The Emancipated Spectator
The Emancipated Spectator
复制标题
被解放的旁观者
DOI：
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发表时间：
2009
期刊：
影响因子：
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通讯作者：
Gregory Ellion
中科院分区：
文献类型：
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作者：
Jacques Ranciére;Gregory Ellion
在这个标题中，最重要的艺术哲学家主张一种新的观看政治。观众在艺术和电影理论中的角色围绕着一个戏剧性的奇观概念。传统上，受奇观社会支配的大众在审美和政治上被视为被动的--作为回应，艺术家和思想家都试图将观众转化为主动的行为者，将奇观转化为表演。在这部广受赞誉的《图像的未来》的后续作品中，朗西埃对这种试图解放的尝试采取了一种完全不同的方法。他首先问我们究竟指的是什么政治艺术或艺术的政治，接着又探讨了批判艺术的传统以及将艺术融入生活的愿望所取得的成就。对图像和商品消费的激进批判是否反而变成了对它们无所不在的肯定？
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?