Jacques Rancière

I det första av Gläntas tre nummer helt ägnade åt migration tar vi oss an den europeiska gränspolitiken, statlig rasism, grekisk flyktingpolitik, hetsjakten på mårdhund, ?fri? rörlighet vs ?illegal? migration, migrerande moderskroppar, resan till faderns land, asylintervjuns baklängesberättelse, vem som tjänar mest på migrationsbusinessen och mycket mer.

Rasismen har muterat. Dess närvaro är omisskännlig, men tycks samtidigt allt svårare att tala om. Den senaste tiden har vi ägnat åt att finna nya och gamla frågor och svar, varianter av de som återaktualiserats efter förra valet. Hypotesen har varit att rasismens nya former ? och motståndet mot dem ? kanske är lättare att urskilja i ljuset av begrepp som biopolitik och begär.

Exploring the concept of time in the work of one of Europe's greatest filmmakers From Almanac of Fall (1984) to The Turin Horse (2011), renowned Hungarian filmmaker Béla Tarr has followed the collapse of the communist promise. The "time after" is not the uniform and morose time of those who no longer believe in anything. It is the time when we are less interested in histories and their successes or failures than we are in the delicate fabric of time from which they are carved. It is the time of pure material events against which belief will be measured for as long as life will sustain it.

Chekhov’s short stories offer a subtle yet powerful message: that there is potential for change in our lives. Contrary to the image of a desolate soul, they reveal Chekhov as a beacon of hope and freedom. His narratives delve into the very essence of time, juxtaposing the relentless monotony of servitude with the glimmering moments that fracture this cycle, hinting at the existence of a different, more liberated existence. This is the way to approach all these brief tales of lost lives, nights filled with tears and joy, landscapes, or love, against the cynicism of those who believe time is destined to replicate the same. In these glimmers, new forms of life arise—noble and sensible shapes that we might already be nearing and occasionally perceive. Jacques Rancière, using Chekhov’s stories as a lens, sees literature not as a source of knowledge but as a catalyst for reshaping emotions. It’s about reframing our experience of sadness, urging us towards a different life. He unveils the profound capability of literature: positioning us within the landscape of freedom, transparent about the distance it holds from our reality, yet unwavering in the standards it sets, inviting us to strive towards them.

Chekhov’s short stories offer a subtle yet powerful message: that there is potential for change in our lives. Contrary to the image of a desolate soul, they reveal Chekhov as a beacon of hope and freedom. His narratives delve into the very essence of time, juxtaposing the relentless monotony of servitude with the glimmering moments that fracture this cycle, hinting at the existence of a different, more liberated existence. This is the way to approach all these brief tales of lost lives, nights filled with tears and joy, landscapes, or love, against the cynicism of those who believe time is destined to replicate the same. In these glimmers, new forms of life arise—noble and sensible shapes that we might already be nearing and occasionally perceive. Jacques Rancière, using Chekhov’s stories as a lens, sees literature not as a source of knowledge but as a catalyst for reshaping emotions. It’s about reframing our experience of sadness, urging us towards a different life. He unveils the profound capability of literature: positioning us within the landscape of freedom, transparent about the distance it holds from our reality, yet unwavering in the standards it sets, inviting us to strive towards them.

Faced with growing inequalities and new forms of domination and exploitation, can the movement of emancipation take on a new life today, or has it been arrested by the powers of repression and normalization? In order to address this question, Jacques Rancière pays close attention to the sociopolitical rhythms of our time, listening for the figures of trembling and oscillation that are often drowned out by the deafening hubbub of the media. He questions the relationship between democracies and the very concept of democracy, and questions what, in the social movements and protests taking place today, offers a possibility of emancipation. Emancipation means breaking out of the established hierarchies, proposing a ludic attitude of free-floating distance and bringing into it a space of equality to replace the dominant order of inequalities. In five conversations on politics, art, literature, philosophy and cinema, Jacques Rancière and Aliocha Wald Lasowski consider the form, experience and collectives which characterise emancipation. In so doing, they imagine the world of tomorrow and the radical utopias that will bring it closer to us.

Faced with growing inequalities and new forms of domination and exploitation, can the movement of emancipation take on a new life today, or has it been arrested by the powers of repression and normalization? In order to address this question, Jacques Rancière pays close attention to the sociopolitical rhythms of our time, listening for the figures of trembling and oscillation that are often drowned out by the deafening hubbub of the media. He questions the relationship between democracies and the very concept of democracy, and questions what, in the social movements and protests taking place today, offers a possibility of emancipation. Emancipation means breaking out of the established hierarchies, proposing a ludic attitude of free-floating distance and bringing into it a space of equality to replace the dominant order of inequalities. In five conversations on politics, art, literature, philosophy and cinema, Jacques Rancière and Aliocha Wald Lasowski consider the form, experience and collectives which characterise emancipation. In so doing, they imagine the world of tomorrow and the radical utopias that will bring it closer to us.

The global triumph of democracy was announced thirty years ago, promising an age of consensus in which the dispassionate consideration of objective problems would give birth to a world at peace. Today, these grand hopes lie in ruins, and the era touted as new has turned out to be remarkably similar to the old order. To understand why this might be so, we need to examine the nature of the consensus itself, which is not the peace that it promised but rather the map of a territory on which new forms of warfare are being waged. The objective reality that imposed itself at the end of the 1990s was an absolutized and globalized capitalism which has produced ever more inequality, exclusion and hate. In this book Jacques Rancière delivers a frank and piercing critique of the globalized capitalist consensus. The invasion of Iraq, the riots on Capitol Hill and the rise of the European far right all attest to the true nature of this consensus, as does the current state-sanctioned racism which exploits the disenchanted progressive tradition and is led by an intelligentsia that claims to be left-wing. At the same time, Rancière praises the dynamism of social movements which affirm the power of the assembly of equals and its capacity for worldmaking: autonomous protest collectives have proven themselves capable of opening breaches in the consensual order and challenging the post-1989 system of domination.

The global triumph of democracy was announced thirty years ago, promising an age of consensus in which the dispassionate consideration of objective problems would give birth to a world at peace. Today, these grand hopes lie in ruins, and the era touted as new has turned out to be remarkably similar to the old order. To understand why this might be so, we need to examine the nature of the consensus itself, which is not the peace that it promised but rather the map of a territory on which new forms of warfare are being waged. The objective reality that imposed itself at the end of the 1990s was an absolutized and globalized capitalism which has produced ever more inequality, exclusion and hate. In this book Jacques Rancière delivers a frank and piercing critique of the globalized capitalist consensus. The invasion of Iraq, the riots on Capitol Hill and the rise of the European far right all attest to the true nature of this consensus, as does the current state-sanctioned racism which exploits the disenchanted progressive tradition and is led by an intelligentsia that claims to be left-wing. At the same time, Rancière praises the dynamism of social movements which affirm the power of the assembly of equals and its capacity for worldmaking: autonomous protest collectives have proven themselves capable of opening breaches in the consensual order and challenging the post-1989 system of domination.

La premiere traduction anglaise du premier texte philosophique de Jacques Ranciere, écrit en 1963 sous l'influence de Louis Althusser, qui traite des formes de droit dans les ecrits de Karl Marx au sujet des debats sur la loi sur le vol de bois mort, consideres comme un tournant dans l'histoire de la theorie communiste.

The time of the landscape is not the time when people started describing gardens, mountains and lakes in poems or representing them in works of art: it is the time when the landscape imposed itself as a specific object of thought. It is the time when both the harmony of arranged gardens and the disharmony of wild nature led to a revolution in the criteria of the beautiful and in the meaning of the word “art.” It coincided with the birth of aesthetics, understood as a regime for shaping how art is seen and thought, and also with the French Revolution, understood as a revolution in the very idea of what binds together a human community. The time of the landscape is the time when the conjunction of these two upheavals brought into focus, however hazily, a common horizon: that of a revolution that no longer concerns only the laws of the state or the norms of art, but the very forms of sensible experience. This brilliant and wide-ranging book will be of interest to students and scholars in philosophy, literature, the visual arts, and the humanities generally, and to anyone interested in critical theory and philosophy.

The time of the landscape is not the time when people started describing gardens, mountains and lakes in poems or representing them in works of art: it is the time when the landscape imposed itself as a specific object of thought. It is the time when both the harmony of arranged gardens and the disharmony of wild nature led to a revolution in the criteria of the beautiful and in the meaning of the word “art.” It coincided with the birth of aesthetics, understood as a regime for shaping how art is seen and thought, and also with the French Revolution, understood as a revolution in the very idea of what binds together a human community. The time of the landscape is the time when the conjunction of these two upheavals brought into focus, however hazily, a common horizon: that of a revolution that no longer concerns only the laws of the state or the norms of art, but the very forms of sensible experience. This brilliant and wide-ranging book will be of interest to students and scholars in philosophy, literature, the visual arts, and the humanities generally, and to anyone interested in critical theory and philosophy.

In this book Jacques Rancière radicalises his critique of modernism and its postmodern appendix. He contrasts their unilinear and exclusive time with the interweaving of temporalities at play in modern processes of emancipation and artistic revolutions, showing how this plurality itself refers to the double dimension of time. Time is more than a line drawn from the past to the future. It is a form of life, marked by the ancient hierarchy between those who have time and those who do not. This hierarchy, continued in the Marxist notion of the vanguard and nakedly exhibited in Clement Greenberg's modernism, still governs a present which clings to the fable of historical necessity and its experts. In opposition to this, Rancière shows how the break with the hierarchical conception of time, formulated by Emerson in his vision of the new poet, implies a completely different idea of the modern. He sees the fulfilment of this in the two arts of movement, cinema and dance, which at the beginning of the twentieth century abolished the opposition between free and mechanical people, at the price of exposing the rift between the revolution of artists and that of strategists.

Udgivelsen samler de to centrale essays »Ti teser om politik« og »Politik, identifikation, subjektivering« som er oversat fra fransk af Anton Sylvest Lilleør. Disse to essays udgør Rancières væsentligste kortere politiske bidrag, og er forsynet med et forord, der opridser de vigtigste hovedlinjer i forfatterens tænkning.Fra forordet: »Samfundet er til enhver tid ordnet pa° en bestemt ma°de: Nogle aktiviteter og personer er synlige, mens andre ikke er; nogle kan fa° ørenlyd og andre kan ikke; og nogles ytringer, na°r de lykkes med at trænge igennem, høres som tale, mens andres høres som støj. […] Sagt pa° en anden ma°de: Politik er ikke regering eller styring. Politik er snarere uregerlighed og forstyrrelse.«

Hvad forstås præcist med politisk kunst eller med kunstens politik? Hvor står vi med traditionen for kritisk kunst eller med ønsket om at gøre kunst til liv? Hvordan er æstetik og politik forbundne?I Den frigjorte beskuer og Det sanseliges deling undersøger Jacques Rancière, hvordan nye politiske og sociale væremåder kan opstå, og hvilke roller kunsten spiller i organiseringen af en fælles, sansemæssig virkelighed. Jacques Rancière (f. 1940) er professor emeritus ved Université de Paris VIII og forfatter til en række centrale bøger om æstetik og politik. Den frigjorte beskuer og Det sanseliges deling er to af hans vægtigste bidrag til samtidens æstetikteori. Bibliotek for ny kunstteori er en bogserie med oversættelser af international kunst- og kulturteori udgivet i samarbejde mellem Ny Carlsbergfondet og Informations Forlag. Ambitionen med serien er at skabe en større offentlig samtale om ny kunst og kunstteori gennem bøger, arrangementer og podcast. Tidligere er Toldfri kunst, Samtidskunstens teorier og Vores æstetiske kategorier udkommet. Anmeldelser"At bogen kommer til at få betydning - og bør få det også uden for æstetiske kredse - er dog hævet over enhver tvivl." ???????????? - Politiken