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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.

Recent entries

Collated resources on conceptual literature.

Neoism repository.

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

Monoskop Log

Boris Groys (ed.): Russian Cosmism (2018)

“Cosmism emerged in Russia before the October Revolution and developed through the 1920s and 1930s; like Marxism and the European avant-garde, two other movements that shared this intellectual moment, Russian Cosmism rejected the contemplative for the transformative, aiming to create not merely new art or philosophy but a new world. Cosmism went the furthest in its visions of transformation, calling for the end of death, the resuscitation of the dead, and free movement in cosmic space. This volume collects crucial texts, many available in English for the first time, by the radical biopolitical utopianists of Russian Cosmism.

Cosmism was developed by the Russian philosopher Nikolai Fedorov in the late nineteenth century; he believed that humans had an ethical obligation not only to care for the sick but to cure death using science and technology; outer space was the territory of both immortal life and infinite resources. After the revolution, a new generation pursued Fedorov’s vision. Cosmist ideas inspired visual artists, poets, filmmakers, theater directors, novelists (Tolstoy and Dostoevsky read Fedorov’s writings), architects, and composers, and influenced Soviet politics and technology. In the 1930s, Stalin quashed Cosmism, jailing or executing many members of the movement. Today, when the philosophical imagination has again become entangled with scientific and technological imagination, the works of the Russian Cosmists seem newly relevant.”

With texts by Alexander Bogdanov, Alexander Chizhevsky, Nikolai Fedorov, Boris Groys, Valerian Muravyev, Alexander Svyatogor, Konstantin Tsiolkovsky, Anton Vidokle, and Brian Kuan Wood.

Publisher e-flux, New York, and MIT Press, Cambridge, Massachusetts, 2018
ISBN 9780262037433, 0262037432
ix+249 pages



Joshua Shannon: The Recording Machine: Art and Fact during the Cold War (2017)

“A revealing look at the irrevocable change in art during the 1960s and its relationship to the modern culture of fact.

This book offers a new understanding of the transformation of photography and the visual arts around 1968. Author Joshua Shannon reveals an oddly stringent realism in the period, tracing artists’ rejection of essential truths in favor of surface appearances. Dubbing this tendency factualism, Shannon illuminates not only the Cold War’s preoccupation with data but also the rise of a pervasive culture of fact.

Focusing on the United States and West Germany, where photodocumentary traditions intersected with 1960s politics, Shannon investigates a broad variety of art, ranging from conceptual photography and earthworks to photorealist painting and abstraction. He looks closely at art by Bernd and Hilla Becher, Robert Bechtle, Vija Celmins, Douglas Huebler, Gerhard Richter, and others. These artists explored fact’s role as a modern paradigm for talking, thinking, and knowing. Their art, Shannon concludes, helps to explain both the ambivalent anti-humanism of today’s avant-garde art and our own culture of fact.”

Publisher Yale University Press, New Haven, CT, 2017
ISBN 9780300187274, 0300187270
ix+230 pages

Review: Ina Blom (The Sixties, 2018).



Rosi Braidotti, Maria Hlavajova (eds.): Posthuman Glossary (2018)

“If art, science, and the humanities have shared one thing, it was their common engagement with constructions and representations of the human. Under the pressure of new contemporary concerns, however, we are experiencing a “posthuman condition”; the combination of new developments–such as the neoliberal economics of global capitalism, migration, technological advances, environmental destruction on a mass scale, the perpetual war on terror and extensive security systems–with a troublesome reiteration of old, unresolved problems that mean the concept of the human as we had previously known it has undergone dramatic transformations.

The Posthuman Glossary> is a volume providing an outline of the critical terms of posthumanity in present-day artistic and intellectual work. It builds on the broad thematic topics of Anthropocene/Capitalocene, eco-sophies, digital activism, algorithmic cultures and security and the inhuman. It outlines potential artistic, intellectual, and activist itineraries of working through the complex reality of the ‘posthuman condition’, and creates an understanding of the altered meanings of art vis-à-vis critical present-day developments. It bridges missing links across disciplines, terminologies, constituencies and critical communities. This original work will unlock the terms of the posthuman for students and researchers alike.”

Publisher Bloomsbury Academic, 2018
Theory series
ISBN 1350030252, 9781350030251
xxxii+538 pages



Technosphere Magazine: Materials (2018)

“Stuff matters. In much of history, the real protagonists were the precious metals, burning hydrocarbons, superior aerogels, collapsing concrete, rare minerals, and toxic liquids. This goes for all chemical compounds, whether raw, processed, or newly designed, geogenic, biogenic, or anthropogenic. It is the inventory and also the political, ecologic, and economic criticality of the material world within which humans will always have to situate themselves. Inert matter constitutes the raw materials of life, while organic matter changes the chemical composition of other spheres, such as the atmosphere or the lithosphere. This is what Vladimir Vernadsky and others have taught us. Yet this eons-old circulation of matter has been perturbed, on a grand scale, by the intervention of a new sphere: the technosphere.

Perhaps the largest achievement in modern science is the studying of the properties of materials. In doing so, humans have discovered tools that have reshaped the world to the extent that the Earth has intractably reformulated itself in marked contrast from its prehuman trajectories. The whole technosphere rests on the mobilization and organization of (energetic) matter: its extraction, cracking, transformation, manipulation, and finally, dispersion. As a result, the entire material world has been turned into a resource to be manipulated, consumed, or reordered. It is the industrialization of this relationship between humankind and all matter that has contributed decisively to creating the technosphere.

This dossier discusses the criticality of the material world as the spatiotemporal backbone of the technosphere and, eventually, ourselves. It presents stories of stuff, from mining to discarding, by dwelling on the pure substances themselves as well as their endless variety, but also by bringing the logistics and transversal interrelations between them into focus. It asks about the relationship of artifacts and craft, the blurring lines between naturalness and artificiality, and even what defines the line between living and dead material.”

With contributions by Annapurna Mamidipudi, Sophia Roosth, Nicole Koltick, Sander van der Leeuw & Daniel Niles, Elaine Gan, and Esther Leslie.

Publisher Haus der Kulturen der Welt (HKW), Berlin, March 2018
Open access


Media-N, 12(3): Uncovering News: Reporting and Forms of New Media Art (2017)

“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
Open Access
ISSN 1942-017X