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google street[edit]

cbll=lat,lng; z=zoom; cbp=x,yaw,x,zoom,pitch

http://maps.google.com/maps?q=Karel+Doormanhof+45,+Deelgemeente+Centrum,+Rotterdam,+Nederland&hl=en&ll=51.918345,4.474354&spn=0.008444,0.01929&sll=48.145329,17.111217&sspn=0.001142,0.002411&oq=Karel+Doormanhof+45&hnear=Karel+Doormanhof+45,+Deelgemeente+Centrum,+Rotterdam,+Zuid-Holland,+The+Netherlands&t=m&z=16&layer=c&cbll=51.918247,4.474387&panoid=CYD94kZwgx3ql_j0N_0XRA&cbp=12,47.13,,0,1.99

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Darren Wershler, Lori Emerson, Jussi Parikka: The Lab Book: Situated Practices in Media Studies (2022)

“From the “Big Science” of Bell Laboratories to the esoteric world of séance chambers to university media labs to neighborhood makerspaces, places we call “labs” are everywhere—but how exactly do we account for the wide variety of ways that they produce knowledge? More than imitations of science and engineering labs, many contemporary labs are hybrid forms that require a new methodological and theoretical toolkit to describe. The Lab Book investigates these vital, creative spaces, presenting readers with the concept of the “hybrid lab” and offering an extended—and rare—critical investigation of how labs have proliferated throughout culture.

Organized by interpretive categories such as space, infrastructure, and imaginaries, The Lab Book uses both historical and contemporary examples to show how laboratories have become fundamentally connected to changes in the contemporary university. Its wide reach includes institutions like the MIT Media Lab, the Tuskegee Institute’s Jesup Wagon, ACTLab, and the Media Archaeological Fundus. The authors cover topics such as the evolution and delineation of lab-based communities, how labs’ tools and technologies contribute to defining their space, and a glossary of key hybrid lab techniques.”

Publisher University of Minnesota Press, March 2022
ISBN 9781517902179, 1517902177
x+333 pages

Project website
Publisher
WorldCat

HTML (Manifold)

Anna Schäffler, Friederike Schäfer, Nanne Buurman (eds.): Networks of Care: Politiken des (Er)haltens und (Ent)sorgens / Politics of Preserving and Discarding (2022) [DE/EN]

“In 2021, Networks of Care offered a platform at the nGbK enabling an exchange of ideas and information between practitioners and experts concerning strategies for dealing with artistic estates, private and public archives, or idle documentation volumes. The present contributions reflect—in their theoretical analyses and also partly fleeting or historical thoughts, notes, and reflections and through their polyphony and contradictoriness—the fact that practices of preserving and discarding are always also political and must be understood principally as unfinished processes of continuous selecting, deciding, translating, transferring, actualizing, and transforming. The publication concludes with a preliminary interim result and a proposal for next steps regarding these structural and cultural-political challenges.”

With contributions by Dušan Barok, Nanne Buurman, Amalia Calderòn, Mela Dávila Freire, Annet Dekker, Lukas Fuchsgruber, Michael Hiltbrunner, Megan Hoetger, Bettina Knaup, Christin Lahr, Anne Luther, Katalin Krasznahorkei, Laurence Rassel, Peter Rehberg, Elske Rosenfeld, Friederike Schäfer, Anna Schäffler, Olga Schubert, Cornelia Sollfrank, Ingrid Wagner, and Mark Waugh.

Publisher neue Gesellschaft für bildende Kunst (nGbK), Berlin, May 2022
ISBN 9783938515952
178 pages

Project archive
Book launch
Publisher

PDF

Trading Zones: Camera Work in Artistic and Ethnographic Research (2022)

“This book introduces camera-based practices at the intersections of artistic and ethnographic research that critically examine the means of their own production and social embeddedness. In shared practices such as recording in the field, editing in post-production and modes of presentation, the camera is involved as an agent rather than an innocent device. How does the camera grapple with the invisible and how does it reveal what the camerawoman is unable to see? How do films, videos and photographs provide access to vulnerable knowledges and what presentation formats can extend the linearity of narration?

Taking account of their own situatedness and the limits of representation, many of this book’s contributors attempt to speak with — rather than about — the other. These negotiations appearing in the featured projects open up a shared field of artistic and ethnographic inquiry, whose potential — for experiments and reflections — is far from exhausted.”

Contributions by Sepideh Abtahi, Shirin Barghnavard, Laura Coppens, Louis Henderson, Heidrun Holzfeind, Mina Keshavarz, Daniel Kötter, Jürgen Krusche, Bärbel Küster, Bina Elisabeth Mohn, Laura von Niederhäusern, Uriel Orlow, Barbara Preisig, Rani al Raji, Nahid Rezaei, Anette Rose, Sahar Salahshoori, Christoph Schenker, Amira Solh, Lena Maria Thüring, Zheng Mahler.

Edited by Barbara Preisig, Laura von Niederhäusern, and Jürgen Krusche
Publisher Archive Books, Berlin
Creative Commons BY-NC-ND 4.0 license
ISBN 9783948212827
164 pages

Publisher
Zenodo

PDF (from publisher, 148 MB)
PDF (reduced size, 5 MB)

Dora García (ed.): If I Could Wish for Something (2021)

“In 1930, German film composer Friedrich Hollaender wrote “Wenn ich mir was wünschen dürfte”, famously performed by Marlene Dietrich. It inspired the foundation of Dora García’s exhibition ‘If I Could Wish for Something’ and this accompanying publication. The song serves as a powerful expression of a complex concept: sadness as political strength. García in turn connects this concept with women’s struggles for emancipation. Disappointed in the promise made to them by revolutionary movements, which for now remains unfulfilled, women are seeking to transform this feeling to overcome the temptation of victimhood and open up the possibility of an ethical encounter. ”

With texts by Antonio Cataldo, Saddie Choua, Paloma Contreras Lomas, Dora García, Agnieszka Gratza, Carla Lamoyi, Hilde Methi, Andrea Valdés, Sayak Valencia, and Pieternel Vermoortel.

Publisher Fotogalleriet, Oslo, and Netwerk Aalst, Aalst, 2021
ISBN 9789081080064, 9081080067
222 pages
via KHiO

Exhibition, (2)
Publisher
WorldCat

PDF, PDF

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"I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

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I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

three

I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

four

I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

five

I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

twitter[edit]

infobox book[edit]

Soundings
Author Suzanne Delehanty
Publisher Neuberger Museum/State University of New York
City Purchase, NY
Year 1981
Pages 96
Format 21 x 14.85 cm
Fabrication Risograph
E-book PDF

monoskop log category listing[edit]

https://monoskop.org/log/?cat=887

https://monoskop.org/log/?cat=887&json=1

https://monoskop.org/log/?cat=887&json=1&count=40

https://monoskop.org/log/?cat=887&feed=rss2&count=40

Over Borders (2021)

“This collection began as an idea to share some of our own scores* connected to the act or effects of borders, which we then expanded to include work by others in our creative communities. Artists / composers were asked to send scores that, in some way, referenced borders; social, political, virtual, perceptual, environmental or between species.”

Curated by Jez riley French and Pheobe riley Law
Self-published, April 2021
[52] pages

Publisher

PDF (20 MB)

Henry Flynt: Blueprint for a Higher Civilization (1975)

Book collects the artist’s early philosophical writings on concept art (Flynt coined the term in 1961) and cognitive nihilism. Includes photographs by Jack Smith and Tony Conrad of Flynt’s anti-art demonstrations against MoMA and the Lincoln Center in 1963.

Edited by Germano Celant
Publisher Multhipla, Milan, October 1975
206 pages
via Nourathar

WorldCat

PDF (28 MB, broken link has been fixed on 2021-2-1)

Adam Pendleton: Black Dada: What Can Black Dada Do for Me Do for Me Black Dada, a Reader (2017)

Black Dada Reader is a collection of texts and documents that elucidates “Black Dada,” a term that acclaimed New York–based artist Adam Pendleton (born 1984) uses to define his artistic output. The Reader brings a diverse range of cultural figures into a shared conceptual space, including Hugo Ball, W.E.B. Du Bois, Stokely Carmichael, LeRoi Jones, Sun Ra, Adrian Piper, Joan Retallack, Harryette Mullen, Ron Silliman and Gertrude Stein, as well as artists from different generations such as Ad Reinhardt, Joan Jonas, William Pope.L, Thomas Hirschhorn and Stan Douglas. The Reader also includes essays on the concept of Black Dada and its historical implications from curators and critics including Adrienne Edwards (Walker Arts Center / Performa), Laura Hoptman (MoMA), Tom McDonough (Binghamton), Jenny Schlenzka (PS122) and Susan Thompson (Guggenheim).”

Edited by Stephen Squibb
Publisher Koenig Books, London, 2017
ISBN 9783960981053, 3960981058
331 pages
via tilda

Interviews with author: Jess Wilcox (Art in America, 2009), Karlynne Ejercito (Artforum, 2016), Awa Konaté (Third Text, 2020).

Reviews: Yaniya Lee (Flash Art, 2017), Terence Trouillot (ArtNet, 2017), Robin Pogrebin (New York Times, 2018).

WorldCat

PDF (64 MB)