Lo spettatore indecidibile. L'emancipazione estetica tra poietica e retorica.

The paper discusses Rancière’s ideas to use in three broad areas: art criticism and aesthetic philosophy, forms of cultural history that engage with spatial categories, and political philosophies of community. Rancière’s project sits outside the antinomy between aesthetic and anti-aesthetic, art-world and ordinary life’s practices and habits. Instead, he offers a broad framework for thinking aesthetics as the relationship between forms of visibility or perceptibility and patterns of intelligibility, what he terms the ‘partition of the sensible’. Fimiani refers to this materiality of sense perception more than to a more abstract or kantian sense of the common that is created by the spatial arrangement of objects in daily contexts, a material partition also simultaneously functioning as a symbolic partition. One key implication is that, while art remains a privileged domain of aesthetic production, aesthetics as a regime of identification has a broader cultural relevance more familiar to cultural studies, as a polemical redistribution of objects and subjects, places and identities, spaces and times, visibilities and meanings. The Maya Lin’s Vietnam Veterans Memorial and the debate about his artistic or public function is the taste-case for argue a indecidability of the relationship between the behavior, art and politics