POLITICAL SUBJECT
THE SCENE
What would the urban scene look like? The French philosopher Jacques Rancière considers the scene to be fundamentally anti-hierarchical and a complex network of relationships in which the work of building takes place at the same time that it is identified. In addition, he defines the new fictionality of this scene, in which the facts no longer happen in the time of historians, but in an anachronistic way, from the reading of signs belonging to a place, a group, etc.
“There is no real in itself (...). The real is always the object of a fiction, that is, of a construction of space in which the visible, the sayable and the doable are intertwined.” [1]
SHARING THE SENSITIVE
Police sharing: It configures an order that determines a specific place for each subject, ways of being and saying, limiting them, framing them in a certain fixed vision of the place of existence and importance of these subjects.
Political sharing: It is precisely to question the consensual, what is seen as unquestionable, and to promote ruptures in the modes of appearance and circulation of words, bodies and images.
“To show what did not find a place to be seen and, to allow to hear as speech what was only perceived as noise. (...) the image can reveal powers, reconfigure regimes of visibility and question oppressive discursive orders.” [3]
THE POLICY OF ART
The philosopher also defends that the image/art, to be political, does not need to portray social injustices, their causes and effects, leading the spectator to want to change this reality. It needs to aim at a transformation of the relationships between the subjects that build and share a world, and thus contribute to new forms of common sense.
“Politics and art, as well as knowledge, build 'fictions', that is, material rearrangements of signs and images, of the relationships between what is seen and what is said, between what is done and what can be done. do. (...) They design, therefore, random communities that contribute to the formation of collectives of enunciation that call into question the distribution of roles, territories and languages – in short, of those political subjects that call into question the already given sharing of the sensitive." [4]
THE EMANCIPATION
The new scene proposes new conditions to those staying in the audience, the spectators, and these translate the signs they encounter in terms of their own experiences and intelligence, which is why Rancière called emancipated spectators. This emancipation also occurs in the passage from what he calls the police sharing of the sensitive, to the political sharing of the sensitive.
“Thus, working towards the emancipation of the spectator does not imply removing him from the chair and making him take the stage, (...), but to share a common translation experience, which demands an active intellect and a awakens sensitivity, where the spectator can 'make his poem with the poem that is made before him'.” [two]
DISENSUS SCENES
Rancière calls political, or dissent, images those that promote a recombination of signs allowing for estrangement and controversy. The collective spaces where we find these images are called “scenes of dissent”, contradicting the consensus, the framing.
Such scenes seek to remove bodies from their designated places, freeing them from any reduction to their functionality and endowing them with faces, that is, becoming political subjects that appear in the collective space of exposition, argumentation and negotiation.
POLITICAL SUBJECTIVATION
Political subjectivation, in turn, concerns these disidentifications that are precisely the rupture with the police order that determines the place of each subject. This subjectivation involves the way individuals appear in the dissenting public scene to speak of their world.
“The logic of political subjectivation is never the simple affirmation or denial of an identity, it is always, at the same time, the connection and disconnection between a place of speech perceived as its own and an identity imposed by another, fixed by the police logic. ”. [3]
BIBLIOGRAPHIC REFERENCES
RANCIÈRE, J. " The emancipated spectator ". São Paulo: WMF Martins Fontes, 2012b.
MOSTAÇO, E. Emancipation, the scene and the spectator at stake . Black Room, [S. l.], v. 13, no. 2, p. 200-215, 2013. DOI: 10.11606/issn.2238-3867.v13i2p200-215. Available at: https://www.revistas.usp.br/salapreta/article/view/69089. Accessed in: April. 2021.
MARQUES, Angela. (2014). Image politics, subjectivation and scenes of dissent . Photographic Speeches. 10.61.10.5433/1984-7939. 2014 v10 n17 p61.
RANCIÈRE, J. " The sharing of the sensible ". São Paulo: Ed. 34, 2005.
VOIGT, André F. The concept of “scene” in the work of Jacques Rancière : the practice of the “method of equality”. Available at: https://www.scielo.br/j/kr/a/GSgR36CsZBF7LKbdj7W7mgh/?lang=pt. Accessed in: APRIL. 2021.