Abstract
In this paper, I argue that Jacques Rancière does not propose a purely
sensible conception of the aesthetic in his recent writings on art. Unlike
many contemporary philosophies of art, Rancière’s aesthetics retains
an important cognitive dimension. Here, I bring this aspect of Rancière’s
aesthetics into view by comparing the conception of intelligence
found in his earlier works with his more recent writings on art, showing
that intelligence and sense are distributed in the same ways. The
distinction between them is, moreover, governed by the same politics.
Rancière’s analysis of the sensible and the intellectual breaks down the
distinction between them and establishes their equality.