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This essay looks at the concept of making the familiar strange as an integral part of the historical avant-garde, to understand its workings, legacies, and potential to play out the aesthetics and politics of seeing better for our time. The notion of artistic thinking as thinking from the point of view of estrangement, with its paradigms in European modernism, is a point of departure for reflecting on the relationship between aesthetics and politics—for foregrounding the concept of making the familiar strange both as formulated by Shklovsky and Brecht, respectively, and as it has been reemerging through its various transformations in contemporary artistic practices.
