Shifter 16 : "Pluripotential"
Shifter 16 : "Pluripotential" is now available to read online.
Please join us for the magazine launch at Printed Matter
tomorrow:
Book
Launch at Printed Matter,
195 10th Avenue, New York,
NY
Saturday, April 24th, 5 – 7 pm
Click here to
read SHIFTER16 : Pluripotential
or buy a hard copy here
T. Kelly
Mason : "More Bones (Breton Bones)" Dye Transfer Prints 12.5” x 19” 2009
Editors:
Sreshta Rit Premnath
Warren
Neidich
Contributors:
Éric Alliez
Bernard
Andrieu
Eric Anglès
Kader Attia
Elena Bajo
Lindsay
Benedict
Nicholas Chase
Seth Cluett
Zoe Crosher
Krysten
Cunningham
Yevgeniy Fiks
Dan Levenson
Antje Majewski
T. Kelly
Mason
Michele Masucci
Daniel Miller
Seth Nehil
Warren
Neidich
Susanne Neubauer
Hans Ulrich Obrist
Chloe Piene
Sreshta Rit
Premnath
Linda Quinlan
Patricia Reed
Silva Reichwein
Barry
Schwabsky
Gemma Sharpe
Amy Sillman
Francesco Spampinato
Tyler
Stallings
Laura Stein
Clarissa Tossin
Brindalyn Webster
Lee
Welch
Olav Westphalen
James Yeary
Layout and
Design:
Dan Levenson
We present scores, scripts,
instructions, critical essays and more for Shifter’s 16th issue entitled
“Pluripotential”.
Here we invoke a term, which describes the innate
ability of stem-cells to differentiate into almost any cell in the body, to
think through the possibility of criticality and cultural change through
aesthetic strategies.
The skin that we are born with is transformed as a
result of its life of touches, caresses and trauma and becomes flesh*. While on
the one hand each of us experiences a unique set of circumstances, our common
knowledge also shapes this flesh. Analogously, the brain becomes the mind
through its history of experiences: A British child growing up in Tokyo speaks
fluent Japanese, something her parents having arrived later in life to Japan may
never be able to do. The brain is prepared for a multiplicity of cultural and
linguistic conditions, within certain biological limits of malleability.
Furthermore, as Agamben has noted, “the child [...], is potential in the sense
that he must suffer an alteration (a becoming other) through
learning.”**
These limits of malleability may fall within the paradigm of
what Ranciere calls the distribution of the sensible: “the system of
self-evident facts of sense perception, that simultaneously discloses the
existence of something in common, and the delimitations that define the
respective parts and positions within it.”*** Does art have the pluripotential
ability to produce events in the cultural landscape, which in turn produce a
redistribution of the sensible: a shift in public consciousness concerning how
and what we see and feel, and furthermore a reconsideration of who constitutes
the public “we.” Here the contradicting ideas of a homogeneous people, versus
the singularities that produce differences within the multitude become
relevant.
This play between structural constraints and a potential for
continuous change is seen in forms such as scores, scripts and instructions; and
strategies including “detournement” and remix, which hold within them the
potential to be performed and reconstituted in multiple ways. It is therefore
through these forms that we set out to explore “Pluripotential”.
Footnotes:
*”The Merleau-Ponty Reader”, Maurice Merleau-Ponty, Ted
Toadvine, Leonard Lawlor, Northwestern University Press, 2007; Pg.
405
**”Potentialities”, Giorgio Agameben, Standford University Press, 1999;
Pg. 179
***”The Politics of Aesthetics: The Distribution of the Sensible”,
Jacques Rancière, Gabriel Rockhill, Continuum, 2006; Pg.
12
Mailing List Powered by Dada Mail
Powered
by Dada Mail 3.0.2
Copyright
© 1999-2008, Simoni
Creative.