Rancière’s Productive Contradictions

Rockhill, Gabriel

doi:10.5840/symposium201115227

Cited by 6 publications

(2 citation statements)

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“…However, I disagree that such clear distinctions can be made between the two (aesthetics and aesthesis) and am interested instead in how the two are intertwined through emotive and sense-making apparatuses. Moving beyond such confined definitions, scholars have broadened the notion of aesthetics as the entire sensorial composition of our worlds (Ponce de León, 2021;Rancière, 2009;Rockhill, 2011Rockhill, , 2017Wynter, 1992).…”

Section: Decolonizing Aesthetics-decolonial Art and Art Practicementioning

confidence: 99%

Settler aesthetics—Theorizing and contesting settler colonialism through art practice

Malot

2024

Geography Compass

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The growing scholarship on settler colonialism largely understudies aesthetics. Settler colonial logics work not only through the elimination, dispossession, and criminalization of Indigenous populations but also through the erasure of Indigenous narratives and aesthetics. Aesthetics communicate a particular system of knowledge and power that can either refute or perpetuate settler colonial projects. I use the term “settler aesthetics” to foreground an understanding of aesthetics as dynamic socio‐spatial practices through which state and non‐state actors assert power, construct particular visions of a city, and shape conditions of belonging. Settler aesthetics demonstrate how the logic of elimination and the work of settler memory reproduces and is reproduced through various visual modalities. I argue that as geographers, we must examine both contemporary settler colonial projects that continue codifying cities as purely settler spaces without Indigenous presence and resistance, and spaces that insist on Black, Latinx, and Indigenous presence and livingness. This paper therefore explores how scholarship on decolonizing and anti‐colonial art practice and theory can inform emerging scholarship on settler colonial urbanism that centers perspectives and practices of Black and Indigenous presence and resistance.

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Section: Decolonizing Aesthetics-decolonial Art and Art Practicementioning

confidence: 99%

Settler aesthetics—Theorizing and contesting settler colonialism through art practice

Malot

2024

Geography Compass

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“…Rancière, on the other hand, talks about aesthetics as 'a mode of articulation between ways of doing and making, their corresponding forms of visibility, and possible ways of thinking about their relationships'. 66 Despite what Rockhill has argued are fundamental contradictions in Rancière's discussion of the relationship between art and politics, 67 and the confusion the philosopher's work allows to 'slip in below the turgid surface of [his] pronouncements, 68 Rancière's approach to aesthetics is much more inclusive of a work's different functions ('doing and making') than Bishop's discussion might suggest. Indeed, reflecting on a participatory or media art project's ways of 'doing and making', their 'corresponding forms of visibility' and the possible 'relationships' between the two is crucial in developing an aesthetic system that is relevant to those particular practices by acknowledging that their social, political, connective or networking functions generate the forms (or challenge the 'a priori forms') that render the work presentable to 'sense experience'.…”

Section: Five: the Threat Of New Mediamentioning

confidence: 99%

New Media Art, Participation, Social Engagement and Public Funding

Chatzichristodoulou

2013

Visual Culture in Britain

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This article investigates the current condition of new media art in Britain, examining how cuts to arts funding have affected the art form's infrastructure and capacity for survival and growth. It considers media art in relation to other contemporary art practices, particularly in relation to its inherent capacity for enhanced and sustained user participation, and asks why it is that, though government agendas favour participatory art as 'socially useful', media art appears to have been hit harder than other art forms. The article puts forward four reasons that could explain this paradox, and argues the importance of the survival of new media art, not as isolated practices invited to exist within mainstream contexts, but as a distinct art form. KeywordsMedia art died but nobody noticed. 1 One: an art pronounced deadIn a review of the Transmediale 2006 Festival, Armin Medosch described how 'media art died but nobody noticed' when the festival that year decided to 'silently' drop the term 'media art' from its title. 'For the diligent observer of the field of media art this does not really come as a surprise', Medosch argued, 'but merely represents the ongoing confusion and blatant opportunism which marks contemporary production in the digital culture industry.' 2 Medosch was proven right in identifying and highlighting a continuous trend that was still to deliver severe blows in this field of practice internationally, and in the United Kingdom most notably. This 'silent drop' of a distinct term by a festival distinguished in this very practice was followed by the considerably more vocal closure of the Live and Media Arts Department at London's Institute of Contemporary Art (ICA) at the end of November 2008. Its then Artistic Director, Ekow Eshun, generated heated debate among the press, numerous mailing lists and communities of practice when he declared as the reason for this closure that, 'in the main, the art form lacks depth and cultural urgency'. 3 In offering his damning report for a whole range of practices, Eshun did not distinguish between live and media arts, which he conflated as a single art form, nor did he articulate his reasons for pronouncing both forms superficial and culturally irrelevant at the same time.'New media art' -a field also known as 'media art(s)' and 'digital art(s)', among other denominationshas long been contested not only as a term, but also as a distinct genre of artistic practice. In 2001 Stefanie Syman, in an article about the exhibition Bitstreams at the Whitney Museum (New York, 2001), suggested that '[j]ust as dot.com was always a fatuous category, lumping together media, corporate services, and infrastructure companies into one "industry," digital art is a category of convenience that should be retired'. 4 And so, it seems, it

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Songs of tractors and submission: on the assembled politicity of popular music and far-right populism in Austria

Doehring

Ginkel

2022

Pop. Mus.

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Our article addresses the connection between popular music and far-right populism, as exemplified by the Freedom Party of Austria (Freiheitliche Partei Österreichs, FPÖ). We discuss the specific mainstreaming and normalizing potential of popular music for far-right populist politics, by means of songs that do not qualify as political or politicized music in the sense of carrying a clear political message. We introduce a multi-step methodology that addresses performative aspects of actual situations of reception (fieldwork) and in-depth analyses of the music and its affordances (group analysis). Based on this approach, we argue that these ambivalent, sometimes even contradictory musical performances take on a life of their own within a specific arrangement that we will term an assembled politicity, in the sense of a political potential activated through situational arrangements. In this way, the FPÖ's musical programme affords far-right populist interpretations through music that appears to be unsuspicious.

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Rancière’s Productive Contradictions

Cited by 6 publications

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Settler aesthetics—Theorizing and contesting settler colonialism through art practice

Settler aesthetics—Theorizing and contesting settler colonialism through art practice

New Media Art, Participation, Social Engagement and Public Funding

Songs of tractors and submission: on the assembled politicity of popular music and far-right populism in Austria

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