This study uses new arguments to reinvestigate the relation between aesthetics and politics in the contemporary debates on democratic theory and radical democracy. First, Carl Schmitt and Claude Lefort help delineate the contours of an aesthetico-political understanding of democracy, which is developed further by studying Merleau-Ponty, Rancière, and Arendt. The ideas of Merleau-Ponty serve to establish a general "ontological" framework that aims to contest the dominant currents in contemporary democratic theory. It is argued that Merleau-Ponty, Arendt, and Rancière share a general understanding of the political as the contingently contested spaces and times of appearances. However, the articulation of their thought leads to reconsider and explore under-theorized as well as controversial dimensions of their work. This search for new connections between the political and the aesthetic thought of Arendt and Merleau-Ponty on one hand and the current widespread interest in Rancière's aesthetic politics on the other make this book a unique study that will appeal to anyone who is interested in political theory and contemporary continental philosophy.

This study uses new arguments to reinvestigate the relation between aesthetics and politics in the contemporary debates on democratic theory and radical democracy. First, Carl Schmitt and Claude Lefort help delineate the contours of an aesthetico-political understanding of democracy, which is developed further by studying Merleau-Ponty, Ranci�re, and Arendt. The ideas of Merleau-Ponty serve to establish a general "ontological" framework that aims to contest the dominant currents in contemporary democratic theory. It is argued that Merleau-Ponty, Arendt, and Ranci�re share a general understanding of the political as the contingently contested spaces and times of appearances. However, the articulation of their thought leads to reconsider and explore under-theorized as well as controversial dimensions of their work. This search for new connections between the political and the aesthetic thought of Arendt and Merleau-Ponty on one hand and the current widespread interest in Ranci�re's aesthetic politics on the other make this book a unique study that will appeal to anyone who is interested in political theory and contemporary continental philosophy.

The Politics of Aesthetics rethinks the relationship between art and politics, reclaiming "aesthetics" from the narrow confines it is often reduced to. Jacques Rancière reveals its intrinsic link to politics by analysing what they both have in common: the delimitation of the visible and the invisible, the audible and the inaudible, the thinkable and the unthinkable, the possible and the impossible. Presented as a set of inter-linked interviews, The Politics of Aesthetics provides the most comprehensive introduction to Rancière's work to date, ranging across the history of art and politics from the Greek polis to the aesthetic revolution of the modern age. Available now in the Bloomsbury Revelations series 10 years after its original publication, The Politics of Aesthetics includes an afterword by Slavoj Zizek, an interview for the English edition, a glossary of technical terms and an extensive bibliography.

Taking as its point of departure a sharp critique of Rawls's influential "A Theory of Justice," this book looks at politics from an aesthetic perspective.

In this book the influential philosopher Jacques Rancière, in discussion with Peter Engelmann, explores the enduring connection between politics and aesthetics, arguing that aesthetics forms the fundamental basis for social and political upheaval. Beginning from his rejection of structuralist Marxism, Rancière outlines the development of his thought from his early studies on workers’ emancipation to his recent work on literature, film and visual art. Rather than discussing aesthetics within narrow terms of how we contemplate art or beauty, Rancière argues that aesthetics underpins our entire ‘regime of experience’. He shows how political relations develop from sensual experience, as individual feelings and perceptions become the concern of the community as a whole. Since politics emerges from the ‘division of the sensual’, aesthetic experience becomes a radically emancipatory and egalitarian means to disrupt this order and transform political reality. Investigating new forms of emancipatory politics arising from current art practices and social movements, this short book will appeal to anyone interested in contemporary art, aesthetics, philosophy and political theory.

Should politically concerned and engaged artistic production disregard questions or/and requirements of aesthetic reception and value? Whether art should be “aesthetic” or “political” is not a new question. Therefore, in spite of those several contemporary approaches of this issue, the answer is not set in stone and the debate is still going on. This volume aims to broaden these debates and it stems from numerous conversations with politically engaged artists and artist collectives on issues related to the “aesthetitzation of politics” versus the “politicization of art,” as well as the phenomenon of the so-called “unhealthy aestheticism” in political art. Thus, this study has three interrelated aims: Firstly, it aims to offer an interdisciplinary account of the relationship between art and politics and between aesthetics and the political. Secondly, it attempts to explore what exactly makes artistic production a strong – yet neglected – field of political critique when democratic political agency, history from below and identity politics are threatened. Finally, to illuminate the relationship between critical political theory, on the one hand, and the philosophy of art, on the other by highlighting artworks’ moral, political and epistemic abilities to reveal, criticize, problematize and intervene politically in our political reality.

The growing exploration of political life from an aesthetic perspective has become so prominent that we must now speak of an “aesthetic turn” in political thought. But what does it mean and what makes it an aesthetic turn? Why now? This diverse and path-breaking collection of essays answers these questions, provoking new ways to think about the possibilities and debilities of democratic politics. Beginning from the premise that politics is already “aesthetic in principle,” the contributions to The Aesthetic Turn in Political Thought from some of the world's leading political theorists and philosophers, disclose a distinct set of political problems: the aesthetic problems of modern politics. The aesthetic turn in political thought not only recognizes that these problems are different in kind from the standard problems of politics, it also recognizes that they call for a different kind of theorizing – a theorizing that is itself aesthetic. A major contribution to contemporary theoretical debates, The Aesthetic Turn in Political Thought will be essential reading to anyone interested in the interdisciplinary crossroads of aesthetic and politics.

Jacques Rancière’s work is increasingly central to several debates across the humanities. Distributions of the Sensible confronts a question at the heart of his thought: How should we conceive the relationship between the “politics of aesthetics” and the “aesthetics of politics”? Specifically, the book explores the implications of Rancière’s rethinking of the relationship of aesthetic to political democracy from a wide range of critical perspectives. Distributions of the Sensible contains original essays by leading scholars on topics such as Rancière’s relation to political theory, critical theory, philosophical aesthetics, and film. The book concludes with a new essay by Rancière himself that reconsiders the practice of theory between aesthetics and politics.

"I suggest that although at any given place and moment the aesthetic expressions of a political system just are that political system, the concepts are separable. Typically, aesthetic aspects of political systems shift in their meaning over time, or even are inverted or redeployed with an entirely transformed effect. You cannot understand politics without understanding the aesthetics of politics, but you cannot understand aesthetics as politics. The point is precisely to show the concrete nodes at which two distinct discourses coincide or connive, come apart or coalesce."—from Political Aesthetics Juxtaposing and connecting the art of states and the art of art historians with vernacular or popular arts such as reggae and hip-hop, Crispin Sartwell examines the reach and claims of political aesthetics. Most analysts focus on politics as discursive systems, privileging text and reducing other forms of expression to the merely illustrative. He suggests that we need to take much more seriously the aesthetic environment of political thought and action.Sartwell argues that graphic style, music, and architecture are more than the propaganda arm of political systems; they are its constituents. A noted cultural critic, Sartwell brings together the disciplines of political science and political philosophy, philosophy of art and art history, in a new way, clarifying basic notions of aesthetics—beauty, sublimity, and representation—and applying them in a political context. A general argument about the fundamental importance of political aesthetics is interspersed with a group of stimulating case studies as disparate as Leni Riefenstahl's films and Black Nationalist aesthetics, the Dead Kennedys and Jeffersonian architecture.

Political Aesthetics highlights the complex and ambiguous connections of aesthetics with social, cultural and political experiences in contemporary societies. If today aesthetics seems a rather overused term, mixing a variety of historical realities and complex personal states of being, its relevance as a connecting agent between individual, state and society is stronger than ever. The actual context of political and economic crisis generates new relations between official imposed aesthetics and the resistance and critiques they trigger. Considered beyond the poles of power and protest, the book examines how traditional or innovative artistic practices may acquire unexpected capacities of subversion. It nourishes the current debate around the new political stakes of aesthetics as an inviolable right of ordinary citizens, an essential element of empowerment and agency in a democratic every day. It will be of interest to students and scholars of international relations, political culture and political aesthetics, as well as critical sociology and history. It will also be useful for some broad courses in media studies, cultural studies, and sociology.