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<h1 id="firstHeading" class="firstHeading" lang="en">Monoskop</h1>
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<p>Welcome to <a href="https://monoskop.org/About_Monoskop" title="About Monoskop" style="background: yellow none repeat scroll 0% 0%;">Monoskop</a>, a wiki for the arts, media and humanities.
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</p><p>This page shows a selection of the latest additions to the website. For more detailed listings see the <a rel="nofollow" class="external text" href="https://monoskop.org/log" style="background: yellow none repeat scroll 0% 0%;">Log</a>, <a href="https://monoskop.org/Recent" title="Recent" style="background: yellow none repeat scroll 0% 0%;">Recent</a>, <a href="https://monoskop.org/Contents" title="Contents" style="background: yellow none repeat scroll 0% 0%;">Contents</a> and <a href="https://monoskop.org/Index" title="Index" style="background: yellow none repeat scroll 0% 0%;">Index</a> sections. Selected updates are posted on <a rel="nofollow" class="external text" href="https://monoskop.org/log/?feed=rss2" style="background: yellow none repeat scroll 0% 0%;">RSS</a>, <a rel="nofollow" class="external text" href="http://twitter.com/monoskop" style="background: yellow none repeat scroll 0% 0%;">Twitter</a>, <a rel="nofollow" class="external text" href="http://www.facebook.com/monoskoplog" style="background: yellow none repeat scroll 0% 0%;">Facebook</a> and <a rel="nofollow" class="external text" href="http://instagram.com/monoskoporg" style="background: yellow none repeat scroll 0% 0%;">Instagram</a>.
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<h2><span class="mw-headline" id="Recent_entries">Recent entries</span></h2>
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<li class="gallerybox" style="width: 331.097px;"><div style="width: 331.097px;">
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<div class="thumb" style="width: 329.097px;"><div style="margin:0px auto;"><a href="https://monoskop.org/Artists_publishing" style="background: yellow none repeat scroll 0% 0%;"><img alt="" src="monoskop_files/421px-Ono_Yoko_Grapefruit_1964.jpg" decoding="async" data-file-width="1200" data-file-height="898" width="329" height="246"></a></div></div>
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<p><a href="https://monoskop.org/Artists_publishing" title="Artists publishing" style="background: yellow none repeat scroll 0% 0%;">Artists' publishing</a>
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<div class="thumb" style="width: 255.617px;"><div style="margin:0px auto;"><a href="https://monoskop.org/Anthropocene" style="background: yellow none repeat scroll 0% 0%;"><img alt="" src="monoskop_files/327px-The_worlds_protected_areas_2015.jpg" decoding="async" data-file-width="1200" data-file-height="1155" width="255" height="246"></a></div></div>
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<p><a href="https://monoskop.org/Anthropocene" title="Anthropocene" style="background: yellow none repeat scroll 0% 0%;">Anthropocene</a>
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<div class="thumb" style="width: 246.236px;"><div style="margin:0px auto;"><a href="https://monoskop.org/Decolonial_aesthetics" style="background: yellow none repeat scroll 0% 0%;"><img alt="" src="monoskop_files/315px-Ehlers_Jeannette_2014_Whip_It_Good_photo_Casper_Maare.jpg" decoding="async" data-file-width="1067" data-file-height="1067" width="246" height="246"></a></div></div>
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<p><a href="https://monoskop.org/Decolonial_aesthetics" title="Decolonial aesthetics" style="background: yellow none repeat scroll 0% 0%;">Decolonial aesthetics</a>
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</p>
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</div>
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</div></li>
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<li class="gallerybox" style="width: 347.254px;"><div style="width: 347.254px;">
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<div class="thumb" style="width: 345.254px;"><div style="margin:0px auto;"><a href="https://monoskop.org/Shadow_libraries" style="background: yellow none repeat scroll 0% 0%;"><img alt="" src="monoskop_files/472px-Bibliotecha.jpg" decoding="async" data-file-width="757" data-file-height="506" width="345" height="230"></a></div></div>
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<p><a href="https://monoskop.org/Shadow_libraries" title="Shadow libraries" style="background: yellow none repeat scroll 0% 0%;">Shadow libraries</a>
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<li class="gallerybox" style="width: 199.259px;"><div style="width: 199.259px;">
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<div class="thumb" style="width: 197.259px;"><div style="margin:0px auto;"><a href="https://monoskop.org/Moholy-Nagy" style="background: yellow none repeat scroll 0% 0%;"><img alt="" src="monoskop_files/226px-Moholy-Nagy_Laszlo_1930_Light-Space_Modulator_2.jpg" decoding="async" data-file-width="2071" data-file-height="2880" width="197" height="274"></a></div></div>
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<div class="gallerytext">
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<p><a href="https://monoskop.org/Moholy-Nagy" class="mw-redirect" title="Moholy-Nagy" style="background: yellow none repeat scroll 0% 0%;">László Moholy-Nagy</a>
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</p>
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</div>
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</div></li>
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<li class="gallerybox" style="width: 483.529px;"><div style="width: 483.529px;">
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<div class="thumb" style="width: 481.529px;"><div style="margin:0px auto;"><a href="https://monoskop.org/Experimental_film" style="background: yellow none repeat scroll 0% 0%;"><img alt="" src="monoskop_files/535px-Marey_1894_Falling_cat.jpg" decoding="async" data-file-width="1251" data-file-height="737" width="481" height="283"></a></div></div>
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<div class="gallerytext">
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<p><a href="https://monoskop.org/Experimental_film" title="Experimental film" style="background: yellow none repeat scroll 0% 0%;">Experimental film</a>
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</p>
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</div>
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</div></li>
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<li class="gallerybox" style="width: 358.421px;"><div style="width: 358.421px;">
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<div class="thumb" style="width: 356.421px;"><div style="margin:0px auto;"><a href="https://monoskop.org/Vertov" style="background: yellow none repeat scroll 0% 0%;"><img alt="" src="monoskop_files/396px-Vertov_Dziga_1929_Man_with_a_Movie_Camera_still_2.jpg" decoding="async" data-file-width="1877" data-file-height="1495" width="356" height="283"></a></div></div>
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<div class="gallerytext">
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<p><a href="https://monoskop.org/Vertov" class="mw-redirect" title="Vertov" style="background: yellow none repeat scroll 0% 0%;">Dziga Vertov</a>
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</p>
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</div>
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</div></li>
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<li class="gallerybox" style="width: 235.333px;"><div style="width: 235.333px;">
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<div class="thumb" style="width: 233.333px;"><div style="margin:0px auto;"><a href="https://monoskop.org/Index" style="background: yellow none repeat scroll 0% 0%;"><img alt="" src="monoskop_files/350px-Comenius_1705_Orbis_Pictus_index_page.jpg" decoding="async" data-file-width="827" data-file-height="744" width="233" height="210"></a></div></div>
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<div class="gallerytext">
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<p><a href="https://monoskop.org/Index" title="Index" style="background: yellow none repeat scroll 0% 0%;">Monoskop Index</a>
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</p>
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</div>
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</div></li>
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</ul>
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<h2><span class="mw-headline" id="Monoskop_Log">Monoskop Log</span></h2>
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<div class="dpl" style="-moz-column-count:3; -webkit-column-count:3; column-count:3; font-size: .9em; width: 850px">
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<div class="mw-parser-output"><p><b><a rel="nofollow" class="external text" href="https://monoskop.org/log/?p=22201" style="background: yellow none repeat scroll 0% 0%;">Vertical Thoughts: Morton Feldman and the Visual Arts (2010)</a></b>
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</p>
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<dl><dd><div class="thumb tright"><img src="monoskop_files/Vertical_Thoughts_Morton_Feldman_and_the_Visual_Arts_2010.jpg" width="250"><p class="mw-empty-elt"></p>
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<p>“If any music can be said to be painterly, it is that of Morton
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Feldman (1926-1987), one of the most influential composers of the
|
|
|
twentieth century. Feldman (1926-1987) was deeply immersed in the milieu
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of New York Abstract Expressionism, and found analogies in sound to the
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materiality of Pollock, the gravitas of Rothko and the hesitant,
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venturing brushstrokes of Guston. Taking as its departure point an
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exhibition Feldman curated in 1967 titled <i>Six Painters</i>, <i>Vertical Thoughts</i>
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considers the impact that postwar American art had on Feldman’s own
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compositions. It features works by the titular six painters–Guston,
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Kline, Mondrian, de Kooning, Pollock and Rothko–and by other artists
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whom Feldman admired, such as Kitaj, Rauschenberg and Twombly. Also
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reproduced are works from Feldman’s own collection, including his Middle
|
|
|
Eastern and Asian rugs, archival photographs and ephemera, musical
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scores and record covers of compositions dedicated to artists such as
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Guston and Rothko, and interviews with and writings by Feldman himself.”</p>
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<p>Text by Brian O’Doherty, Francesco Pellizzi, Dore Ashton, Juan Manuel Bonet.</p>
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<p>Edited by Seán Kissane<br>
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Publisher Irish Museum of Modern Art, Dublin, 2010<br>
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ISBN 9781907020087, 190702008X<br>
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319 pages</p>
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<p><a href="https://imma.ie/whats-on/vertical-thoughts-morton-feldman-and-the-visual-arts/" style="background: yellow none repeat scroll 0% 0%;">Exhibition</a><br>
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<a href="http://worldcat.org/oclc/611960494" style="background: yellow none repeat scroll 0% 0%;">WorldCat</a></p>
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<p><a href="https://portal.rcs.ac.uk/mdonohue/wp-content/uploads/sites/261/2017/02/Vertical_thoughts-morton-feldman.pdf" style="background: yellow none repeat scroll 0% 0%;">PDF</a>, <a href="https://monoskop.org/images/f/f8/Vertical_Thoughts_Morton_Feldman_and_the_Visual_Arts_2010.pdf" style="background: yellow none repeat scroll 0% 0%;">PDF</a></p></div></dd></dl>
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<p><b><a rel="nofollow" class="external text" href="https://monoskop.org/log/?p=22191" style="background: yellow none repeat scroll 0% 0%;">Elvia Wilk: Oval (2019)</a></b>
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</p>
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<dl><dd><div class="thumb tright"><img src="monoskop_files/9781593764340.jpg" width="250"><p class="mw-empty-elt"></p>
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<p>“In the near future, Berlin’s real estate is being flipped in the
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|
name of “sustainability,” only to make the city even more unaffordable;
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|
artists are employed by corporations as consultants, and the weather is
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|
|
acting strange. When Anja and Louis are offered a rent-free home on an
|
|
|
artificial mountain–yet another eco-friendly initiative run by a
|
|
|
corporation–they seize the opportunity, but it isn’t long before the
|
|
|
experimental house begins malfunctioning.</p>
|
|
|
<p>After Louis’s mother dies, Anja is convinced he has changed. At work,
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|
|
Louis has become obsessed with a secret project: a pill called Oval
|
|
|
that temporarily rewires the user’s brain to be more generous. While
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|
Anja is horrified, Louis believes he has found the solution to Berlin’s
|
|
|
income inequality. Oval is a fascinating portrait of the unbalanced
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|
|
relationships that shape our world, as well as a prescient warning of
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|
what the future may hold.”</p>
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|
<p>Publisher Soft Skull, New York, 2019<br>
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|
|
ISBN 9781593764050, 1593764057<br>
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pages</p>
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|
<p>Reviews: <a href="https://www.newyorker.com/books/page-turner/in-elvia-wilks-oval-earth-capitalism-and-the-human-species-sink-toward-doom" style="background: yellow none repeat scroll 0% 0%;">Katy Waldman</a> (New Yorker, 2019), <a href="https://hyperallergic.com/520109/oval-by-elvia-wilk-soft-skull-press/" style="background: yellow none repeat scroll 0% 0%;">Angelica Frey</a> (Hyperallergic, 2019), <a href="https://lareviewofbooks.org/article/trading-in-the-emotional-economy-on-elvia-wilks-oval/" style="background: yellow none repeat scroll 0% 0%;">Michael Friedrich</a> (LA Review of Books, 2019), <a href="https://www.npr.org/2019/06/07/730610995/" style="background: yellow none repeat scroll 0% 0%;">Jason Sheehan</a> (NPR, 2019), <a href="https://brooklynrail.org/2019/07/books/Oval-by-Elvia-Wilk" style="background: yellow none repeat scroll 0% 0%;">Yvonne C. Garrett</a> (Brooklyn Rail, 2019), <a href="http://www.full-stop.net/2019/08/23/reviews/will-preston/oval-elvia-wilk/" style="background: yellow none repeat scroll 0% 0%;">Will Preston</a> (Full Stop, 2019), <a href="https://www.thenation.com/article/archive/oval-elvia-wilk-debut-novel-berlin-book-review/" style="background: yellow none repeat scroll 0% 0%;">Alex Ronan</a> (Nation, 2019), <a href="https://cmagazine.com/issues/144/elvia-wilk-oval" style="background: yellow none repeat scroll 0% 0%;">Stan Portus</a> (C Magazine, 2020).</p>
|
|
|
<p><a href="https://softskull.com/dd-product/oval/" style="background: yellow none repeat scroll 0% 0%;">Publisher</a><br>
|
|
|
<a href="http://worldcat.org/oclc/1105977356" style="background: yellow none repeat scroll 0% 0%;">WorldCat</a></p>
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|
<p><a href="https://monoskop.org/media/text/wilk_2019_oval/" style="background: yellow none repeat scroll 0% 0%;">HTML</a></p></div></dd></dl>
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|
<p><b><a rel="nofollow" class="external text" href="https://monoskop.org/log/?p=22188" style="background: yellow none repeat scroll 0% 0%;">McKenzie Wark: Reverse Cowgirl (2020)</a></b>
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|
</p>
|
|
|
<dl><dd><div class="thumb tright"><img src="monoskop_files/Wark_McKenzie_Reverse_Cowgirl_2020.jpg" width="250"><p class="mw-empty-elt"></p>
|
|
|
<p>“Another genre for another gender.</p>
|
|
|
<p>What if you were trans and didn’t know it? What if there were some
|
|
|
hole in your life and you didn’t even know it was there? What if you
|
|
|
went through life not knowing why you only felt at home in your body at
|
|
|
peak moments of drugs and sex? What if you expended your days avoiding
|
|
|
an absence, a hole in being? Reverse Cowgirl is not exactly a memoir.
|
|
|
The author doesn’t, in the end, have any answers as to who she really is
|
|
|
or was, although maybe she figures out what she could become.</p>
|
|
|
<p style="position: absolute;">Traveling from Sydney in the 1980s to New York today, <i>Reverse Cowgirl</i>
|
|
|
is a comedy of errors, chronicling the author’s failed attempts at
|
|
|
being gay and at being straight across the shifting political and media
|
|
|
landscapes of the late twentieth century. Finding that the established
|
|
|
narratives of being transgender don’t seem to apply to her, Wark borrows
|
|
|
from the genres of autofiction, fictocriticism, and new narrative to
|
|
|
create a writing practice that can discover the form of a life outside
|
|
|
existing accounts of trans experience: an auto-ethnography of the
|
|
|
opacity of the self.”</p>
|
|
|
<p>Publisher Semiotext(e), South Pasadena, CA, 2020<br>
|
|
|
Native Agents series<br>
|
|
|
ISBN 9781635901184, 1635901189<br>
|
|
|
199 pages</p>
|
|
|
<p>Interviews with author: <a href="https://bombmagazine.org/articles/mckenzie-wark/" style="background: yellow none repeat scroll 0% 0%;">Mattilda Bernstein Sycamore</a> (BOMB, 2020), <a href="https://frieze.com/article/mckenzie-wark-future-trans-literature" style="background: yellow none repeat scroll 0% 0%;">Juliet Jacques</a> (Frieze, 2020).</p>
|
|
|
<p><a href="https://mitpress.mit.edu/books/reverse-cowgirl" style="background: yellow none repeat scroll 0% 0%;">Distributor</a><br>
|
|
|
<a href="http://worldcat.org/oclc/1119499616" style="background: yellow none repeat scroll 0% 0%;">WorldCat</a></p>
|
|
|
<p><a href="https://monoskop.org/images/b/b7/Wark_McKenzie_Reverse_Cowgirl_2020.pdf" style="background: yellow none repeat scroll 0% 0%;">PDF</a></p></div></dd></dl>
|
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|
<p><b><a rel="nofollow" class="external text" href="https://monoskop.org/log/?p=22167" style="background: yellow none repeat scroll 0% 0%;">Vladan Joler, Matteo Pasquinelli: The Nooscope Manifested: AI as Instrument of Knowledge Extractivism (2020)</a></b>
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|
</p>
|
|
|
<dl><dd><p><a href="https://monoskop.org/images/6/6b/Joler_Vladan_Pasquinelli_Matteo_2020_Nooscope.jpg" style="background: yellow none repeat scroll 0% 0%;"><img src="monoskop_files/Joler_Vladan_Pasquinelli_Matteo_2020_Nooscope.jpg" width="250" border="0"></a></p>
|
|
|
<p>“The Nooscope is a cartography of the limits of artificial
|
|
|
intelligence, intended as a provocation to both computer science and the
|
|
|
humanities. Any map is a partial perspective, a way to provoke debate.
|
|
|
Similarly, this map is a manifesto — of AI dissidents.”</p>
|
|
|
<p>“The Nooscope is a visual manifesto of AI as instrument of knowledge
|
|
|
extractivism. The Nooscope is also an experiment in academic publication
|
|
|
and critical tools for AI studies. The large diagram and the essay can
|
|
|
be browsed online or downloaded in PDF format and printed on a large
|
|
|
scale.”</p>
|
|
|
<p>Publisher KIM research group, Karlsruhe University of Arts and Design, Karlsruhe, and Share Lab, Novi Sad, 1 May 2020<br>
|
|
|
Open access</p>
|
|
|
<p><a href="https://nooscope.ai/" style="background: yellow none repeat scroll 0% 0%;">Diagram & Essay HTML</a><br>
|
|
|
<a href="https://monoskop.org/images/5/58/Joler_Vladan_Pasquinelli_Matteo_2020_Nooscope.pdf" style="background: yellow none repeat scroll 0% 0%;">Diagram PDF</a><br>
|
|
|
<a href="https://monoskop.org/images/c/ca/Pasquinelli_Matteo_Joler_Vladan_2020_The_Nooscope_Manifested_AI_as_Instrument_of_Knowledge_Extractivism.pdf" style="background: yellow none repeat scroll 0% 0%;">Essay PDF</a></p></dd></dl>
|
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|
<p><b><a rel="nofollow" class="external text" href="https://monoskop.org/log/?p=22156" style="background: yellow none repeat scroll 0% 0%;">Jennifer Iverson: Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde (2018)</a></b>
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</p>
|
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|
<dl><dd><div class="thumb tright" style="background: greenyellow;letter-spacing: 0px;"><img src="monoskop_files/Iverson_Jennifer_Electronic_Inspirations_Technologies_of_the.jpg" width="250"><p class="mw-empty-elt"></p>
|
|
|
<p style="letter-spacing: -3px;">“Cold War electronic music—made with
|
|
|
sine tone and white-noise generators, filters, and magnetic tape—was the
|
|
|
driving force behind the evolution of both electronic and acoustic
|
|
|
music in the second half of the twentieth century. Electronic music
|
|
|
blossomed at the Westdeutscher Rundfunk (WDR [West German Radio]) in
|
|
|
Cologne in the 1950s, when technologies were plentiful and the need for
|
|
|
cultural healing was great. Building an electronic studio, West Germany
|
|
|
confronted the decimation of the “Zero Hour” and began to rebuild its
|
|
|
cultural prowess. The studio’s greatest asset was its laboratory
|
|
|
culture, where composers worked under a paradigm of invisible
|
|
|
collaboration with technicians, scientists, performers, intellectuals,
|
|
|
and the machines themselves. Composers and their invisible collaborators
|
|
|
repurposed military machinery in studio spaces that were formerly
|
|
|
fascist broadcasting propaganda centers. Composers of Cold War
|
|
|
electronic music reappropriated information theory and experimental
|
|
|
phonetics, creating aesthetic applications from military discourses. In
|
|
|
performing such reclamations, electronic music optimistically signaled
|
|
|
cultural growth and progress, even as it also sonified technophobic
|
|
|
anxieties. Electronic music—a synthesis of technological, scientific,
|
|
|
and aesthetic discourses—was the ultimate Cold War innovation, and its
|
|
|
impacts reverberate today.”</p>
|
|
|
<p>Publisher Oxford University Press, New York, 2018<br>
|
|
|
The New Cultural History of Music series<br>
|
|
|
ISBN 9780190868192, 0190868198<br>
|
|
|
xi+303 pages</p>
|
|
|
<p>Reviews: <a href="https://www.esm.rochester.edu/integral/33-2019/33-vagnerova/" style="background: yellow none repeat scroll 0% 0%;">Lucie Vágnerová</a> (Integral, 2019), <a href="https://currentmusicology.columbia.edu/article/iverson-jennifer-2018-electronic-inspirations-technologies-of-the-cold-war-musical-avant-garde-new-york-oxford-university-press/" style="background: yellow none repeat scroll 0% 0%;">Ted Gordon</a> (Current Musicology, 2019), <a href="https://sci-hub.tw/https://academic.oup.com/ml/article-abstract/100/4/749/5818913" style="background: yellow none repeat scroll 0% 0%;">James Davis</a> (Music & Letters, 2019), <a href="https://sci-hub.tw/10.1080/20551940.2020.1711497" style="background: yellow none repeat scroll 0% 0%;">Maurice Windleburn</a> (Sound Studies, 2020).</p>
|
|
|
<p><a href="https://global.oup.com/academic/product/electronic-inspirations-9780190868192" style="background: yellow none repeat scroll 0% 0%;">Publisher</a><br>
|
|
|
<a href="http://worldcat.org/oclc/1103605339" style="background: yellow none repeat scroll 0% 0%;">WorldCat</a></p>
|
|
|
<p><a href="http://outernationale.memoryoftheworld.org/Jennifer%20Iverson/Electronic%20Inspirations_%20Technologi%20(7113)/Electronic%20Inspirations_%20Techno%20-%20Jennifer%20Iverson.pdf" style="background: yellow none repeat scroll 0% 0%;">PDF</a> (32 MB)</p></div></dd></dl>
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<div class="printfooter">Retrieved from "<a dir="ltr" href="https://monoskop.org/index.php?title=Monoskop&oldid=97507" style="background: yellow none repeat scroll 0% 0%;">https://monoskop.org/index.php?title=Monoskop&oldid=97507</a>"</div>
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