O questionamento do irrepresentável em Jacques Rancière

A propósito de The Disintegration Loops, de William Basinski

Abstract

In his vast work, Jacques Rancière has repeatedly pointed to ways of understanding the notion of representation and its rules of organization of doing, seeing and judging. This text aims to clarify possibilities of accurately estimating, in terms of what Rancière calls the “aesthetic regime of art”, the artistic expression of events considered unthinkable or unrepresentable. Analyzing in this key the (musical and visual) work of William Basinski The Disintegration Loops, around September 11 attacks, allows to think about  ways of inserting a non-representational art within a context of affective response to catastrophic events, as well as allows to critically evaluate the concept of sublime on the backdrop of a supposed postmodern crisis of representation.