The emancipated spectator / Jacques Ranciere ; translated by Gregory Elliott.
By: Ranciere, Jacques.
Contributor(s): Gregory Elliott. translated by.
Material type: Text Language of document:EnglishSeries: Publisher: Publisher: London : Verso, 2011Edition: Description: Description: 134 p. : ill. ; 21 cm.ISBN: 9781844677610 (pbk.); 1844677613 (pbk.).Other title: Uniform titles: Subject(s): Aesthetics | Image (Philosophy) | Representation (Philosophy) | Arts audiences -- Psychology | Art appreciation -- PhilosophyDDC classification: 700.1Item type | Current library | Call number | Status | Date due | Barcode |
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Book | Dr. B. R. Ambedkar Central Library Art Collections | 700.1 R151 Em (Browse shelf(Opens below)) | Available | 231913 |
Browsing Dr. B. R. Ambedkar Central Library shelves, Shelving location: Art Collections Close shelf browser (Hides shelf browser)
700.1 J569 Ar Art, myth and society in Hegel's aesthetics / | 700.1 L6265 Ph The philosophy of art of Karl Marx / | 700.1 Pa Panaesthetics : | 700.1 R151 Em The emancipated spectator / | 700.1 Sch957 Ar Art and the occult / | 700.1 T2178 Ar Forty-seventh National Films Festival 2000/ | 700.1 T456 Bu But is it art? : |
Originally published: 2009.
Includes bibliographical references.
The emancipated spectator -- The misadventures of critical thought -- Aesthetic separation, aesthetic community -- The intolerable image -- The pensive image.
In this title, the foremost philosopher of art argues for a new politics of seeing. The role of the viewer in art and film theory revolves around a theatrical concept of the spectacle. The masses subjected to the society of spectacle have traditionally been seen as aesthetically and politically passive - in response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a performance. In this follow-up to the acclaimed "The Future of the Image", Ranciere takes a radically different approach to this attempted emancipation. Beginning by asking exactly what we mean by political art or the politics of art, he goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, instead, a melancholic affirmation of their omnipotence?
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