Suchergebnisse

Partiendo de la filosofía de las facultades de Kant para comprender la estética como la capacidad de darle sentido a un sentido dado, este artículo identifica y elabora el concepto de disenso como una perturbación de la relación normal entre sentido y sentido, que produce un suplemento excesivo en relación con las partes que constituyen el sentido dado. La cuestión es cómo interpretar este suplemento. A través de una definición de heteronomía ética y de heterotopía estética como dos interpretaciones posibles y opuestas, en este texto se elabora un concepto de política como una reconfiguración disensual de las texturas sensibles de la sociedad, vinculado con un principio anárquico de la democracia. Al criticar la idea de Derrida de la democracia por venir como una interpretación ética del suplemento, se acude a la dimensión estética de la política como una escenificación del disenso, como un conflicto de diferentes mundos sensibles para enfrentar temas como conocimiento, filosofía y la figura política del demos. ; Turning to Kant's philosophy of the faculties in order to understand aesthetics as the capacity of making sense of a sense given, this article identifies and elaborates a concept of dissensus as a perturbation of the normal relation between sense and sense that produces an excessive supplement to the parts making up the sense given. The question is how to interpret this supplement. Through the definition of ethical heteronomy and aesthetical heterotopia as two possible and opposed interpretations, this text elaborates a concept of politics as a dissensual reframing of the sensible textures of society, related to an anarchic principle of democracy. Criticizing Derrida's idea of democracy to come by linking it to an ethical interpretation of the supplement, this article turns to the aesthetic dimension of politics as a staging of a dissensus, as a conflict of different sensory worlds, in order to tackle themes such as knowledge, philosophy and the political figure of the demos.

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?

Jacques Rancière and Georges Didi-Huberman are good examples of a recent wave of thinking that, starting from political philosophy and the anthropology of art, use cinema to appeal to the political power of the impure in artistic creation, often paired with the idea of resistance to the present time. Some avant-garde and modern cinema procedures of the 1960s, allow us to create a third space that places us beyond certain rigid principles of Modernity or a dematerialized, antivisual and depoliticized Postmodernity (in its reduced versions), as well as the temporal models that both propose. This is why we will analyze how the appraisal of cinema in Rancière and Didi-Huberman has made possible a critical and reflexive turn in the thinking of images. ; Jacques Rancière y Georges Didi-Huberman son buenos ejemplos de una reciente ola de pensamiento que desde la filosofía política y la antropología del arte, se sirven del cine para apelar a la potencia política de lo impuro en las creaciones artísticas, emparejada, con frecuencia, con la idea de resistencia al tiempo presente. Algunos procedimientos del cine de vanguardia y el cine moderno de los años sesenta, permiten generar un tercer espacio que nos sitúe más allá de ciertos principios rígidos de la Modernidad o de una Posmodernidad antivisual, desmaterializada y despolitizada (en sus versiones reducidas), así como de los modelos temporales que ambas proponen. De la mano de uno de los directores esenciales de los años sesenta, Jean-Luc Godard, analizaremos cómo la valoración del cine en Rancière y Didi-Huberman ha posibilitado un giro crítico y reflexivo en el pensamiento de las imágenes.