Monoskop

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Welcome to Monoskop, a wiki for collaborative studies of the arts, media and humanities.

Monoskop is a repertory of the possible; a repository of things to be read, reviewed, replicated, reenacted, reinvented and put to rest again.

This page shows a selection of the latest additions to the website. For more detailed overview see the Recent, Contents, Index and Media library sections. Updates are also being posted on Twitter and Facebook.

Monoskop supports the open letter In solidarity with Library Genesis and Sci-Hub.

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The works of Gilles Deleuze (1925-95) and Félix Guattari (1930-92).






Monoskop Log

Leonora Carrington: The Hearing Trumpet (1974–)

The Hearing Trumpet is the story of 92-year-old Marian Leatherby, who is given the gift of a hearing trumpet only to discover that what her family is saying is that she is to be committed to an institution. But this is an institution where the buildings are shaped like birthday cakes and igloos, where the Winking Abbess and the Queen Bee reign, and where the gateway to the underworld is open. It is also the scene of a mysterious murder. Occult twin to Alice in Wonderland, The Hearing Trumpet is a classic of fantastic literature.”

First published as Le Cornet acoustique by Flammarion, Paris, 1974.

Introduction by Helen Byatt
Illustrations by Pablo Weisz Carrington
Publisher Exact Change, Boston, 1996
ISBN 1878972197
xix+199 pages
via psb

Commentary: Tobias Carroll (Paris Review, 2013).

WorldCat
Publisher

PDF (6 MB)

Pierre Schaeffer: De la musique concrète à la musique même (1977) [French]

Collection of Pierre Schaeffer‘s writings from 1938-1977 published as triple issue of La Revue musicale (303-305).

Edited by Sophie Brunet
Publisher La Revue musicale, Paris, 1977
252 pages
via Rub

WorldCat

PDF (49 MB)

Alexander Dorner: The Way Beyond ‘Art’ (1947/1958)

A book by Alexander Dorner, a progressive museum director affiliated with interwar avant-garde, dealing with the tensions and genesis of modern art.

First edition published by Wittenborn & Schultz, New York, 1947

Revised edition
Introduction by John Dewey
Introduction to the revised edition by Charles L. Kuhn
Publisher New York University Press, New York, 1958
154 pages

Reviews: Vincent Tomas (J Aesthetics and Art Criticism, 1948), George Boas (Art Bulletin, 1947).
Commentary: Samuel Cauman (College Art J, 1948), Rebecca K. Uchill (2015).

WorldCat

PDF (19 MB)

Performance Research 7(3): On Fluxus (2002)

“To mark the 40th anniversary of the first Fluxus festival in Wiesbaden, Germany, and the 30th anniversary of Fluxshoe which toured England with a series of performances, concerts, and exhibitions (1972–3), ‘On Fluxus’ continues the volume theme of ‘textualities, scores and documents’ and focuses on the relationship of writing and textuality to Fluxus. Fluxus was an international community of artists, architects, designers, and composers described as ‘the most radical and experimental art movement of the 1960s’. As a laboratory of experimental art, Fluxus was the first locus of intermedia, concept art, events, and video, and a central influence on performance art, arte povera, and mail art.”

Issue editors: Ric Allsopp, Ken Friedman & Owen Smith
Publisher Routledge, September 2002
ISSN 1352-8165
142 pages

Publisher

PDF (38 MB)

Revista Arta (14-15): Performance in Eastern Europe (2015) [Romanian/English]

Special dossier of the magazine.

“Under such names as happening, processual or performative art, situationist or contextual art, actionism or corporal / body art, performance art has remained since the 1960s maybe the most direct, incisive, and cutting-edge form of artistic expression of the last decades. Positioned at the cross-point between the visual, the discursive, and the theatrical, involving the artist with his/her entire physical, psychological, and spiritual being, in front of the public or together with it, performance art has not yet run out of resources in the context of the last years, when other forms of visual intervention have become more fashionable. Since the 1960s, performance art has represented a form of protest of the artists against the aesthetic establishment, accelerated muzeification, and the consumerism of the art market. The dossier coordinated by Ileana Pintilie demonstrates all these assertions, but also underlines the emancipating dimension performance art has had in the former communist countries of Eastern Europe – the fascination and fear which totalitarian regimes developed in front of this provocative form of social and artistic non-conformism.”

Edited by Ileana Pintilie
Publisher Romanian Artists’ Union (Uniunea Artiștilor Plastici din România), Bucharest, 2015
98 pages

Publisher

PDF (3 MB)