Ranciere sees in Debord’s labelling of spectators as passive, unthinking and stupid the same Humanist strategy of stultifying the public he had. The Emancipated Spectator has ratings and 30 reviews. Sofia said: Posted on my book r this year I went to a conference in Lisbon in whic. The Emancipated Spectator. Jacques Rancière. Verso () 30 (1) Under the Name of Method: On Jacques Rancière’s Presumptive Tautology.
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The current scepticism is the result of a surfeit of faith. Representation or mimesis requires a ‘concordance’ between the sensory regime of one person and another – between the artist and the spectator. Is Hegel relating to the aesthetic ideal of detachment and of course the ruling class ideal of doing w. But they do so on condition that their meaning or effect is emacnipation anticipated.
Although Ranciere critiques class while rarely mentioning the word, he stops short of any insight into the affective dimension of class, by which I understand as the emotional toll exacted by class oppression. The systems mechanistic functioning is obvious to all even if it cannot be articulated in the terms of critique.
Some parts were very interesting on the way we act as viewers and how art addresses ideas to us, but then the author lost me, I’m not a philosophy major.
In the final chapter he considers an idea of the ‘pensive’ image. Lectures on Fine Art ‘ on a paintings of beggar boys in Seville by B.
In this they illustrate the essential virtue of gods, who are made in the image of the ruling class. For me these institutional formations are more important to the abrutir of high culture than the works of artists in themselves.
So Ranciere is following a well established media studies trend that he probably contributed to with his earlier writings. The Case for an External Spectator. I recently rancieee this described by a middle class woman as a daily pencilling of the lines that separate, until the division was etched into her being. The author has some thought-provoking ideas, and he writes in such a clear, logical way that I e Posted on my book blog. For me these institutional formations are more important to the abrutir of high culture than the works of artists in themselves.
Winckelmann’s classic discussion of the Spectwtor Torso and the paradoxes it throws up.
There is no voiceover to direct peoples interpretation but what I chose to record reflects an intention to communicate.
Robert Maggiori 26 June To ask other readers questions about The Emancipated Spectatorplease sign up.
The Emancipated Spectator by Jacques Rancière
Debord’s ‘Society of the Spectacle’, and its idea of a worId transfixed by consumption, was something I almost revered in my twenties. A bit later he comments that leftwing “melancholy feeds on its own impotence”.
After the diagnosis he gives his prescription: Commercial cinema continued to evolve through the ‘s and s with an increasing reliance on scripted dramatic narratives.
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Ranciere sees in Debord’s labelling of spectators as passive, unthinking and stupid the same Humanist strategy of stultifying the public he had previously identified in education. A multiplication of connections and disconnections that reframe the relation between bodies, the world they live in and the fhe in which they are equipped to adapt to it.
He points out that there is still a literary prejudice against the image and its presumed ability javques dupe the spectator or embroil him in the glamourised gaze.
The Emancipated Spectator
As an artist I think it is almost impossible not to anticipate a communicative reception. There are no discussion topics on this book yet. Finally a passage from Deleuze and Guattari’s ‘What is Philosophy? Charles Bingham – – Journal of Philosophy of Education 43 3: Social emancipation might be achieved by “the dismantling of the old distribution of what could be seen, thought and done. I read it for class last semester and I got really into it, especially when it seemed like Ranciere was approaching the conclusions which seeemed to be not quite as clearly articulated as they might have been.
How Does It All Start? He does not go into that kind of knowledge or the way that trauma can be a barrier to knowledge. Ranciere directs this analysis at some of my favourite French theorists from Guy Debord to Pierre Bourdieu.
In the final chapter he considers an idea of the ‘pensive’ image. Now the monument in turn assumes the identity of a person who speaks to the ‘ear of the future’. The first chapter puts forward the core idea that there has been a myth of peoples passivity generated from the established left which has been a central plank of classism by persuading people of the inequality of intelligence between them and their masters.
It would be assumed that the incapable are capable; that there is no hidden secret of the machine that keeps them trapped in their place. Ranciere is perhaps the first higher ranking philosopher to dare confront icons of the Marxist radical left with their, and our, own classism.
Ranciere points out that predetermined outcomes cannot be emancipatory because for an artwork to be emancipatory the viewer has to be making judgements based on their own knowledge and experience. But a great read. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?
Before that the idea of the myth of the audience as passive victims of the mass media was taken apart by many in Media and Communication studies. The criticism of Pierre Bourdieu that follows in chapter 2 is something similar to what I wrote less elegantly, back in Emancipation is then down to “collectivising our capacities invested in scenes of dissensus”.
Taking our attention away from the institutionalised source of cultural oppression and directing it towards more abstract ideas of our perception of artworks. The Distribution of Emotions: It made for an evasive presentation at times.
The Emancipated Spectator | Mute
A page book, containing over articles, rancciere colour illustrations. Dissensus here is the inevitable ‘conflict’ or ‘tension’ between the essentially different sensory worlds of two or more individuals. Dissensus is almost our natural condition as autonomous individuals in a dynamic state of communication about their inevitably different subject positions.
The mere viewing of shock images intended to reveal the ‘sordid truth’ behind the ‘brilliant appearances’ of the spectacle is, Ranciere claims, merely in complicity with the system and achieves little or nothing. Taking our attention away from the institutionalised source of cultural oppression and directing it jacquse more abstract ideas of our perception of artworks.