Avi Alpert

Shifter is a topical publication that aims to illuminate and broaden our understanding of the intersections between contemporary art, politics and philosophy. Shifter remains malleable and responsive in its form and activities, and represents a diversity of positions and backgrounds in its contributors. Originally conceived as an online magazine in order to create an inter-continental “commons,” Shifter now engages in a multiplicity of formats including print publications, public dialogues and exhibitions. This has allowed for extended discourse and additional access to Shifter’s content by diverse audiences. Shifter was first published in 2004 by its founding editor Sreshta Rit Premnath. Issues 11 to ...
PublisherShifter2007
The intimate is one of proximity and familiarity. As a relational category, intimacy is a quality of closeness, attachment, and belongingness. To be intimate with someone or some thing is to have an innermost connection. Intimacy, or intimus, designates interiority or an inward sensation, as in under one’s skin. To intimate is also to commu-nicate with a hint, to imply subtly. is process requires a codified reception, a circle of acknowledgement and recognition. Intimacy not only designates issues pertinent to the discussion of home, sexuality, identity, the slippage between the private and public, but also relationships made out of kinship, ...
PublisherShifter2008
Most libraries around the world use the Dewey Decimal Classification System (DDCS) to list and categorize books. e DDCS is a library classification system developed by Melvil Dewey in 1876. By categorizing items within a library it serves as a tool for people searching for specific knowledge. It was an attempt to organize all knowledge into ten main classes, which are further subdivided into 100 divisions and 1000 sections. is makes the DDCS appear purely numerical and infinitely rational. However, DDCS is regularly revised, reflecting how culture, ideology, and the perception of knowledge change over time. As a result of ...
PublisherShifter2008
While stranded in Dublin, Ohio on September 13th 2001 due to the grounding of all domestic flights in the US, the editors visited the local library. umbing through the card catalogue, they found a reference to “Other Possibilities,” by Indira Sylvia (I.S.) Belissop assigned the Dewey Decimal call number 125.20. Let alone the book, even this curious number inserted between “Teleology” (124) and “ e Self” (126) has since been impossible to find in major libraries around the world. e book itself did not appear on the shelf, and the card, in classic Courier font, stated simply, “Collected writings of ...
PublisherShifter2009
Shifter is a topical magazine that was founded in 2004 by Sreshta Premnath. Premnath continues to edit the magazine in collaboration with guest editors. Finding that the internet was the only inter-continental “commons” which is not policed by immigration policy, Shifter began as an online magazine. It was conceived of as a topical magazine so that dialogue remained centered around ideas that were not in themselves culturally specific, and could be approached from different directions. It attempts to create a platform where individuals engaged in various fields including visual art, experimental writing, cultural theory, philosophy and the sciences can view their ...
PublisherShifter2016
Over the course of a year, Shifter hosted a series of public discussions, each concentrated on unraveling a keyword – a term that carries with it both a sense of urgency and agency in our present climate. By inviting artists, writers, activists, philosophers and others to propose terms and lead discussions, we opened up our editorial process to the motivations of others. The yearlong series culminates in Shifter’s 22nd issue Dictionary of the Possible. This dictionary catalogs the keywords taken up for discussion over the course of a year, accompanied by a list of questions provoked during each discussion. Rather ...
PublisherShifter2019
In Learning and Unlearning, which began as a series of discussions held from 2017-19, we ask questions about world-making. By unlearning our relationship to the places and temporalities we occupy, can we learn new ways of inhabiting the world? And by reconsidering our relation to work and well-being, can we find new ways to see, feel and understand the world? This recalibration of how we see the world and consequently how we live our lives is the central concern of the artists, educators and thinkers whose writings follow. Unlearning, for us, is not a reactionary opposition to intellectualism and the academy. ...

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