In doing so he rethinks aesthetic modernity as an exit from mimesis, replacing it with a more experimental, polymorphous exploration of experience. In this, Rancière reflects upon the notion of the classical order of mimesis, that is, the hierarchical system of imitation of “nature” in which the inequalities of themes and registers reproduce and repeat social and political inequalities. The latter concept, elaborated in a work published in 2000 by La Fabrique, essentially designates the way in which, at a given moment, a system of mental representations defines and divides up both the space of the shared experience and the practices current in that space, through a process both inclusive and exclusive.
We can also cite the long, sporadic dialog he has held with the poetry of William Wordsworth-starting with Short Voyages to the Land of the People -as one of the forerunners of what the philosopher would soon identify as a new “distribution of the sensible” put to effect in the wake of the French Revolution. For example, there is the importance given to the English Civil War in his book. It can also be added that he numbers among the relatively rare thinkers in France who address British art and culture, devoting considerable attention in his work to these subjects. From working class memory and popular education to the multiple inventions of modern and contemporary art, he has ceaselessly explored discursive practices and fields of study traditionally excluded from the narrow bounds of academic philosophy, particularly in France. He is also one of the most concerned with confronting philosophy, its history and authority with various forms of otherness.
Jacques Rancière is without dispute one of the most fundamentally cross-disciplinary French thinkers since Foucault.
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