Aisthesis: Scenes from the Aesthetic Regime of Art
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Composed in a series of scenes, Aisthesis–Rancière’s definitive statement on the aesthetic–takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarmé to the Folies-Bergère, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancière uses these sites and events—some famous, others forgotten—to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.
specifically American elements in culture? And which tradition is it suitable to use? Should one, for example, consider the heritage of Henry James more relevant to the future of American literature than Walt Whitman’s?22 Through all these questions one can sense the Marxist avant-garde’s desire to break with the committed Whitmanian culture that drove painters, photographers and writers to cross poor city neighbourhoods and poor country roads to exalt the work of men, gather testimonies of
Philosophy type vs character Übermarionette Urazov, Ismail Valéry, Paul Vasari, Giorgio veil Velde, Henry van de Vermeer, Johannes Vertov, Dziga cinematic language vs Eisenstein The Eleventh Year facts vs symbols hands intertitles Man with a Movie Camera montage A Sixth Part of the World sound film and symbolism A Village Fête (Teniers) Villiers de L’Isle Adam Vitruvius Pollio vivacity Vuillard, Édouard Wagner, Richard The Ring of the Nibelung Warburg, Aby Werkbund
published with the help of the French Ministry of Culture – Centre National du Livre First published in English by Verso 2013 Translation © Zakir Paul 2013 First published as Aisthesis: Scènes du régime esthétique de l’art © Editions Galilée 2011 All rights reserved The moral rights of the author have been asserted Verso UK: 6 Meard Street, London W1F 0EG US: 20 Jay Street, Suite 1010, Brooklyn, NY 11201 www.versobooks.com Verso is the imprint of New Left Books ISBN-:
the accordion folds of the red flag. The spiritual and materialist poem of modern life is also the poem that abolishes the separation between the signs of speech and graphic images. Hence the Whitmanian legacy, surely an unexpected legacy for Emerson, is not limited to verses adopted by poets in Claudel’s time; it can also be found in the paintings, drawings or posters by cubists and futurists, which mix linguistic signs with the outlines of forms to identify them either with the painting of the
p. 127. 5 Jules Michelet, 1869 preface to Histoire de France – Moyen ge, in Paul Viallaneix, ed., Œuvres complètes, vol. V (Paris: Flammarion, 1974), p. 24. 6 Geffroy, ‘Claude Monet, Auguste Rodin’, p. 60. 7 Rilke, Auguste Rodin, p. 45. 8 ‘Rodin is the sculptor of hands, furious hands, clenched, unruly, damned. Here is one that twists as if to grasp the void, pick it up and knead it, like a ball of snow and bad luck to throw at a lucky passerby. Here is a tremendous one that crawls, violent,