Collection of Pierre Schaeffer‘s writings from 1938-1977 published as triple issue of La Revue musicale (303-305).
Collection of Pierre Schaeffer‘s writings from 1938-1977 published as triple issue of La Revue musicale (303-305).
In January 2013, #Aaron_Swartz, under arrest and threatened with thirty-five years’ imprisonment, committed suicide. He was twenty-six. But in his short life he had changed the world: reshaping the Internet, questioning our assumptions about intellectual property, and creating some of the tools we use in our daily online lives. He was also a leading critic of the politics of the Web.
In this collection of his writings that spans over a decade, Swartz displays his passion for and in-depth knowledge of intellectual property, copyright, and the architecture of the Internet. The Boy Who Could Change the World contains the life’s work of one of the most original minds of our time.”
With an Introduction by #Lawrence_Lessig
Paru chez The New Press
The New [New] Corpse explores current representations of the body in which the human figure appears fragmented, distorted, or emphatically absent in a carefully curated selection of poetry, translation, essays, and exhibition documentation. With a mission statement provided by an artist’s corporation, to a poem about corpses, and an essay about how Billy the Kid changed American mythology, these works emphasize the strange and residual power of material bodies, distorted and skewed through representation. It is produced in conjunction with a group exhibition of the same name.
A resource on constructivism, focusing primarily on the movement in Russia and east-central Europe from the late 1910s through the 1930s.
Contains an overview of major exhibitions and catalogues, selection of works, list of (digitised) magazines, pamphlets and books, anthologies of texts (also merged into a single table), historical studies and analyses, and profiles of artists, theorists and groups.
Ouaouh, que de merveilles ! #merci.
Mémoires [Memories] is an artist’s book made by Asger Jorn in collaboration with Guy Debord. Published in December 1958, it is the second of their two collaborative books whilst they were both members of the Situationist International. Second issue of the same book, in slightly different format, appeared in Copenhagen in 1959.
“The pages consist of phrases, photos, drawings and cartoons that Debord cut out of other works, and then pasted up in a randomly suggestive manner. Debord then had Jorn taint these ‘prefabricated elements’ with paint. The colors suggest possible readings of the phrases or simply lend a mood to the images. These plates were then bound in sand-paper to destroy any other books it came into contact with–Debord calls them an anti-book. The book was published at Jorn’s expense and given away as a sumptuous gift to friends.” (adapted from L. Bracken, Guy Debord, 1997, pp 34-35)
Publisher L’Internationale situationniste, 1958
#PDF de la version française :
Et pour l’explication
We have experienced a very strange move from a top-level registrar of .org domains who have suspended monoskop.org despite our enforced update of phone number in contact data.
Still waiting for an answer from the registrar, in the worst case we’ll end up with a new domain name.
Thank you all for the care, much appreciated.
“Theory offers an unprecedented reading of the contemporary world: 500 texts – from poems and musings to short stories – printed on 500 pages assembled in the form of a ream of paper. Curated by the author-poet, this collection maps out the various issues and trends in contemporary literature in a world currently being shaken up by everything online and digital, and calls for the reinvention of creative forms.”
En anglais et en français
Ca donne des pages comme ça (du coup 500, ça va) :
Et ça commence splendidement :
Je me tourne vers la théorie après avoir réalisé que quelqu’un a consacré toute sa vie à une question que j’avais à peine envisagée.
La Prose du Transsibérien et de la petite Jehanne de France [Prose of the Trans-Siberian and of Little Jehanne of France] is a collaborative artists’ book by #Blaise_Cendrars and #Sonia_Delaunay-Terk. It features a poem by Cendrars about a journey through Russia on the Trans-Siberian Express in 1905, during the first Russian Revolution, interlaced with an almost-abstract pochoir print by Delaunay-Terk. The work, published in 1913, is considered a milestone in the evolution of artist’s books as well as modernist poetry and abstract art.
Universally-recognized signs and symbols have always been among the most important elements of communication. By why is it that certain configurations of dot and line, and certain primary shapes, are perceived and remembered more easily than others? Taking the six faces of dice as his starting point, Frutiger writes about signs and symbols in general and the development of writing in particular. Throughout, he relates the basic principles and components of graphics to a wide range of historical, physical, linguistic and practical considerations. He embraces everything from Egyptian hieroglyphics to modern company logos in his intriguing analysis of the way that humans have always tried to express thought and communication through graphic means. This standard work is aimed at all those concerned with graphics, design, ornament and communication in general.
The Iron Whim is a history of writing culture and technology. It covers the early history and evolution of the typewriter as well as the various attempts over the years to change the keyboard configuration, but it is primarily about the role played by this marvel in the writer’s life. Darren Wershler-Henry populates his book with figures as disparate as Bram Stoker, Mark Twain, Franz Kafka, Norman Mailer, Alger Hiss, William Burroughs, J. G. Ballard, Jack Kerouac, Hunter S. Thompson, Northrop Frye, David Cronenberg, and David Letterman; the soundtrack ranges from the industrial clatter of a newsroom full of Underwoods to the more muted tapping and hum of the Selectric. Wershler-Henry casts a bemused eye on the odd history of early writing machines, important and unusual typewritten texts, the creation of On the Road, and the exploits of a typewriting cockroach named Archy, numerous monkeys, poets, and even a couple of vampires. And by broadening his focus to look at typewriting as a social system as well as the typewriter as a technological form, he examines the way that the tool has shaped the creative process.
L’homme et ses signes
pour continuer sur cette #histoire_des_techniques « Gramophone, Film, Typewriter » de Friedrich A. Kittler, lui aussi dispo sur l’inépuisable Monoskop ▻http://www.monoskop.org/images/7/73/Kittler_Friedrich_Gramophone_Film_Typewriter.pdf
(avec émotion, c’est ma première addition sur seenthis que je viens de découvrir, avec une trentaine d’onglets ouverts ma machine souffle comme un animal furieux)
C’est ce grand mouvement des années 50 autour de la Kulture. Qui poussait le gouvernement (Malraux et consort) à investir dans l’art contemporain comme moyen vislard de direction de nos vies. #dirigisme
Ces grands projets (inutiles) à le Corbusier pour asseoir une vision de « progrès » à l’excès (façon constructivisme russe ou même récupération nazie des travaux d’avant guerre).
La plastique sans idéologie, pour moi, ça n’existe pas :
Few German scholars in the past 50 years have had such a lasting impact on the cultural situation of our time, including its academic institutions, as Friedrich Kittler. It is in large part due to his writings that the radio, the gramophone, and the computer are not just objects of cultural fascination, but also of philosophical reflection.
This volume contains a collection of essays written by Kittler over the course of 40 years which serve as a testament to the enormous breadth, intensity, and the singular creativity of his thought
#Catalogue for the exhibition held at Villa Arson, Nice (FR), and Castello di Rivoli, Turin (IT), in 1995. With texts by Stuart Morgan, Yehuda Safran, a.o.
“The Drawing After
After finishing a sound work, if time allows, I wait several months before listening to it again. This is the first time I can stand outside the work and see what it is that I have made. It is only at this point after experiencing the work with distance that I make its circumscription drawing.
This drawing, two panels, a visual image and a handwritten text, integrates two traditional forms of communication to circumscribe something both invisible and indescribable. The image is not the drawing nor is the text: the drawing is what they synthesize together. When read in parallel, they evoke a central idea of the sound work, a point of departure and a reference, for reflection.” (Max Neuhaus, source [includes also an English version of a text by Yehuda Safran included in the catalogue])
Half a dozen years ago, anthropologist Gabriella Coleman set out to study the rise of this global phenomenon just as some of its members were turning to political protest and disruption (before Anonymous emerged as a player in the battles over WikiLeaks, the Arab Spring, and #Occupy Wall Street). She ended up becoming closely connected to Anonymous and the story of her inside-outside status as Anon confidante, interpreter, and erstwhile mouthpiece forms one of the themes of this engrossing book.
The narrative brims with details unearthed from within a notoriously mysterious subculture, whose best-known tricksters – such as Topiary, tflow, Anachaos, and Sabu – emerge as complex, diverse, politically and culturally sophisticated people. Propelled by years of chats and encounters with a multitude of hackers, including imprisoned activist Jeremy Hammond and the double agent who helped put him away, Hector Monsegur, Hacker, Hoaxer, Whistleblower, Spy is filled with insights about digital activism and little understood facets of culture in the Internet age, including the history of “trolling,” the ethics and metaphysics of hacking, and the origins and manifold meanings of “the #lulz.”
Arsenij Avraamov’s best-known creation appeared involved the Caspian port of Baku [Bakı, capital of Azerbaijan], for the Fifth Anniversary of the Soviet Republic on 7 November 1922. A spectacular, called the Symphony of the Factory Sirens, used the services of a huge cast of choirs (joined by spectators), the foghorns of the entire Soviet Caspian flotilla, two batteries of artillery guns, a number of full infantry regiments (including a machine-gun division) hydroplanes, and all the factory sirens of Baku. Conductors posted on specially built towers signaled various sound units with colored flags and pistol shots. A central “steam-whistle machine” pounded out “The Internationale” and “La Marseillaise” as noisy “autotransports” (half-tracks) raced across Baku for a gigantic sound finale in the festival square.
On peut y ajouter La Varsovienne,…
Гудковая симфония, Symphonie de sirènes
It’s a recreation by Laboratory of Intermedia Creations on their disc “Noises and Whispers in Avant Gardes”. Unfortunately it’s really rare :( You can only even find half of it online!
This was produced in 2003 by Leopoldo Amigo and Miguel Molina at Baku and released in 2004 by UPV-Allegro Records.
L’original n’ayant pas été enregistré.
Ah oui, merci.
P.ex. la légende de la photo fixe de YT : il s’agit d’Arseny Avraamov en train de diriger la deuxième (et dernière) exécution publique de la Symphonie des sirènes à Moscou.
Vu d’un peu plus loin,… avec les sirènes et quelques uns des opérateurs.
Les instructions pour la création à Bakou
Ou encore, cette explication de la place des sirènes
The factory sirens were the most popular sound sources in the early 1920-s, considered as a substitution of the former ‘bourgeois’ church bells and popular in construction of the new sound machines.
Mais on ne trouve pas les plaintes d’Avraamov qui râle parce qu’à Moscou…
They gave us only twenty-seven heavy gun shots! It is for the big drum! And there were no machine guns at all… only gunfire!
dans Sound in Z p. 152
A source book for the history of mathematics, but one which offers a different perspective by focusing on algorithms. With the development of computing has come an awakening of interest in algorithms. Often neglegted by historians and modern scientists, more concerned with the nature of concepts, algorithmic procedures turn out to have been instrumental in the development of fundamental ideas: practice led to theory just as much as the other way round. The purpose of this book is to offer a historical background to contemporary algorithmic practice. Each chapter centres around a theme, more or less in chronological order, and the story is told through the reading of over 200 original texts, faithfully reproduced. This provides an opportunity for the reader to sit alongside such mathematicians as Archimedes, Omar Khayyam, Newton, Euler and Gauss as they explain their techniques. The book ends with an account of the development of the modern concept of algorithm.
Splendide mise en ligne sur #Monoskop : Nous autres, de #Zamiatine (en français, mais aussi dans d’autres langues) - je n’ai jamais compris que ce #livre ne soit pas considéré comme aussi important, dans la #critique de la #technologie et de la #surveillance, que 1984
Set in a future totalitarian OneState, the novel records the internal conflict and gradual self-awakening of the initially robotlike rocket engineer D-503, torn between his faith in state orthodoxy and yearning for perfect order, on the one hand, and, on the other, his growing awareness of his own disorderly, irrepressible, idiosyncratic subjectivity. The catalyst of this subversive development is the act of writing—paradoxical insofar as this act functions, in the totalitarian system envisioned by the novel, as one of the instruments of the state’s all-pervasive control.
▻http://monoskop.org/images/0/0f/Zamiatine_Eugene_Nous_autres.pdf [#pdf de la traduction française)
Voilà qui a l’air diablement intéressant sur l’#histoire des #techniques et de l’avènement de la #machine : Humphrey Jennings, Pandæmonium, 1660-1886 : The Coming of the Machine as Seen by Contemporary Observers (1985), mis en ligne par #Monoskop
From the New York Times review (1985): “For Humphrey Jennings, Pandaemonium was a prophetic symbol of industrialism, and it provides not only the title but also the starting point of his attempt to chronicle ‘the imaginative history of the Industrial Revolution.’ This was best done, he thought, by letting those who took part in the process speak for themselves, and Milton’s lines usher in a collection of some 370 texts ranging from the 1660′s to the 1880′s – the testimony of scientists, artists, rich men, poor men and a great throng of miscellaneous witnesses. Between them, these passages (or ‘images,’ as Jennings preferred to call them) are meant to provide a composite picture of how contemporaries experienced the triumph of the machine, how it transformed both their outward circumstances and inner lives.”
An Essay on Typography was first published in 1931, instantly recognized as a classic. It represents Gill at his best: opinionated, fustian, and consistently humane. It is his only major work on typography and remains indispensable for anyone interested in the art of letter forms and the presentation of graphic information.
This manifesto, however, is not only about letters — their form, fit, and function — but also about man’s role in an industrial society. As Gill wrote later, it was his chief object “to describe two worlds — that of industrialism and that of the human workman — and to define their limits.”
His thinking about type is still provocative. Here are the seeds of modern advertising: unjustified lines, tight word and letter spacing, ample leading. Here is vintage Gill, as polemical as he is practical, as much concerned about the soul of man as the work of man; as much obsessed by the ends as by the means. (David R. Godine)
Si tu n’avais pas encore rêvé sur les pages de La poétique de l’espace de #Gaston_Bachelard, voilà l’occasion de le faire, et dans pas mal de langues : [FR, DE, EN, ES, IT, PT, RO, RU]
Since its first publication 1958, French philosopher Gaston Bachelard’s Poetics of Space remains one of the most appealing and lyrical explorations of home. Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams.
▻http://monoskop.org/images/5/5f/Bachelard_Gaston_La_poetique_de_l_espace_3e_ed.pdf [#pdf du texte français]
Published by Dick Higgins’ own seminal Something Else Press, Fantastic Architecture is an adaptation of the German book Pop Architektur (Droste Verlag, Düsseldorf, 1969) and features artists involved in Fluxus, pop and conceptual art movements addressing the field of architecture through collages, captions and mini-manifestos.
With works by Gerhard Rühm, Claes Oldenburg, Raoul Hausmann, Kurt Schwitters, Erich Buchholz, John Cage, Wolf Vostell, Richard Hamilton, Hans Hollein, Pol Bury, Stefan Wewerka, Dick Higgins, Addi Koepcke, Bici Hendricks, Geoffrey Hendricks, Lawrence Weiner, Joseph Beuys, Milan Knížák, Dennis Oppenheim, Franz Mon, Carolee Schneemann, Ben Vautier, Robert Filliou, Diter Rot, Ay-o, Francis Starr, Alison Knowles, Philip Corner, Douglas Huebler, Michael Heizer, Jan Dibbets, K.H. Hoedicke, Jan Jacob Herman, Buckminster Fuller, Jean Tinguely and Daniel Spoerri.
Published between 1930 and 1970, in close collaboration with Le Corbusier himself the eight volumes comprise a comprehensive record of the buildings, projects, sketchbooks, manifestos, drawings, and texts of one of the 20th century’s most influential architect.
Pour Le Corbusier, j’ai dû avoir possédé certains de ces tomes (p. ex. je connais par cœur le premier) mais serais bien incapable de remettre la main dessus…
Sinon, je découvre ce genre de chose :
Projet de monument à Paul Vaillant-Couturier pour Villejuif en 1937-38
In this dazzling “tribute to the typewriter and its particular qualities,” Alan Riddell compiled 119 works by 65 practitioners from 18 countries. The opening pages are devoted to three pioneers of the 1920s — Hendrik Nicolaas Werkman, Pietro de Saga (the pseudonym of Stefi Kiesler, wife of the Austrian architect Friedrich Kiesler) and an unidentified Bauhaus student of Josef Albers’. They are followed by ‘typewriter art’, concrete poems and typewritten constructivist, systems art, op and gestural abstraction works by Stefan Themerson, Dom Sylvester Houédard, Paula Claire, Richard Kostelanetz, Jiří Kolář, Jiří Valoch, Josef Hiršal, Václav Havel, Henri Chopin, Tom Edmonds, Steve McCaffery and others. The book is a follow-up to the catalogue Typewriter Art, Half a Century of Experiment published in two editions for the exhibitions in Edinburgh, 1973, and London, 1974.
Since its publication in 1937 as an illustrated exhibition catalog, this scholarly chronicle of the history of photography has been hailed as a classic work on the subject.
Beaumont Newhall relates the aesthetic evolution of the art of photography to its technical innovations and presents a study of the significant trends and developments in the medium since 1839. The book features more than 300 works by such photographers as William Henry Fox Talbot, Timothy O’Sullivan, Julia Margaret Cameron, Eugene Atget, Peter Henry Emerson, Alfred Stieglitz, Paul Strand, Alvin Langdon Coburn, Man Ray, Edward Weston, Dorothea Lange, Walker Evans, Ansel Adams, Brassai, Henri Cartier-Bresson, Harry Callahan, Minor White, Robert Frank and Diane Arbus.
In 1938 the text and illustrations were reprinted, with minor revisions, as Photography: A Short Critical History. For the present volume the text was entirely rewritten and a new selection of illustrations made.
Noted painter, designer, theoretician analyzes the effect of visual language on the structure of human consciousness, in particular how the elements of line and form are perceived and how innovative types of perspective can lead to more dynamic representations in art. Over 300 photographs, drawings and illustrations.
Je croyais avoir l’édition 1969 sous la main. Pas trouvé…
En tous cas, #merci aussi : un pdf, c’est plus facile à trouver qu’un bouquin dans des cartons empilés. Même si c’est moins agréable (encore que, de mémoire, l’édition de l’époque n’était pas particulièrement soignée).
The first volume, which is itself the fourth of six in the series devoted to Lyotard’s writings on contemporary art and artists published by Leuven University Press, presents nine essays on general aesthetics and the theory of art. Most of these texts, preserved in the Lyotard archives of the Bibliothèque Littéraire Jacques Doucet in Paris, are published here for the first time. They do not reveal ‘another Lyotard’ than the one whom we know through his major writings. Nevertheless, they cover the whole period of his production, from 1969 to 1997; and they make the development of his philosophy of art explicit. After the ‘libidinal’ conception of art in his early writings, the ‘Kantian twist’ of around 1980 places his view on art under the aegis of the sublime.
The second volume brings together thirty-nine essays by Lyotard that deal with twenty-seven artists: Luciano Berio, Richard Lindner, René Guiffrey, Gianfranco Baruchello, Henri Maccheroni, Riwan Tromeur, Albert Ayme, Manuel Casimiro, Ruth Francken, Barnett Newman, Jean-Luc Parant, François Lapouge, Sam Francis, André Dubreuil, Joseph Kosuth, Sarah Flohr, Lino Centi, Gigliola Fazzini, Bracha Lichtenberg Ettinger, Henri Martin, Michel Bouvet, Corinne Filippi, Stig Brøgger, François Rouan, Pierre Skira, and Béatrice Casadesus. Some of these texts were originally written as contributions to catalogues, others were published in now-inaccessible journals.
“Is the tick a machine or a machine operator? Is it a mere object or a subject?” With these questions, the pioneering biophilosopher Jakob von Uexküll embarks on a remarkable exploration of the unique social and physical environments that individual animal species, as well as individuals within species, build and inhabit. This concept of the umwelt has become enormously important within posthumanist philosophy, influencing such figures as Heidegger, Merleau-Ponty, Deleuze and Guattari, and, most recently, Giorgio Agamben, who has called Uexküll “a high point of modern antihumanism.”
A key document in the genealogy of posthumanist thought, A Foray into the Worlds of Animals and Humans advances Uexküll’s revolutionary belief that nonhuman perceptions must be accounted for in any biology worth its name; it also contains his arguments against natural selection as an adequate explanation for the present orientation of a species’ morphology and behavior. A Theory of Meaning extends his thinking on the umwelt, while also identifying an overarching and perceptible unity in nature. Those coming to Uexküll’s work for the first time will find that his concept of the umwelt holds new possibilities for the terms of animality, life, and the framework of biopolitics.
▻http://monoskop.org/images/f/f2/Uexkuell_Jakob_von_Mondes_animaux_et_monde_humain.pdf [#pdf, trad. Philippe Muller, 1965]
How to Read Donald Duck is a Marxist political analysis by #Ariel_Dorfman and #Armand_Mattelart on what they perceive is cultural imperialism in popular entertainment, published in Chile in 1972. Written in the form of essay (or, in the authors’ words, a “decolonization manual”), the book is an analysis of mass literature, specifically the #Disney comics published for the Latin American market. It is one of the first social studies of entertainment and the leisure industry from a political-ideological angle, and the book deals extensively with the political role of children’s literature. (from Wikipedia)
First published by Ediciones Universitarias de Valparaíso, Chile, 1972
First published in English in 1975
Et pour éclairer le propos, une belle #image trouvée chez #Retronaut : “Early 1930s: A meeting of the Mickey Mouse Club”
“The first was a theater-based Mickey Mouse Club started on January 4, 1930 at 12 noon at the Fox Dome Theater in Ocean Park, California with 60 Theaters hosting clubs by March 31. The Club released its first issue of the Official Bulletin of the Mickey Mouse Club on April 15, 1930. By 1932, the Club had 1 million members, and in 1933 its first British club opened at Darlington’s Arcade Cinema. In 1935, with so many clubs around the world, Disney begins to phase out the club.”
A catalogue of seventy posters from May 1968 made by art and non-art students from across France using stencil, lithography, linoleum and offset printing. Collected for an exhibition held in the Salle Mortreuil of the Bibliothèque nationale, February-March 1982.