Images Re-Read
The Method of Georges Didi-Huberman
Bibliographic Data
| ID | 4870488 |
|---|---|
| Authors | Jacques Rancière (0000-0003-3485-2247), Elise Woodard (0000-0002-5509-9963), Jorge Rodriguez Solorzano, Stijn De Cauwer (0000-0002-2914-7220), Laura Katherine Smith |
| Year | 2018 |
| Volume | 23 |
| Issue | 4 |
| Pages | 11-18 |
| Publication date | 2018-07-04 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Angelaki (JOURNAL) |
| Journal identifiers | ISSN: 0969-725X • E-ISSN: 1469-2899 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/0969725x.2018.1497265 |
| OpenAlex | W2952937054 |
| Language | EN |
| Citations received | 3 |
In this text, Jacques Rancière critically discusses the work of Georges Didi-Huberman on images. He disagrees with various claims seemingly made by Didi-Huberman about images, such as that they can “take position” or that they are “active.” Rancière argues that Didi-Huberman adds another form of dialectics to the simpler form of dialectics adopted by Bertolt Brecht and Harun Farocki in their works, namely one that also involves a layering of different temporalities. However, both in Brecht’s War Primer and in Didi-Huberman’s analysis of it, all the potencies credited to images as such are actually potencies of the words that accompany the images. Rancière comes to the conclusion that to “put images in motion,” as Didi-Huberman wants to do, or to regard them as being “active,” he has to put words, his own poetic and extensive writings, in motion
Aesthetics · Art · Dialectic · Epistemology · Literature · Motion (physics · Poetry · Temporalities · Theology · Art, Politics, and Modernism · Computer Science · Critical Theory and Political Philosophy · Visual Culture and Art Theory · Artificial Intelligence · Philosophy
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,38 |
| Citation span | 2018 - 2022 (5) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 3 |