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https://www.cambridge.org/core/books/jacques-ranciere/regimes-of-the-arts/0A2E0136EF49EB5A96D685037402A0FA
Ranciére's notion of “regimes of the arts” appeared for the first time in The Politics of Aesthetics (2004; original French edition 2000). The term captured much of the substantial work of conceptual and historical analysis begun a few years earlier, notably in La parole muette (1998). In this book, Ranciére spoke of “systems of representation” and of “poetic systems”.Author: Jean Philippe Deranty
http://www.artnet.com/magazineus/books/davis/davis8-17-06.asp
This is linked by Rancière with that old bugaboo from the philosophy of art, Plato’s banishment of painters from his ideal community. Rancière associates this "regime" with the antique idea that defines artwork as common craft labor. Under this regime, he writes, "the mimetician provides a public stage for the ‘private’ principle of work" (p.
https://onlinelibrary.wiley.com/doi/10.1002/9781118488638.ch25
Mar 17, 2013 · Jacques Rancière's work on modernism begins with an analysis of Plato's belief that each person in a well‐ordered republic will have the occupations and positions proper to them. Rancière points out that there is no such thing as aesthetics proper in Plato's formulation, because the arts have no artistic function per se.Author: Molly Anne Rothenberg
https://ndpr.nd.edu/news/art-politics-and-ranciere-broken-perceptions/
The "aesthetic regime of art" is the most complex of all the regimes that Rancière describes. It refers to the movement by which artists, critics, and thinkers, at the close of the eighteenth century, began to re-think what makes art, art.
https://www.britannica.com/biography/Jacques-Ranciere
Rancière distinguishes three artistic regimes: the ethical, the representational, and the aesthetic.
https://culturemachine.net/reviews/ranciere-the-politics-of-aesthetics-sayers/
Modernism, correctly understood, Rancière asserts, is an egalitarian movement which radically alters the distribution of the sensible. This new regime is heralded by Schiller in On the Aesthetic Education of Man (23-4). It is first developed not in painting, as is usually thought, but in literature.
http://builder2.hpd-collaborative.org/the_politics_of_aesthetics_jacques_ranciere.pdf
The politics of art, by contrast, arise in the art itself. Though both pursue the same goal, Ranciere tells us, they do so via different means. Where the aesthetics of politics is a ‘polemical configuration of the common world’, the politics of aesthetics promises a ‘non-polemical, consensual framing’ of the same.
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