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Plexus Black Box Chapter 5

Plexus Black Box Chapter 5

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Published by sandro dernini
Chapter 5: A close reading of Plexus Black Box.
Strategic survival by art withdrawing; Repatriation of art into the community, the artist in the first person; Open social ritual multi arts form, Plexus art co-opera; Plexus compressionist art process; Against the slavery of art-isms; Eating art; Well being in the XXI century.
Chapter 5: A close reading of Plexus Black Box.
Strategic survival by art withdrawing; Repatriation of art into the community, the artist in the first person; Open social ritual multi arts form, Plexus art co-opera; Plexus compressionist art process; Against the slavery of art-isms; Eating art; Well being in the XXI century.

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Published by: sandro dernini on Sep 04, 2009
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Plexus Black Box
was described by the insider Mitch Ross as follows:None knows what it is and what they are doing with it. But it allows all Plexuspeople to feel part of that culture and to make their own definition of it, which isfine because more information goes into and more information has to be defined.At the end of this inquiry, in coherence with his applied deconstructionist strategies,Sandro Dernini applied a “closing reading” approach to report “direct quotes” fromaccounts by Plexus insiders, identified relevant through his hermeneutical procedures,offering in this way a multiplicity of levels of understandings grounded inintersubjective beliefs, supported by evidences publicly accessible. Within this multi-facet perspective, he presented “insider“ accounts as primary sources for an “emic”understanding of
Plexus Black Box
.Following this “bottom-up
methodology and applying the Ecker’s model of “theartists as researcher,” Dernini gave relevance to accounts made by “insider” artists,usually considered
too much subjective
 , and, therefore, reported in appendices ofacademic works as marginal references. His “bottom-up
study, validated by sharedintersubjective beliefs, was made to reinforce the scientific legitimacy of the “emic”knowledge, still underestimated in the academic community. Only a marginalrelevance is traditionally given in the Academy to
accounts made by“insiders” respect to
reports conducted by “outsider” observers.Combining hermeneutical and deconstructionist strategies, this aestheticinvestigation tried to overwhelm the notion of “autonomous art
by means of a morecomplex interdependent art environment.Artists from the
of the so called “artworld
consciously participated in thisinquiry. This collective “emic” understanding, bridging theory and practice, permittedto look at
Plexus Black Box
from many “inside” and “outsidepoints of view. Alltogether, these different perceptions provided Sandro Dernini with a
sociallens, a necessary methodological tool through which he could look at the complex ofcomponents related to the international and community-based nature of the art projectunder his investigation.Dernini was conscious of the interference of his inquiry on the “normal” life ofPlexus and of its natural evolution, as well as on his “insider” identity of Plexus 23s andPlexus International coordinator.
Plexus Black Box
never was fully closed, but its “re-opening” for academic reasons letmany participants to be aware of what was contained, including their own experiences.
It allowed them to express their concerns about “inside" and "outside" positions,expressed and collected during the inquiry.As an “outsider” observer and as well as a Plexus “insider,” Dernini was aware thatthe task that he had to accomplish in his inquiry was among the most “contorted
ones,as Derrida argued, because of the risk of the Western critique of the values ofsubjectivity and objectivity. Employed deconstructionist strategies allowed Dernini tograsp during his overall hermeneutical process an “emic” understanding of the realpossibility to have “insider” participants “participating
together with him inpresenting their interpretations.Hans-Georg Gadamer named
an interpretative participation
the process ofinterpretation, in which, as an “insider,” the interpreter participates with her/his ownspecific historical angle of interpretation.In the critical hermeneutical process performed by Dernini, “insider” interpretativeparticipations, collectively gathered, evolved into a global interconnected participationwith
Plexus Black Box
 , the object/subject of the study, not anymore perceived just as apassive body waiting on the anatomical table to be sectioned “
for academicinvestigations.
NYU Academic Art Investigation on Plexus Black Box
Conceptual image by Sandro Dernini, New York, 1987.
Hans-Georg Gadamer, The Hermeneutics of Suspicion, p. 64, 1984.
The perennial issue of the interdependent relation between object and subject wasraised up by Plexus since 1985, with its first artopera
Goya Time 1985 New York,
withmultiplex interpretation of the same object/subject
La Maja
. Then, it was stressed againin the 1986 Plexus artopera
with hundreds of artists as art slaves chained togetherand with their artworks, as a statement against any kind of separation between artists,artworks, and community.The “emic” knowledge produced by the study reinforced the beliefs of Plexusparticipants by making them more conscious to be members of an ongoinginternational collaborative effort. This new emerging awareness allowed insiders tomove themselves from their individual misunderstandings toward a collective overallunderstanding of the multifacets nature of Plexus. This collective “emic” knowledge,provided by a gathering of different insider understandings, strengthened at the sametime the study and the object of the study, re-activating
Plexus Black Box
to re-emergeafter years of frozen performances and activities.During this inquiry, relevant elements re-emerged from
Plexus Black Box
in aserendipitous manner.In any case, there is an element of surprise inherent to the newly emergent andunanticipated relevances which supersede and cover the former set. Merton hasapplied the term "serendipity" to this phenomenon. It originated in the fact thatall of our anticipations are necessarily empty unless fulfilled or annihilated bythe subsequent events.
Plexus Black Box
showed many different conscious and unconscious facets, someimmediately present, others “
.”To begin with, not all the elements of the stock of knowledge are simply storedaway for further use. Some are not "dormant" although it can be said that theyare neutralized in a particular way. Some of these elements are permanentlypresent and never released from grip, although they are not present within thekernel of the thematic field of consciousness, but always present in its margin.
 The non static layers of Dernini's actual interest as Plexus 23s on which his “insider“understanding was coming and going through, during his interpretational process,were further increased by his “close reading” of all Plexus “insider” recollections.As our static analysis of the structure of our stock of knowledge will show, wecarry along at any time a certain number of elements of our knowledge notconsistent in themselves and not compatible with one other. This is so, on theone hand, because we live simultaneously on different level of reality, and onthe other, because by our autobiographical situation we are involved withdifferent layers of our personality (even in that sector of the world on which we bestow, for the time being, an accent of reality.)
Alfred Schutz, Reflections on the Problem of Relevances, p. 113, 1970.
Ibid., p. 143.
Ibid., p. 130.

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