Difference between revisions of "Sandbox"

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==RSS==
 
==RSS==
<rss max=2>https://monoskop.org/log/?feed=rss2&tag=art</rss>
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<div class="dpl" style="-moz-column-count:2; -webkit-column-count:2; column-count:2; font-size: .9em">
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<rss max=4>https://monoskop.org/log/?feed=rss2&tag=art</rss>
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==wikitex==
 
==wikitex==

Revision as of 19:51, 5 May 2016

google street

cbll=lat,lng; z=zoom; cbp=x,yaw,x,zoom,pitch

http://maps.google.com/maps?q=Karel+Doormanhof+45,+Deelgemeente+Centrum,+Rotterdam,+Nederland&hl=en&ll=51.918345,4.474354&spn=0.008444,0.01929&sll=48.145329,17.111217&sspn=0.001142,0.002411&oq=Karel+Doormanhof+45&hnear=Karel+Doormanhof+45,+Deelgemeente+Centrum,+Rotterdam,+Zuid-Holland,+The+Netherlands&t=m&z=16&layer=c&cbll=51.918247,4.474387&panoid=CYD94kZwgx3ql_j0N_0XRA&cbp=12,47.13,,0,1.99

RSS

Paul DeMarinis: Buried in Noise (2010) [English/German]

“This artist’s book is the first comprehensive monograph on sound and media artist Paul DeMarinis. DeMarinis has avidly followed the development of communication media, interested in discoveries being made in the realm of physical phenomena and the corresponding objects and devices that have been invented as well as in their cultural and social aspects. His works embody an aesthetic culture of invention permeated by a critical, yet humorous and poetic spirit. Buried in Noise is being published on the occasion of DeMarinis’s artist fellowship at the DAAD artists’ program in Berlin. The publication compiles documentation on Paul DeMarinis’s complete oeuvre since 1973 and the first published compendium of texts by the artist.”

Contributors include Gascia Ouzounian, Fred Turner, Erkki Huhtamo, Douglas Kahn, Bernd Schulz, Siegfried Zielinski, and Thomas Y. Levin.

Edited by Ingrid Beirer, Sabine Himmelsbach, and Carsten Seiffarth
Publisher Kehrer Verlag, Heidelberg/Berlin, 2010
ISBN 9783868281415, 386828141X
279 pages

Publisher
WorldCat

PDF (77 MB)

e-flux journal, 117: trans | fem | aesthetics (2021)

“Those who make it possible to really live as a trans woman are rarely those who are our representatives to the other, and still less those who appoint themselves among us as the police of our supposed collective identity. Those who make it possible are artists. Not fine artists necessarily, nor writers of “fine writing.” They might work in minor, vernacular forms. They might just be artists of trans life itself. They might be undetectable outside of our little covens of care. They make up stories or images or gestures that elude the limits of what they, and we, were handed. Making it up as they go.”

Contributors: Isabel Sandoval, Jules Gill-Peterson, Rosza Daniel Lang/Levitsky, Bishakh Som, Sultana Isham, Tamarra and Riksa Afiaty, Kira Xonorika, Maxi Wallenhorst, Eva Hayward, McKenzie Wark, Emily Alison Zhou, Comrade Josephine (embodied by Luce deLire).

Edited by McKenzie Wark
Publisher e-flux, New York, April 2021
ISSN 2164-1625

HTML

October, 174: A Questionnaire on Decolonization (2020)

“The term decolonize has gained a new life in recent art activism, as a radical challenge to the Eurocentrism of museums (in light of Native, Indigenous, and other epistemological perspectives) as well as in the museum’s structural relation to violence (either in its ties to oligarchic trustees or to corporations engaged in the business of war or environmental depredation). In calling forth the mid-twentieth-century period of decolonization as its historical point of reference, the word’s emphatic return is rhetorically powerful, and it corresponds to a parallel interest among scholars in a plural field of postcolonial or global modernisms. The exhortation to decolonize, however, is not uncontroversial-some believe it still carries a Eurocentric bias. Indeed, it has been proposed that, for the West, de-imperialization is perhaps even more urgent than decolonization.

What does the term decolonize mean to you in your work in activism, criticism, art, and/or scholarship? Why has it come to play such an urgent role in the neoliberal West? How can we link it historically with the political history of decolonization, and how does it work to translate postcolonial theory into a critique of the neocolonial contemporary art world?”

Respondents include Nana Adusei-Poku, Brook Andrew, Sampada Aranke, Ian Bethell-Bennett, Kader Attia, Andrea Carlson, Elise Y. Chagas, ISUMA, Iftikhar Dadi, Janet Dees, Nitasha Dhillon, Hannah Feldman, Josh T. Franco, David Garneau, Renee Green, Iman Issa, Arnold J. Kemp, Thomas Lax, Nancy Luxon, Nelson Maldonado-Torres, Saloni Mathur, Tiona Nekkia McClodden, Alan Michelson, Partha Mitter, Isabela Muci Barradas, Steven Nelson, Ugochukwu-Smooth C. Nzewi, Alessandro Petti, Paulina Pineda, Christopher Pinney, Elizabeth Povinelli, Ryan Rice, Andrew Ross, Paul Chaat Smith, Nancy Spector, Francoise Verges, Rocio Zambrana, and Joseph R. Zordan.

Edited by Huey Copeland, Hal Foster, David Joselit, and Pamela M. Lee
Publisher MIT Press, Fall 2020
Open access
ISSN 0162-2870
123 pages

Publisher

PDF

Feral Atlas: The More-Than-Human Anthropocene (2020)

Feral Atlas invites you to explore the ecological worlds created when nonhuman entities become tangled up with human infrastructure projects. Seventy-nine field reports from scientists, humanists, and artists show you how to recognize “feral” ecologies, that is, ecologies that have been encouraged by human-built infrastructures, but which have developed and spread beyond human control. These infrastructural effects, Feral Atlas argues, are the Anthropocene.

Playful, political, and insistently attuned to more-than-human histories, Feral Atlas does more than catalog sites of imperial and industrial ruin. Stretching conventional notions of maps and mapping, it draws on the relational potential of the digital to offer new ways of analyzing—and apprehending—the Anthropocene; while acknowledging danger, it demonstrates how in situ observation and transdisciplinary collaboration can cultivate vital forms of recognition and response to the urgent environmental challenges of our times.”

Curated and Edited by Anna L. Tsing, Jennifer Deger, Alder Keleman Saxena and Feifei Zhou
Publisher Stanford University Press, 2020
ISBN 9781503615045, 1503615049

Publisher
WorldCat

HTML

wikitex

<wikitex refresh dpi="144"> \section*{Education} \begin{itemize} \item M.A. Media Design and Communication: Networked Media, Piet Zwart Institute, Willem de Kooning Academy, Rotterdam University, Netherlands, 2010--2012. \item M.A. Information Technologies, Faculty of Economic Informatics, Economic University of Bratislava, Slovakia, 1997--2002. \begin{itemize} \item \textit{Dissertation:} Electronic Business (Online Market in the Mirror of Chaos Theory). \end{itemize} \item Mass Media Communication, Faculty of Mass Media Communication, University of Cyril and Method in Trnava, Slovakia, 1999--2001. \end{itemize} </wikitex>

<wikitex> Let $Q$ be any finite set, and $\mathcal B=2^Q$ be the collection of the subsets of $Q$. Let $f:\mathcal B\rightarrow \mathbb R$ be a function assigning real numbers to the subsets of $Q$ and suppose $f$ satisfies the following conditions:

(i) $f(A)\ge 0$ for all $A\subseteq Q$, $f(\emptyset)=0$,
(ii) $f$ is monotone, i.e. if $A\subseteq B\subseteq Q$ then $f(A)\le f(B)$,
(iii) $f$ is submodular, i.e. if $A$ and $B$ are different subsets of $Q$ then
     $$f(A)+f(B)\ge f(A\cap B) + f(A\cup B).\eqno{(2)}$$

</wikitex>


<wikitex> <math>\frac{1}{\displaystyle1+\frac{1}{\displaystyle 1+\sqrt{5}}}</math> </wikitex>

html5 video

lua

<lua who="Sandbox"> function hello(s)

 return string.format("Hello, %s!", s)

end

print(hello(who)) </lua>

headline in italic

headline

indent

"I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

sortable table

x y
a 10
b 19
c 8

columns

  • a
  • b
  • c
  • d
  • e
  • f
  • g