A pensatividade da fotografia e política

This research investigates, in Jacques Rancière's thought, whether pensiveness constitutes the political character of photography. The study is part of the aesthetic regime of art, the only one where the image becomes pensive. For Rancière, politics emerges from the disruption of the established order by the distribution of the sensible, being consubstantial with aesthetics. The central hypothesis is that photography is political in its nature because it is pensive. This pensiveness results from the paradox between the enigma and the social banality coexisting in the image. The specific objectives are: to present Rancière's notion of politics; to analyze the relationship between the distribution of the sensible and the aesthetic regime; and to investigate the photography-pensiveness-politics triad. The methodology consists of a bibliographic review of the philosopher's works (primary sources) and his commentators, such as Daniela Blanco and Eduardo Pellejero (secondary sources), adopting the theoretical approach of the “scene.” The topic is relevant to understanding the implications of aesthetics and politics in contemporary society.