This article seeks to challenge and in so doing recalibrate Jacques Rancière’s political aesthetics, my motivation to do so springs from the recognition that his theory has ‘disciplinary’ effects. Specifically I object to the way that artistic commitment is traduced and, ultimately, excluded from his formula of art-politics. I attempt to stretch Rancière’s definition of aesthetic experience so to accommodate the art practice of Agitprop. My claim is that any of the materials or actions produced by a genuinely egalitarian activist group can be strategically read as exhibiting aesthetic properties. Perhaps counter-intuitively the definition of egalitarian politics is drawn from Rancière too. I therefore use one part of his philosophical system to expose what I see as the unnecessary restrictiveness of another. My examples are drawn from the collective practice of Arts against Cuts which formed part of the broad UK anti-austerity activism of winter and spring 2010/11
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