Welcome to Monoskop, a wiki for the arts, media and humanities.
This page shows a selection of the latest additions to the website. For more detailed listings see the Log, Recent, Contents and Index sections. Selected updates are posted on RSS, Twitter, Facebook and Instagram.
“DiVersions experiments with online collections of cultural institutions as sites for decolonial and intersectional practice. Inspired by the way versioning functions in networked software tools, seven interactive media installations and this publication explore how online collections can accommodate radically different, and sometimes opposing perspectives.”
With contributions from: Rahel Aima, Anaïs Berck, Ž. Blaće, Cristina Cochior, Sarah Kaerts, Phil Langley, Marie Lécrivain, Nicolas Malevé, Elodie Mugrefya, Zoumana Meïté, Mia Melvær, Martino Morandi, Michael Murtaugh, Colm o’Neill, Kris Rutten, Amir Sarabadani, Femke Snelting, Saskia Willaert.
Edited by Constant (Elodie Mugrefya, Femke Snelting)
Publisher Constant, Brussels, October 2019
Free Art License 1.3
“It’s not capitalism, it’s not neoliberalism—what if it’s something worse?
In this radical and visionary new book, McKenzie Wark argues that information has empowered a new kind of ruling class. Through the ownership and control of information, this emergent class dominates not only labour but capital as traditionally understood as well. And it’s not just tech companies like Amazon and Google. Even Walmart and Nike can now dominate the entire production chain through the ownership of not much more than brands, patents, copyrights, and logistical systems.
While techno-utopian apologists still celebrate these innovations as an improvement on capitalism, for workers—and the planet—it’s worse. The new ruling class uses the powers of information to route around any obstacle labor and social movements put up. So how do we find a way out? Capital Is Dead offers not only the theoretical tools to analyze this new world, but ways to change it. Drawing on the writings of a surprising range of classic and contemporary theorists, Wark offers an illuminating overview of the contemporary condition and the emerging class forces that control—and contest—it.”
Publisher Verso, London, 2019
ISBN 9781788735308, 1788735307
A collection of early computer-generated poetry gathered by Richard W. Bailey.
“At the beginning of this century, Stephane Mallarmé published a slogan for modernism: A throw of the dice will never abolish chance. Chance is not abolished by the computer’s randomizing power but is re-created in different terms. The poet-programmer finds this power a tool to create a new set of dice, multi-faceted and marked with elements of his own choosing.
Yet the new battle to free language is fought on familiar battlefields: concrete poetry is reflected with a computer mirror in the poems of Leslie Mezei and Greta Monarch; pure poetry of sound in the verbal orchestrations of Archie Donald and Noreen Greeno; imagistic poetry in the juxtaposition of the unfamiliar by Charles Forbes, James Runner, and Robin Shirley; syllabic organization in the haiku of Margaret Chisman, Robert Gaskins, and John Morris; and the imposition of order on disorder in the poems of Marie Borroff, Pete Kilgannon, and Louis Milic. From all of these varied efforts a new convention has already arisen that allows poets like Edwin Morgan the scope to simulate computer poetry without recourse to the machine.
The Potagannissing Press takes pleasure in the publication of the following collection of poems, an edition of computer-assisted literary works executed in Britain, Canada, and the United States.
The occasion for its publication was a symposium on the computer in the arts held at the Cranbrook Academy of Art in May 1973, an event sponsored by the Academy, the Bloomfield Art Association, Eastern Michigan University, and the University of Michigan, with the support of the Michigan Council for the Arts.” (from the preface)
Publisher Potagannissing Press, Drummond Island, MI, 1973
Commentary: Matteo D’Ambrosio (Matlit, 2018).
“As the first successful revolution emanating from a slave rebellion, the Haitian Revolution remains an inspired site of investigation for a remarkable range of artists and activist-intellectuals in the African Diaspora.
In The Black Radical Tragic, Jeremy Matthew Glick examines twentieth-century performances engaging the revolution as laboratories for political thinking. Asking readers to consider the revolution less a fixed event than an ongoing and open-ended history resonating across the work of Atlantic world intellectuals, Glick argues that these writers use the Haitian Revolution as a watershed to chart their own radical political paths, animating, enriching, and framing their artistic and scholarly projects. Spanning the disciplines of literature, philosophy, and political thought, The Black Radical Tragic explores work from Lorraine Hansberry, Sergei Eisenstein, Edouard Glissant, Malcolm X, and others, ultimately enacting a speculative encounter between Bertolt Brecht and C.L.R. James to reconsider the relationship between tragedy and revolution. In its grand refusal to forget, The Black Radical Tragic demonstrates how the Haitian Revolution has influenced the ideas of freedom and self-determination that have propelled Black radical struggles throughout the modern era.”
Publisher New York University Press, New York, 2016
America and the Long 19th Century series
ISBN 9781479844425, 147984442X
A free publication edited by Romana Schmalisch during her residency at Les Laboratoires d’Aubervilliers.
“The first issue analyses the conjunction of dance with Labour Movements of the 1930s (New Dance Group) as well as its use in the industry to enhance efficiency (Laban/Lawrence); it looks at the vague image that we have from various professions, researches the value of the performance of a work and its equivalence in the wage, and considers different forms of abstractions (notations and graphics) and training methods.”
“The second issue focuses on the question of education. In an interview, sociologist Anne Querrien discusses social norms and the school system. In her text, the London-based writer Marina Vishmidt revisits an earlier essay which considered the relationship between contemporary dance and the de-materialization of labour. What changes about this relationship as all employment becomes more and more of a brutal hypothesis in our post-crisis conditions?”
“The last, third, issue deals with what is at stake when one learns a job, with relationships between teachers and students, with various methods of education, and with the way these systems reflect certain social norms.”
Edited by Romana Schmalisch
Publisher Les Laboratoires d’Aubervilliers, Aubervilliers, 2013-2014
24 pages per issue