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Aesthetics and Its Discontents
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Aesthetics and Its Discontents
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Since human feeling is central to aesthetic history, it is to be expected that disability will crop up everywhere because the disabled body and mind always elicit powerful emotions. I am making a stronger claim: that disability is integral to aesthetic conceptions of the beautiful and that the influence of disability on art has grown, not dwindled, over the course of time. If this is the case, we may expect disability to exert even greater power over art in the future. We need to consider, then, how art is changed when we conceive of disability as an aesthetic value in. | Aesthetics and Its Discontents Problems and Transformations of Critical Art Jacques Rancière Translated by Steven Corcoran polity In its most general expression critical art is a type of art that sets out to build awareness of the mechanisms of domination to turn the spectator into a conscious agent of world transformation. The quandary that plagues the project is well known. On the one hand understanding does not in and of itself help to transform intellectual attitudes and situations. The exploited rarely require an explanation of the laws of exploitation. The dominated do not remain in subordination because they misunderstand the existing state of affairs but because they lack confidence in their capacity to transform it. Now the feeling of such a capacity presupposes that the dominated are already committed to a political process in a bid to change the configuration of sensory givens and to construct forms of a world to come from within the existent world. On the other hand the work which builds understanding and dissolves appearances kills by so doing the strangeness of the resistant appearance that attests to the non-necéssary or intolerable character of a world. Insofar as it asks viewers to discover the signs of Capital behind everyday objects and behaviours critical art risks being inscribed in the perepetuity of a world in which the transformation of things into signs is redoubled by the very excess of 46 Politics of Aesthetics interpretative signs which brings things to lose their capacity of resistance. Critical art s vicious circle is generally seen as proof that aesthetics and politics cannot go together. It would be more valid to see in it the plurality of ways in which they are linked. On the one hand politics is not the simple sphere of action that follows an aesthetic revelation about the state of things. It has its own specific aesthetics in other words it has its own modes of dissensual invention of scenes and of characters of demonstrations and
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