- Jacques Rancière interviewed by Fulvia Carnevale and John Kelsey ‘Art Of The Possible’ Artforum March 2007, pp256–69.
- The ‘aesthetic regime of art’ that Rancière denominates roughly coincides with the period of modernity. Here art attains a certain autonomy or specificity, distinct from its utility in reflecting the truth or ethos of a community. Within the aesthetic regime, works of art are construed in Rancière's terms as ‘belonging to a specific sensorium that stands out as an exception from the normal regime of the sensible, which presents us with an immediate adequation of thought and sensible materiality’. (‘The Aesthetic Revolution And Its Outcomes: Emplotments Of Autonomy And Heteronomy’ New Left Review 14 March—April 2002, p135.) At the same time, this specificity of art is consistently undermined by the fact that the aesthetic regime questions and alters distinctions between art and non-art activities. Rancière thus describes the ‘aesthetic regime of art’ as motivated by a dual contradictory impetus towards autonomy and heteronomy.
- By ‘mimique’, Rancière means a type of performance with a broader connotation than is designated by the English term ‘mime’, yet it also differs from the usual sense of the word in French, which implies mimicry.
- Jacques Rancière ‘The Emancipated Spectator’ Artforum March 2007, p280.
- Shonibare's Garden Of Love was held at, and created for, the Musée Du Quai Branly, Paris, 2 April—8 July 2007.
- The usual translation of dispositif in English is ‘apparatus’.
- Like Mayakovsky and Artaud, Swiss born Adolphe Appia (1862–1928) was a pioneer and theorist of modern theatre and scenography. Rancière discussed aspects of his 1899 book Die Musik Und Die Inscenierung (Music And The Scene) in his essay ‘What Aesthetics Can Mean’ in From An Aesthetic Point Of View: Philosophy, Art And The Senses (ed. Peter Osborne) Serpent's Tail, London, 2000, pp13–33.
- Jacques Rancière The Politics Of Aesthetics: The Distribution Of The Sensible (trans. Gabriel Rockhill) Continuum, London and New York, 2004, p2.
- Thierry de Duve Clement Greenberg: Between The Lines (trans. Brian Holmes) Éditions Dis Voir, Paris, 1996, p86.
- Jean-François Lyotard ‘After The Sublime, The State Of Aesthetics’ The Inhuman (trans. Geoffrey Bennington and Rachel Bolwby) Polity Press, Cambridge, 1991, pp135–43.
- Ibid, p141.
- Lyotard does not use this specific term, which is the ancient Greek for ‘the sensible’, in his essay.
Australian and New Zealand Journal of Art
Volume 8, 2007 - Issue 1: Post-Medium