جستجوی مقالات مرتبط با کلیدواژه "ژاک رانسیر" در نشریات گروه "هنر و معماری"

Since theorists began to study art as an independent subject, there have been many opinions about the relationship between art and real life, which includes a wide range of the autonomy of art and its subsumption. This relationship is the relationship between the sensible and the reasonable. According to Rancière's theories, it is not possible to access the realm of meaning and convey a message through the work of art. Meaning is constructed in the minds of individuals by interpreting sensory stimuli received through their senses. The function of this system is to assign identities, roles, and positions to people. The action of opposing this system leading to redistribution of the sensible, is called politics. The aesthetic regime is a specific way of thinking and formulation of art that considers artistic sensible as a means of thought. From Rancière's point of view, this regime is related to politics through the redistribution of the senses, and in this way, it leads to the emancipation of the audience.In the current research, the ethical, representational, and aesthetic regimes of art will be defined from Rancière's point of view. Then, the relationship between aesthetics and politics is explained specifically with theater. Finally, a descriptive-analytical approach is utilized to ascertain, based on library data, the artistic regime within which "The Blacks" by Jean Genet can be categorized. As the results of the research show, in this play, Genet deals with politics and redistribution of roles and identities by creating a gap in consensus, breaking conventional dichotomies, breaking the principles of representation, and presenting unusual objects, and in this way, this play can be considered as belonging to the aesthetic regime.The current research is a descriptive-analytical study of the play "The Blacks" by Jean Genet and by referring to library data, examines which of Rancière's artistic regimes this play can be placed in. As the results of the research show, in this play, by breaking the principles of drama, presenting unusual objects, going beyond the framework of representational logic, and breaking conventional dichotomies, Genet deals with politics and redistribution of roles and identities, and in this way, this play can be considered as belonging to the aesthetic regime of art.

This article tries to deal with the relationship between image and reality. Cinematic reality is a special, continuous and dialectical connection that, due to its nature, is consistent with human experiences on the one hand, and on the other hand, it can involve the human thoughts. In this sense, the image must be superficial which destroys any necessary relationship between a specific form and a specific mental content. This is a philosophical approach to cinema. According to Jacques Rancière, cinema has always been a favorable field for examining philosophical approaches. Rancière recognizes moving images as a factor that, due to their nature, involve the audience in a kind of association and thinking process. According to him, cinema is the only art that is complete with the audience. In the cinema, a double situation arises in which the viewer is involved in the passivity of the image that is represented and also affected by the image as the agent of liberating his imagination. According to Rancière, this double situation takes the spectator out of the passive state and brings him into an active and dynamic stream so that he can feel and act at the same time as s/he watches. This dynamic of the image considers cinema as a collective and shared writing, where the viewer has a share in creating something that is exclusive, collective and shared at the same time, but allows the viewer to participate in this shared thing in their own way. In this article, the aesthetic procedure of such a heterogeneous process is examined and its boundaries with the cinematic frame are also considered. For this purpose, the film "The Wind Will Carry Us” by Abbas Kiarostami has been selected as a study example. The main question is how the image is able to establish, in an aesthetic format, a permanent and coherent dialectic and at the same time heterogeneous and opposite between the idea and the form, in such a way that it does not exactly contain the idea nor completely negates it; rather, it should be the basis of an endless and constructive process. Among the works of Abbas Kiarostami, the film "The Wind Will Take Us" is able to represent such a process more than his other works. In this film, two symbolic functions (the order of images) and organic functions (the flow of life), connect the two realms of ideas and meaning in the cinematic image in such a way that the image goes out of its usual function, and releases the power that is the origin of fluidity and flow. It is pure life. As a result of this link, the images make their impact not from reality, but from moments that have been able to establish a relationship between thinking and perception that reveals a contradictory and dual situation and shows the pattern of methods that cause the collapse of previous and certain structures by re-establishing a link between human and social existence.

One of the most important issues raised about art is its relationship with the real world. Plato condemned art. In his opinion, art was a mere imitation of the elements of the world, and because of this, it distanced the audience from the truth. In confronting this opinion, Aristotle considered art to be a spontaneous and compensated imitation which possesses the unique capacity to convey meaning through its structure, influencing the perception and emotions of its audience. Rancière criticizes these two ways of thinking about art, which he calls the Ethical and the Representational regime respectively, as he believes that they endorse the establishment and upholding of a hierarchical system in society that subordinates individuals according to their function and position, and thereby perpetuates the existing social order. He calls this system the distribution of the sensible. In his theory, he argues that conveying the message through artwork is not achievable, and that the effectiveness of art can only be achieved through a revolution in the sensible and redistribution of it which happens in the Aesthetic regime.The current research studies the play Pardeh-khaneh by Bahram Beyzaie as an example of a work that can not cannot be included in the framework of the aesthetic regime in a descriptive-analytical way and by referring to library data. Through the logic of consensus, this play divides its world into two separate and opposite groups, which can be seen as corresponding to the dualities of dominant/subjugated and good/bad. The members of each group are similar to each other, and are under the influence and control of a transcendental component in a pyramidal form. This play advances a single action based on a coherent plot and finally reaches a certain conclusion through which the playwright wants to convey a certain knowledge to his audience. Therefore, by refering to Rancière’s theory, this play is placed in the realm of representational regime.

What is political art and how can art be political? Dealing with political art has always been a contentious issue because the prevalent notions of these two areas have made it difficult to determine a specific relationship; studying such a situation requires rethinking of concepts; by rethinking Jacques Rancière's thoughts, the concepts of “Politics” and “Aesthetic Art” will be reconsidered; this will help us open our way to answer what the political art is.Jacques Rancière's particular approach to both the arts and politics conqueror is the way for this research. Rancière considers the work of art to be a special distribution of time and space. In his view, the work of art has a complex connection with the common and the sensible. He believes that art and politics, as two separate but intertwined spaces, are shaping “the distribution of the sensible” and the common.In this article, by examining the concept of “Dissensus” in Jacques Rancière's thought, its redefines the concept of political art and shows that art is not political because it conveys a political message. A work of art by break from the usual experience, it forms a special function; a function that forms a form of “Dissensus”. The relationship between art and politics, as well as the relationship between art and society, must be understood in terms of “Dissensus” forms, not the political message or the subject that the work of art conveys. A work of art can release everything from previous status within the framework of “Dissensus” on its meaning or function. As a result, art is not political in that it is a direct protest or reaction to the events of society; on the contrary, the politics of art is in breaking down fixed contractual meanings and creating new meanings and relationships between things. Art and politics both represent forms of “Dissensus” Both of them, as two separate but intertwined spaces, are shaping the “distribution of the tangible” and the common; From this perspective, it is possible to reflect on the political intervention of artists, and what the arts offer to society is a change in physical positions and movements, theological functions, the division of visible and invisible things. A work of art can shape the space of society. Through a reshaping of the senses, the work of art affects everything that can be seen, heard, said, and even thought. In other words, artistic activities affect the way things are done, the forms of visibility, and the state of things in society. By redistributing the sensible the works of art influence the division of public space, the actions taken, and the type of participation in society. Through the work of art, the artist can deconstruct the superficial layers of social discourses and decipher them by revealing the state of things.

This articles focuses on the possibility of the audience’s democratic participation in the interactive arts and discovers it on some samples of art activism. The theoretical framework is based on Walter Benjamin’s ideas about democratic art, and on the relationship between art and politics as seen by Jacques Rancière. It searches features of democratic participation in art in two models, “the standing man” in Turkey as a political-artistic action, as well as the “Village of Arts and Humanities” in the United States as a socio-artistic activity. The paper analyzes political and democratic characteristics of the samples based on the theoretical framework proposed and explaines how art activism with interactive approach provides the equall involvement and participation of the audience and also clarifies why these activities should basically be considered as Art.