For Rancière, any experience involves/evokes a (re-)configuration of the "visible" and the "sensible," an order of possible actions/enactments, and possible situations. In other words, the "distribution of the sensible" (Rancière) defines a "system" that opens up the ability -- if not the possibility of the possible -- to perceive the existence of something held in common ("the common of the community") and the torsions ("dissagreements") that apportion places and parts within, as well as around, it. Thus, this theoritcal position(ing) entails that there is both a politics immanent to artistic praxes and that there exists no political configuration which is not always-already founded on a decision regarding the visibility of its pieces and spatio-temporal possiblities and multiplications. Thus, in this proposed class, which will be held, I hope, during the College Art Association's annual meeting, which takes place in February 2010, I would like to explore the politics, possiblities, and potenialites of Rancière's "distribution of the sensible," "politics of aesthetics," and "political disagreement" -- as well as the differences and similaties (in-)between "art," "aesthetics," and "politics." In a sense, explore the architecture of Rancière's theoretical thought(s), and how it is played out and can be played out in art and architecture (and even beyond to the everyday).