Welcome to Monoskop, a wiki for arts, media and humanities.
“Kim Stanley Robinson is one of contemporary science fiction’s most acclaimed writers, and with this new novel, he once again turns his eye to themes of climate change, technology, politics, and the human behaviors that drive these forces. But his setting is not a desolate, post-apocalyptic world – rather, he imagines a more hopeful future, one where humanity has managed to overcome our challenges and thrive.”
Publisher Orbit Books, New York and London, Oct 2020
ISBN 9780316300131, 0316300136
Interviews with author.
Reviews: Derrick O’Keefe (Jacobin, 2020), Gerry Canavan (Los Angeles Review of Books, 2020), Bill McKibben (New York Review, 2020), Steven Poole (The Guardian, 2020), Mark Yon (SFF World, 2020), Kirkus Reviews (2020),Michael Svoboda (Yale Climate Connections, 2020), Nick Robins (LSE blog, 2021), Cory Doctorow (2020), Ian Maxton (Spectrum Culture, 2020), George Katsiaficas (PM Press, 2021), Martin Empson (Climate & Capitalism, 2021), Bob Frame and Patrick Flamm (Polar Record, 2021).
Commentary: Andreas Malm (Verso Blogs, 2021).
Book seminar: Crooked Timber (2021, Robinson’s response).
A special issue of the journal of the Institut de recherche et coordination acoustique/musique (IRCAM) based at the Pompidou Centre in Paris.
Edited by Peter Szendy
Publisher Editions Ircam/Centre Georges-Pompidou, Paris, August 1995
PDF (45 MB)
“What does the rise of the far right mean for the battle against climate change?
In the first study of the far right’s role in the climate crisis, White Skin, Black Fuel presents an eye-opening sweep of a novel political constellation, revealing its deep historical roots. Fossil-fuelled technologies were born steeped in racism. No one loved them more passionately than the classical fascists. Now right-wing forces have risen to the surface, some professing to have the solution—closing borders to save the nation as the climate breaks down.
Epic and riveting, White Skin, Black Fuel traces a future of political fronts that can only heat up.”
Publisher Verso Books, London, May 2021
ISBN 9781839761744, 1839761741
Interviews with authors: Walid Mebarek w/ Lise Benoist (El Watan, 2020, FR), Wen Stephenson w/ Andreas Malm (The Nation, 2021).
Reviews: Sophie Chapelle (Basta, 2020, FR), Paul Guillibert (Contretemps, 2020, FR), Alex King (Spectre Journal, 2021).
See also Malm’s How to Blow Up a Pipeline (2021).
“The publication Fragments for Studies on Art Organisation is part of the project Art Organisation which has been conceived as an introduction to the research of the ways of (self) organisation, group action and working conditions (collective production and collective generation) of ‘non-institutional’ artistic practices in the Yugoslav and post-Yugoslav space. Our interest in art organisation goes beyond artistic frameworks. What we are really interested in is how to act collectively in society today.
During 2017, our work on the project began with interviewing participants and protagonists of the Contemporary Art Scene in Yugoslavia. This work continued in 2018 and 2019, when the respondents were theoreticians and art historians, as well as artists who realized their practice through group art work.
With texts by Ana Vilenica, Lina Džuverović, Milica Pekić, Stevan Vuković, Andrej Mirčev, Leila Topić, and Ana Peraica.
The book is accompanied by an online archive of interviews and seminars with artists, historians and theoreticians involved in ex-Yugoslav art scenes.
Editorial team: Ana Vilenica, Darija Medić, Stevan Vuković & kuda.org
Publisher kuda.org, Novi Sad, 2021
“Red Horizon is the first study to focus on the Yugoslav avant-gardes from the perspective of the history of left-wing political ideas. Bearing in mind that the Yugoslav avant-gardes were politically oriented towards the radical left, and considered the aesthetic revolution an integral part of the social revolution, the book explores the modes of manifestation of the ideas of Marxism and anarchism in the programmes and activities of the avant-gardes, ranging from Expressionism, through Zenitism, Dada, Hipnism, Constructivism to Surrealism. The policies of the Yugoslav avant-gardes are considered in the context of European avant-garde currents and ideational struggles on the left cultural front, as well as in the light of the development of Marxist aesthetics and the attitudes organised Communism assumed towards modern art. The book is structured in the form of a historical-theoretical narrative, starting from the interpretation of the avant-garde and Communism as the two great epic narratives of the 20th century, and telling of the rebellions, dreams, conflicts, victories and defeats of those who wanted to radically change the society and art of their epoch.”
Publisher kuda.org, Novi Sad, 2021
Red Publications series
Translated by Katarina Radović
PDF (4 MB)