Difference between revisions of "Monoskop"
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[[Image:Trisha_Brown_Accumulation_1971_1979.jpg|thumb|link=Trisha_Brown|250px|[[Trisha Brown|Trisha Brown (1936-2017), dancer and choreographer, and one of the founders of
[[Image:Trisha_Brown_Accumulation_1971_1979.jpg|thumb|link=Trisha_Brown|250px|[[Trisha Brown|Trisha Brown (1936-2017), dancer and choreographer, and one of the founders of postmodern dance movement]] ]]
Revision as of 11:48, 21 April 2017
Welcome to Monoskop, a wiki for collaborative studies of the arts, media and humanities.
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.
“As the highly contested term “fake news” has become omnipresent in our media sphere and as the hacking of private networks for political gain have dominated the global news cycle, Media-N’s new issue is well positioned to uncover the complex relationship between media art and the multifarious forms of news reportage. We find in this wide-ranging journal issue, new media artists, writers, and theoreticians attempting to reveal, expose, and protest the production, rhetoric, and dissemination of news. Exploiting or subverting the existing network or creating alternative technologies, codes, or platforms, new media artists has probed the hegemonic grip of tradition forms of media production. Employing the raw material of journalism or intervening in the distribution and transmission of news information, artists have effectively critiqued or reimagined the unstable and fluid spaces of the contemporary news sphere. The nature of news information and its relationship to concepts of reality, truth, aesthetics, and the public and private are all at play in this issue.” (from Introduction)
With contributions by Erica Levin, Randall Packer, Kris Paulsen, Erin McElroy, Lisa Moren, Brandon Bauer, Rick Valentin, Francesca Franco, Yasuhito Abe, Vincent Cellucci, Jesse Allison, Derick Ostrenko, and Mina Cheon.
Guest editors: Abigail Susik and Grant Taylor
Publisher New Media Caucus, 2017
Processed World is an anarchist magazine about the absurdity of modern office work. The magazine was founded in 1981. No new issues have been produced since 2005.
The magazine is about the absurdity and futility of modern employment practices in which a large number of college-educated people are often forced to seek temporary work with no worker benefits. The magazine details the subversive attitudes and sense of humor required for workers to be able to get through the day when forced to perform dull, degrading and boring work as wage slaves doing modern office work such as working as a computer programmer, word processor, call center operator, data entry operator, telemarketer or file clerk.
The print magazine was widely distributed to and read by office workers in Downtown San Francisco during the years the print magazine was published from 1981 to 1992.
Writers that have had work published by the magazine include Chris Carlsson, Fred Rinne, Adam Cornford, John Norton, Jesse Drew, and Donna Kossy. The magazine featured cartoons by artists such as Tom Tomorrow, Jay Kinney, and Paul Mavrides. (Wikipedia)
Publisher Processed World, San Francisco, 35 numbers, 1981-2005
Commentary: Jacob Silverman (Baffler, 2014)
“Alena Ledeneva invites you on a voyage of discovery to explore society’s open secrets, unwritten rules and know-how practices. Broadly defined as ‘ways of getting things done’, these invisible yet powerful informal practices tend to escape articulation in official discourse. They include emotion-driven exchanges of gifts or favours and tributes for services, interest-driven know-how (from informal welfare to informal employment and entrepreneurship), identity-driven practices of solidarity, and power-driven forms of co-optation and control. The paradox, or not, of the invisibility of these informal practices is their ubiquity. Expertly practised by insiders but often hidden from outsiders, informal practices are, as this book shows, deeply rooted all over the world, yet underestimated in policy. Entries from the five continents presented in this volume are samples of the truly global and ever-growing collection, made possible by a remarkable collaboration of over 200 scholars across disciplines and area studies. By mapping the grey zones, blurred boundaries, types of ambivalence and contexts of complexity, this book creates the first Global Map of Informality. The accompanying database (www.in-formality.com) is searchable by region, keyword or type of practice.”
Edited by Alena Ledeneva, with Anna Bailey, Sheelagh Barron, Costanza Curro, and Elizabeth Teague
Publisher UCL Press, London, 2018
Creative Commons BY 4.0 License
ISBN 9781911307907 & 9781787351899
xxix+434 & xxix+538 pages
“The blockchain is widely heralded as the new internet – another dimension in an ever-faster, ever-more-powerful interlocking of ideas, actions and values. Principally the blockchain is a ledger distributed across a large array of machines that enables digital ownership and exchange without a central administering body. Within the arts it has profound implications as both a means of organising and distributing material, and as a new subject and medium for artistic exploration. This landmark publication brings together a diverse array of artists and researchers engaged with the blockchain, unpacking, critiquing and marking the arrival of it on the cultural landscape for a broad readership across the arts and humanities.”
Contributors: César Escudero Andaluz, Jaya Klara Brekke, Theodoros Chiotis, Ami Clarke, Simon Denny, The Design Informatics Research Centre (Edinburgh), Max Dovey, Mat Dryhurst, Primavera De Filippi, Peter Gomes, Elias Haase, Juhee Hahm, Max Hampshire, Kimberley ter Heerdt, Holly Herndon, Helen Kaplinsky, Paul Kolling, Elli Kuruş, Nikki Loef, Bjørn Magnhildøen, Rob Myers, Martín Nadal, Rachel O’Dwyer, Edward Picot, Paul Seidler, Hito Steyerl, Surfatial, Lina Theodorou, Pablo Velasco, Ben Vickers, Mark Waugh, Cecilia Wee, and Martin Zeilinger.
Publisher Torque Editions & Furtherfield, London, 2017
ISBN 0993248748, 9780993248740
via Torque Editions
“MoneyLab is a network of artists, activists, and geeks experimenting with forms of financial democratization. Entering the 10th year of the global financial crisis, it still remains a difficult yet crucial task to distinguish old wine from its fancy new bottles. The MoneyLab network questions persistent beliefs, from Calvinist austerity, growth, and up-scaling, to trustless, automated decision making and (anarcho-)capitalist dreams of cybercurrencies and blockchained solutionism.
We consider experiments with digital coops, internet-based payment and network-based revenue models as spaces of political imagination, with an equally important aesthetic program. In this second MoneyLab Reader the network delves into topics like the financialization of art; love as a binary proposition on the blockchain; the crowdfunding of livelihood; the cashless society; financial surveillance of the poor; universal basic income as the real McCoy or a real sham; the cooperative answer to Airbnb and Uber; the history of your financial dashboard; and, Hollywood’s narration of the financial crisis. Fintech rushes through our veins, causing a whirlwind of critical concepts, ideas and imaginaries. Welcome to the eye of the storm.”
Contributors: Jaya Klara Brekke, Tripta Chandola, Max Dovey, Economic Space Agency, General Intellect, Max Haiven, Robert Herian, David Hollanders, Dmytri Kleiner, Silvio Lorusso, Laura Lotti, Nathalie Maréchal, Rachel O’Dwyer, Nina Power, Patricia Reed, Patrice Riemens, Emily Rosamond, Trebor Scholz, Brett Scott, Nathaniel Tkacz, Pablo R. Velasco, Martin Zeilinger.
Edited by Inte Gloerich, Geert Lovink, and Patricia de Vries
Publisher Institute of Network Cultures, Amsterdam, 2018
INC Reader series, 11
Creative Commons BY-NC-SA 4.0 License
ISBN 9789492302199, 9492302195