in a space; and there are those aspects which the mechanical imprint shows us, without us knowing

Download sample

Download