Monday, 24 September 2007

Two more Rancière links (in French)


**A short article, "Le malaise esthétique" by Elie During on JR, art and politics, in Art Press (2004):

http://ciepfc.rhapsodyk.net/article.php3?id_article=77

Here's the text:

Le dernier livre de Jacques Rancière, Malaise dans l'esthétique (Galilée, 2004), se présente à la fois comme un essai sur les contradictions et les impasses politiques de l'art contemporain, et comme une critique du dévoiement de la politique elle-même à l'âge du consensus, prolongeant les réflexions exposées dans La mésentente et Aux bords du politique. Deux thèses fortes s'en dégagent, qui peuvent s'énoncer simplement.
Un art « post-utopique »

La première s'appuie sur un constat peu discutable : l'art contemporain, qu'on le prenne dans sa version « hard » (sublime, sidérante) ou « soft » (modeste, relationnelle), obéit globalement à un régime éthique dont le propre est de révoquer tout projet d'émancipation collective. Il faudra revenir sur ce terme d'éthique, qui fait l'originalité de la thèse. Mais d'abord, le constat : « Une même affirmation traîne un peu partout aujourd'hui : nous en avons fini, dit-on, avec l'utopie esthétique, c'est-à-dire avec l'idée d'une radicalité de l'art et de sa capacité d'œuvrer à une transformation absolue des conditions de l'existence collective ». En témoignent les discours et les pratiques qui tendent à faire de l'art une forme ludique de médiation sociale ou de « service public », mais tout autant, les conceptions qui lui font un devoir de témoigner d'une passion ou d'une passivité immémoriale en manifestant de façon sensible, à travers la frappe du sublime, la puissance d'altération radicale d'un « Autre » posé comme hétérogène absolu (peu importe ici le nom, puisque ce qui compte est la fonction : Inhumain, Mal, Sensible pur, Différence, Irreprésentable, Innommable, Catastrophe, etc.). Dans le premier cas, les dispositifs artistiques rempliront leur vocation sociale et communautaire en organisant des situations et des rencontres qui « rejoueront » ou « interrogeront » le monde commun ; dans le second cas, il s'agira seulement de témoigner d'une forme d'aliénation irréductible (« ontologique », dit Rancière) au regard de laquelle toute volonté d'émancipation sera suspecte d'entretenir un fantasme de maîtrise. D'un côté, Pierre Huyghe reproduit sur le panneau publicitaire d'un abribus la photographie agrandie du lieu public et de ses usagers ; de l'autre, le monochrome de Barnett Newman inscrit de manière concrète l'impossibilité de fixer ce qui excède le champ du représentable, tandis que dans un tout autre genre, les autoportraits de David Nebreda rejouent indéfiniment la scène d'une blessure ou d'une « amputation » originaire et irrémédiable. Ce dernier exemple n'est pas de Rancière, mais il illustre une de ses thèses, qui est que le discours de l'irreprésentable ne doit pas être pris au mot, qu'il est d'abord une rhétorique, c'est-à-dire un régime particulier de la représentation où l'essentiel est de toucher (on lira à ce sujet le chapitre consacré à l'irreprésentable dans Le destin des images).

La rhétorique du sublime n'est d'ailleurs pas la seule manière d'isoler la radicalité de la création artistique pour mieux la délivrer des fausses promesses de libération portées par l'utopie esthétique. Rancière identifie une version chrétienne de cette même affaire, qui place au premier plan l'idée de l'incarnation, dans le corps de l'art, d'un être-en-commun antérieur à toute politique définie. Voici, une exposition de Thierry de Duve (Bruxelles, 2001), se voulait ainsi la démonstration curatoriale d'une puissance singulière de l'œuvre, présentée comme « le substitut du pouvoir communautaire de l'incarnation chrétienne ». Me voici, Vous voici, Nous voici : de Manet copiant un Christ mort aux paquets de beurre de Beuys, en passant par un parallélépipède de Donald Judd, le visiteur était invité à ressaisir à travers la répétition d'un même geste ostensif, la parousie du « nous », la pure présence du collectif, en-deçà de toute forme de communauté politique. En prolongeant les réflexions de Rancière, on voit en quel sens un espace tel que celui du Palais de Tokyo agence de façon instable deux orientations divergentes du nouveau régime éthique de l'art contemporain. Les joyeuses aventures de la rencontre et de la médiation, l'archivage des traces anonymes de la mémoire collective, s'y trouvent redoublées en pratique par un scénario bien différent, qui nous renvoie à l'incarnation d'un être-ensemble primitif dans la communauté élective des amis de l'art, invités à faire corps avec lui en y retrouvant une version miniature du monde. Tokyo, c'est Voici et Voilà, tout en un.

On pourrait multiplier, en argumentant plus précisément, les « travaux pratiques » suggérés par les analyses de Rancière. Mais revenons à cette première thèse. Le lieu commun d'un présent « post-utopique » de l'art traverse tout le champ des pratiques artistiques, des partisans de l'art relationnel aux derniers maîtres de la « touche » picturale. Les raisons en sont claires : l'utopie esthétique, autrement dit l'idée que l'art pourrait être le vecteur actif d'une vie et d'une humanité nouvelles, aurait été doublement mise en échec, d'abord par les grands projets totalitaires, puis par l'esthétisation générale de la sphère marchande et le façonnement du sensorium commun par les méthodes du marketing, dont Bernard Stiegler nous explique qu'il est une des causes principales de la « misère symbolique » contemporaine. Ni soviets ni pub, et surtout pas d'esthétique, c'est le mot d'ordre du jour. Cependant les modalités de ce contre-feu « post-utopique » (et donc anti-esthétique) font voir les limites proprement politiques d'une transformation de l'art critique qui prétendrait se défaire une fois pour toutes des illusions de l'esthétique. Rancière ne se contente pas de grandes manœuvres, et s'attache à décrire en détail les effets de quelques stratégies artistiques qui lui semblent exemplaires. Ainsi le jeu ou le double-jeu, illustré dans le livre par l'ambivalence de l'exposition Au-delà du spectacle : le problème est que la dérision et l'humour rendent proprement indécidable la valeur de révélation polémique des propositions artistiques. Aux beaux jours de l'art critique, le heurt des éléments hétérogènes ou l'opposition dialectique entre forme et contenu servaient les fins de la polémique et de la dénonciation. Mais les mêmes procédés-collage, détournement- voient leur sens inversé ou annulé dans ce nouveau contexte ludique. « Là où l'artiste critique peignait les icônes hurlantes de la domination marchande ou de la guerre impérialiste, le vidéaste contemporain détourne légèrement les vidéo-clips et les mangas ; là où des marionnettes géantes mettaient l'histoire contemporaine en spectacle épique, ballons et peluches 'interrogent' nos modes de vie. […] L'humour est la vertu dont les artistes se réclament le plus volontiers aujourd'hui : l'humour, soit le léger décalage qu'il est possible de ne pas même remarquer dans la manière de présenter une séquence de signes ou un assemblage d'objets. » Le problème, bien entendu, est que ces procédures de délégitimation deviennent « à la limite, indiscernables de celles qui sont produites par le pouvoir et les médias ». L'artiste en trickster ou DJ-rusé, condamné à se montrer toujours plus rapide et malin que le créateur de pub : triste spectacle... « La seule subversion restante est alors de jouer sur cette indécidabilité, de suspendre, dans une société fonctionnant à la consommation accélérée des signes, le sens des protocoles de lecture des signes ». Les autres stratégies s'enchaînent à partir de là, avec leurs figures privilégiées : l'inventaire (l'artiste comme archiviste, témoin d'une mémoire collective), la rencontre et l'invitation (l'artiste comme médiateur social, inventeur de nouvelles formes de proximité entre les êtres), le mystère enfin (l'artiste comme mage, organisant aux frontières du familier et de l'étrange le jeu des analogies où les hétérogènes révèlent leur parenté : un nouveau symbolisme, en somme, auquel on se gardera d'associer le style « pompier » de Matthew Barney, qui n'en conserve que le flacon). Des noms ? On peut toujours s'amuser au jeu des quatre familles : Charles Ray et Maurizio Cattelan pour l'humour et le jeu, Boltanski ou Hybert pour l'inventaire, Gonzales-Foerster, Huyghe ou Tiravanija pour la rencontre, Godard (oui, Godard) ou Bill Viola pour le mystère. Il va sans dire que ces catégories ne sont nullement exclusives. Toutes relèvent d'un même régime éthique de l'art, dont l'horizon est la co-présence des choses et des êtres dans un monde commun. Un tel monde, pourrait-on dire, ne reconnaît par définition qu'une seule limite, celle de l'immonde. Mais la tendance scatologique qui offusque tant le goût classique de Jean Clair n'est jamais que la face grotesque ou abjecte de l'innommable dont entend témoigner le style « sublime », qui est l'autre face du régime éthique de l'art contemporain. Ces orientations opposées, mais solidaires, rencontrent du reste une même difficulté : « [L]e paradoxe de notre présent, c'est peut-être que cet art incertain de sa politique soit invité à plus d'intervention par le déficit même de la politique proprement dite. Tout se passe en effet comme si le rétrécissement de l'espace public et l'effacement de l'inventivité politique au temps du consensus donnaient aux mini-démonstrations des artistes, à leurs collections d'objets ou de traces, à leurs dispositifs d'interaction, provocations in situ ou autres une fonction de politique substitutive. Savoir si ces 'substitutions' peuvent recomposer des espaces politiques ou si elles doivent se contenter de les parodier est assurément une des questions du présent. »

Une « métopolitique » du consensus

Ceci nous conduit à la seconde grande thèse du livre : la politique se dissout aujourd'hui dans l'idée du consensus, qui est la forme et l'horizon ultime de l'appartenance à la communauté éthique. « Ethique », on le voit bien, n'a plus grand chose à voir ici avec la vertu ou la morale : le terme renvoie à la communauté des mœurs et des manières d'être (éthos) dont il s'agit de gérer la coexistence. Ce consensus n'a pas d'objet défini, mais sa nature ne fait pas de doute. C'est un consensus de la peur. « Terreur est un des maîtres mots de notre temps. » Le dernier chapitre du livre montre ainsi comment des films comme Dogville ou Mystic River allégorisent l'idée d'une « justice infinie » qui n'est pas seulement le credo politique de George Bush, mais qui reflète plus profondément le malaise d'une civilisation où les communautés ne semblent pouvoir tenir ensemble que dans l'exorcisme du trauma, la remémoration infinie du malheur ou du mal absolu, ou encore la menace sans cesse évoquée et conjurée d'un déchaînement de violence imminent (guerre globale au terrorisme, messianisme, etc.). Nous sommes entrés dans l'ère du consensus. Il n'y a pas de quoi s'en réjouir, mais il faut essayer de comprendre. L'apologie indistincte de la « différence » ne fait pas avancer les choses ; loin de s'opposer à la forme du consensus, elle nourrit le plus souvent l'idée niaise d'un débat démocratique où chacun pourrait faire valoir la singularité de son point de vue ou de sa manière d'être, la politique n'ayant alors d'autre fin que d'ajuster les unes aux autres des différences que tous s'accordent déjà à reconnaître dans ce qu'elles ont de « propre ». Or, comme l'explique Rancière, ce qui définit le consensus, ce n'est pas l'équivalence universelle ou la reproduction de l'identique, mais précisément l'assignation du propre, c'est-à-dire la distribution des places en fonction d'un propre, selon un principe de séparation qui prétend mettre les éléments et les discours à leur place. Du point de vue du consensus, aucune division n'est problématique ou litigieuse ; il n'y a qu'une communauté : son unité étant posée en droit, il n'y a plus qu'à accorder ou gérer les différences de fait, quitte à confiner tout ce qui résiste dans une pure Différence, et à réaliser cette dernière dans un sujet investi d'une puissance hyperbolique de déliaison ou de désappropriation (figures de l'exclu, de la victime, de l'absolument « autre » ou de l'inhumain). Au contraire, l'esthétique, qui déplace les frontières et confond les domaines (à commencer par ceux de l'art et de la politique), est par nature liée à la possibilité de remettre les places en jeu, donc à la possibilité du dissensus qui est le cœur même de la politique. Il est dans l'ordre des choses qu'elle doive faire face aujourd'hui à un consensus anti-esthétique.

L'esthétique, encore une fois

L'esthétique embarrasse, il y a un véritable « malaise esthétique » : c'est le titre du livre, et le fond de l'affaire, qui permet de nouer les fils de l'art et de la politique sous le double régime de l'éthique et du consensus. La configuration contemporaine qui place au cœur des propositions artistiques le « couple éthique d'un art de proximité voué à la restauration du lien social et d'un art témoignant de la catastrophe irrémédiable qui est à l'origine même de ce lien » (on aura reconnu la version « soft » et la version « hard » de l'éthique), hérite en effet directement des ambivalences du « régime esthétique » de l'art inauguré par les penseurs du romantisme allemand et prolongé en pratique par les avant-gardes littéraires et artistiques des XIXe et XXe siècles. Dès son origine, l'esthétique a été tiraillée entre deux conceptions opposées de sa vocation politique, entre « la logique de l'art qui devient vie au prix de se supprimer comme art » (logique de l'hétéronomie, accentuée par la transformation de l'art en « service public ») et « la logique de l'art qui fait de la politique à la condition expresse de ne pas en faire du tout » (logique de l'autonomie, incarnée de la façon la plus tranchante par Adorno). L'essentiel du livre est consacré à l'approfondissement des conséquences de cette double logique, qui permet à Rancière de se livrer au passage à une démonstration magistrale de ses thèses sur les cas à la fois singuliers et caractéristiques de Badiou et de Lyotard. Quant aux raisons historiques et conceptuelles des ambivalences de l'esthétique, Rancière les avait déjà longuement exposées dans ses précédents ouvrages (La parole muette, La chair des mots, Le partage du sensible, et plus spécialement encore L'inconscient esthétique). Il faut y revenir, il faut les relire. Après ce livre, nous n'avons plus d'excuse : les enjeux n'ont jamais été si clairement présentés. Reste à savoir si cette analyse aiguë mais désabusée de la situation présente nous donne également les moyens d'identifier les pratiques réellement créatrices de dissensus.


**The table of contents for a special issue of the French journal Labyrinthe, "L'indiscipline", which looks fabulous (Is that a Rancierean pun?)

http://www.revuelabyrinthe.org/sommaire85.html


Dossier : Jacques Rancière, l'indiscipliné
Renaud Pasquier
Note préliminaire
David Schreiber
L'avenir de l'égalité
Renaud Pasquier
Police, politique, monde
Laurent Dubreuil
L'insurrection
Déborah Cohen
Du possible au virtuel : la scène politique
Renaud Pasquier
Politiques de la lecture
Marc Aymes
Historicités
Marc Aymes
L'archive dans ses oeuvres (Rancière, Derrida)
Renaud Pasquier
Hantés ?
Laurent Dubreuil
Pensées fantômes
Marie de Gandt
Subjectivation politique et énonciation littéraire
Déborah Cohen
Rancière sociologue, autrement
Bibliographie de Jacques Rancière

Ranciere Reading Group

We have missed this but hopefully it will be continuing and/or discussed on Infinite Thought's blog since their aims, to discuss Ranciere in a non-academic setting, promise (like this blog) democratic access to JR's philosophy:

http://www.cinestatic.com/infinitethought/2007/08/ranciere-reading-group-31st-august.asp

The Brechtian scene they describe seems almost like the one Geoffrey Harpham conjures up for Zizek in Slovenia (in the Critical Inquiry article which amounts to a quasi-hagiography but in response to which Zizek goes ballistic!). Or it sounds like the intoxicating tobacco-filled seminars of Deleuze and Nancy-Lacou.

Some more Ranciere links


*A review of The Politics of Aesthetics and The Flesh of Words:

http://www.ubishops.ca/BaudrillardStudies/vol2_2/cross.htm

*An essay "Thinking Between Disciplines: An Aesthetics of Knowledge" by JR in the inaugural issue of Parrhesia:

http://www.parrhesiajournal.org/issue1.html

*A brilliant essay, "The Politics of Literarity" by Sam Chambers in Theory & Event (accessible through Project Muse)

http://muse.jhu.edu/login?uri=/journals/theory_and_event/v008/8.3chambers.html

"Somewhere between the "end of history" and the "return of the political" we can locate the writings of Jacques Ranciere and his effort to carve out a space of/for politics. Ranciere's work offers a provocative, powerful, and novel definition of democratic politics as the taking-part of those who have no part. This configuration of "democratic politics" must be unpacked, however, since it entails that democracy is not a regime. It is instead the practice of politics itself, where the latter can be defined as the conflictual meeting of two heterogeneous logics -- the logic of domination and the logic of equality. Obviously, Ranciere draws this description from a particular reading of the Greeks and of Athenian democracy, but the definition resonates so potently because it speaks directly to 21st century mass democracies, and particularly to certain variants of interest-group liberalism. The logic of politics radically interrupts the very consensus and quelling of conflict upon which interest-group pluralism rests, and Ranciere drives this point home by regrouping the workings of interest groups under the title "the logic of the police." Even this skeletal account of Ranciere's unique and idiosyncratic project makes him out to sound like an important political theorist. And, indeed, he is. However, Ranciere insists that he is not a..."


*An essay, "Taking Sides: Jacques Rancière and Agonistic Literature" by Hector Kollias in Paragragh (not in Mark Robson's special issue of the same journal devoted to JR)


"This article discusses Jacques Rancière's theory of literature as centred on an agonistic concept of literature, where literature is seen as a 'positive contradiction'. This positive contradiction arises from what Rancière sees as literature's origins in the 'errant letter', which is conceived as an intrinsically democratic principle that, for Rancière, also results in the tendency of literature to incarnate the word and to propose an extra-textual truth which would signal the end of literature as democratic errancy. Asking whether it is possible to identify Rancière as 'taking sides' in what he sets up as a struggle, the article analyses three examples of Rancière's engagement with literary texts (Balzac, Mallarmé, and Proust) in which he demonstrates the necessity for literature to maintain its constitutive contradiction, resulting in a conception of literature as an agonistic field and as a self-critical mode of writing.
Keywords:
Rancière, literariness, democracy, errancy, Balzac, Mallarmé, Proust"

Paragrapgh is also accessible through Project Muse: http://muse.jhu.edu/journals/paragraph/toc/prg30.2.html

Tuesday, 18 September 2007

Reading Ranciere after 9/11

Reading Jacques Rancière's 'Ten Theses on Politics': After September 11th

6:4 | © 2003

Aamir R. Mufti

http://muse.jhu.edu/journals/theory_and_event/v006/6.4mufti.html

With September 11th, we are told, everything changed. This refrain has acquired the numbing force of a cliché in the months since the attack on the World Trade Center. America will never be the same again; irony has become unsustainable; patriotism is in. Responses from the left of a positivist sort -- such as in Noam Chomsky's early remarks that circulated on the internet, the clichéd claim is rejected tout court as cliché. For Chomsky, the only remarkable thing about the devastation is that it occurred on U.S. soil. Yet, as with all clichés, this one too contains a moment of truth: the events of Sept. 11th indeed mark a new configuration in political terms, and the aftermath of the attack -- the war in Afghanistan and the global maneuvering that has accompanied it -- this aftermath itself marks a new arrangement in global relations, in the articulations of the global with the local, and in the disciplining of the so-called rogue states, social movements and social formations. I shall use Jacques Rancière's "Ten theses on Politics" as an occasion to offer a few suggestions for thinking about certain aspects of the politics of September 11th and its aftermath, and for altering our thinking about politics in order to respond adequately to the events and the suffering they have evoked and brought forth.

"Why Do They Hate Us So Much?"

Rancière's "Ten Theses" calls for a rethinking of the nature and meaning of politics by continually re-constellating a key set of concepts: politics, democracy, the people, the police. The overall aim appears to be to rescue the figures of political struggle from their repeated normalization in political philosophy and to insist on the inherent precariousness and, above all, rarity of the political. To use this text as an occasion for thinking about the politics of September 11th is, I am aware, to bring this text into contexts that are, in a narrow sense at least, not properly its own. But to the extent that Rancière's text is concerned with exploring the conditions for dignity and democracy in the organization of social and political life, beyond the implementation of borders and boundaries by the modes of governance he calls the "police," it may be seen as implicitly calling for such a move itself. Rancière's text is in fact highly suggestive of certain directions we may take in thinking about the political crisis of our present moment.

Following a long tradition in political theory, and drawing ultimately, of course, on Aristotle, Rancière notes that in politics the one who performs an action and the one upon whom an action is performed, are one and the same being. Politics for him disrupts the logic of determinate superiority and inferiority upon which all traditional qualifications for ruling or governing are based. But, unlike those political theorists for whom this subject-object of political action emerges in the revolutionary declaration of the rights of the citizen,[1] in Rancière's formulation, the "two-fold body of the people is not a modern consequence of the sacrifice of the sovereign body but rather a given constitutive of politics." Democracy is thus for Rancière, in a fundamental sense, "the regime of politics" (emphasis added), rather than one of its possible forms of manifestation. Democracy: the rule of the demos, of those who have no specificity in common, none of the traditional qualifications for governing, based on difference of birth, such as embodied in the power of parents over children, old over young, masters over slaves, and nobles over serfs.[2] The demos, he tells us, is "the category of peoples who do not count," "the one[s] who [have] no speech to be heard." Thus what Rancière means to accomplish in "Ten Theses" is to begin the difficult task of distinguishing democracy-politics from the forms of rule in which it is negated.

One of the most frequent responses in the public sphere to the attack of September 11 has taken the form of a question: why do they hate us so much? While this question may itself appear to represent progress of sorts -- whereby it seems to call for the comprehension of at least an other psychic structure -- what it does in fact is to deny that other, in Rancière's terms, its politicalness. As Rancière states in Thesis 8: "If there is someone you do not wish to recognize as a political being [that is, the being articulated internally as ruler/ruled], you begin by not seeing them as the bearers of politicalness, by not understanding what they say, by not hearing that bit is an utterance coming out of their mouths." The question "why do they hate us so much?" represents such a strategy and closes off in advance the possibility of seeing the other as a speaking subject and of reading the history of this other's (political) utterance.

The global "Islamic" sphere in which the devastation of September 11th can appear -- bafflingly, for "us" -- to have the valence of a political utterance arises out of a complex series of determinations, but I will identify here only one of these salient threads: the Gulf War and its impact on the region and its inhabitants. In her brilliant reading of that first televisual war, Judith Butler argued some years ago that the articulation of "smart bomb" technology -- the term already seems antiquated and overtaken by the new techno-visual configuration -- with the experience of the television viewer that characterized the dominant reception of the war in the West made it possible to stage the war as an "apparently seamless realization of intention through an instrumental reason without much resistance or hindrance." This televisual nature of the war was thus also the means "to champion a masculinized Western subject the disembodied killer who can never be killed." In a passage that now seems eerily prophetic, Butler warned about the aporia of this fantasy structure and its long-term vulnerabilities: "the demigod of a U.S. military subject which euphorically enacted the fantasy that it can achieve its aims with ease fails to understand that its actions have produced effects that will far exceed its phantasmatic purview; it thinks that its goals were achieved in a matter of weeks, and that its action was completed." What it fails to perceive is that "the action continues to act after the intentional subject has announced its completion," having produced "in places and in ways that it could not foresee but will be unable ultimately to contain, effects which will produce a massive and violent contestation of the Western subject's phantasmatic self-construction."[3] The enormous callousness of the act of destruction perpetrated on downtown Manhattan matches the enormous indifference and geopolitical ambition given form in this Western phantasm. The price, as usual, has been paid by relative innocents, by those numerous victims in New York -- firemen, secretaries, meal delivery persons, custodial staff, uncounted homeless, immigrants, and illegal aliens -- whose access to and participation in the phantasm was at most partial and problematic and more often and more likely non-existent. Who in the West will ultimately pay what price for the current escalation -- started in Afghanistan and South Asia, but soon possibly to be taken to Iraq and elsewhere in the region -- remains an open question. But the fantasy of power brought into play by the "quick" and "painless" -- for whom, exactly? -- success against the Taliban is as surely blind to the forces it has set in motion, the absurd official gestures of appeasing Muslim feelings notwithstanding, as the phantasm so acutely dissected by Butler a decade ago.

In vastly different critical and analytical registers than those of Butler, Edward Said and Eqbal Ahmed also warned repeatedly at the time about the long-term fallout of the Gulf War and its unique modalities: the latter in particular warned and predicted in prescient detail the manner in which the overwhelming and uniquely one-sided destructive power unleashed in the war would lead to a radicalization of an entire generation of disempowered Muslims in the region.[4] The distinctiveness of the Gulf War in the history of modern imperialism in the region and beyond must be understood in terms of this unique one-sidedness it brought into play, often glossed as a collective recovering from the hangover that was the Vietnam War. As is correctly perceived in this popular understanding of the Gulf War, this enormous, elaborately highlighted and performed inequality of suffering is fundamentally unlike the situation of the imbroglio in Vietnam, in many ways the prototypical imperialist war of the post-war era, but in which the imperializing society at least underwent a perceptible and measurable form of collective trauma and suffering, however disproportionate and asymmetrical it may have been to that inflicted on those who were imperialized. In this regard, the Gulf War is not a war in the older sense, and has something in common with the disproportionate and one-sided violence we associate with acts of state genocide. Furthermore, it projects on to a global screen the triumphant Western subject, with its claim to invincibility and to the ability to act in the world with infinite ease and with impunity. The decade since the Gulf War has been a period of gestation for responses to this global screening, responses that have taken the ideological direction they have in part because of the near complete pacification and cooptation of secular nationalist movements and state elites in the region.

The Global City

The language in which we have sought in the past months to comprehend the events of the 11th is replete with a recurring and astounded sense of their enormity. This appears to be the case even for the perpetrators of the crimes, as witnessed in the Osama bin Laden tape released by the U.S government in December 2001. But these events are enormous, first of all, in a very specific sense. The very scale of the physical destruction and of the object chosen for destruction, the extent of loss of human life, the scale of suffering and fear in its aftermath, the very physical forces and means of destruction brought into play, and above all, the sense of an action having been performed at an enormous distance (geographical, cultural, perhaps even temporal) -- all these point to the fact that these actions are directed at a global situation, that their proper context is the world as a whole, or rather the on-going rearrangement of all aspects of human life that we speak of as globalization. What becomes visible in this cataclysmic rearranging of things that is September 11 is that that globalization -- of economic relations, certainly, but more significantly, the globalization of human attachments and detachments, of action and inaction, of solidarities, hostilities, and resentments -- has now been achieved. The nagging anxiety that underlies these remarks of mine, in other words, is whether this is what "global" political violence is now routinely going to look like.

In their recent, widely read work of synthesis, Michael Hardt and Antonio Negri note that their notion of passage to a global "empire" entails arguing that all wars are now civil wars. Clearly an exaggeration in many respects, the formulation nevertheless captures something essential about the configuration of the contemporary world. Certainly so far as the global Islamist movement is concerned, Hardt and Negri reproduce, although merely as impression, what has been compellingly (and laboriously) argued by a number of scholars in recent years, namely, that, contrary to its own self-representations, Islamism is a set of radically modernizing movements and cultural and political tendencies around the Muslim world.[5] This is how we must understand the disproportionate role that immigrant and exilic Muslim communities in the West have played in this new culture of Islamic militancy. Islamism is thus very much a response to and within globalized modernity and represents precisely a struggle over the social, political, and cultural artifacts of this modernity.

To put it somewhat differently, we must reject the claims implicit in the imaging of the world we now live in as the global village. This latter term is an oxymoron, a fact that lends the term its characteristic tone of irony. Global events since September have revealed it now to have been an ultimately dishonest characterization of our times. For what it is meant to invoke is an image of already established, inherited community, primary social groups, filiation, Gemeinschaft -- in other words, of the absence, properly speaking, of politics. The political critique of globalization, as Hardt and Negri correctly point out, cannot simply take the form of a defense of the local without falling into a whole series of inconsistencies. What such critique strives for, I would like to suggest, is the achievement instead of the global city (cosmopolis), with the city or polis coming to mark the possibility of the forms of associational life we associate with freedom of action, however partial or attenuated, in modernity. It thus affiliates itself with struggles, however multifarious in form, for creating the conditions for forms of political action that we may speak of as global politics and global citizenship. It contributes to the effort to think about, create, and put into play, spaces for the enactment of global political arguments, for the translating of politics across borders, frontiers, and large distances in what Edward Said has called the imaginative geographies of modernity.[6] But, as Rancière points out, politics in the full sense can be said to happen when and only when determinate logics of superiority/inferiority are ruptured. And in the global imperial configuration first revealed to us in the Gulf War, characterized not simply by inequalities of wealth or power, but rather by spectacular (in both senses) inequalities of suffering even and especially in the midst of war, such rupturing can only take, and will in all likelihood continue to take, the catastrophic forms we have recently seen, and whose possibility already seems a familiar part of our global political landscape. That, at least, is the anxiety one is forced to confront in the aftermath of the "painless" war in Afghanistan and its threatened dissemination to other countries and parts of the world.

Conclusion: Orientalism, Political Thinking, and the Tasks of the Humanities

From the perspective of a scholar and critic in the humanities, one of the more engrossing experiences in the months since the attacks has been the slow but uncanny realization that the present, catastrophic escalation was predicted, and warned against, systematically and repeatedly, in an oeuvre whose influence and visibility across the humanities in the last two decades has been considerable: I mean here the work of Edward Said, at least from Orientalism onwards. This oeuvre may now be read as an extended warning about the ever-escalating consequences of the forms of constitutive violence, including "cultural" ones, which have characterized the relationship of "the West" to "the East" in modern times. In his account of the work of representation in the Western "projects" that have been directed at the Arab-Muslim world at least since the Napoleonic conquest of Egypt and its attendant scholarly enterprise; in his detailed inventory of the role played by imperial experience -- from French Algeria to British India -- in the development of the forms of Western culture from opera to the realist novel; and, finally, in his repeated plea that the denial of the basic (political) attributes of humanity to the Palestinians collectively, and the daily brutalization of their individual and collective lives, could not be continued forever with impunity, Said's may now be read as a prophetic voice anticipating the forms of devastation that are now part of our global horizon. We thus have in his work and in the forms of criticism it has helped to engender, a vindication, if there ever was one, of the social consequence of the humanities. Finally, even here, Rancière's notion of politics proves to be relevant, insisting as it does on the rarity and hence on the achieved nature of political action, and suggesting, even if not explicitly, what the essential impulse of a politics emerging from within scholarly and intellectual life in the humanities might be: to disrupt the logic of inequality, of superiority/inferiority, that constitutes cultural relations in the midst and among an increasingly "globalized" humanity.



NOTES

1See Etiènne Balibar, "Citizen Subject," Who Comes After the Subject?, eds. Eduardo Cadava et al. New York: Routledge, 1991.

2Rancière is drawing here on the definition in Book III of the Laws. See Thesis 3.

3Judith Butler, "Contingent Foundations: Feminism and the Question of 'Postmodernism'," Feminist Contentions: A Philosophical Exchange, eds. Seyla Benhabib, Judith Butler, Drucilla Cornell, and Nancy Fraser, Introduction by Linda Nicholson (New York: Routledge, 1995), 43-45.

4See Eqbal Ahmed, "Soul Struggles," Mother Jones, 28 June, 1991: 23-24.

5Above all, see the works of Aziz al-Azmeh, including Islams and Modernities (London: Verso, 1996). But also numerous other scholars, including Ervand Abrahamian, Khomeinism: Essays on the Islamic Republic (Berkeley: University of California, 1993); and Youssef Choueiri, Islamic Fundamentalism (Boston: Twayne, 1990). I have myself made this argument in "Reading the Rushdie Affair: 'Islam,' Cultural Politics, Form," in The Administration of Aesthetics: Censorship, Political Criticism, and the Public Sphere, ed. Richard Burt (Minneapolis: University of Minnesota Press, 1994), 307-339.

6See Edward W. Said, Orientalism (New York: Vintage, 1978); and Culture and Imperialism (New York: Vintage, 1993)

Friday, 14 September 2007

THE POPULISMS OF LACLAU, RANCIERE & ARDITI, by Paul Bowman

This Disagreement is Not One:

The Populisms of Laclau, Rancière & Arditi

Paul Bowman

Books Reviewed:

  1. Benjamin Arditi (2007). Politics on the Edges of Liberalism: Difference, Populism, Revolution, Agitation. Edinburgh: Edinburgh University Press. ISBN: 978-0-7486-2511-6.
  2. Ernesto Laclau (2005). On Populist Reason. London: Verso. ISBN: 1-85984-651-3.
  3. Jacques Rancière (2006). Hatred of Democracy. London: Verso. ISBN: 1-84467-098-8

Consider this disagreement. First, Ernesto Laclau, the arch-theorist of culture and politics as hegemony, has taken to arguing that all politics is basically populism (Laclau 2005). Second, Jacques Rancière has recently declared that populism is nothing more than ‘the convenient name under which is dissimulated […] the difficulty [of] government’: ‘The hope is that under this name they will be able to lump together every form of dissent in relation to the prevailing consensus, whether it involves democratic affirmation or religious and racial fanaticism’ (Rancière 2007: 80). In other words, for Rancière, ‘populism’, here, is really just a pejorative term for a situation in which a people will not will not be governed ‘properly’, without division or remainder. Third, however, Benjamin Arditi’s new book both takes issue with Laclau’s reduction of all species of politics to populism and uses a strongly Rancière-informed perspective to dissect and determine more precisely what the enigmatic phenomenon ‘populism’ actually is. This is an interesting disagreement indeed.

Now, according to Rancière’s already classic and seminal book of political theory, Disagreement: Politics and Philosophy (1998), a disagreement is:

a determined kind of speech situation: one in which one of the interlocutors at once understands and does not understand what the other is saying. Disagreement is not the conflict between one who says white and another who says black. It is the conflict between one who says white and another who also says white but does not understand the same thing by it or does not understand that the other is saying the same thing in the name of whiteness. (Rancière 1998: x)

So, are our three theorists in a state of disagreement? Why, for Laclau, is all politics basically populism, while for Rancière all politics is essentially an eruption of democracy, the disturbance caused when a group demand a ‘recount’, or demand that their card which says they are entitled to a share of the equality that everyone is said to hold in common be acknowledged? And how can Arditi take issue with Laclau’s conclusions whilst using Rancièrean insights to develop an account of populism that Andreas Kalyvas on the dust-jacket calls ‘brilliant’?

Let us take these texts in reverse chronological order, and begin with the apparent articulating link between Laclau and Rancière: Arditi’s new book, Politics on the Edges of Liberalism: Difference, Populism, Revolution, Agitation (2007). The orientation of this book is made clear from the beginning, through a discussion of Freud’s oxymoronic term ‘foreign internal territory’. Freud used this term to ‘describe the relation between the repressed and the ego’ (Arditi 2007: 3), and Arditi takes the impetus behind this idea into the sphere of political theory in order to develop a concept of what he calls the ‘internal periphery’. Internal peripheries are the paradoxical ‘edges’ evoked in the book’s title. Thus, the ‘edges’ of liberalism, the ‘edges’ of politics, in other words, are not to be thought of as residing at some distance, a long way away from a ‘centre’. On the contrary, argues Arditi, the ‘edge’, the ‘limit’, the ‘periphery’, in this sense is ‘a region where the distinction between inside and outside is a matter of dispute and cannot be thought outside a polemic. To speak of politics on the edges of liberalism is to speak of the internal periphery of liberalism’ (3-4).

In Arditi’s focus on the political importance of polemic and disagreement, we may already detect Rancière’s influence. Similarly, in the emphasis on the undecidability of distinctions between inside and outside, we can discern the influence of Derridean deconstruction. But also here are the seeds (or spores) of a strong reference to Deleuzean and Guattarian thinking. All of which (and more) Arditi briskly, concisely and adroitly elaborates, in a tightly structured interrogation of the key concepts of contemporary political thought: difference, populism, agitation and revolution. The examples and case studies he places under the microscope range from the ancient to the modern, and from the popular to the unpopular faces of populism, as well as from classical to parliamentary to postmodern and cultural politics. The lenses used to inspect and explore politics at the heart and on the edges of liberalism are derived and developed from many philosophical, theoretical and practical thinkers of politics and the political, from Marx and Gramsci to Laclau, from Hardt and Negri to Žižek, and beyond. Each chapter of Politics at the Edges of Liberalism is an amplification of the significance of the concept of ‘internal periphery’ for the thinking of difference (Chapter 1), populism (Chapters 2 and 3), agitation (Chapter 4) and revolution (Chapter 5). However, although it is also developed from a rethinking of the ‘symptom’ as a tool for political analysis, perhaps the royal road to grasping Arditi’s concept of the internal periphery is via Rancière’s concept of disagreement.

For Rancière, ‘disagreement’ is the political concept par excellence. It must, argues Rancière, be stringently distinguished from notions such as difference and the Lyotardian differend (Lyotard 1988). This is because, although for Lyotard, ‘differend’ names conflict which cannot be ‘resolved’ as such (a wrong which cannot be righted for both parties, and over which no internal or external agency can adjudicate with legitimacy), to Rancière’s mind ‘each party’s difference from itself as well as of the differend [is] the very structure of community’ (Rancière 1998: 18). So, a differend is always only an ‘ontic’, legalistic, or in Rancière’s terms ‘police’ problem. This refers to one of Rancière’s sharpest contributions to political theory: his conceptualisation of ‘politics’, which is most akin to what other political philosophers would call ‘the political’. As Chantal Mouffe explains, in Continental-based forms political theory, a distinction is normally drawn between ‘politics’ and ‘the political’:

If we wanted to express such a distinction in a philosophical way, we could, borrowing the vocabulary of Heidegger, say that politics refers to the ‘ontic’ level while ‘the political’ has to do with the ‘ontological’ one. This means that the ontic has to do with the manifold practices of conventional politics, while the ontological concerns the very way in which society is instituted (Mouffe 2005: 8-9)

However, Rancière effectively dismisses this distinction, and argues instead that the most relevant distinction to be made is that politics is rare, while what is common is police (Rancière 1998: 17, 139). By police, what Rancière refers to is work and actions which protect the status quo. What is normally thought of as politics is in Rancière’s terms most often policing. Ironically, the best example of this police work is the administrative tinkering of politicians’ ‘political’ actions. So, what for Rancière is politics? On the one hand, ‘Politics, in its specificity, is rare. It is always local and occasional’ (1998: 139). But on the other and at the same time, it always reflects a social convulsion, a social conflict around a wider dispute:

So nothing is political in itself. But anything may become political if it gives rise to a meeting of these two logics [police logic, which is opposed to egalitarian/political logic]. The same thing – an election, a strike, a demonstration – can give rise to politics or not give rise to politics. A strike is not political when it calls for reforms rather than a better deal or when it attacks the relationships of authority rather than the inadequacy of wages. It is political when it reconfigures the relationships that determine the workplace in its relation to the community. The domestic household has been turned into a political space not through the simple fact that power relationships are at work in it but because it was the subject of an argument in a dispute over the capacity of women in the community. (Rancière 1998: 32-33)

Now, Disagreement was written as a book of political philosophy and it made reference chiefly to classical philosophy. Hatred of Democracy is effectively Rancière pointing out that Disagreement was not just about the ancients. Rather, Rancière emphasises in Hatred of Democracy, it is ‘about’ me and you and it refers very much to now. Consider one of today’s European polemics and social conflicts: asylum. Do you stand on the side of equality or on the side of the police?

I say ‘European’. But of course asylum is extra-European, intra-European, infra-European, simultaneously-pro-and-anti-European, local and global. This is precisely the point. It activates an internal periphery. This is an undecidable internal periphery until it is variously ‘decided’ and ‘redecided’ through what Arditi calls ‘polemicization’. Polemicization refers to the process by which political arguments and disputes lead to transformations that reconfigure, redistribute, reinstitute, and ‘redraw the lines’ of the community (Arditi and Valentine 1999; Arditi 2007; Rancière 1998; 2006). And, as Derrida taught us, the ‘lines’ that draw up any order are neither simply internal nor simply external but both internal and external (Derrida 1987). Politics is ‘at’ and ‘about’ the edges, but these edges are internal and at the heart of.

So, Rancière’s notion of disagreement refers to an internal periphery, a site of antagonism around a word or concept. For Rancière, that word is equality:

Nothing is political in itself for the political only happens by means of a principle that does not belong to it: equality. The status of this ‘principle’ needs to be specified. Equality is not a given that politics then presses into service, an essence embodied in the law or a goal politics sets itself the task of attaining. It is a mere assumption that needs to be discerned within the practices implementing it… (1998: 33)

Both Arditi and Laclau could agree with this. In On Populist Reason (2005), Laclau argues that the fundamental term of political ontology is the demand (Laclau 2005: 224). This is because, as Laclau has argued since Hegemony and Socialist Strategy (Laclau and Mouffe 1985), one should not confuse politics with essentialised or fetishised ‘positions’ (such as ‘class’). There are myriad types of ‘politics’, they argue: politics can occur whenever an antagonism flares up, and this may come from any area of culture and society – sex, gender, race, ethnicity, citizenship, environment, and who knows where else. And this is not just from contradictions in the forces and relations of production. What is key here is the ineradicability of antagonism. As Laclau explains in Emancipation(s) (1996): ‘Between two incompatible discourses, each of them constituting the pole of an antagonism between them, there is no common measure, and the strict moment of the clash between them cannot be explained in objective terms’ (Laclau 1996: 3-4).

Since Hegemony, Laclau and Mouffe have followed Claude Lefort in identifying the birth of the modern form of politics in the ‘democratic revolution’, or the birth of the perspective in which ‘power’ is seen as an empty place that anyone can fight for. Translated into Rancière’s terms, this is the recognition of everyone’s fundamental equality. So, in On Populist Reason, Laclau clarifies his agreements with Rancière: for Laclau, as for Rancière, the key political element is the demand – for equality, or for justice. But the very conclusion of On Populist Reason – the very end of a final chapter in which Laclau spells out his agreements and disagreements with other key theorists (Žižek, Hardt and Negri, Rancière) – concludes with a twofold disagreement. On the one hand, says Laclau, Rancière’s conception of ‘emptiness’ is problematic, because it leads him into an overly optimistic faith in the people’s democratic tendencies. Yet what is to prevent the people from sliding into fascism? (246). And on the other hand – because of a couple of mentions of Marx in Rancière’s work – Laclau chooses read Rancière’s discussion of ‘the proletariat’ as if Rancière were some kind of undeconstructed Marxist who just cannot get over it and cannot let go of ‘class’! Laclau says: ‘I do not see the point of talking about class struggle simply to add that it is the struggle of classes that are not classes’ (247). But, in an uncharacteristic and – as Bill says of Pei Mai in Kill Bill Volume 2 – ‘in an act of almost unfathomable generosity’, Laclau gives ‘the slightest nod’ to Rancière, by adding: ‘The incipient movement, in Gramsci, from “classes” to “collective wills” needs to be completed. Only then can the potential consequences of Rancière’s fruitful analysis be fully drawn (248-9).

But I would suggest that it may be Laclauian theory that ‘needs to be completed’. Otherwise, it remains what Iain Hamilton Grant has recently called ‘ontologically parochial’ (Hamilton Grant 2007) – a contingent description of a contingent state of affairs, rather than an analytical theory of the political as the occasional eruption of democratic disorder in always oligarchical social arrangements (Rancière 2006). But Laclau really does think that his political theory is complete. As he claims in a recent essay: ‘I think […] that hegemony as form – that is, as an ontological category – is perfectly theorized in my work’ (Laclau 2004: 322). And what is this ‘perfect’ theorization? For Laclau, it is the perfection of politics ‘conceived as hegemony’ (2004: 326). Thus, for Laclau, all politics is hegemonic politics (and nothing other), and hegemony is utterly contingent, hence irreducibly populist.

But Arditi and Rancière beg to differ. As we have seen, Rancière apparently dismisses populism. But Arditi examines the key theorisations of populism, and concludes instead that populism is a spectre of democracy, and an internal periphery of democratic politics. Despite its elusiveness (46), Arditi argues, populism does have specific features. In one regard, it is a mode of representation (direct address and interpellation of ‘we, the people’ by a charismatic leader), whose conditions of possibility are those of the media age (60). But it is also a symptom of democratic politics (74), and the constitutive underside of democracy (81).

To this, Rancière’s apparent disagreement is really an addition. What he adds to the theory of society as politically instituted is the important reminder that those in all types of power will do everything they can to avoid politics, to expel it from the city, and to police their order:

We do not live in democracies. Neither, as certain authors assert – because they think we are all subjected to a biopolitical government law of exception – do we live in camps. We live in States of oligarchic law, in other words, in States where the power of the oligarchy is limited by a dual recognition of popular sovereignty and individual liberties. […] These freedoms were not the gifts of oligarchs. They were won through democratic action and are only ever guaranteed through such action. The ‘rights of man’ and of the citizen’ are the rights of those who make them a reality. (Rancière 2006: 73-74)

The key point about Rancière’s dismissal of ‘populism’ is that his recent book is an intervention into a polemical wider discourse about democracy per se; to point out the equivocations, amphibologies and conflations of those oligarchs or their agents who demonstrably hate democracy and refer to it pejoratively as ‘populism’ because it threatens their order. Arditi’s examination of the concept is orientated to establish more precisely the mechanisms of any political change. While Laclau’s theorisation of populism is designed to flesh out his deconstructed theory of politics as hegemonic articulation. Each adds a lot to the understanding of the other. The question is which one is to be understood in the terms of which other.

References

Arditi, Benjamin (2007). Politics on the Edges of Liberalism: Difference, Populism, Revolution, Agitation. Edinburgh: Edinburgh University Press. ISBN: 978-0-7486-2511-6.

Derrida, Jacques (1987), The Truth in Painting, University of Chicago Press, Chicago and London.

Laclau, Ernesto, and Mouffe, Chantal, (1985), Hegemony and Socialist Strategy: Towards a Radical Democratic Politics, Verso, London.

Ernesto Laclau (1996), Emancipation(s), London: Verso.

Laclau, Ernesto (2004), ‘Glimpsing the Future’, in Simon Critchley and Oliver Marchart (eds.), Laclau: A Critical Reader, London: Routledge.

Ernesto Laclau (2005). On Populist Reason. London: Verso. ISBN: 1-85984-651-3.

Hamilton Grant, Iain (2007), ‘The Insufficiency of Ground: On Žižek’s Schellingianism’, in Paul Bowman and Richard Stamp, eds., The Truth of Žižek, London: Continuum.

Lyotard, Jean-François (1988), The Differend: Phrases in Dispute, University of Minnesota Press, Minneapolis.

Mouffe, Chantal (2005), On the Political, London: Routledge.

Rancière, Jacques (1998). Disagreement: Politics and Philosophy. Minneapolis and London: University of Minnesota Press.

Jacques Rancière (2006). Hatred of Democracy. London: Verso. ISBN: 1-84467-098-8

Paul Bowman is Senior Lecturer in Cultural Studies at Roehampton University, London. Formerly an editor of the international cultural studies journal Parallax, he has also been Marxist and Post-Marxist Scholarship Reviewer for Oxford University Press’s The Year’s Work in Critical and Cultural Theory. His work has appeared in such journals as Parallax, Culture Machine, Strategies, Contemporary Politics, Entertext, and Body & Society (forthcoming), and in books such as The Edinburgh Encyclopaedia of Modern Criticism and Theory (Edinburgh University Press), Cultural Studies and Interdisciplinarity (Rodopi), and New Cultural Studies: Adventures in Theory (Edinburgh University Press). He has also written for the Signs of the Times group and The Times Higher Educational Supplement. He is the editor of the interview book Interrogating Cultural Studies: Theory, Politics and Practice (Pluto Press, 2003), co-editor of The Truth of Žižek (Continuum, 2007), author of Post-Marxism versus Cultural Studies: Theory, Politics and Intervention (Edinburgh University Press, 2007) and Deconstructing Popular Culture (Palgrave, 2008).

Thursday, 13 September 2007

ON JACQUES RANCIERE: by Adrian Rifkin

From: http://www.gai-savoir.net/now.html#

JR Cinéphile, ou le philosophe qui aimait les choses.1

..............Politics precisely begins when they who have "no time" to do anything else than their work take that time that they have not in order to make themselves visible as sharing in a common world and prove that their mouth indeed emits common speech instead of merely voicing pleasure or pain.
(Extrait de la conférence prononcée à Aarhus par Jacques Rancière, septembre 2003)

..............Cette intervention ne sera ni docte ni critique : je ne suis ni philosophe ni politologue, ni historien non plus, et sur ce point, en bonne partie à cause de mes lectures de JR : à un certain moment dont j’ai parlé ailleurs en 1978, j’ai pour la première fois repéré ses articles dans cette belle revue qu’était Les Révoltes logiques, et c’est précisément à ce moment là, je crois, que j’ai renoncé à cette prétention d’historien. Soulagement, sortie des débats secs et doctrinaires entre les écoles en conflit de la Social History en Angleterre, de ses tendances gramsciennes, althussériennes, ouvriéristes, populistes et tutti quanti, pour obtenir le droit de penser en travers, à l’écart : même si cela comportait le risque de sombrer dans ma propre bêtise, de prendre des risques vaguement inavouables; tout en feignant le statut de grand sérieux exigé dans un milieu universitaire où tous les mesures de qualité, si néfastes de nos jours, étaient en train d’éclore.

..............Disons que l’on ne voulait ni Jacotot ni jacotisme. Le premier article de JR que j’avais traduit était refusé par l’History Workshop Journal, la plus importante parmi les revues de la bonne gauche, la semaine même où il parlait au Workshop de 1979, colloque annuel de la Revue

...............2 On voulait soit écouter de bons ouvriers qui raconteraient une vie aussi héroïque que « pleurnichante », soit lire de bons historiens qui savaient raconter cette vie. Et évidemment il y avait de très grands, historiens, entendons des historiens socialistes, féministes, tous pionniers dans l’écriture d’une nouvelle histoire, et de grands ouvriers et ouvrières ou même des folkloristes qui disaient tout cela de leur propre voix. On donnait comme motif de ce refus - que JR injuriait la classe ouvrière en imaginant que la conscience de classe ait pu s’élaborer hors de cette solidarité supposée, et tellement convoitée, avec le télos de l’histoire sociale. Les « ouvriers allant à l’Expo » ne ressemblaient à aucune figuration de la classe révolutionnaire. Alors, si la figure de Georges Sand pesant de toutes ses forces sur le poète ouvrier Poncy pour qu’il écrive sur des sujets proprement ouvriers devient allégoriquement , dans son article Ronds de fumée 3, celle du parti communiste ou des catholiques sociaux à l’heure de leur grande déchéance, JR lui-même prend les allures de Jacotot, héros – concept même – qui résume la résistance contre l’ensemble de ces forces dont le concours produit l’interdit de s’instruire hors des normes scolaires, de la doxa théorique, ou du poncif du récit historique qui renvoie à une position sociale, sexuelle, raciale ou autre aspect des « identity politics », propre à inscrire le sujet dans une pensée astreignante, le contraignant à exprimer exactement ce qu’il est censé vouloir être. Or, comme Jacotot, lui, ne ressemble point à Braudel, ni à Bourdieu, ni à Althusser, on a le droit de penser que JR, quant à lui, se fait allégorie, mais allégorie allègre, allégorie d’un écrivain qui – pas moins que Barthes, par exemple – lit, voit et écoute pour la jouissance de la chose.


On a même le droit d’y voir, sans que JR lui-même n’en dise rien, que cette identification représente une critique quasi adornienne de l’université à l’heure de sa massification, mais sans aucune nostalgie pour son histoire mandarinale. Et on peut constater ainsi que cette jouissance est porteuse d’une politique du monde. Comment ne pas noter le fait que, au long des Courts voyages, Wordsworth, Büchner ou Rossellini, sont des figures marquées par une vie profondément politique, faite du fait qu’ils sont défaits, tour à tour, eux dans leur temps et leurs histoires, nous dans nos histoires superposées et revues à travers les leurs ? Bliss it was in those dawns to be alive, ours and theirs, so as to speak! Mais à la suite de tout cauchemar ou désillusion on fait toujours de l’art … Donc dans Le Destin des images, parmi ses oeuvres récentes où l’on voit s’élaborer toute une série de complexes réflexions sur la modernité ou l’art dit moderne, il se déclare motivé – je prend ici une citation un peu nue, dénaturée –

« par une certaine intolérance à l’égard de l’usage inflationniste de la notion de l’irreprésentable et de la constellation des notions voisines : l’imprésentable, l’impensable, l’intraitable, l’irrachetable’.... tout entouré ‘de terreur sacrée ». (p. 125)

Mais quelle est cette motivation sinon un certain refus d’un discours sur l’art où l’on ne peut que mélanger le sublime et l’abject – même si c’est dans une bonne proportion, variable selon l’artiste et son degré de modernité ou de postmodernité. JR fait soudain rupture avec la moralité de ce discours, pas moins qu’avec les historiens de la sociale. Il trouve cette voie mauvaise, et cela parce qu’il a en vue autre chose que ces teloi, - un art puissamment conjoncturel, mal défini et efficace dans sa manière de tirer le rideau sur l’aporie de l’art et de la politique. Une autre chose qui surprend comme, par exemple, le suspens du sujet dans Le bon temps ou le plaisir aux barrières entre dans les systèmes complexes du plaisir et de l’écoute qui, d’un coup sec et inattendu, dissout la problématique du surveiller chez Foucault.
Alors si mon titre relève de l’amour, du fait d’aimer quelque chose, le cinéma par exemple, il s’agit du fait que j’aime bien lire JR, et cela depuis vingt-sept ans plus ou moins. Donc mon intervention fera analyse de ce fait d’aimer, sans vouloir trop faire l’analyse de ce qui est écrit, qui procède, pour moi autant par l’oxymore et l’anaphore que par la logique. On voit, souvent, que résonance et raisonnement se regardent sans être de simples jeux de mots, dans le sens ou dans cette conjonction chez JR. Et, dans mon rapport à lui, ils relèvent non pas de cette grande absence ineffaçable qui marque la pensée post-heideggérienne, mais d’une possible présence; utopie et atopie à la fois, qui persiste par l’amour de la chose et du fait de l’écrire; en quoi la pensée de JR ressemble un peu dans son entièreté à ce que Jean-Luc Nancy dit sur les origines ou les débuts de toute pensée chez Hegel. Je le cite un peu au hasard, car son livre insiste sur le thème de la séparation comme non-retour, et le répète à travers de multiples variations :

« Devenir c’est être hors de soi – mais pour autant que ce dehors, cette ex-position, est l’être même du sujet .... Il faut donc tenir cette double condition : ne rien céder, ni sur la singularité concrète(ne rien remettre au ciel, ni au futur, ni à une abstraction collective), ni sur la négativité(ne rien remettre à une figure, à une donnée). Il faut penser la négativité concrète. » (Jean-Luc Nancy, Hegel, p. 86)

............Je veux dire par là qu’il y a chez JR à la fois quelque chose de proche, de réel, de concret et quelque chose de tout autre, d’évanouissant, et que la lecture de ses textes soulève le sens d’une particularité intense en même temps en soi et hors de soi – J’appelle cela une poétique plutôt que le négatif, une poétique qui l’emporte sur la méthode et renonce donc à la méthodologie.
............Je pense à Parsifal qui tue son cygne et découvre tout un univers d’atopies. Est-ce qu’il est fou, lui qui tue tant de cygnes chéris des discours conventionnels de notre temps ? Est-ce qu’il faut être pour de vrai un « heiliger Tor » pour avoir voulu dérober l’idée même de la modernité de nos horizons théoriques comme il l’a fait dans Le partage du sensible, ou mettre en question, sans raison le rapport même entre Freud et Œdipe, comme il le propose dans L’inconscient esthétique ? Pourtant Parsifal est celui qui restitue la doxa, alors que JR sauve par sa destitution.
............JR, donc, est souvent un penseur destructif, ... mais il commence toujours par l’amour de dire ce qu’il veut dire, et pour l’objet de son discours, que ce soit un tableau de Fautrier, un film d’Anthony Mann, un texte de Louis Gabriel Gauny ou la Mésentente tout court – disons que la mésentente a toujours été là, force motrice de la façon même dont JR a esquissé le différend entre lui et les historiens, dont j’ai parlé, à partir du travail des poètes de La nuit des prolétaires. Avant même qu’il ne révise Aux bords du politique pour faire apparaître ce concept fondamental, il l’avait pratiqué partout par ses écarts vis-à-vis des normes intellectuelles.
............Un mot encore sur le fait d’aimer les choses, pour souligner cette poétique : on a souvent, tristement souvent en fait, le soupçon que le grand philosophe n’aime pas les choses pour de vrai. Il y a, chez Derrida, par exemple, peu d’affection pour Adami quand il commente les images de ce peintre fort médiocre pour soutenir et élaborer la thèse, assez importante tout de même, de sa Vérité en peinture. Ça sert à quelque chose, c’est tout. Juste comme les sabots de Van Gogh lui servent à lui et à Heidegger, et en même temps servent à trop dire ... à dire trop de choses sur l’éventuelle déification de ce qui n’est que de l’art. Sartre, est-ce qu’il aime Flaubert trop, à la folie, ou Alain, est-ce qu’il aimait Ingres juste comme il faut pour dire quelque chose de profond sur ce que c’est que la pensée en tant que geste figural ? N’importe, je voudrais maintenant changer de perspective.
............En 1955 sortait le grand film de Anthony Mann, « The Man from Laramie », un titre qui résonne toujours au fond de ma mémoire : sans doute l’avais-je vu au cinéma Carlton, grande salle de spectacle art déco renaissance de 1937, et vraiment populaire, démoli au cours des années 80. Il se trouvait au coeur de Salford, ville imbriquée dans la conurbation de Manchester et fière de son encore plus grande pauvreté, de sa bourgeoisie déchue et de son paysage d’un 19e siècle en ruines. Le cinéma, rare signe de la modernité architecturale ou sociale, n’était pas loin du port de Manchester qui, au bout de son canal à quarante kilomètres de la mer, demeurait un des plus grands ports du pays, et qui, avec ses docks, ses entrepôts et ses souvenirs de grandes luttes ouvrières, ressemblait plutôt à la Barcelone de Genet, sans le soleil, qu’à toute autre image du nord de l’Angleterre folklorique
.............Le Carlton, c’était donc un beau palais de menus plaisirs, rescapé des bombardements de la guerre, pour un peupleégalement épargné. Je dis cela, parce que ce n’aurait pas pu être ailleurs que je l’aie vu, et parce que la brave femme chargée de cet enfant qui était moi, était une parfaite fan de James Stewart, entre autres grandes stars de Hollywood. Peut-être ne remarquait-elle pas le nom de Anthony Mann. Je n’ai pas l’impression qu’ellenotait les auteurs. Son album de coupures de revues, comme le Picture Goer, que je possède toujours, ne m’en donne pas l’impression. Mais le fait étonnant persiste : elle m’a fait faire un pas au moins vers un aspect de ce qui m’intéresse chez Rancière et, peut-être, par ses goûts de peuple pour la grande culture, par sa façon de voler du temps, vers d’autres éléments encore.
............Depuis longtemps ce titre, The Man from Laramie, n’était plus que cela, la résonance d’un nom, d’un homme, d’une ville, Laramie, tout un système de choses lointaines, confondues avec tant d’autres résonances – Shane, Oklahoma, et d’autres films tels Seven Brides for Seven Brothers ou The African Queen; Gone with the Wind lui-même se trouve parmi ces westerns et les musicals aussi tueurs que dansants et, pour ce qui était profondément américain, il y avait le National Geographic Magazine avec ses splendides cartes des Etats-Unis offertes en supplément et sa publicité pour les plus belles Cadillac. On pouvait imaginer un voyage là-bas, à Laramie, en voiture.
............Mais je dois constater que rien de cela ne m’affriolait beaucoup, - la danse, les tueries, sauf peut-être que j’étais fort attiré par le mystère d’ailleurs étalé à travers ces cartes du National Geographic Magazine, et aussi bien par le héros d’Oklahoma, qui évoquait chez moi les premiers émois d’une homosexualité encore latente. Je le découvris bien après quand, tout jeune universitaire, je présentais ce film dans un cours et que j’éprouvais une forte épiphanie, mes étudiants étant, je l’espère, inconscients de ma distraction devant Oh what a beautiful morning, rengaine soudainement révélatrice d’un « moi » en train d’accumuler son histoire inconsciente et ses étapes. Le but de cette présentation était de noter l’étrange geste du héros dans son chant, en comparant la hauteur du maïs et l’oeil d’un éléphant – comparaison troublante et étrange qui, pour moi, avait surgi de la façon tordue dont l’immigré juif intellectuel avait manqué de lier le phantasme du Far West à son propre imaginaire – question de méconnaissance créatrice, dédoublée par la mienne.
.............J’allais donc au Carlton parce qu’on s’occupait de moi, et on aimait le cinéma, on était de nature cinéphile et on faisait ça rituellement toutes les matinées du mercredi et les samedis matins de surcroît. Bliss it was in that dawn to be alive..., mais la cinéphilie en tant qu’état relevant d’une ontologie, je n’en fis pas la découverte avant l’âge de quinze ans, et alors par la lecture d’un compte rendu des 400 coups dans une revue qui faisait partie du décor du bureau de mon père. 4 La cinéphilie était le grand autre de la vie quotidienne, tout en n’étant, en même temps, qu’une forme assez banale de la sociabilité petite-bourgeoise des villes de province, de la scolarité progressiste de ces années-là, ou des groupes de bons ouvriers rassemblés autour du parti communiste par exemple. J’ai vu Les Enfants du paradis à cet époque dans un théâtre municipal accompagné du bruit sublime du projecteur 16mm, et quelques Rossellini et de Sica dans un cinéma X le soir, et d’art et d’essai l’après-midi, où on allait au lieu de se rendre à l’école. La cinéphilie, bien sûr, était un truc d’autodidacte et on ne savait pas qu’il y avait déjà Les Cahiers du cinéma. Ce que l’on voyait sur l’écran se traduisait, à travers et en dépit des sous-titres, dans un enseignement de la culture qui n’était disponible nulle part ailleurs : leçon de transformation digne de Jacotot, je crois.
............Parler alors d’un philosophe cinéphile, c’est bel et bien parler de quelqu’un qui aime quelque chose d’une façon assez quotidienne, tout comme n’importe qui d’autre : c’est à dire qu’il n’aime point les films par amour pur, le pur amour, comme le vrai dévot est censé aimer son dieu, voué à la tâche d’éclairer tout cela pour nous, les autres, qui ne savent pas aimer d’un pareil amour.
.............Il ne risque pas de se retrouver un jour refoulé par cet objet aimé, comme l’est trop souvent le martyr, laissé à la souffrance par ce dieu si purement aimé; même si un film, revu 20 ans après, pouvait lui offrir une image surprenante de son soi à lui, en évolution imprévue. Je pense à ce passage des Courts Voyages que j’aime beaucoup, trop peut-être, ou il résume ses visions d’Europa 51 de Rossellini. Si je dis peut-être trop, c’est parce que cet essai me plaît à un point tel que j’aimerais bien y renfermer mon JR à moi, alors que lui, il se dépasse, conscient alors de sa propre historicité! Il sait trop bien combien il est difficile de se retrouver soi-même à travers ce décalage, autant que pour William Wordsworth, tout en atténuant les extases révélatrices de sa jeunesse à travers les versions successives du Prélude pour retrouver la Magdeleine, du peintre Lebrun !
............Pourtant je n’ai jamais cessé de suivre ses pas, haletant, surpris et parfois défait par sa façon d’écrire le cinéma, de raconter un film.
............Donc, je le redis, résonance confuse de signes et de traces d’une époque, ou, pour ne pas exagérer, de quelques moments; une microstructure en éventail infiniment plié et replié des décennies d’après-guerre, des représentations terriblement unheimlich dans le lieu de leur réception, mais d’une façon ou d’une autre appartenant au Plan Marshall pour l’Europe, à la vente de la culture américaine pour l’Angleterre, à la vague naissance et à la vague de naissances des identity politics à venir, ces formes essentielles de l’expression d’une mésentente sociale qui allaient tout bousculer au long des années 70 et 80. éventail de mémoires inaccessibles au sens, sensations de vacances, chevaux au galop – un mouvement cinématique qui me laissait assez froid, j’avais horreur de monter à cheval!
.............Digne alors du Mallarmé de JR? Résonance jusqu’au jour ou, tant d’années après, sous l’influence de JR cinéphile, j’achète le DVD The Man from Laramie, et je le regarde, ce film qui, semble-t-il, me regarde encore plus qu’à cette époque là quand, tous les printemps on allait en famille dans le Lake District pour voir les daffodils aimées de Wordsworth. Anthony Mann et James Stewart, Wordsworth et daffodils, sirène d’un soi-même refoulé, caché, dérobé. Est-ce que j’avais déjà, entre mes dix et vingt ans tout Rancière dans mon esprit, ou dans mon âme? Résonance de ses titres à lui : de ses mots, ces mots et ces noms, dont il a fait son propre domaine d’écriture, au plus loin des usages reconnus. Dans l’épisode où le père aveugle se lance contre Stewart, dans une impotence transcendantale et absolue, catégorielle, je me réconcilie finalement, à soixante ans, avec le cheval, comme forme de chose cinématographique, essentielle à l’intrigue et à ses apories.
............Je finis donc sur une métaphore curieuse, pour mieux éclairer cette préparation inconsciente en moi à une philosophie qui me plaît : vous connaissez sans doute ce passage dans le Pelléas et Mélisande de Debussy, où elle, elle n’attend peut-être rien ou, tout comme un texte attend un lecteur, elle attend sans aucune innocence en haut de la tour. Et lui, il cherche quelque chose à saisir, et on sait qu’il ne s’agit pas du tout de la sociabilité d’un sublime ordinaire tel que Wordsworth découvrit à Cambridge. Et là, il tombe sur ça, cette chevelure qui déferle, et elle, elle demande, qui est là, et lui, il répond « moi, moi et moi ». Et est-ce que c’est ça, moi ? Moi devant ces textes qui m’ont leurré, qui me procurent tellement souvent ce plaisir de lire ce que j’aurais aimé moi-même les écrire.

1 ..Je dis ‘JR’ dans le but d’éviter d’un côté le mot ‘Jacques’, trop intime, et de l’autre celui de ‘Rancière’, trop sec. Mille remerciements à Denis Echard pour l’aide qu’il m’a apportée en écrivant ce texte, et à JR pour m’avoir invité à intervenir.

2 ..Voir Jacques Rancière in People’s History and Socialist Theory (London, Routledge, 1981)

3 ..Ronds de fumée (Les poètes ouvriers dans la France de Louis-Philippe), Revue des Sciences Humaines LXI, no. 190 (1983), 35-36

4 ..Voir Antoine de Baecque, la Cinéphilie – Invention d’un regard, histoire ’une culture 1944 - 1968, Paris, Pluriel, 2003

RANCIERE: The Emancipated Spectator

From: Ranciere: The Emancipated Spectator:
http://www.v2v.cc/node/75

Jacques Rancière presents "The Emancipated Spectator" at the opening of the 5th international summer academy in Frankfurt on August 20, 2004.

KEIN.TV / theater.kein.org
English / 01:11:54 / 124 MB / Ogg Theora

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j | Fri, 2007-03-16 14:28

The Emancipated Spectator

I gave to this talk the title: « the emancipated spectator » . As I understand it, a title is always a challenge. It sets forth the presupposition that an expression makes sense, that there is a link between separate terms, which also means between concepts , problems and theories which seem at first sight to bear no direct relation on each other. In a sense, this title expresses the perplexity that was mine when Marten Spangberg invited me to deliver what is supposed to be the “keynote” lecture of this academy. He told me that he wanted me to introduce this collective reflection on “spectatorship”, because he had been impressed by my book The Ignorant Schoolmaster. I first wondered what kind of relationship there could be between the cause and the effect ? This an academy bringing together artists and people involved in the world of art , theatre and performance on the issue of spectatorship to-day. The Ignorant Schoolmaster was a meditation on the eccentric theory and the strange destiny of Joseph Jacotot, a French professor, who, at the beginning of the 19th century, made a mess in the academic world by asserting that an ignorant could teach another ignorant what he did not know himself , proclaiming the equality of intelligences and calling for intellectual emancipation against the standard idea of the instruction of the people. His theory sank in oblivion in the middle of the 19th century. I thought it necessary to revive it in the 1980’s in order to put a new kind of mess in the debate about Education and its political stakes. But what use can be made, in the contemporary artistic debate, of a man whose artistic universe could be epitomized by names such as Demosthenes, Racine and Poussin?
On second thoughts, I thought that the very distance, the lack of any obvious relationship between Jacotot’s theory and the issue of spectatorship to-day could be a chance. It could provide the opportunity of taking a radical distance from the theoretical and political presuppositions which still shore up, even in postmodern disguise , most of the debate on theatre , performance and spectatorship . I got the impression that it was possible to make sense of the relationship , on condition that we try to piece together the network of presuppositions that put the issue of spectatorship at a strategic cross point in the discussion of the relationship between art and politics and draw the global pattern of rationality on the background of which we have been addressing for a long time the political issues of theatre and spectacle . I am using here those terms in a very general sense , including dance , performance and all the kinds of spectacle performed by acting bodies in front of a collective audience.
The numerous debates and polemics that had called the theatre into question all along our history can be traced back to a very simple contradiction. Let us call it the paradox of the spectator, a paradox which may prove more crucial than the well-known paradox of the actor. This paradox can be summed up in very simple terms. There is no theatre without spectators ( were it only a single and hidden one , as in Diderot’s fictional representation of Le Fils naturel) . But spectatorship is a bad thing . Being a spectator means looking at a spectacle. And looking is a bad thing , for two reasons . Firstly looking is put as the opposite of knowing. It means being in front of an appearance without knowing the conditions of production of that appearance or the reality which is behind it. Secondly, looking is put as the opposite of acting. He or she who looks at the spectacle remains motionless on his or her seat, without any power of intervention. Being a spectator means being passive. The spectator is separated from the capacity of knowing in the same way as he is separated from the possibility of acting.
From that diagnosis it is possible to draw two opposing conclusions. The first one is that theatre in general is a bad thing, that is the stage of illusion and passivity which has to be dismissed in favour of what it forbids : knowledge and action : the action of knowing and the action led by knowledge . This conclusion has been drawn long ago by Plato: the theatre is the place where ignorant people are invited to see suffering people. What takes place on the stage is a pathos, the manifestation of a disease, the disease of desire and pain, which is nothing but the self-division of the subject caused by the lack of knowledge. The “action “of theatre is nothing but the transmission of that disease through another disease, the disease of the empirical vision which looks at shadows. Theatre is the transmission of the ignorance which makes people ill through the medium of ignorance which is optical illusion. Therefore a good community is a community which does not allow the mediation of the theatre, a community whose collective virtues are directly incorporated in the living attitudes of his participants.
This seems to be the more logical conclusion of the problem. We know however that it is not the conclusion that was most often drawn. The most usual conclusion runs as follows: theatre involves spectatorship and spectatorship is a bad thing. Therefore we need a new theatre, a theatre without spectatorship . We need a theatre where the optical relation- implied in the word theatron - is subjected to another relation , implied in the word drama . Drama means action. The theatre is a place where an action is actually performed by living bodies in front of living bodies. The latter may have resigned their power. But this power is resumed in the performance of the former, in the intelligence that builds it , in the energy that it conveys . The true sense of the theatre must be predicated on that acting power. Theatre has to be brought back to its true essence which is the contrary of what is usually known as theatre. What has to be pursued is a theatre without spectators, a theatre where spectators will no longer be spectators, where they will learn things instead of being captured by images and become active participants in a collective performance instead of being passive viewers .
This turn has been understood in two ways which are antagonistic in their principle though they have often been mixed in theatrical performance and in its legitimization . On the one hand, the spectator must be released from the passivity of the viewer, who is fascinated by the appearance standing in front of him, and identifies with the characters on the stage . He must be proposed the spectacle of something strange, unusual, which stands as an enigma and demands that he investigate the reason for that strangeness. He must be pressed to switch from the status of the passive viewer to the status of the scientist who observes phenomena and looks for their cause. On the other hand the spectator has to leave the status of a mere observer who remains still and untouched in front of a distant spectacle. He must be dragged away from his delusive mastery, drawn into the magic power of theatrical action where he will exchange the privilege of the rational viewer for the possession of its true vital energies.
We acknowledge those two paradigmatic attitudes epitomized by Brecht’s epic theatre and Artaud’s theatre of cruelty. On the one hand, the spectator has to become more distant , on the other hand he has to loose any distance. On the one hand he has to change his look for a better look, on the other hand he has to leave the very position of the viewer. The project of reforming the theatre ceaselessly wavered between these two poles of distant inquiry and vital embodiment. This means that the presuppositions which underpin the search for a new theatre are the same which underpinned the dismissal of theatre. The reformers of the theatre in fact resumed the terms of Plato’s polemics. They only rearranged them by borrowing from the platonician dispositif another idea of the theatre. Plato opposed to the poetic and democratic community of the theatre a “true” community : a choreographic community where nobody remains a motionless spectator, where everybody is moving according to the communitarian rhythm which is determined by the mathematical proportion.
The reformers of the theatre restaged the platonic opposition between choreia and theatre as an opposition between the true living essence of the theatre and the simulacrum of the “spectacle”. The theatre then became the place where passive spectatorship had to be turned into its contrary: the living body of a community enacting its own principle. In the text introducing the topic of our academy we can read that “ theatre remains the only place of direct confrontation of the audience with itself as a collective”. We can give to the sentence a restrictive meaning that would merely contrast the collective audience of the theatre with the individual visitors of an exhibition or the sheer collection of individuals looking at a movie. But obviously the sentence means much more. It means that “theatre” remains the name for an idea of the community as a living body. It conveys an idea of the community as self-presence opposed to the distance of the representation.
Since German romanticism, the concept of theatre has been associated with that idea of the living community. Theatre appeared as a form of the aesthetic constitution – meaning the sensory constitution - of the community: the community as a way of occupying time and space, as a set of living gestures and attitudes which stands before any kind of political form and institution : community as a performing body instead of an apparatus of forms and rules . In that way theatre was associated with the romantic idea of the aesthetic revolution: the idea of a revolution which would not only change laws and institutions but transform the sensory forms of human experience . The reform of theatre thus meant the restoration of its authenticity as an assembly or a ceremony of the community. Theatre is an assembly where the people become aware of their situation and discuss their own interests, Brecht will say after Piscator . Theatre is the ceremony where the community is given the possession of its own energies, Artaud will state. If theatre is put as an equivalent of the true community, the living body of the community opposed to the illusion of the mimesis , it comes as no surprise that the attempt at restoring Theatre in its true essence take place on the very background of the critique of the spectacle .
What is the essence of the spectacle in Guy Debord’s theory? It is externality. The spectacle is the reign of vision. Vision means externality. Now externality means the dispossession of one’s own being. “The more man contemplates, the less he is”, Debord says. This may sound anti-platonician. Obviously the main source for the critique of the spectacle is Feuerbach’s critique of religion . It is what sustains that critique, namely the romantic idea of truth as unseparateness . But that idea itself still keeps in line with the platonician disparagement of the mimetic image . The contemplation that Debord denounces is the theatrical or mimetic contemplation, the contemplation of the suffering which is provoked by division. “Separation is the alpha and the omega of the theatre”. What man contemplates in this scheme is the activity that has been stolen to him, it is his own essence, torn away from him , turned foreign to him, hostile to him, making for a collective world whose reality is nothing but man’s own dispossession.
In such a way there is no contradiction between the search for a theatre achieving its own essence and the critique of the spectacle. The “good” theatre is posited as a theatre that uses its separate reality in order to suppress it, to turn the theatrical form into a form of life of the community. The paradox of the spectator is part of this intellectual dispositif which keeps in line, even in the name of the theatre , with the platonician dismissal of the theatre . This dispositif still sets to work some ground ideas which have to be brought back into question. More precisely what has to be questioned is the very footing on which those ideas are based . It is a whole set of relations , resting on some key equivalences and some key oppositions : equivalence of theatre and community , of seeing and passivity, of externality and separation , mediation and simulacrum; oppositions between collective and individual, image and living reality, activity and passivity, self-possession and alienation.
This set of equivalences and oppositions makes for a rather tricky dramaturgy of guilt and redemption . Theatre is charged with making spectators passive while its very essence is supposed to consist in the self-activity of the community . As a consequence it sets itself the task of reversing its effect and compensating for its own guilt by giving back to the spectators their self-consciousness or self-activity. The theatrical stage and the theatrical performance thus become the vanishing mediation between the evil of the spectacle and the virtue of the true theatre . They propose to the collective audience performances intended to teach the spectators how they can stop to be spectators and become performers of a collective activity . Either, according to the Brechtian paradigm, the theatrical mediation makes them aware of the social situation on which it rests itself and prompts them to act in consequence. Or, according to the Artaudian scheme it makes them leave the position of spectators : instead of being in front of a spectacle, they are surrounded by the performance , dragged into the circle of the action which gives them back their collective energy. In both cases the theatre is a self-suppressing mediation.
This is the point where the descriptions and propositions of intellectual emancipation can get into the picture and help us reframe it. Obviously this idea of a self-suppressing mediation is well-known to us. It is exactly the process which is supposed to take place in the pedagogical relation. In the pedagogical process the role of the schoolmaster is posited as the act of suppressing the distance between his knowledge and the ignorance of the ignorant. His lessons and exercises are aimed at continuously reducing the gap between knowledge and ignorance. Unfortunately, in order to reduce the gap, he has to reinstate it ceaselessly. In order to replace ignorance by the adequate knowledge, he must always run one step ahead of the ignorant who looses his ignorance. The reason for this is simple: in the pedagogical scheme, the ignorant is not only the one who does not know what he does not know. He is the one who ignores that he does not know what he does not know and ignores how to know it. The master is not only he who exactly knows what remains unknown to the ignorant. He also knows how to make it knowable, at what time and what place, according to what protocol .On the one hand, pedagogy is set up as a process of objective transmission: one part of knowledge after another part : a word after another word , a rule or a theorem after another . This part of knowledge is supposed to be exactly conveyed from the master’s mind or the page of the book into the mind of the pupil. But this equal transmission is predicated on a relation of inequality . The master alone knows the right way, time and place for that “equal” transmission, because he knows something that the ignorant will never know, short of becoming a master himself , something which is more important that the knowledge conveyed. He knows the exact distance between ignorance and knowledge. That pedagogical distance between a determined ignorance and a determined knowledge is in fact a metaphor . It is the metaphor of a radical break between the way of the ignorant and the way of the master, the metaphor of a radical break between two intelligences.
The master cannot ignore than the so-called “ignorant” who is in front of him knows in fact a lot of things, that he has learnt on its own , by looking and listening around him , by figuring out the meaning of what he has seen and heard , repeating what he has heard and known by chance, comparing what he discovers with what he already knew and so on . He cannot ignore that the ignorant has made by this way the apprenticeship which is the condition of any other : the apprenticeship of his mother tongue. But for him this is only the knowledge of the ignorant : the knowledge of the little child who sees and hears at random, compares and guesses by chance and repeats by routine , without understanding the reason for the effects that he observes and reproduces. The role of the master is to break with that process of groping by hit-and-miss . It is to teach the pupil the knowledge of the knowledgeable, in its own way: the way of the progressive method which dismisses all groping and all chance, by explaining items in order , from the simplest to the most complex, according to what the pupil is able of understanding , with respect to its age or its social background and social destination.
The first knowledge that the master owns is the “knowledge of ignorance”. It is the presupposition of a radical break between two forms of intelligence. This is also the first knowledge that he transmits to the student: the knowledge that he has to be explained to in order to understand, the knowledge that he cannot understand on his own. It is the knowledge of his incapacity. In that way, progressive instruction is the endless verification of its starting point: inequality. That endless verification of inequality is what Jacotot calls the process of stultification. The opposite of stultification is emancipation. Emancipation is the process of verification of the equality of intelligence. The equality of intelligence is not the equality of all manifestations of intelligence . It is the equality of intelligence in all its manifestations. It means that there is no gap between two forms of intelligence. The human animal learns everything as he has learnt his mother tongue , as he has learnt to venture through the forest of things and signs which surrounds him in order to take his place among his fellow humans : by observing , comparing one thing with another thing, one sign with one fact , one sign with another sign, and repeating the experiences he has first made by chance . If the “ignorant” who does not know how to read , knows only one thing by heart, be it a simple prayer, he can compare this knowledge with something that he still ignores : the words of the same prayer written on a paper. He can learn, sign after sign, the resemblance of what he ignores with what he knows. He can do it if , at each step, he observes what is in front of him, tells what he has seen and verifies what he has told. From this ignorant up to the scientist which builds hypotheses, it is always the same intelligence which is at work: an intelligence which makes figures and comparisons in order to communicate its intellectual adventures and to understand what another intelligence tries to communicate to it in turn.
This poetic work of translation is the first condition of any apprenticeship. Intellectual emancipation , as Jacotot conceived of it, means the awareness and the enactment of that equal power of translation and counter-translation. Emancipation entails an idea of distance opposed to the stultifying one . Speaking animals are distant animals who try to communicate through the forest of signs .It is that other sense of distance that the “ignorant master” – the master who ignores inequality- is teaching. Distance is not an evil that should be abolished. It is the normal condition of any communication. It is not a gap which calls for an expert in the art of suppressing it. The distance that the “ ignorant” has to cover is not the gap between his ignorance and the knowledge of the master . It is the way between what he already knows and what he still does not know but can learn by the same process. To help him to cover it, the “ignorant master” needs not be ignorant. He only has to dissociate his knowledge from his mastery. He does not teach his knowledge to the students. He commands them to venture forth in the forest, to tell what they see, what they think of what they have seen, to check it and so on. What he ignores is the gap between two intelligences. It is the linkage between the knowledge of the knowledgeable and the ignorance of the ignorant. Any distance is a casual one . Each intellectual act weaves a casual thread between an ignorance and a knowledge .No kind of social hierarchy can be predicated on that sense of distance.
What is the relevance of this story with respect to the question of the spectator? We are no more in the times when the dramaturges wanted to explain to their audience the truth about social relations and the good way to do away with domination. But it is not enough to loose his own illusions . On the contrary it often happens that the loss of their illusions lead the dramaturges or the performers to increase the pressure on the spectator: maybe he will know what has to be done, if the performance changes him , if it sets him apart from his passive attitude and makes him an active participant in the common world. This is the first point that the reformers of the theatre share with the stultifying pedagogues : the idea of the gap between two positions. Even when the dramaturge or the performer does not know what he wants the spectator to do, he knows at least that he has to do something: switching from passivity to activity.
But why not turn things around? Why not think, in this case too, that it is precisely the attempt at suppressing the distance which constitutes the distance itself ? Why identify the fact of being seated motionless with inactivity, if not by the presupposition of a radical gap between activity and inactivity? Why identify “looking” with “passivity” if not by the presupposition that looking means looking at the image or the appearance , that it means being separated from the reality which always is behind the image? Why identify hearing with being passive, if not by the presupposition that acting is the opposite of speaking , etc, etc.? All those oppositions – looking/knowing, looking/acting, appearance/reality , activity/passivity are much more than logical oppositions. They are what I can call a partition of the sensible, a distribution of the places and of the capacities or the incapacities attached to those places. Put in other terms, they are allegories of inequality. This is why you can change the values given to each position without changing the meaning of the oppositions themselves. For instance, you can exchange the positions of the superior and the inferior. The spectator is usually disparaged because he does nothing , while the performers on the stage – or the workers outside – do something with their body. But it is easy to turn matters around by stating that they who act, they who work with their body are obviously inferior to those who are able to look: those who can contemplate ideas, foresee the future or take a global view of our world . The positions can be switched but the structure remains the same. What counts in fact is only the statement of the opposition between two categories : there is one population that cannot do what the other population does. There is capacity on one side and incapacity on the other.
Emancipation starts from the opposite principle, the principle of equality. It begins when we dismiss the opposition between looking and acting and understand that the distribution of the visible itself is part of the configuration of domination and subjection. It starts when we realize that looking also is an action which confirms or modifies that distribution , and that “interpreting the world” is already a means of transforming it, of reconfiguring it . The spectator is active, as the student or the scientist : he observes, he selects , compares, interprets. He ties up what he observes with many other things that he has observed on other stages , in other kind of spaces .He makes his poem with the poem that is performed in front of him . She participates in the performance if she is able to tell her own story about the story which is in front of her. This also means if she is able to undo the performance , for instance to deny the corporeal energy that it is supposed to convey here in the present and transform it into a mere image , if she can link it with something that she has read in a book or dreamt about a story , that she has lived or fancied. They are distant viewers and interpreters of what is performed in front of them. They pay attention to the performance to the extent that they are distant.
This is the second key point: the spectators see, feel and understand something to the extent that they make their poem as the poet has done, as the actors, dancers or performers have done. The dramaturge would like them to see this thing, feel that feeling, understand this lesson of what they see, and get into that action in consequence of what they have seen, felt and understood. He sets in the same presupposition as the stultifying master: the presupposition of an equal, undistorted transmission. The master presupposes that what the student learns is the same thing as what he teaches to him. It is what is involved in the idea of transmission: there is something - a knowledge, a capacity, an energy – which is on one side, in one mind or one body- and that must be transferred onto the other side, into the other’s mind or body. The presupposition is that the process of learning is not only the effect of its cause –teaching - but that it is the transmission of the cause : what the student learns is the knowledge of the master. That identity of the cause and the effect is the principle of stultification . On the contrary ,the principle of emancipation is the dissociation of the cause and the effect. The paradox of the ignorant master lies there. The student of the ignorant master learns what his master does not know, since his master commands it to look for and to tell everything that he finds out on the way and verifies that he is actually looking for it. The student learns something as an effect of his master’s mastery . But he does not learn his master’s knowledge.
The dramaturge or the performer does not want to “teach” something, indeed. There is some distrust today regarding the idea of using the stage as a way of teaching . They only want to bring about a form of awareness or a force of feeling or action. But they still make the supposition that what will be felt or understood will be what they have put in their own dramaturgy or performance. They presuppose the equality – meaning the homogeneity - of the cause and the effect. As we know, this equality rests on an inequality. It rests on the presupposition that there is a good knowledge and good practice of the “distance” and of the means of suppressing it. Now the distance takes on two forms. There is the distance between the performers and the spectators. But there is also the distance inherent in the performance itself, as it stands as a “spectacle” between the idea of the artist and the feeling and interpretation of the spectator. This spectacle is a third thing , to which both parts can refer but which prevents any kind of “equal” or “undistorted” transmission. It is a mediation between them. That mediation of a third term is crucial in the process of intellectual emancipation. To prevent stultification there must be something between the master and the student. The same thing which links them must separate them. Jacotot posited the book as that in-between thing. The book is that material thing, foreign to both the master and the student, where they can verify what the student has seen, what he has told about it, what he thinks of what he has told.
This means that the paradigm of intellectual emancipation is clearly opposed to another idea of emancipation on which the reform of theatre has often been predicated : the idea of emancipation as the re-appropriation of a self which had been lost in a process of separation. The debordian critique of the spectacle still rests on the feuerbachian thinking of representation as an alienation of the self : the human being puts its human essence out of him by framing a celestial world to which the real human world is submitted . In the same way the essence of human activity is distanced, alienated from men in the exteriority of the spectacle. The mediation of the “third term” thus appears as the instance of separation, dispossession and treachery. An idea of the theatre predicated on that idea of the spectacle conceives the externality of the stage as a kind of transitory state which has to be superseded . The suppression of that exteriority thus becomes the telos of the performance . That program demands that the spectators be on the stage and the performers in the auditorium. It demands that the very difference between the two spaces be abolished, that the performance take place anywhere else than in a theatre . For sure many improvements of the theatrical performance resulted from that breaking of the traditional distribution of the places. But the “redistribution” of the places is one thing, the demand that the theatre achieve, as its essence, the gathering of an unseparate community, is another thing . The first one means the invention of new forms of intellectual adventure, the second means a new form of platonic assignment of the bodies to their good place, their “communal” place.
This presupposition against mediation is connected with a third one: the presupposition that the essence of the theatre is the essence of the community. The spectator is supposed to be redeemed when he is no more an individual , when he is restored to the status of a member of a community, when he is carried in the flood of the collective energy or led to the position of the citizen who acts as a member of the collective . The less the dramaturge knows what the spectators must do as a collective, the more he knows that they must become a collective, turn their addition into the community that they virtually are. It is high time, I think, to bring back into question the idea of the theatre as a specifically communitarian place. It is supposed to be such a place because , on the stage, real living bodies give the performance for people who are physically present together in the same place. In that way it is supposed to provide some unique sense of community, radically different from the situation of the individuals watching on the TV or the spectators of a movie who are in front of mere projected images. Strange as it may seem, the generalization of the use of the images and of all kinds of media in theatrical performances didn’t change the presupposition. Images may take the place of living bodies. But, as long as the spectators are gathered here, the living and communitarian essence of the theatre appears to be saved so that it seems possible to escape the question: what does specifically happen between the spectators of a theatre which would not happen elsewhere? Is there something more interactive, more common to them than to the individuals who look at the same time the same show on their TV?
I think that this “something” is just the presupposition that the theatre is communitarian by itself . That presupposition of what “theatre” means always runs ahead of the performance and predates its actual effects. But in a theatre, or in front of a performance, just as in a museum, a school or a street, there are only individuals, weaving their own way in the forest of words, acts and things that stand in front of them or around them. The collective power which is common to the spectators is not the status of members of a collective body. Nor is it a peculiar kind of interactivity. It is the power of translating in their own way what they are looking at. It is the power to connect it with the intellectual adventure which makes any of them similar to any other in so far as his or her way does not look like any other. The common power is the power of the equality of intelligence. This power binds individuals together to the very extent that it keeps them apart from each over, able to weave with the same power their own way. What has to be put to test by our performances – whether it be teaching or performing, speaking , writing, doing art , etc, is not the capacity of aggregation of a collective . It is the capacity of the anonyms, the capacity which makes anybody equal to everybody. This capacity works through unpredictable and irreducible distances. It works through an unpredictable and irreducible play of associations and dissociations.
Associating and dissociating instead of being the privileged medium which conveys the knowledge or the energy that makes people active: this could be the principle of an “emancipation of the spectator” which means the emancipation of any of us as a spectator. Spectatorship is not the passivity has to be turned into activity. It is our normal situation. We learn and teach, we act and know as spectators who link what they see with what they have seen and told, done and dreamt. There is no privileged medium as there is no privileged starting point. There are everywhere starting points and knot points from which we learn something new, if we dismiss firstly the presupposition of the distance, secondly the distribution of the roles, thirdly the borders between the territories. We have not to turn spectators into actors. We have to acknowledge that any spectator already is an actor of his own story and that the actor also is the spectator of the same kind of story. We have not to turn the ignorant into learned persons, or, according to a mere scheme of overturn, make the student or the ignorant the master of his masters.
Let me make a little detour through my own political and academic experience. I belong to a generation which was poised between two competing statements: according to the first , those who had the intelligence of the social system had to teach it to those who suffered from it and would act in order to overthrow that system ; according to the second , the supposed learned persons in fact were ignorant : as they knew nothing of what exploitation and rebellion were , they had to become the students of the so-called ignorant workers. Therefore I tried to re-elaborate Marxist theory in order to give its theoretical weapons to a new revolutionary movement , then to learn from those who worked in the fabrics what exploitation and rebellion meant. For me, as for many other people in my generation , none of those attempts proved really successful . That’s why I decided to look in the history of the worker’s movement for the reason of all the mismatches between the workers and the intellectuals who had come and visited them , in order either to instruct them or to be instructed by them . I was lucky enough to find out that it was not a matter of relationship between knowledge and ignorance, no more than between knowing and acting or individuality and community. One day in May, during the 70’s, as I was looking at a worker’s letters from the 1830’s in order to find what the condition and the consciousness of workers was at the time , I found out something quite different : the adventures of two visitors ,on another day in another time of May, one hundred and forty years before . One of the two correspondents had just been introduced into the utopian community of the saint-simonians and he told his friend the schedule of his days in utopia: works, exercises, games, choirs and stories . His friend in turn told him the story of a country party that he had just done with two other workers in order to enjoy his last Sunday leisure . But it was not the usual Sunday leisure of the worker restoring his physical and mental forces for the following week of work. It was in fact a breakthrough into another kind leisure: the leisure of the aesthetes who enjoy the forms , lights and shades of Nature , of the philosophers who spend their time exchanging metaphysical hypotheses in a country inn and of the apostles who set out to communicate their faith to the chance companions they meet in any inn.
Those workers who should have provided me information about the conditions of labour and the forms of class-consciousness in the 1830’s provided in fact something quite different: a sense of likeness or equality : they too were spectators and visitors amidst their own class . Their activity as propagandists could not be torn apart from their “passivity” as mere strollers and contemplators. The chronic of their leisure meant a reframing of the very relationship between doing, seeing and saying . As they became “spectators” , they overthrew the distribution of the sensible which had it that those who work have no time left to stroll and look at random , that the members of a collective body have no time to be “individuals” . This is what emancipation means: the blurring of the opposition between they who look and they who act, they who are individuals and they who are members of a collective body. What those “days” brought them was not the knowledge and energy for a future action. It was the reconfiguration hic et nunc of the distribution of Time and Space . Workers’ emancipation was not about acquiring the knowledge of their condition . It was about configuring a time and a space that invalidated the old distribution of the sensible, dooming the workers to do nothing of their night but restoring their forces to work the next day .
Understanding the sense of that break in the heart of Time also meant setting to work another kind of knowledge, predicated not on the presupposition of the gap but on the presupposition of likeness. They too were intellectuals, as anybody is. They were visitors and spectators, just as the researcher who, one hundred and forty years after was reading their letters in a library, just as the visitors in Marxist theory or at the gates of the fabrics. There was no gap to bridge between intellectuals and workers, actors and spectators , no gap between two populations, two situations or two ages. On the contrary, there was a likeness that had to be acknowledged and put at play in the very production of knowledge. Putting it at play meant two things. Firstly, it meant refusing the borders between the disciplines. Telling the (hi)story of those days and those nights forced me to blur the boundary between the field of “empirical” history and the field of “pure” Philosophy. The story that those workers told was about Time, about the loss and reappropriation of Time . In order to show what it meant, I had to put it in direct relation with the theoretical discourse of the philosopher , namely Plato, who had told , very long ago , in his Republic , the same story by explaining that in a well-ordered community everybody had to do only one thing , his own business, and that workers anyway had no time to stand in another place that their workplace and do anything but the job fitting the (in)capacity that Nature had given them. Philosophy then could no more appear as the sphere of pure thought separated from the sphere of empirical facts. Nor was it the theoretical interpretation of those facts. There were neither facts nor interpretations. There were two ways of telling stories.
Blurring the border between academic disciplines also meant blurring the hierarchy between the levels of discourse, between the narration of a story and the philosophical or scientific explanation of the reason of the story or the truth lying behind or beneath the story. There was no metadiscourse telling the truth about a lower level of discourse. What had to be done was a work of translation, showing how empirical stories and philosophical discourses translate each other. Producing a new knowledge meant inventing the idiomatic form that would make the translation possible. I had to use that idiom to tell my own intellectual adventure, at the risk that the idiom remain “unreadable”for all those who wanted to know the cause of the story, its true meaning or the lesson for action that could be drawn out of it . I had to produce a discourse that would be readable only for they who would make their own translation from the point of view of their own adventure.
That personal detour may lead us back to the core of our problem. Those issues of crossing the borders and blurring the distribution of the roles come up with the actuality of the theatre and the actuality of contemporary art, where all artistic competences step out of their own field and exchange their places and powers with all others. We have theatre plays without words and dance with words; installations and performances instead of “plastic” works ; videoprojections turned into cycles of frescoes; photographs turned into living pictures or history paintings; sculpture which becomes hypermediatic show, etc., etc. Now there are three ways of understanding and practising that confusion of the genres. There is the revival of the Gesamtkunstwerk which is supposed to be the apotheosis of art as a form of life but actually proves to be the apotheosis of some strong artistic egos or the apotheosis of a kind of hyperactivist consumerism, if not both at the same time. There is the idea of a “hybridisation” of the means of art , which would fit in with a new age of mass individualism viewed of as an age of relentless exchange between roles and identities, between reality and virtuality , life and mechanical prostheses, etc. In my view, this second interpretation ultimately leads to the same as the first one. It leads to another kind of hyperactivist consumerism, another kind of stultification , using the crossing of the borders or the confusion of the roles only as a means of increasing the power of the performance without questioning its grounds.
The third way – the good way in my view – does not aim for the amplification of the effect but for the transformation of the cause/effect scheme itself, the dismissal of the set of oppositions which grounds the process of stultification. It invalidates the opposition between activity and passivity as well as the scheme of “equal transmission” and the communitarian idea of the theatre that makes it in fact an allegory of inequality . The crossing of the borders and the confusion of the roles should not lead to some sort of “hypertheatre” turning spectatorship into activity by turning representation to presence. On the contrary, it should question the theatrical privilege of living presence and bring the stage back to a level of equality with the telling of a story or the writing and the reading of a book. It should be the institution of a new stage of equality, where the different kinds of performances would be translated into one another. In all those performances in fact , it is a matter of linking what one knows with what one does not know, of being at the same time performers who display their competences and visitors or spectators who are looking for what those competences may produce in a new context , among unknown people. Artists, just as researchers, build the stage where the manifestation and the effect of their competences become dubious as they frame the story of a new adventure in a new idiom. The effect of the idiom cannot be anticipated . It calls for spectators who are active as interpreters, who try to invent their own translation in order to appropriate the story for themselves and make their own story out of it. An emancipated community is in fact a community of storytellers and translators.
I am aware that all this may sound as : words, mere words. But I would not hear this as an insult . We have heard so many speakers passing off their words as more than words, as passwords enabling us to enter a new life . We have seen so many spectacles boasting on being no more spectacles but ceremonials of community. Even now, in spite of the so-called postmodern scepticism about changing life, we can see so many shows turned to religious mysteries that it might not seem outrageous to hear that words are only words . Breaking away with the phantasms of the Word made flesh and the spectator turned active , knowing that words are only words and spectacles only spectacles may help us better understand how words, stories and performances can help us change something in the world where we are living.
Jacques Rancière
Frankfurt , August 2004
Reliquia
Association and dissociation versus being the medium of an aggregation of a collective around its true knowledge or energy
(the link with the ignorance of the performer; cf my practice of the knowledge of the ignorant )la séance Gauny ; the voyage ;
(community against equality)
( the collective power in everybody )
The idea of the community of translators ; the role of translation ; the staging of non-theatrical texts ; the reintroduction of narration and text in choreography . the transformation of theatrical texts ; the suppression of the text; the mixing-up of living bodies and images, etc… ( different from the “communitarian idea” Putting together things which re not supposed to be put together)
The fetichism of action and the fetichism of knowledge . School and theatre.
Reliquia
( the pedagogical relation : the exercises of consciousness and energy ; the circle : the suppression of the relation that constitutes theatre or school; the institution that works on the presupposition of its self-suppression , which is the suppression of the distance ; the infinite exercise of reproducing the distance “by” suppressing it )
The place of the presupposition of “equality in transmission” ; the knot between equality and unequality.
Reforming the theatre on the background of the critique of the spectacle, this means using the mediation of theatrical representation in order to dismiss the theatre as a separate form, as an “artistic” form.[ According to Guy Debord “art is the common language of social inaction”. ]
true presence, true movement against the evil which is division, mediation, representation
( the actors as the relation of the audience to itself; the choir; the theatre as another assembly of the people)
the idea of the true community ; Brecht the popular meeting against social exploitation, Artaud the collective ritual against the disease of civilisation)
( the paradigm of incorporation ; cf Plato/Debord)
The presuppositions : presence of the community to itself (the unseparate body of the community)
Exteriority as simulacrum
Mediation as separation
Equal transmission ( whether it be good or wrong)
Position of mastery ( the master is the expert in terms of “equal transmission”)
We should never forget this first statement of the issue which still underpins in fact all the critiques of theatre and all the wills to change theatre. Theatre is the transmission of the disease of passivity through the disease of looking. It is easy to find this original pattern underpinning theories as different as Brecht’s epic theatre or Artaud’s “theatre de la cruauté” . What Brecht stigmatizes is the theatrical illusion which keeps the spectator in a state of hypnotism and passivity. And he calls for an active spectator, meaning a knowledgeable spectator who refuses identification takes distance from what he sees and asks why it is so . What Artaud disparages is a theatrical practice which leaves the spectator untouched, passive. And he calls for a spectator who becomes a participant in the magical or hypnotic process of identification. The solutions are opposing but they grapple differently with the same problem : turning the passive spectator- the spectator who only sees - in an active participant, in a persons who truly acts, whether this “true action’ is viewed of as a process of rational inquiry or magical possession . We should never forget the radical conclusion that it entails: there is no reform of the theatre, no good theatre. At first sight , we could be tented to say that the debate on the reform of theatre is endless and insoluble because it rests on a biased footing : it rests on a setting of the issue which has no other logical conclusion that the sheer dismissal of theatre.
That would be nevertheless too simple a conclusion. Arguably there is a paradox if you want to change theatre with theoretical tools targeting in fact its suppression. But what if precisely what is wanted from an art is that it suppresses itself as an art. Let us read Brecht : The theatre that he calls for is a theatre which shows the world in such a way as it appears possible to change it. Such a theatre, he says us, should not be still viewed as an “art” . Let us read Artaud
( the issue of teaching)
It means that the starting point is indifferent. It suffices to learn one thing and relate everything else to it.
The equality of intelligences does not mean (explain : emancipation? The continuity restored; the method of the riddle , the idea of translation , the importance of the book)

Wednesday, 12 September 2007

WHO IS THE SUBJECT OF THE RIGHTS OF MAN: by Jacques Ranciere

The following is from: http://www.16beavergroup.org/mtarchive/archives/001879.php


Interactivist Info Exchange

"Who Is the Subject of the Rights of Man?"
Jacques Rancière

[From the South Atlantic Quarterly 103.2/3 (2004) pp. 297-310.]
As we know, the question raised by my title took on a new cogency during the last ten years of the twentieth century. The Rights of Man or Human Rights had just been rejuvenated in the seventies and eighties by the dissident movements in the Soviet Union and Eastern Europe—a rejuvenation that was all the more significant as the "formalism" of those rights had been one of the first targets of the young Marx, so that the collapse of the Soviet Empire could appear as their revenge. After this collapse, they would appear as the charter of the irresistible movement leading to a peaceful posthistorical world where global democracy would match the global market of liberal economy.

As is well known, things did not exactly go that way. In the following years, the new landscape of humanity, freed from utopian totalitarianism, became the stage of new outbursts of ethnic conflicts and slaughters, religious fundamentalisms, or racial and xenophobic movements. The territory of "posthistorical" and peaceful humanity proved to be the territory of new figures of the Inhuman. And the Rights of Man turned out to be the rights of the rightless, of the populations hunted out of their homes and land and threatened [End Page 297] by ethnic slaughter. They appeared more and more as the rights of the victims, the rights of those who were unable to enact any rights or even any claim in their name, so that eventually their rights had to be upheld by others, at the cost of shattering the edifice of International Rights, in the name of a new right to "humanitarian interference"—which ultimately boiled down to the right to invasion.

A new suspicion thus arose: What lies behind this strange shift from Man to Humanity and from Humanity to the Humanitarian? The actual subject of these Rights of Man became Human Rights. Is there not a bias in the statement of such rights? It was obviously impossible to revive the Marxist critique. But another form of suspicion could be revived: the suspicion that the "man" of the Rights of Man was a mere abstraction because the only real rights were the rights of citizens, the rights attached to a national community as such.

That polemical statement had first been made by Edmund Burke against the French Revolution.1 And it had been revived in a significant way by Hannah Arendt. The Origins of Totalitarianism included a chapter devoted to the "Perplexities of the Rights of Man." In that chapter, Arendt equated the "abstractedness" of "Men's Rights" with the concrete situation of those populations of refugees that had flown all over Europe after the First World War. These populations have been deprived of their rights by the very fact that they were only "men," that they had no national community to ensure those rights. Arendt found there the "body" fitting the abstractedness of the rights and she stated the paradox as follows: the Rights of Man are the rights of those who are only human beings, who have no more property left than the property of being human. Put another way, they are the rights of those who have no rights, the mere derision of right.2

The equation itself was made possible by Arendt's view of the political sphere as a specific sphere, separated from the realm of necessity. Abstract life meant "deprived life." It meant "private life," a life entrapped in its "idiocy," as opposed to the life of public action, speech, and appearance. This critique of "abstract" rights actually was a critique of democracy. It rested on the assumption that modern democracy had been wasted from the very beginning by the "pity" of the revolutionaries for the poor people, by the confusion of two freedoms: political freedom, opposed to domination, and social freedom, opposed to necessity. In her view, the Rights of Man were not an ideal fantasy of revolutionary dreamers, as Burke had put it. They were the paradoxical rights of the private, poor, unpoliticized individual. [End Page 298]

This analysis, articulated more than fifty years ago, seems tailor-made, fifty years later, to fit the new "perplexities" of the Rights of Man on the "humanitarian" stage. Now we must pay close attention to what allows it to fit. It is the conceptualization by Hannah Arendt of a certain state of exception. In a striking passage from the chapter on the perplexities of the Rights of Man, she writes the following about the rightless: "Their plight is not that they are not equal before the law, but that no law exists for them; not that they are oppressed, but that nobody wants to oppress them."3

There is something extraordinary in the statement "nobody wants to oppress them" and in its plainly contemptuous tone. It is as if these people were guilty of not even being able to be oppressed, not even worthy of being oppressed. I think that we must be aware of what is at stake in this statement of a situation and status that would be "beyond oppression," beyond any account in terms of conflict and repression, or law and violence. As a matter of fact, there were people who wanted to oppress them and laws to do this. The conceptualization of a "state beyond oppression" is much more a consequence of Arendt's rigid opposition between the realm of the political and the realm of private life—what she calls in the same chapter "the dark background of mere givenness."4 It is in keeping with her archipolitical position. But paradoxically this position did provide a frame of description and a line of argumentation that later would prove quite effective for depoliticizing matters of power and repression and setting them in a sphere of exceptionality that is no longer political, in an anthropological sphere of sacrality situated beyond the reach of political dissensus.

This overturning of an archipolitical statement into a depoliticizing approach is, in my view, one of the most significant features of thought that was brought to the fore in the contemporary discussion about the Rights of Man, the Inhuman, and the crimes against humanity. The overturn is most clearly illustrated by Giorgio Agamben's theorization of biopolitics, notably in Homo Sacer.5 Agamben transforms Arendt's equation—or paradox—through a series of substitutions that equate it, first, with Foucault's theory of biopower, and, second, with Carl Schmitt's theory of the state of exception.

In a first step, his argument relies on the Arendtian opposition of two lives, an opposition predicated on the distinction between two Greek words: zoe, which means "bare physiological life," and bios, which means "form of life," and notably the bios politikos: "the life of great actions and noble words." In her view, the Rights of Man and modern democracy rested on [End Page 299] the confusion of those two lifes—which ultimately meant the reduction of bios to sheer zoe. Agamben equated her critique with Foucault's polemics on "sexual liberation." In The Will to Know and Society Must Be Defended, Foucault argues that the so-called sexual liberation and free speech about sex are in fact effects of a power machine that urges people to speak about sex. They are effects of a new form of power that is no longer the old sovereign power of Life and Death over the subjects, but a positive power of control over biological life. According to Foucault, even ethnic cleansing and the Holocaust are part of a "positive" biopolitical program more than revivals of the sovereign right to kill.6

Through the biopolitical conceptualization, what, in Arendt, was the flaw of modern democracy becomes in Agamben the positivity of a form of power. It becomes the complicity of democracy, viewed as the mass-individualistic concern with individual life, with technologies of power holding sway over biological life as such.

From this point on, Agamben takes things a step further. While Foucault opposed modern biopower to old sovereignty, Agamben matches them by equating Foucault's "control over life" with Carl Schmitt's state of exception.7 Schmitt had posited the state of exception as the principle of political authority. The sovereign power is the power that decides on the state of exception in which normal legality is suspended. This ultimately means that law hinges on a power of decision that is itself out of law. Agamben identifies the state of exception with the power of decision over life. What is correlated with the exceptionality of sovereign power is the exception of life. It is life as bare or naked life, which, according to Agamben, means life captured in a zone of indiscernibility, of indistinction between zoe and bios, between natural and human life.

In such a way, there is no more opposition between sovereign power and biopower. Sovereign power is the same as biopower. Nor is there any opposition between absolute state power and the Rights of Man. The Rights of Man make natural life appear as the source and the bearer of rights. They make birth appear as the principle of sovereignty. The equation would still have been hidden at that time by the identification of birth—or nativity—with nationality, that is, with the figure of the citizen. The flow of refugees in the twentieth century would have split up that identity and made the nakedness of bare life, stripped of the veil of nationality, appear as the secret of the Rights of Man. The programs of ethnic cleansing and extermination would then appear as a radical attempt to draw the full consequences of [End Page 300]this splitting. This means that the secret of democracy—the secret of modern power—can now show up at the foreground. Now state power has concretely to do with bare life. Bare life is no longer the life of the subject that it would repress. Nor is it the life of the enemy that it would have to kill. It is, Agamben says, a "sacred" life—a life taken within a state of exception, a life "beyond oppression."8 It is a life between life and death that can be identified with the life of the condemned man or the life of a person in a state of coma.

In his analysis of the Holocaust, Agamben emphasizes the continuity between two things: scientific experimentation on life "unworthy to being lived," that is, on abnormal, mentally handicapped, or condemned persons, and the planned extermination of the Jews, posited as a population experimentally reduced to the condition of bare life.9 Therefore the Nazi laws suspending the constitutional articles guaranteeing freedom of association and expression can be thought as the plain manifestation of the state of exception, which is the hidden secret of modern power. Correspondingly, the Holocaust appears as the hidden truth of the Rights of Man—that is, the status of bare, undifferentiated life, which is the correlate of biopower. The camp can be put as the "nomos" of modernity and subsume under one and the same notion the camps of refugees, the zones where illegal migrants are parked by national authorities, or the Nazi death camps.

In such a way, the correlation of sovereign power and bare life takes place where political conflicts can be located. The camp is the space of the "absolute impossibility of deciding between fact and law, rule and application, exception and rule."10 In this space, the executioner and the victim, the German body and the Jewish body, appear as two parts of the same "biopolitical" body. Any kind of claim to rights or any struggle enacting rights is thus trapped from the very outset in the mere polarity of bare life and state of exception. That polarity appears as a sort of ontological destiny: each of us would be in the situation of the refugee in a camp. Any difference grows faint between democracy and totalitarianism and any political practice proves to be already ensnared in the biopolitical trap.

Agamben's view of the camp as the "nomos of modernity" may seem very far from Arendt's view of political action. Nevertheless, I would assume that the radical suspension of politics in the exception of bare life is the ultimate consequence of Arendt's archipolitical position, of her attempt to preserve the political from the contamination of private, social, apolitical life. This attempt depopulates the political stage by sweeping aside its always-ambiguous [End Page 301]actors. As a result, the political exception is ultimately incorporated in state power, standing in front of bare life—an opposition that the next step forward turns into a complementarity. The will to preserve the realm of pure politics ultimately makes it vanish in the sheer relation of state power and individual life. Politics thus is equated with power, a power that is increasingly taken as an overwhelming historico-ontological destiny from which only a God is likely to save us.

If we want to get out of this ontological trap, we have to reset the question of the Rights of Man—more precisely, the question of their subject—which is the subject of politics as well. This means setting the question of what politics is on a different footing. In order to do this, let us have a closer look at the Arendtian argument about the Rights of Man and of the Citizen, an argument that Agamben basically endorses. She makes them a quandary, which can be put as follows: either the rights of the citizen are the rights of man—but the rights of man are the rights of the unpoliticized person; they are the rights of those who have no rights, which amounts to nothing—or the rights of man are the rights of the citizen, the rights attached to the fact of being a citizen of such or such constitutional state. This means that they are the rights of those who have rights, which amounts to a tautology.11

Either the rights of those who have no rights or the rights of those who have rights. Either a void or a tautology, and, in both cases, a deceptive trick, such is the lock that she builds. It works out only at the cost of sweeping aside the third assumption that would escape the quandary. There is indeed a third assumption, which I would put as follows: the Rights of Man are the rights of those who have not the rights that they have and have the rights that they have not.

Let us to try to make sense of the sentence—or develop the equation. It is clear that the equation cannot be resolved by the identification of a single x. The Rights of Man are not the rights of a single subject that would be at once the source and the bearer of the rights and would only use the rights that she or he possesses. If this was the case, indeed, it would be easy to prove, as Arendt does, that such a subject does not exist. But the relation of the subject to his or her rights is a little more complicated and entangled. It is enacted through a double negation. The subject of rights is the subject, or more accurately the process of subjectivization, that bridges the interval between two forms of the existence of those rights.

Two forms of existence. First, they are written rights. They are inscriptions of the community as free and equal. As such, they are not only the [End Page 302]predicates of a nonexisting being. Even though actual situations of rightlessness may give them the lie, they are not only an abstract ideal, situated far from the givens of the situation. They are also part of the configuration of the given. What is given is not only a situation of inequality. It is also an inscription, a form of visibility of equality.

Second, the Rights of Man are the rights of those who make something of that inscription, who decide not only to "use" their rights but also to build such and such a case for the verification of the power of the inscription. It is not only a matter of checking whether the reality confirms or denies the rights. The point is about what confirmation or denial means. Man and citizen do not designate collections of individuals. Man and citizen are political subjects. Political subjects are not definite collectivities. They are surplus names, names that set out a question or a dispute (litige) about who is included in their count. Correspondingly, freedom and equality are not predicates belonging to definite subjects. Political predicates are open predicates: they open up a dispute about what they exactly entail and whom they concern in which cases.

The Declaration of Rights states that all men are born free and equal. Now the question arises: What is the sphere of implementation of these predicates? If you answer, as Arendt does, that it is the sphere of citizenship, the sphere of political life, separated from the sphere of private life, you sort out the problem in advance. The point is, precisely, where do you draw the line separating one life from the other? Politics is about that border. It is the activity that brings it back into question. This point was clearly made during the French Revolution by a revolutionary woman, Olympe de Gouges, in her famous statement that if women are entitled to go to the scaffold, they are entitled to go to the assembly.

The point was precisely that equal-born women were not equal citizens. They could neither vote nor be elected. The reason for the prescription was, as usual, that they could not fit the purity of political life. They allegedly belonged to private, domestic life. And the common good of the community had to be kept apart from the activities, feelings, and interests of private life. Olympe de Gouge's argumentation precisely showed that the border separating bare life and political life could not be so clearly drawn. There was at least one point where "bare life" proved to be "political": there were women sentenced to death, as enemies of the revolution. If they could lose their "bare life" out of a public judgment based on political reasons, this meant that even their bare life—their life doomed to death—was political. If, under [End Page 303]the guillotine, they were as equal, so to speak, "as men," they had the right to the whole of equality, including equal participation to political life.

Of course the deduction could not be endorsed—it could not even be heard—by the lawmakers. Nevertheless, it could be enacted in the process of a wrong, in the construction of a dissensus. A dissensus is not a conflict of interests, opinions, or values; it is a division put in the "common sense": a dispute about what is given, about the frame within which we see something as given. Women could make a twofold demonstration. They could demonstrate that they were deprived of the rights that they had, thanks to the Declaration of Rights. And they could demonstrate, through their public action, that they had the rights that the constitution denied to them, that they could enact those rights. So they could act as subjects of the Rights of Man in the precise sense that I have mentioned. They acted as subjects that did not have the rights that they had and had the rights that they had not.

This is what I call a dissensus: putting two worlds in one and the same world. A political subject, as I understand it, is a capacity for staging such scenes of dissensus. It appears thus that man is not the void term opposed to the actual rights of the citizen. It has a positive content that is the dismissal of any difference between those who "live" in such or such sphere of existence, between those who are or are not qualified for political life. The very difference between man and citizen is not a sign of disjunction proving that the rights are either void or tautological. It is the opening of an interval for political subjectivization. Political names are litigious names, names whose extension and comprehension are uncertain and which open for that reason the space of a test or verification. Political subjects build such cases of verification. They put to test the power of political names, their extension and comprehension. They not only confront the inscriptions of rights to situations of denial; they put together the world where those rights are valid and the world where they are not. They put together a relation of inclusion and a relation of exclusion.

The generic name of the subjects who stage such cases of verification is the name of the demos, the name of the people. At the end of Homo Sacer, Agamben emphasizes what he calls the "constant ambiguity" of the people that is at once the name of the political body and the name of the lower classes. He sees in this ambiguity the mark of the correlation between bare life and sovereignty.12 But the demos—or the people—does not mean the lower classes. Nor does it mean bare life. Democracy is not the power of the poor. It is the power of those who have no qualification for exercising power. [End Page 304] In the third book of Laws, Plato lists all the qualifications that are or claim to be sources of legitimate authority.13 Such are the powers of the masters over the slaves, of the old over the young, of the learned people over the ignorant people, and so on. But, at the end of the list, there is an anomaly, a "qualification" for power that he calls ironically God's choice, meaning by that mere chance: the power gained by drawing lots, the name of which is democracy. Democracy is the power of those who have no specific qualification for ruling, except the fact of having no qualification. As I interpret it, the demos—the political subject as such—has to be identified with the totality made by those who have no "qualification." I called it the count of the uncounted—or the part of those who have no part. It does not mean the population of the poor; it means a supplementary part, an empty part that separates the political community from the count of the parts of the population.

Agamben' s argument is in line with the classical opposition between the illusion of sovereignty and its real content. As a result, he misses the logic of political subjectivization. Political subjects are surplus subjects. They inscribe the count of the uncounted as a supplement. Politics does not separate a specific sphere of political life from the other spheres. It separates the whole of the community from itself. It opposes two counts of counting it. You can count the community as the sum of its parts—of its groups and of the qualifications that each of them bears. I call this way of counting police. You can count a supplement to the sum, a part of those who have no part, which separates the community from its parts, places, functions, and qualifications. This is politics, which is not a sphere but a process.

The Rights of Man are the rights of the demos, conceived as the generic name of the political subjects who enact—in specific scenes of dissensus—the paradoxical qualification of this supplement. This process disappears when you assign those rights to one and the same subject. There is no man of the Rights of Man, but there is no need for such a man. The strength of those rights lies in the back-and-forth movement between the first inscription of the right and the dissensual stage on which it is put to test. This is why the subjects of the Soviet constitution could make reference to the Rights of Man against the laws that denied their effectivity. This is also why today the citizens of states ruled by a religious law or by the mere arbitrariness of their governments, and even the clandestine immigrants in the zones of transit of our countries or the populations in the camps of refugees, can invoke them. These rights are theirs when they can do something [End Page 305]with them to construct a dissensus against the denial of rights they suffer. And there are always people among them who do it. It is only if you presuppose that the rights belong to definite or permanent subjects that you must state, as Arendt did, that the only real rights are the rights given to the citizens of a nation by their belonging to that nation, and guaranteed by the protection of their state. If you do this, of course, you must deny the reality of the struggles led outside of the frame of the national constitutional state and assume that the situation of the "merely" human person deprived of national rights is the implementation of the abstractedness of those rights. The conclusion is in fact a vicious circle. It merely reasserts the division between those who are worthy or not worthy of doing politics that was presupposed at the very beginning.

But the identification of the subject of the Rights of Man with the subject deprived of any right is not only the vicious circle of a theory; it is also the result of an effective reconfiguration of the political field, of an actual process of depoliticization. This process is what is known by the name of consensus. Consensus means much more than the reasonable idea and practice of settling political conflicts by forms of negotiation and agreement, and by allotting to each party the best share compatible with the interests of other parties. It means the attempt to get rid of politics by ousting the surplus subjects and replacing them with real partners, social groups, identity groups, and so on. Correspondingly, conflicts are turned into problems that have to be sorted out by learned expertise and a negotiated adjustment of interests. Consensus means closing the spaces of dissensus by plugging the intervals and patching over the possible gaps between appearance and reality or law and fact.

In this way, the "abstract" and litigious Rights of Man and of the citizen are tentatively turned into real rights, belonging to real groups, attached to their identity and to the recognition of their place in the global population. Therefore the political dissensus about the part-taking in the common of the community is boiled down to a distribution within which each part of the social body would obtain the best share that it can obtain. In this logic, positive laws and rights must cling increasingly to the diversity of social groups and to the speed of the changes in social life and individual ways of being. The aim of consensual practice is the identity of law and fact. The law has to become identical to the natural life of society. To put it in other terms, consensus is the reduction of democracy to the way of life of a society, to its ethos—meaning by this word both the abode of a group and its lifestyle. [End Page 306]

As a consequence, the political space, which was shaped in the very gap between the abstract literalness of the rights and the polemic about their verification, turns out to diminish more and more every day. Ultimately, those rights appear actually empty. They seem to be of no use. And when they are of no use, you do the same as charitable persons do with their old clothes. You give them to the poor. Those rights that appear to be useless in their place are sent abroad, along with medicine and clothes, to people deprived of medicine, clothes, and rights. It is in this way, as the result of this process, that the Rights of Man become the rights of those who have no rights, the rights of bare human beings subjected to inhuman repression and inhuman conditions of existence. They become humanitarian rights, the rights of those who cannot enact them, the victims of the absolute denial of right. For all this, they are not void. Political names and political places never become merely void. The void is filled by somebody or something else. The Rights of Man do not become void by becoming the rights of those who cannot actualize them. If they are not truly "their" rights, they can become the rights of others.

"The Rights of the Other" is the title of an essay written by Jean-François Lyotard, originally a paper given within the auspices of the Oxford Lectures on the Rights of Man, organized in 1993 by Amnesty International.14 The theme of the rights of the other has to be understood as an answer to the question, What do Human Rights mean in the context of the humanitarian situation? It is part of an attempt to rethink rights by first rethinking Wrong. The issue of rethinking Wrong increasingly took the floor after the collapse of the Soviet Empire and the disappointing outcomes of what was supposed to be the last step to universal democracy. In the context of the new outbursts of racial or religious hatred and violence, it was no longer possible to assign crimes against humanity to specific ideologies. The crimes of dead totalitarian regimes had to be rethought: they were said to be not so much the specific effects of perverse ideologies and outlaw regimes as the manifestations of an infinite wrong—a wrong that could no longer be conceptualized within the opposition of democracy and antidemocracy, of legitimate state or lawless state, but which appeared as an absolute evil, an unthinkable and unredeemable evil.

Lyotard's conceptualization of the Inhuman is one of the most significant examples of that absolutization. Lyotard did in fact split the idea of the inhuman. In his view, the forms of repression and cruelty, or the situations of distress that we call "inhuman," are the consequences of our betrayal of [End Page 307]another Inhuman, what we could call a "good" Inhuman. That Inhuman is Otherness as such. It is the part in us that we do not control. It may be birth and infancy. It may be the Unconscious. It may be the Law. It may be God. The Inhuman is the irreducible otherness, the part of the Untamable of which the human being is, as Lyotard says, the hostage or the slave. Absolute evil begins with the attempt to tame the Untamable, to deny the situation of the hostage, to dismiss our dependency on the power of the Inhuman, in order to build a world that we could master entirely.15

Such a dream of absolute freedom would have been the dream of the Enlightenment and of Revolutionary emancipation. It would still be at work in contemporary dreams of perfect communication and transparency. But only the Nazi Holocaust would have fully revealed and achieved the core of the dream: exterminating the people whose very mission is to bear witness to the situation of hostage, to obey the law of Otherness, the law of an invisible and unnamable God. "Crimes against humanity" appear then as crimes of humanity, the crimes resulting from the affirmation of a human freedom denying its dependency upon the Untamable. The rights that must be held as a response to the "humanitarian" lack of rights are the rights of the Other, the rights of the Inhuman. For instance, in Lyotard's view, the right to speak must be identified with the duty of "announcing something new."16 But the "new" that must be announced is nothing but the immemorial power of the Other and our own incapacity to fulfill the duty of announcing it. The obedience to the rights of the Other sweeps aside the heterogeneity of political dissensus to the benefit of a more radical heterogeneity. As in Agamben, this means infinitizing the wrong, substituting for the processing of a political wrong a sort of ontological destiny that allows only "resistance." Now this resistance is no manifestation of freedom. On the contrary, resistance means faithfulness to the law of Otherness, which rules out any dream of "human emancipation."

This is the philosophical way of understanding the rights of the Other. But there is a less sophisticated and more trivial understanding of them: if those who suffer inhuman repression are unable to enact the Human Rights that are their last recourse, then somebody else has to inherit their rights in order to enact them in their place. This is what is called the "right to humanitarian interference"—a right that some nations assume to the supposed benefit of victimized populations, and very often against the advice of the humanitarian organizations themselves. The "right to humanitarian interference" might be described as a sort of "return to sender": the disused [End Page 308]rights that had been sent to the rightless are sent back to the senders. But this back and forth movement is not a null transaction. It gives a new use to the "disused" rights—a new use that achieves on the world stage what consensus achieves on national stages: the erasure of the boundary between law and fact, law and lawlessness. The human rights that are sent back are now the rights of the absolute victim. The absolute victim is the victim of an absolute evil. Therefore the rights that come back to the sender—who is now the avenger—are akin to a power of infinite justice against the Axis of Evil.

The expression "infinite justice" was dismissed by the U.S. government a few days after having been put forward as an inappropriate term. But I think that it was fairly appropriate. An infinite justice is not only a justice that dismisses the principles of International Law, prohibiting interference in the "internal affairs" of another state; it is a justice which erases all the distinctions that used to define the field of justice in general: the distinctions between law and fact, legal punishment and private retaliation, justice, police, and war. All those distinctions are boiled down to a sheer ethical conflict between Good and Evil.

Ethics is indeed on our agendas. Some people see it as a return to some founding spirit of the community, sustaining positive laws and political agency. I take a fairly different view of this new reign of ethics. It means to me the erasure of all legal distinctions and the closure of all political intervals of dissensus. Both are erased in the infinite conflict of Good and Evil. The "ethical" trend is in fact the "state of exception." But this state of exception is no completion of any essence of the political, as it is in Agamben. Instead it is the result of the erasure of the political in the couple of consensual policy and humanitarian police. The theory of the state of exception, just as the theory of the "rights of the other," turns this result into an anthropological or ontological destiny. They trace it back to the inescapable prematuration of the human animal. I think that we had rather leave the ontological destiny of the human animal aside if we want to understand who is the subject of the Rights of Man and to rethink politics today, even if out of its very lack.

Jacques Rancière teaches philosophy at the University of Paris VIII. His books include The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation, The Nights of Labor: The Workers' Dream in Nineteenth-Century France, The Names of History, On the Shores of Politics, Disagreement: Politics and Philosophy, Short Voyages to the Land of the People, and, more recently, La Fable cin»matographique.
Endnotes

1. Edmund Burke, Reflections on the Revolution in France, ed. J. G. A. Pocock (Indianapolis: Hacket, 1987).

2. Hannah Arendt, The Origins of Totalitarianism (New York: Harcourt Brace, 1951), 297–98. [End Page 309]

3. Arendt, Origins of Totalitarianism, 293.

4. Ibid., 297.

5. Giorgio Agamben, Homo Sacer (Stanford: Stanford University Press, 1998).

6. Foucault, The History of Sexuality, Volume 1: An Introduction [The Will to Know], trans. Robert Hurley (New York: Pantheon, 1978) and Society Must Be Defended, trans. David Macey (New York: Picador, 2003).

7. Carl Schmitt, Politische Theologie (Berlin: Duncker and Humblot, 1922).

8. Agamben, Homo Sacer.

9. Ibid.

10. Ibid.

11. Arendt, Origins of Totalitarianism, 294.

12. Agamben, Homo Sacer.

13. Plato, Laws, trans. Trevor J. Saunders (Middlesex: Penguin, 1970), bk. 3, 137–39.

14. Jean-François Lyotard, "The Other's Rights," in On Human Rights, ed. S. Shute and S. Hurley (New York: Basic Books, 1994). This essay was originally presented as a paper within the auspices of the Oxford Lectures on the Rights of Man, organized in 1993 by Amnesty International.

15. Lyotard, "The Other's Rights," 136.

16. Ibid.

POLITICS OF AESTHETICS: Book Review

The following is from http://post.thing.net/node/1578

Book Review of Jacques Rancière’s The Politics of Aesthetics : with reflections on Rancière’s art-politics in lieu of the Deleuzian/Guattarian perspective.
by Joseph Nechvatal

Jacques Rancière, The Politics of Aesthetics
With an afterward by Slavoj Zizek
Continuum Press, London and New York

Jacques Rancière is interesting to me in that he is a critic of defined disciplines/specializations in favor of a ground of aesthetic pleasure brought about through a non-identification with one’s identity (and/or condition) - even while he stresses a refusal of containment/confinement that is simultaneously escapist but possibly emancipatory in its transformational suggestivity. In other words, he believes in the powers of the imagination.

In his book The Politics of Aesthetics Rancière comes right out and declares as much already in the forward when he states that he is concerned here with “aesthetic acts as configurations of experience that create new modes of sense perception and induce novel forms of subjectivity”. (p. 9) So, first off, how can “new modes of sense perception” be created which can potentially help remove the subject out of his/her glib indolence? We will here examine that. Then I will compare and contrast some of Rancière’s approach to art and politics with that of the philosophic rhizomatic theory (1) of Gilles Deleuze (and Félix Guattari), which, at a general level, supports such an interdisciplinarian connectivist approach – as their rhizomatic theory encouraged non-linear and non-restrictive interdisciplinary thinking-doing.

I: new modes of sense perception

“What is real is the becoming itself, the block of becoming, not supposedly fixed terms through which that which becomes passes.”
-Gilles Deleuze and Félix Guattari, A Thousand Plateaus

The context here for new modes of sense perception is established precisely by touching on some recent realizations about the current international art scene that I have been experiencing and reading about, most devastatingly in Julian Stallabrass’s small book Contemporary Art: A Very Short Introduction. In it Stallabrass describes a theory of the art market which well explains the current art world’s situation, specifically arguing that behind contemporary art's multiplicity and apparent capriciousness lies a bleak uniformity and that this amounts to making culture uncurious, timid and stupid in the service of a big business ethos of unquestioning consumer conformity; a pop ethos apparently enforced by some dim-witted and unspoken social-climbing consensus. Rancière himself stresses that art in itself is not liberating and can be quite the opposite, depending on the “type of capacity it sets into motion”. (March 2007 Artforum, p. 258)

Stallabrass purports too that the unregulated insular contemporary art market seeks to dupe newbie art rubes into being enthusiastic participants in the dumbing-down values useful to big business; values which address all communications to the lowest common denominator of the mass. Yes, that sounds un-emancipatory to me – but also a true reflection of the deceptive and self-deceptive Cheney-Bush neo-con epoch that we are enduring. So, the obvious question is: what new modes of sense perception are possible according to Jacques Rancière if one takes seriously art’s responsibility of resistance?

It is disappointing to report that Rancière does not answer this central problem of art-politics in this book, nor does he address the central situation in which we find ourselves where all political gestures and critical images are potentially consumed and neutralized in the happy inferno of market commercialization (See the recent book Critical Mess: Art Critics On The State Of Their Practice edited by Raphael Rubinstein). Kristin Ross’s assertion, in her March 2007 Artforum essay “On Jacques Rancière”, that such market mental “shackles”, can somehow be, via Rancière, “set aside” and even “denounced” (p. 255) seems Pollyannaish in the extreme. In my view, one can only even attempt what Rancière calls an “opening in the consensus” from the formal point of view of art that is generally excluded through difficulty from the interest of the market. This signifies a self-understanding and self-construction beginning with what Deleuze and Guattari call "an intensive magnitude starting at zero". (Deleuze & Guattari, 1987, p. 153) This $0.00 worth of course means the vast majority of art created, but certain formal factors help assure this unmarketabilty ideal at present, factors such as: dark nihilistic over-complexity (the dreaded inaccessible factor), electronic impermanence, art which is overly ambiguous, punk noise, and so on.

So I was wondering while reading Rancière’s The Politics of Aesthetics last year what Rancière had to say about contemporary art’s lost commitment to the idea that the core of fine art is that which purports to transcend the banal economic world and portray a wider vision of political awareness inclusive of private spiritual, ecstatic or magical themes accessible through the subjective realm of each individual; a self-perceptional politics which reveals in minute particulars the wide-ranging spectrum of the social-political dimensions of the human mind. I’m sorry to say he says nothing specific, but does seem to favor such an approach in general. But the question of how artists and dealers and critics prevent the market from eliminating that quality from art – and in so making particularly the younger people, opportunely unintelligent – is not addressed in The Politics of Aesthetics. That is the pity, as he leaves us wretchedly alone to consider the difference between politically visionary art and market vision, with its mechanical functionalism. So one must grapple.

For me the formal difference is in looking into and projecting onto something - thereby discovering an emerging manifestation, as opposed to looking AT something. In that sense it requires an active but slow participation on the part of the viewer - and a politically visionary art style demands as much. This required user mental participation is essential in our climate of mass-media / mass-market / mass-think in that it plays against the grain of given objective consensus. In that sense politically visionary painting, for example, becomes more a service product than an investment object.

Moreover, my deep feeling, which Rancière also ignores, is that today art must indict - or at the very least play the role of the jester who unmasks the unspeakable lies of the powerful. It is now widely recognized that Americans (and the Western World for the most part) have been deceived and victimized by governmental propaganda and if art cannot rebuff and contest this grave situation by fueling the political will and imagination of resistance, I wonder why we need it at all - other than to make rich people richer. In the current political world it is painfully obvious that we need investigative strength of mind to heal our intelligence, and so an art that demands a mental mood of investigation would support such a need.

Fortunately Rancière does encourage a complex and ambiguous politically visionary art of resistance and investigation; one which would be increasingly valuable to an analytical social movement based on skepticism while undermining market predictabilities as it strengthens unique personal powers of imagination and critical thinking. This is so as Rancière urges us to counter the effects of our age of simplification - effects which have resulted from the glut of consumer oriented entertainment messages and political propaganda which the mass media feeds us daily in the interests of corporate profit and governmental psychological manipulations – what he calls the “representative regime”. (p. 22) This ambiguous politically visionary aspect of art is what he terms the “phantasmagorical dimension of the truth, which belongs to the aesthetic regime of the arts”. (p. 34)

Unreservedly Rancière addresses the existence of this inner phantasmagorical true world - the life of our imagination with its intense drives, suspicions, fears, and loves – which guides our intentions and actions in the artistic, political and economic worlds. Indeed Rancière makes clear that our inner world is the only true source of meaning and purpose we have and a participatory politically visionary art of investigation is the way to discover for ourselves this inner life. So we see now that in contrast to our market-frenzied materialist culture, which trains us to develop the eyes of outer perception, a politically visionary phantasmagorical style of art could encourage the development of inner sight based on the individual intuitive eye. Of course Rancière acknowledges that this politically visionary realm embraces the entire spectrum of imaginary spaces; from the infinitude of actual forms to formless voids of virtuality.

In this light, Rancière might even say that hot market artworks have lost their artistic worth by being reduced to poker chips. Not that that is the artist’s fault. But what does he say about artists that utilize his critical phantasmagorical formal via optical strategies to thwart such abuse? I have yet to discover a reference to them in any of Rancière’s mediations on art and politics.

Thus for the practicing artist/theoretician it remains more relevant to consider the phantasmagorical true aspects (in this sense the thwarting aspects) which remain detectable in the Deleuzian/Guattarian fertile philosophical articulations concerning nomadic thinking-making (2), as they have taken into account the rich ensemble of art and political relations possible: the diversity, the unexpected links, the ruptures, the amalgamations, and the connected heterogeneity. In that sense, Rancière is only repeating in watered-down form what Gilles Deleuze and Félix Guattari showed us over twenty years ago. Even then their vision of nomadic life re-opened the way for the phantasmagorical production of subjectivity in art (in lieu of the objective market) by affirming the befittingness of difficulty, variety and the necessary right to dissension. Deleuze/Guattari already have outlined new modes of sense perception which help induce novel forms of subjectivity, forms that would be composed of variously formed segments, stratas, and lines of flight which involve territorializing as well as deterritorializing spacio/psychic activities. (Deleuze & Guattari, 1983, p. 2) Granted, Rancière’s ideas about the regime of the critical phantasmagoric relate here as well.

II: new modes of political perception

“Only a bad artist thinks he has a good idea.”
- Ad Reinhardt, from Art as Art, The selected writings of Ad Reinhardt

In The Politics of Aesthetics, Rancière stresses that both art and politics reconfigure what is possible to say at a given moment (pp. 63-66) - a reconfiguration made possible by, in his words, “undoing the formatting of reality produced by state-controlled media…” (p. 65) Let us test that thesis of reconfiguration in the actual art world. Shall we?

In the last year I have become intellectually interested in what is called in the United States the 9/11 truth movement. This is a consciousness movement made up of people, including many scholars, who desire to learn the truth about what really happened on 9/11/01 and who was behind the conspiracy that carried it off. Obviously, this social grass-roots movement is based on the presumption that the government’s story is not fully true, indeed parts of it are demonstrably false, and that we cannot take the current government’s statements and explanations on faith any longer. In that sense the movement is skeptical and so thereby motivated by the desire to pursue knowledge of the truth.

When I first became engaged in following these issues, the movement was quite marginal and rather demeaned as being made up of “conspiracy theorists”. This appealed to me however, I admit, not because I have any interest in conspiracy theories, but in that I was involving myself with Jacques Rancière’s ideas about the visible and the invisible, and the spoken and the unspeakable - as this investigation was - and is – issue packed with ideas of false flag (black) operations that should or could not be spoken of in public. Thus I sensed a bona fide taboo here at work, as enforced by the mainstream media and social norms, which I sought to contravene. Surely the art world was an open forum for any and all aesthetic investigation. But no. After I told an important Chelsea gallery that this critical subject of false flag operations was to be the main theme of an exhibition that they had proclaimed to be desirous of doing on my work, all contact with me was severed and the exhibition nixed. I assure you that this did not dismay me in the least. Soon I became increasingly fascinated with some speculative gray areas of this topic, but rapidly restricted myself to the empirical evidence that tends to disprove the official government narrative that was established immediately – and then verified in the 9/11 Commission Report; a report directed by a White House insider named Philip D. Zelikow. The research of Dr. David Ray Griffin is invaluable in that regard; research that has been generally ignored in the mainstream media.

But since then, fairly recent polls in the U.S. clearly show that the government's own unproven conspiracy theory is losing ground and more and more people are waking up to their pattern of lies and are asking questions of authority. Indeed, I asked myself just what is conspiratorial about demanding a thorough impartial examination of that horrendous event on 9/11 – an event that has been used to justify illegal invasions and have destroyed two countries and killed tens of thousands of people?

There is much we saw that day that is suspicious, perhaps most staggeringly that no air defense was effectively used for over an hour and a half time period. Then I learned there were secret multiple war-games taking place at exactly the same time that day, thereby making it impossible for air defense to distinguish the real from the simulation, and thus removing the first-rate air defense from New York and Washington skies. These war-games, which were under the direction of the Vice-President Dick Cheney, comprise the very heart of what many suspect is a black operation performed by a small neo-con faction of the Republican administration. Can it only be a coincidence that the morning of 9/11 both FAA and NORAD were occupied in air defense drills simulating multiple airline hijackings?

There is absolutely no excuse for anyone who supports art, peace and civil liberties to support governmental lies. We know now that the current U.S. government must now be assumed to be lying until proven otherwise. At the same time the Bush administration acknowledges that it has dramatically increased the number of documents classified "confidential," "secret" or "top secret." Between the time Bush took office in 2001 and 2004, the most recent year for which figures are available, that number has nearly doubled. In 2004 alone, 80 federal agencies deemed 15.6 million documents off-limits. And that figure doesn't include documents withheld by Vice-President Cheney, who refuses to report to the National Archives the number of documents his office classifies, even though Bush's executive order requires him to do so. Cheney claims his office is exempt. I, and others, desire to know just what are they hiding? If there’s nothing to hide, why is the U.S. government hiding everything? So where is Rancière’s critical phantasmagoric art that expresses the desire for an impartial investigation to ascertain the truth? Nowhere to be seen.

Following Rancière mandate, it is important to cut through the unseeing and unsaying here, as we must consider that the official account of the 9-11 attack on America is actually a phantasmagorical conspiracy theory, given that it lacks much credible proof. It is therefore subject to being judged on the same basis as any other phantasmagoric theory, that is, skeptically examined through logical inquiry. Therefore, unless the events of 9/11 are critically examined and discussed through art in the search for truth without apprehension, nothing Rancière says about art and politics are of meaning, just as nothing we are politically living is true.

III: new animal modes of political and artistic action

“Art perhaps begins with the animal, with the animal at least who carves a territory...”
-Gilles Deleuze from Gilles Deleuze and Félix Guattari, What is Philosophy?

Even so, or until then, Rancière acknowledges that all methods, explanations, and theories (including his reconfiguration of the sensible – which, btw, smacks of portions of Deleuze’s book Logic of Sense) inevitably distances consciousness from its first sense of full and total participation. For this full sense we need the body engaged and hence Deleuze/Guattari's emancipatory interest in "becoming-animal" is accommodating. For them, to "become animal is to participate in movement, to stake out the path of escape in all its positivity, to cross a threshold, to reach a continuum of intensities where all forms come undone, as do all the significations, signifiers, and signifieds, to the benefit of an unformed matter of deterritorialized flux, of nonsignifying signs". (Deleuze & Guattari, 1986, p. 13) Whether this discovery of animal honesty through Rancière’s desire for critical phantasmagoric truth is possible and thus is capable of delivering Rancière’s hoped for a change of sensibility (p. 10) remains an open and fascinating question. But what strikes me today is that even in the midst of our fervent political angst - based on our current conditions of great distrust and deception coupled with feelings of helplessness – current interest in Rancière’s critical phantasmagoric remains justified, if somewhat redundant given the gifts of consciousness we have already received from Deleuze and Guattari. Yet as Rancière urges, we may not restrict nor resign our consciousness to the unsayable and the undoable in art and politics, for according to Deleuze, consciousness itself is "the passage, or rather the awareness of the passage, from less potent totalities to more potent ones, and vise versa." (Deleuze, 1984, p. 21)

Notes:
This review/essay is informed by an email and snail mail letter I have written to Jerry Saltz in response to his Village Voice essay “Seeing Dollar Signs: Is the art market making us stupid? Or are we making it stupid?” (unanswered and unacknowledged) now posted on my blog at http://post.thing.net/blog/244 and to an email I sent Rosalind Krauss following her March 27th talk at La Maison Française at New York University (unanswered and unacknowledged). Also it benefited from a hypothetically ongoing, but currently stagnant, interview of myself by Catherine Perret (For the completed Part I see: http://www.eyewithwings.net/nechvatal/2new/Perret-Nechvatal%20talk.htm) I must also note that regardless of Rancière statement in his March 2007 Artforum interview with Fulvia Carnevale that “I write to shatter the boundaries that separate specialists…” (p. 257) I was unable to locate an email account for him using the standard google search engine to discuss these views directly with him.

(1) In the philosophical writings of Deleuze and Guattari the term is used as a metaphor for an epistemology (that in philosophy which is concerned with theories of knowledge) that spreads in all directions simultaneously. (Deleuze & Guattari, 1994, p. 7) More specifically, Deleuze and Guattari define the rhizome as that which is "reducible to neither the One or the multiple. (...) It has neither beginning nor end, but always a middle (milieu) from which it grows and which it overspills. It constitutes linear multiplicities with n dimensions having neither subject nor object... ." (Deleuze & Guattari, 1987, p. 21)

(2) It is pertinent that in A Thousand Plateaus Deleuze and Guattari describe this shift towards boundlessness as one's becoming a body without organs (BwO) in terms of our self-shifting representational planes emerging out of our field of compositional consistency, for the BwO (according to them) is an insubstantial state of connected being beyond representation which concerns pure becomings and nomadic essences. (Deleuze & Guattari, 1987, p. 510) Deleuze and Guattari go on to say that the BwO "causes intensities to pass; it produces and distributes them in a spatium that is itself intensive, lacking extension. It is not space nor is it in space; it is matter that occupies space to a given degree - to the degree corresponding to the intensities produced". (Deleuze & Guattari, 1987, p. 153) According to Brian Massumi, the translator of A Thousand Plateaus, the BwO is "an endless weaving together of singular states, each of which is an integration of one or more impulses". These impulses form the body's various "erogenous zone(s)" of condensed "vibratory regions"; zones of intensity in suspended animation. Hence the BwO is "the body outside any determinate state, poised for any action in its repertory; this is the body in terms of its potential, or virtuality". (Massumi, 1992, p. 70)

References:

Deleuze, G. 1984. Spinoza: Practical Philosophy. San Francisco: City Lights

Deleuze, G. 1990. Logic of Sense. New York: Columbia University Press

Deleuze, G. and Guattari, F. 1983. On The Line. New York: Semiotext(e)

Deleuze, G. and Guattari, F. 1984. Anti-Oedipus: Capitalism and Schizophrenia. London: Athlone Press

Deleuze, G. and Guattari, F. 1986. Nomadology: The War Machine. New York: Semiotext(e)

Deleuze, G. and Guattari, F. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press

Deleuze, G. and Guattari, F. 1994. What is Philosophy?. London: Verso Books

Griffin, D. R. 2004. The New Pearl Harbor: Disturbing Questions About the Bush Administration and 9-11, Olive Branch Press

Griffin, D. R. 2004. The 9/11 Commission Report: Omissions and Distortions, Olive Branch Press

Griffin, D. R, editor, with Peter Dale Scott. 2006. 9/11 and American Empire: Intellectuals Speak Out, Vol. 1, Olive Branch Press

Griffin, D. R. 2007. Debunking 9/11 Debunking: An Answer to Popular Mechanics and Other Defenders of the Official Conspiracy Theory, Arris Books

Massumi, B. 1992. A User's Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari. Cambridge, Ma.: MIT Press

Rubinstein, R. editor. 2006. Critical Mess: Art Critics On The State Of Their Practice, Hard Press Editions
essays by: James Elkins, Thomas McEvilley, Jerry Salz, Raphael Rubinstein, Katy Siegel, Lane Relyea, Arthur C. Danto, JJ Charlesworth, Nancy Princenthal, Carter Ratcliff, Eleanor Heartney, Michael Duncan and Peter Plagens.

Stallabrass, J. 2006. Contemporary Art: A Very Short Introduction, Oxford University Press

End Note:
Edgewise Press is publishing a book this Winter containing selected writings by Joseph Nechvatal called "Immoderate Moments Selected Writings on Art and Technology " http://www.edgewisepress.com/main.html


» Joseph Nechvatal's blog |

Rancière: select bibliography

Rancière's work in English includes:

* Reading Capital (1968) (With Louis Althusser, Roger Establet, Pierre Macherey and Étienne Balibar - in the French original edition)

* The Nights of Labor: The Workers' Dream in Nineteenth-Century France (1989): This book is an influential work of social history which examines in detail the records of ordinary workers' lives in order to produce a new picture of their surprising political sophistication. ISBN 0877228337.

* The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation (1991): This book describes the emancipatory education of Joseph Jacotot, a post-Revolutionary philosopher of education who discovered that he could teach things that he himself did not know. The book is both a history and a contemporary intervention in the philosophy and politics of education, through the concept of autodidactism; Rancière chronicles Jacotot's "adventures," but he articulates Jacotot's theory of "emancipation" and "stultification" in the present tense. ISBN 0804719691.

* The Names of History: On the Poetics of Knowledge (1994): This is a relatively brief, but dense book, arguing for an epistemological critique of the methods and goals of the traditional study of history. It has been influential in the philosophy of history.

* On the Shores of Politics (1995): ISBN 0860916375.

* Disagreement: Politics and Philosophy (1998): This book is a return to classical texts about the origins and meaning of politics, in an attempt to re-theorize a "disagreement" which may not be simply transcendable. ISBN 0816628440.

* Short Voyages to the Land of the People (2003): ISBN 0804736820

* The Politics of Aesthetics: The Distribution of the Sensible Tr. Gabriel Rockhill (2004): ISBN 082647067X.

* The Future of the Image (2007): ISBN 1844671070

Jacques Rancière Links

MULTITUDES: Loads of great stuff by Ranciere here (in French):
http://multitudes.samizdat.net/_Ranciere-Jacques_.html

COUNTERPUNCH: Prisoners of the Infinite, by Ranciere:
http://www.counterpunch.org/ranciere0430.html

EUROZINE: On Jacques Ranciere:
http://www.eurozine.com/articles/2007-03-01-arsenjuk-en.html

INTERACTIVIST EXCHANGE: Who is the Subject of the Rights of Man, by Ranciere:
http://info.interactivist.net/article.pl?sid=05/03/23/1538211

EUROZINE: Our Police Order: interview with Ranciere:
http://www.eurozine.com/articles/2006-08-11-lieranciere-en.html

Ranciere for Dummies (Review):
http://www.artnet.com/magazineus/books/davis/davis8-17-06.asp

Ten Theses on Politics' by Ranciere:
http://www.humnet.ucla.edu/humnet/cmcs/events/Ranciere.htm

Reading Ranciere's 'Ten Theses on Politics' After 9/11:
http://muse.jhu.edu/journals/theory_and_event/v006/6.4mufti.html