Abstract
It is nearly impossible to divide the image in society as art form from the primacy of reason that has orchestrated worlds since its nascent beginning in Plato’s epistemological divide in his republic. Presently we battle in perpetuity that which has fashioned specialties and has left society fragile and alienated signaling a clarion call for interdisciplinary measures in our pedagogical practices. Society is in a state of fragility because the singularity of knowledges as specialties leaves us without the holistic approach to the human condition and alienates society in such a way that one occupies themselves in the insistent of their chosen profession, and nothing else. This paper considers how the image has shaped worlds since the dialogues of Plato and the birth of imitation in the poetics of Aristotle in this: in Plato, the silhouette was the inferior image, and the arts (poets and imagery) were an abomination that could not yield a strong community. Differing from Plato, Aristotle adopted mimesis to inform society, but fashioned as a hierarchy of visibility. Jacques Ranciere’s writings are critical here for their unvarnished examination of the image in three regimes, which he denotes as Plato’s ethical regime of art, Aristotle’s representative regime of art, and the aesthetic regime of art. In Ranciere we understand that the image either offers itself as an image of Kantian disinterest with interest abiding in the critique of beauty, his Copernican Revolution or as one of finality, determined, an always already subjugated gaze.
Presenters
Nancy Bookhart WellingtonAssistant Professor of Art, Department of Humanities, Paine College, Georgia, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
JACQUES RANCIERE, PLATO, ARISTOTLE, BEAUTY, KANT, INTERDISCIPLINARY, MIMESIS, ETHICAL, AESTHETICS
