Welcome to Monoskop, a wiki for collaborative studies of the arts, media and humanities.
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“The idea came to me, ironically, while driving around Chicago. It was high summer; I was on the city’s shattered West Side. The urban grid slid by outside the window, residential vernacular on its third or fourth recycle, parched and decayed, with a kind of lost and disjointed vibrancy. Eyes on the traffic, my mind rolled back over the city’s history: its canals and granaries and skyscrapers, its formidable industrial century since the arrival of the railroads in the 1850s, its suburban sprawl after the Great Fire of 1873, its postmodern decline made irreversible by the 1960s revolts and the capital flight that followed. Through it all, the university and financial sectors continued their endless rise. There is a profound violence to this place, but also a deep sense of regularity. Chicago is the race-riot city that turns civil strife into social norms, and splits atoms while abstracting material production into mathematical derivatives. Can you still experiment in a place that has successively been the transport hub, the stockyard, the workshop, the vitrine, the boxing-ring, and quite literally the laboratory of modernism? And what could this ideal of experimentation mean for our future, when its Promethean pasts have reappeared before our eyes as the new geological layer of the Anthropocene?” (opening paragraph)
Publisher Deep Time Chicago, September 2016
Creative Commons BY-ND 4.0 International License
“The real emancipatory potential of technology remains unrealised.
The Xenofeminist Manifesto calls for the scaling up of feminism. Contemporary feminism, it contends, is limited by its predominant investment in local and micropolitical action. What is needed is a feminism capable of systemic intervention. The Xenofeminist Manifesto propose that such a feminism must start from a new universal–one no longer coded as cis, straight, white, and male–with Xenofeminism as its theoretical and technological platform. Drawing on queer and transfeminist theory, as well as philosophical rationalism, against nature and biological essentialism, the feminist collective Laboria Cuboniks instead invest in alienation and the anti-natural, in seizing technology and in embracing the desire for an alien future.
If nature is unjust, change nature!”
Publisher Verso, London, September 2018
Creative Commons BY 4.0 International License
ISBN 9781788731577, 1788731573
Commentary: Annie Goh (2018).
Publisher Multimedia Institute & Institut za političku ekologiju, Zagreb, September 2018
ISBN 9789537372484, 9789535893868
“How Britain lost its early dominance in computing by systematically discriminating against its most qualified workers: women.
In 1944, Britain led the world in electronic computing. By 1974, the British computer industry was all but extinct. What happened in the intervening thirty years holds lessons for all postindustrial superpowers. As Britain struggled to use technology to retain its global power, the nation’s inability to manage its technical labor force hobbled its transition into the information age.
In Programmed Inequality, Marie Hicks explores the story of labor feminization and gendered technocracy that undercut British efforts to computerize. That failure sprang from the government’s systematic neglect of its largest trained technical workforce simply because they were women. Women were a hidden engine of growth in high technology from World War II to the 1960s. As computing experienced a gender flip, becoming male-identified in the 1960s and 1970s, labor problems grew into structural ones and gender discrimination caused the nation’s largest computer user—the civil service and sprawling public sector—to make decisions that were disastrous for the British computer industry and the nation as a whole.
Drawing on recently opened government files, personal interviews, and the archives of major British computer companies, Programmed Inequality takes aim at the fiction of technological meritocracy. Hicks explains why, even today, possessing technical skill is not enough to ensure that women will rise to the top in science and technology fields. Programmed Inequality shows how the disappearance of women from the field had grave macroeconomic consequences for Britain, and why the United States risks repeating those errors in the twenty-first century.”
Publisher MIT Press, 2017
ISBN 9780262035545, 0262035545
Reviews: Ksenia Tatarchenko (British Journal for the History of Science, 2017), Janet Abbate (IEEE Annals of the History of Computing, 2017), Lianne Gutcher (The National, 2017), Dominic Lenton (E&T, 2018), John Gilbey (Times Higher Education), Christophe J. Phillips (Isis, 2018), Mark J. Crowley (History, 2018), Megan Finn (Information & Culture, 2018).
This publication has been released on the occasion of the “Vojin Bakić” exhibition at the Grazer Kunstverein, curated by the Croatian collective WHW (What, How & for Whom) and Ana Bakić. Vojin Bakić (1915-1992) was a Yugoslav-Croat sculptor and architect. The book contains black-and-white illustrations and texts on the artist’s life and work by WHW and Milan Prelog, as well as an interview with Jerko Denegri on the work of Bakić.
Edited by What, How and for Whom/WHW
Publisher What, How and for Whom/WHW, Zagreb, and Grazer Kunstverein, Graz, 2008