Rancière and the re-distribution of the sensible: The artist Rosanna Raymond, dissensus and postcolonial sensibilities within the spaces of the museum

Abstract

Citation for published item:oliEuellyD hivy F @PHIUA 9ni ere nd the reEdistriution of the sensile X the rtist osnn ymondD dissensus nd postolonil sensiilities within the spes of the museumF9D rogress in humn geogrphyF F Further information on publisher's website: httpsXGGdoiForgGIHFIIUUGHQHWIQPSIUUQWIRI Publisher's copyright statement:hivy F oliEuellyD ni ere nd the reEdistriution of the sensileX he rtist osnn ymondD dissensus nd postolonil sensiilities within the spes of the museumF rogress in rumn qeogrphyD pirst ulished xovemer WD PHIU gopyright he euthor@sA PHIUF eprinted y permission of eqi ulitions Additional information: Use policyThe full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. "We have collaborated on building ideas, refining theory and practice, sometimes weaving them together and sometimes letting them sit side by side, we have created spaces for both our voices to talk to and through each other."

Walking with light and the discontinuous experience of urban change

“…Existing before we enter space and without our participation in their design or installation, illumination influences how we become habituated to nocturnal space, unreflexively performing sensory and practical habits. Tolia‐Kelly insists that “the sphere of the senses is not a reified sphere that operates beyond the economic or political” for “aesthetic practices are co‐opted into the expressive infrastructure” (2019, p. 137). Importantly, she contends that such practices instantiate structures of feeling that are “sanctioned, reproduced and maintained” (2019, p. 127).…”

“…Tolia‐Kelly insists that “the sphere of the senses is not a reified sphere that operates beyond the economic or political” for “aesthetic practices are co‐opted into the expressive infrastructure” (2019, p. 137). Importantly, she contends that such practices instantiate structures of feeling that are “sanctioned, reproduced and maintained” (2019, p. 127). Relatedly, Hudson argues that our sensual realm has become entangled with “the material life of capital” (2020, p. 2) in ways that obscure its mode of operation.…”

“…Political and creative acts of dissensus by subaltern, oppositional, and radical groups – for instance, light artists, guerrilla light groups, and social lighting designers (Edensor, 2017) – create possibilities for producing “new taxonomies, paradigms, and palettes of sensibilities” (Tolia‐Kelly, 2019, p. 124). In addition, dissensus may emerge in encounters with outmoded or unorthodox designs, or by involuntary memories triggered by unanticipated sensations.…”

The politics of scale through Rancière

“…Rancière is of increasing interest to human geographers (cf. Cook, 2018;Derickson, 2017;Dikeç, 2005Dikeç, , 2012aDikeç, , 2012bDixon, 2009;Ruez, 2013;Wilson and Swyngedouw, 2014;Tolia-Kelly, 2017). Whilst for many Rancière's thought is useful in considering the 'post-political' nature of the contemporary governance (for example Swyngedouw, 2009), what draws me to him here is his approach to political change more broadly (Davidson and Iveson, 2014).…”

The Aesthetics of Extractivism: Violence, Ecology, and Sensibility in Turkey’s Kurdistan

“…In engaging aesthetics to theorise ways of doing politics through sensibilities and the senses, my methodology is broadly—but, as the article will clarify, not exclusively—Rancièrian and thus follows the growing number of geographers who have engaged his theory over the past decade and a half (e.g. Dixon 2009; Ingram 2016; Tolia‐Kelly 2019), and particularly those who have done so beyond its initial arts‐related basis (e.g. Dikeç 2013; Ruez 2013).…”