You are on page 1of 15

BIBLIOGRAPHY

Adorno, Theodor. “Culture Industry Reconsidered.” In The Culture Industry:


Selected Essays on Mass Culture Edited by Jay Bernstein, 98-106. London:
Routledge, 2001.

________. Negative Dialectics. New York: Seabury Press, 1973.

Akazawa, Takeru, Kazuyasu Ochiai and Yuji Seki, eds. The “Other” Visualized:
Depictions of the Mongoloid Peoples. Tokyo: University of Tokyo Press,
1992.

Alloway, Lawrence. “The Arts and the Mass Media.” In Art in Theory, 1900-1990
An Anthology of Changing Ideas, Volume 2. Edited by Charles Harrison and
Paul Wood, 700-703. Oxford and Cambridge, Mass.: Blackwell Publishers,
1992. Originally published in Architectural Design, London (February
1958): 34-5.

Anonymous, “Contemporary American Art at Illinois.” Art Journal 28, No. 4


(Summer 1969): 404,455.

Antin, David. “Video: The Distinctive Features of the Medium.” In Video Art: An
Anthology. Edited by Ira Schneider and Beryl Korot, 174-183. New York and
London: Harcourt Brace Jovanovich, 1976.

Appadurai, Arjun. “Grassroots Globalization and the Research Imagination.” Public


Culture 1, No. 12 (Winter 2000): 1-19.

________. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis:


University of Minnesota Press, 1996.

Appiah, Kwame Anthony. “Is the Post- in Postmodernism the Post- in Postcolonial?”
Critical Inquiry 17 (Winter 1991): 343.

Archer, Michael. Art Since 1960, Second Edition. London and New York: Thames
and Hudson, 2002. Originally published in 1997.

Arnason, H.H. History of Modern Art: Painting, Sculpture, Architecture, 2nd Edition.
New York: Abrams, 1977.

________. History of Modern Art: Painting, Sculpture, Architecture, 3rd Edition.


New York: Abrams, 1986.

289
290

Arnason, H.H., and Maria F. Prather. History of Modern Art: Painting, Sculpture,
Architecture, 4th Edition. New York: Abrams, 1998.

Arnason, H.H. History of Modern Art, 5th Edition. Revising editor Peter Kalb. New
York: Abrams, 2004.

Arnheim, Rudolph. “Art Today and the Film.” Art Journal 25, No. 3 (Spring 1966):
242-244.

Ascott, Roy. “The Digital Museum.” In Perspektiven der Medienkunst. Media Art
Perspectives. Edited by Hans-Peter Schwarz and Jeffrey Shaw. Ostfildern,
1996.

________. Telematic Embrace: Visionary Theories of Art, Technology and


Consciousness. Edited by Edward A. Shanken. Berkeley: University of
California Press, 2003.

Baudrillard, Jean. Simulacra and Simulation. Trans. Sheila Faria Glaser. Ann Arbor:
University of Michigan Press, 1994. Originally published in French by
Editions Galilée in 1981.

Becker, Carol. “The Romance of Nomadism: A Series of Reflections.” Art Journal


58, Number 2 (Summer 1999): 22-29.

Belton, John. “Digital Cinema: A False Revolution.” October 100 (Spring 2002): 98-
114.

________. “Looking Through Video: The Psychology of Video and Film.” In


Resolutions: Contemporary Video Practices. Edited by Michael Renov and
Erika Suderburg, 61-72. Minneapolis and London: University of Minnesota
Press, 1996.

Benjamin, Walter. Illuminations. New York: Shocken Books, 1968.

________. Walter. The Arcades Project. Translated by Howard Eiland and Kevin
McLaughlin. Cambridge, Mass.: The Belknap Press of Harvard University
Press, 1999.

Bergson, Henri. Matter and Memory. Trans. N.M. Paul and W.S. Palmer. New York:
Zone Books, 1988. Originally published in France as Matière aet Mémoire in
1896.

Bhabha, Homi K. The Location of Culture. London and New York: Routledge, 1994.
291

Bois, Yve-Alain and Rosalind E. Krauss. Formless: A User’s Guide. New York:
Zone Books, 1999.

Bourriaud, Nicolas. Relational Aesthetics. Dijon-Quetigny: Les presses du réel,


1998.

Braidotti, Rosi. Nomadic Subjects: Embodiment and Sexual Difference in


Contemporary Feminist Theory. New York: Columbia University Press,
1994.

Buchloh, Benjamin. “From Gadget to Agit Video: Some Notes on Four Recent
Video Works.” Art Journal 45, No. 3 (Fall 1985): 217-227.

Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades
Project. Cambridge, Mass. and London: The MIT Press, 1999.

________. The Origin of Negative Dialectics: Theodor W. Adorno, Walter Benjamin,


and the Frankfurt Institute. New York: The Free Press, 1977.

Bürger, Peter. Theory of the Avant-Garde. Trans. Michael Shaw. Minneapolis,


University of Minnesota Press, 1984. Originally published in German in
1974.

Burnham, Jack. “Corporate Art.” Artforum (October 1971): 67.

________. Beyond Modern Sculpture: The Effects of Science and Technology on the
Sculpture of This Century. New York: George Braziller, 1968.

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York:
Routledge, 1990.

Callen, Anthea. The Spectacular Body: Science, Method and Meaning in the Work of
Degas. New Haven and London: Yale University Press, 1995.

Cameron Bailey, “Virtual Skin: Articulating Race in Cyberspace.” In Immersed in


Technology: Art and Virtual Environments. Edited by Mary Anne Moser, 29-
49. Cambridge, Mass.: MIT Press, 1996.

Campbell, Sarah and Gilane Tawadros, eds., Annotations 6: Stuart Hall and Sarat
Maharaj: Modernity and Difference. London: Institute of International Visual
Arts, 2001.

Carlyle, Thomas. “Signs of the Times.” In Art in Theory, 1815-1900: An Anthology


of Changing Ideas, Volume 1. Edited by Charles Harrison, Paul Wood and
292

Jason Gaiger, 441-444. Oxford: Blackwell, 1998. First published in


Edinburgh Review, volume XLIX, June 1829.

Castells, Manuel. The Rise of the Network Society. Malden, Mass: Blackwell
Publishers, 2000.
Chakrabarty, Dipesh. Provincializing Europe. Princeton: Princeton University Press,
2000.

Coke, Van Deren. The Painter and the Photograph: From Delacroix to Warhol.
Albuquerque: University of New Mexico Press, 1964. Revised 1972.

College Art Association. Abstracts: Annual Conference of the College Art


Association. New York: College Art Association. 1965-2000.

Comte de St Simon, Claude-Henri de Rouvroy. “The Artist, the Savant and the
Industrialist.” In Art in Theory, 1815-1900: An Anthology of Changing Ideas,
Volume 1. Edited by Charles Harrison, and Paul Wood, with Jason Gaiger,
37-41. Oxford: Blackwell, 1998.

Cook, Sarah, Beryl Graham and Sarah Martin. Curating New Media: Third BALTIC
International Seminar 10-12 May 2001. Gateshead: Baltic, 2002.

Cook, Sarah. “Open Letter to Kathy Halbreich, Director, Walker Art Center.”
www.mteww.com/walker_letter/index.shtml. Posted June 26, 2003.
Downloaded February 1, 2006.

Cubitt, Sean. Timeshift: On Video Culture. London and New York: Routledge, 1991.

________. Videography: Video Media as Art and Culture. New York: St. Martin’s
Press, 1993.

Debord, Guy. Society of the Spectacle. Trans. Donald Nicholson-Smith. New York:
Zone Books, 1995.

Deleuze Gilles. Difference and Repetition. New York: Columbia University Press,
1994.

Deleuze, Giles and Félix Guattari. A Thousand Plateaus: Capitalism and


Schizophrenia. Translated by Brian Massumi. Minneapolis: University of
Minnesota Press, 1987.

Derrida, Jacques. Margins of Philosophy. Trans. Alan Bass. Chicago: University of


Chicago Press, 1984. Originally published in French, 1972.
293

Dietz, Steve. “Art After New Media.” Posted August 19, 2004.
www.yproductions.com/WebWalkAbout/archives/000578.html. Downloaded
May 1, 2006.

Doherty, Willie et al, eds. Being and Time: The Emergence of Video Projection.
Buffalo: Albright-Knox Gallery, 1996.

Drucker, Johanna. “Simulation/Spectacle: Beyond the Boundaries of the Old Avant-


Garde and Exhausted Modernism.” Third Text 22 (Spring 1993): 3-16.

Druckrey, Timothy, ed. Electronic Culture: Technology and Visual Representation.


New York: Aperture Foundation, 1996.

DuBois, W. E. B. The Souls of Black Folk. New York: Bantam Books, 1989.

Editorial, October 100 (Spring 2002): 3.

Enwezor, Okwui et al. Documenta11_Platform5: Créolité and Creolization.


Ostfildern-Ruit: Hatje-Cantz Publishers, 2003.

________. Documenta11_Platform5: Austellung/Exhibition. Ostfildern-Ruit: Hatje-


Cantz Publishers, 2002.

Enwezor, Okwui. “Mega-Exhibitions and the Antinomies of a Transnational Global


Form.” Documents 23 (Spring 2004): 2-19.

________. Documenta 11 Press Conference, Kassel, Germany, 6 June 2002.

________. “The Postcolonial Constellation: Contemporary Art in a State of


Permanent Transition.” Research in African Literatures 2003, Volume 34,
Number 4: 57-82.

Fernández, María. “A Critical Perspective.” Nka: Journal of Contemporary African


Art 18 (Spring/Summer 2003): 48-55.

________. “Postcolonial Media Theory.” Art Journal (Fall 1999): 59-73.

Fernie, Eric ed. Art History and Its Methods: A Critical Anthology. London:
Phaidon, 1995.

Figuier, Louis. La Photographie au Salon de 1859 (Paris 1860).

Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century.
Cambridge, Mass.: MIT Press, 1996.
294

Foster, Hal, Rosalind Krauss, Yve-Alain Bois, and Benjamin H.D. Buchloh. Art
Since 1900: Modernism, Antimodernism, Postmodernism. New York:
Thames and Hudson, 2004.

Foucault, Michel. “Of Other Spaces.” Diacritics (Spring 1986): 22-7.

Francastel, Pierre. Art and Technology in the Nineteenth and Twentieth Centuries.
New York: Zone Books, 2000. Originally published in French in 1956.

Fusco, Coco. The Bodies That Were Not Ours. London and New York: Routledge,
2001.

Gagnon, Adrienne. “Lee Bul.” In 010101: Art in Technological Times. San Francisco
Museum of Art, 96-97. San Francisco: San Francisco Museum of Modern
Art, 2001.

Gere, Charlie. Digital Culture. London: Reaktion Books, 2002.

Gessner, Robert. “An Introduction to the Ninth Art: A Definition of Cinema.” Art
Journal 21, No. 2 (Winter 1961-1962): 89-92.

Goodman, Cynthia. Digital Visions: Computers and Art. New York: Harry N.
Abrams, Inc., 1987.

Goodyear, Anne Collins. “Technophilia, Vietnam, and the Rise and Fall of ‘Art and
Technology’ in the United States, 1965-1971.” Presentation at Refresh!
Conference. Banff New Media Institute. Thursday, September 29, 2005.
Banff, Canada. Available at www.banffcentre.ca/bnmi/programs/
archives/2005/refresh/lisiten.asp. Accessed May 2006.

Gopnik, Blake. “Fully Freighted Art: At Documenta 11.” The Washington Post. June
16, 2002: Sunday Arts Section, G 01.

Grau, Oliver. Virtual Art: From Illusion to Immersion. Cambridge, Mass.: MIT
Press, 2003.

Greenberg, Clement. “Avant-Garde and Kitsch.” In Clement Greenberg: The


Collected Essays and Criticism, Volume 1. Edited by John O’Brian, 5-22.
Chicago and London: University of Chicago Press, 1986. Originally
published in 1939.

________. Clement Greenberg: The Collected Essays and Criticism, Volume 1.


Edited by John O’Brian. Chicago and London: University of Chicago Press,
1986.
295

________. Clement Greenberg: The Collected Essays and Criticism, Volume 4.


Edited by John O’Brian. Chicago and London: University of Chicago Press,
1993.

Greene, Rachel. Internet Art. London: Thames and Hudson, 2004.

Hamilton, George Heard. 19th and 20th Century Art. General editor H.W. Janson.
New York and Englewood Cliffs: Abrams and Prentice Hall, 1987.

Hansen, Mark B.N. New Philosophy for New Media. Cambridge, Mass.: MIT Press,
2004.

Haraway, Donna. “A Manifesto for Cyborgs: Science, Technology and Socialist


Feminism in the 1980s.” Socialist Review 80 (1985): 65-107.

Harris, Jonathan. “Art Education and Cyber-Ideology: Beyond Individualism and


Technological Determinism.” Art Journal 56, Number 3. Special Issue:
Digital Reflections: The Dialogue of Art and Technology. (Fall 1997): 39-45.

Harvey, David. Paris, Capital of Modernity. New York and London: Routledge,
2003.

Hassan, Salah and Dadi Iftikhar. Unpacking Europe. Rotterdam: NAI Publishers,
2002.

Hayles, N. Katherine. “The Condition of Virtuality.” In Digital Dialectic. Edited by


Peter Lunenfeld, 68-95. Cambridge: MIT Press, 1999.

________. “Virtual Bodies and Flickering Signifiers.” October 66 (Fall 1993): 69-
91.

________. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature


and Informatics. Chicago: University of Chicago Press, 1999.

Hazard, Patrick D. “Problems of the Arts in a Mass Society.” Art Journal 20, No. 4
(Summer 1961): 222-225.

Heartney, Eleanor. “A 600-Hour Documenta.” Art in America 9 (September 2002):


86-95.

Henning, Edward B. Creativity in Art and Science, 1860-1960. Cleveland: Indiana


University Press with the Cleveland Museum of Art, 1987.

Honour, Hugh and John Fleming. The Visual Arts: A History, 5th Edition. Upper
Saddle River, NJ: Prentice Hall, 2000.
296

Hopkins, David. After Modern Art, 1945-2000. Oxford: University of Oxford, 2000.

Hunter, Sam and John Jacobus. Modern Art: From Post-Impressionism to the
Present, First Edition. New York: Abrams, 1977.

Hutton, John G. Neo-Impressionism and the Search for Solid Ground: Art, Science
and Anarchism in Fin-de-Siécle France. Baton Rouge: Louisiana State
University, 1994.

Jameson, Fredric Postmodernism, or The Cultural Logic of Late-Capitalism.


Durham: Duke University Press, 1991.

Jones, Amelia. “Televisual Flesh: Activating Otherness in New Media Art.”


Parachute 113 (January 2004): 70-91.

________. “The Body and Technology.” Art Journal 60, No. 1 (Spring 2001): 20.

Kester, Grant. “Conversation Pieces: The Role of Dialogue in Socially-Engaged


Art.” In Theory in Contemporary Art Since 1985. Edited by Zoya Kocur and
Simon Leung, 76-88. Oxford: Blackwell Publishers, 2005.

Kimmelman, Michael. “Critic’s Notebook: Global Art Show with an Agenda.” The
New York Times. June 18, 2002, Section E, Page 1.

Kirby, Kent. “Art, Technology and the Liberal Arts College.” Art Journal 29, No. 3
(Spring 1970): 330-333.

Kittler, Friedrich. Gramophone, Film, Typewriter. Translated by B. Winthrop-Young


and M. Wutz. Stanford: Stanford University Press, 1999.

Klonarides, Carol Ann. “Is the Site Right?” Art Journal 54, No. 4. Special Issue:
Video Art (Winter 1995): 77-78.

Konzal, Joseph “Art, Technology and Liberal Arts Colleges: A Reply.” Art Journal
30, No. 2 (Winter 1970-1971): 167-168.

Koolhaas, Rem. Wired 11, Number 6 [guest editor] (June 2003).

Krauss, Rosalind. “Video: The Aesthetics of Narcissism.” In Video Culture: A


Critical Investigation. Edited by John G. Hanhardt, 179-191. New York:
Visual Studies Workshop Press, 1986.

________. “Video: The Aesthetics of Narcissism.” October 1 (Spring 1976): 50-64.


297

Krauss, Rosalind. A Voyage on the North Sea: Art in the Age of the Post-Medium
Condition. New York: Thames and Hudson, 1999.

Kuspit, Donald. “Pop Art: A Reactionary Realism.” Art Journal 36, Number 1 (Fall
1976): 31-38.

________. “The Matrix of Sensations.” Downloaded from www.artnet.com, August


5, 2005. http://www.artnet.com/magazineus/features/kuspit8-5-05.asp.
Accessed December 12, 2005.

________. The End of Art. Cambridge: Cambridge University Press, 2004.

Kwon, Miwon. “The Wrong Place.” Art Journal 59, Number 1 (Spring 2000): 33-43.

Lacerte, Sylvie. “Experiments in Art and Technology: A Gap to Fill in Art History’s
Recent Chronicles.” Presentation at Refresh! Conference. Banff New Media
Institute. Thursday, September 29, 2005. Banff, Canada. Available at
www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp. Accessed
May 2006.

Langill, Caroline Seck. “Hey, Look at Me! Thoughts on the Canonical Exclusion of
Early Electronic Art Presentation at Refresh! Conference. Banff New Media
Institute. Thursday, September 29, 2005. Banff, Canada. Available at
www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp. Accessed
May 2006.

LeFebvre, Henri. The Production of Space. Trans. Donald Nicholson-Smith. Oxford


and Cambridge: Blackwell, 1991. First published in French in 1974.

Leino, Lily and Clement Greenberg. “USIS Feature.” United States Information
Service (April 1969). Reprinted in Clement Greenberg, Clement Greenberg:
The Collected Essays and Criticism. Edited by John O’Brian, 303-314.
Volume 4, Modernism With a Vengeance. Chicago: University of Chicago
Press, 1993.

London, Barbara. “Digital Art Takes Shape at MoMA.” Leonardo 34, No. 2 (2001):
95-99.

________. “From Video to the Web: New Media Yesterday and Tomorrow—An
Interview with Barbara London.” Art Papers 25, Number 6
(November/December 2001): 25-29.

________. Video Spaces: Eight Installations. New York: Museum of Modern Art,
1995.
298

Lovejoy, Margot. Postmodern Currents: Art and Artists in the Age of Electronic
Media, Second Edition. Upper Saddle River, N.J.: Prentice Hall, 1997.

Lovink, Geert. “Fragments on New Media Arts and Science.” M/C: A Journal of
Media and Culture. http://www.media-culture.org.au/0308/10-fragments.php.
Accessed May 12, 2006.

Lyotard, Jean-François. “Can Thought Go On Without a Body?” In The Inhuman:


Reflections on Time. Trans. Geoffrey Bennington and Rachel Bowlby.
Stanford: Stanford University Press, 1991), 8-23.

Mallary, Robert. “Computer Sculpture: Six Levels of Cybernetics.” Artforum (May


1969): 34-35.

Manovich, Lev. The Language of New Media. Cambridge, Mass.: MIT Press, 2001.

Mattelart, Armand. Networking the World, 1794-2000. Trans. Liz Carey-Librecht


and James A. Cohen. Minneapolis and London: University of Minnesota
Press, 2000. Originally published in French in 1996.

Maxwell, Delle. “The Emperor’s New Art.” Computers in Art and Design:
SIGGRAPH 91 Art and Design Show. New York: Association for Computing
Machinery, 1991.

Mayer, Marc. “Digressions Toward an Art History of Video.” In Being and Time:
The Emergence of Video Projection. Edited by Willie Doherty et al, 15-33.
Buffalo: Albright-Knox Gallery, 1996.

Mbembe, Achille. On the Postcolony. Berkeley and Los Angeles: University of


California Press, 2001.

McLuhan, Marshall. Understanding Media: The Extensions of Man. Corte Madera:


GINGKO Press, 2003. First published in 1964.

Michalka, Matthias, ed. X-Screen: Film, Installations and Actions in the 1960s and
1970s. Köln: Verlag der Buchhandlung Walther König, 2004.

Miller, Paul D. Rhythm Science. Cambridge, Mass.: Mediawork/MIT Press, 2004.

Mitchell, Timothy, ed., Questions of Modernity. Minneapolis: University of


Minnesota Press, 2000.

Mitchell, W.J.T. What Do Pictures Want? The Lives and Loves of Images. Chicago
and London: University of Chicago Press, 2005.
299

________. “Medium Theory: Preface to the 2003 Critical Inquiry Symposium.”


Critical Inquiry 30 (Winter 2004): 324-335.

Moravec, Hans. Mind Children. Cambridge: Harvard University, 1988.

Morse, Margaret. “Video Installation Art: The Body, the Image, and the Space-in-
Between.” Illuminating Video. Edited by Doug Hall and Sally Jo Fifer, 153-
167. New York: Aperture Foundation, 1990.

Moser, Mary Anne with Douglas MacLeod, eds. Immersed in Technology: Art and
Virtual Environments. Cambridge, Mass.: MIT Press, 1996.

Munt, Sally R., ed. Technospaces: Inside the New Media. New York and London:
Continuum, 2001.

Murray, Derek Conrad and Soraya Murray. “Uneasy Bedfellows: Canonical Art
Theory and the Politics of Identity.” Art Journal 65, Number 1 (Spring
2006): 22-39.

Murray, Derek Conrad. “Okwui Enwezor in Conversation with Derek Conrad


Murray.” Nka: Journal of Contemporary African Art 18 (Spring/Summer
2003): 40-47.

Murray, Janet. “Inventing the Medium.” In The New Media Reader. Edited by Noah
Wardrip-Fruin and Nick Montfort, 3-12. Cambridge, Mass.: MIT Press, 2003.

Murray, Timothy. “Digital Incompossibility: Cruising The Aesthetic Haze Of The


New Media.” Published January 13, 2000. Downloaded from ctheory.net.
www.ctheory.net/articles.aspx?id=121, Accessed April 14, 2006.

Nadin, Mihai. “Emergent Aesthetics: Aesthetic Issues in Computer Arts.” Leonardo


2 Supplemental Issue: Computer Art in Context: SIGGRAPH ’89 Art Show
Catalog. (1989): 43-48.

Nakamura, Lisa. “‘Where Do You Want To Go Today?’ Cybernetic Tourism, the


Internet, and Transnationality.” In The Visual Culture Reader, Second
Edition. Edited by Nicholas Mirzoeff, 255-263. London and New York:
Routledge, 2002.

Nash, Mark. “Life is a Pale Imitation of the VCR. ” In Fast Forward: Media Art.
Edited by Peter Weibel and Stephan Urbaschek, 21-32 and 439-446.
Karlsruhe: Ingvild Goetz, 2003.

National Gallery of Victoria. “world rush_4 artists: Lee Bul.” Downloaded from
http://www.ngv.vic.gov.au/worldrush/bul.html, Accessed May 9, 2005.
300

Nechvatal, Joseph. “Origins of Virtualism: An Interview with Frank Popper.” Art


Journal 63, Number 1 (Spring 2004): 62-77.

Nelson, Robert S. “The Slide Lecture, or The Work of Art History in the Age of
Mechanical Reproduction.” Critical Inquiry 26 (Spring 2000): 414-434.

Nichols, Bill. “The Work of Culture in the Age of Cybernetic Systems.” In


Electronic Culture: Technology and Visual Representation. Edited by
Timothy Druckrey, 121-144. New York: Aperture Foundation, Inc., 1996.

Oguibe, Olu. The Culture Game. Minneapolis and London: University of Minnesota
Press, 2004.

Paasonen, Susanna. “Digital, Human, Animal, Plant: The Politics of


Cyberfeminism?” n.paradoxa 2 (1998): 16-22.

Paik, Nam June. “Cybernated Art.” In Multimedia: From Wagner to Virtual Reality.
Edited by Randall Packer and Ken Jordan, 40-41. New York and London:
W.W. Norton & Company, 2001. Originally published in Manifestoes, in
Great Bear Pamphlets (New York: Something Else Press, 1966).

Paul, Christiane. Digital Art. London and New York: Thames and Hudson, 2003.

________. “The Myth of Immateriality – Presenting and Preserving New Media.”


Presentation at REFRESH! Conference, Banff New Media Institute. Friday,
September 30, 2005, Banff, Canada. Available at
www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp. Accessed
May 2006.

Penny, Simon. “Bridging Two Cultures: Towards an Interdisciplinary History of the


Artist-Inventor and the Machine Artwork.” Presentation at Refresh!
Conference. Banff New Media Institute. Thursday, September 29, 2005.
B a n f f , C a n a d a . Available at
www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp. Accessed
May 2006.

Pinch, Trevor and Frank Trocco. Analog Days: The Invention and Impact of the
Moog Synthesizer. Cambridge, Mass. and London: Harvard University Press,
2002.

Plagens, Peter. “A County Fair For Intellectuals” Newsweek. Society and the Arts.
June 17, 2002, Atlantic Edition: 58.
301

Plant, Sadie. “Feminisations: Reflections on Women and Virtual Reality.” In


Clicking In: Hot Links to Digital Culture. Edited by Lynn Hershman Leeson,
37-42. Seattle: Bay Press, 1996.

Plant, Sylvia. Zeroes + Ones: Digital Women + The New Technoculture. London:
Fourth Estate, 1997.

Poitevin, Jean-Louis. “Convulsions: An Essay on the World of Lee Bul.” In Lee Bul:
Monsters. Le Consortium, 49-74. Edips: Dijon-Quetigny, 2003.

Pollock, Griselda. “Visual Culture and Its Discontents: Joining in the Debate” in
“Responses to Mieke Bal’s ‘Visual Essentialism and the Object of Visual
Culture’ (2003).” Journal of Visual Culture, Volume 2, Number 2 (2003):
253-260.

Popper, Frank. Art of the Electronic Age. New York: Abrams, 1993.

Posner, Helaine. “Lilla LoCurto and William Outcault: Self –Portraits for a New
Millennium.” Art Journal 65, Number 1 (Spring 2006): 40-53.

Ratliff, Floyd. Paul Signac and Color in Neo-Impressionism. New York: Rockefeller
University Press, 1992.

Rees, A.L. A History of Experimental Film and Video: From the Canonical Avant-
Garde to Contemporary British Practice. London: BFI Publishing, 1999.

Richards, Catherine. “Fungal Intimacy: The Cyborg in Feminism and Media Art.” In
Clicking In: Hot Links to a Digital Culture. Edited by Lynn Hershman
Leeson, 258-263. Seattle: Bay, 1996.

Rinder, Lawrence. “Art in the Digital Age.” In Bitstreams [exhibition catalog]. New
York: Whitney Museum of American Art, 2001.

Rosing, Lawrence. “Art and Art Education in a World in Revolution.” Art Journal
30, No. 2 (Winter 1970-1971): 166-167.

Rosler, Martha and Jane Weinstock. “Interview with Martha Rosler.” October 17
(Summer 1981): 77-98.
Rosler, Martha. “Video: Shedding the Utopian Moment.” In Illuminating Video, eds.
Doug Hall and Sally Jo Fifer, 31-50. New York: Aperture Foundation and the
Bay Area Video Coalition, 1990.

Rush, Michael. New Media in Late 20th-Century Art. London: Thames and Hudson,
1999.
302

Said, Edward. Culture and Imperialism. New York: Vintage, 1994.

Schivelbusch, Wolfgang. The Railway Journey: The Industrialization of Time and


Space in the 19th Century. Berkley: University of California Press, 1977.

Schjeldahl, Peter. “The Global Salon.” The New Yorker. July 1, 2002.

Schwarz, Hans-Peter. Media Art History. Munich and London: Prestel, 1997.

Search, Patricia. “The Semiotics of the Digital Image.” Leonardo 28, Number 4
(1995): 311-317.

Sekula, Allan. “The Traffic in Photographs.” In Only Skin Deep. Edited by Coco
Fusco and Brian Wallis, 79-109. New York: Abrams, 2003.

Sellars, Wilfrid. Science, Perception and Reality. London: Routledge and Kegan
Paul, 1968.

Selz, Peter. Art in Our Times: A Pictorial History 1890-1980. New York: Abrams,
1981.

Shanken, Edward. “Art in the Information Age: Cybernetics, Software, Telematics,


and the Conceptual Contributions of Art and Technology to Art History and
Theory.” Ph.D. diss., Duke University, 2001.

Shatz, Adam. “His Really Big Show.” The New York Times. June 2, 2002, Section 6,
Page 38.

Shanken, Edward. “Art in the Information Age: Cybernetics, Software, Telematics,


and the Conceptual Contributions of Art and Technology to Art History and
Theory” (Ph.D. diss., Duke University, 2001).

Shaviro, Steven. “Ghost in the Shell 2: Innocence.” Posted October 3, 2004.


http://www.shaviro.com/Blog/. Accessed October 8, 2004.

________. Connected, or What It Means to Live in the Network Society. Minneapolis


and London: University of Minnesota Press, 2003.

Smith, Roberta. “When Exhibitions Have More to Say Than to Show.” The New
York Times. April 13, 2003, Section 2, Column 1: 31.

Stallabrass, Julian. Internet Art: The Online Class of Culture and Commerce.
London: Tate Publishing, 2003.
303

Stocker, Gerfried and Christine Schöpf, eds. Unplugged: Art as the Scene of Global
Conflicts. Osfildern-Ruit: Hatje Cantz, 2002.

Tamblyn, Christine. “Qualifying the Quotidian: Artist’s Video and the Production of
Social Space.” In Resolutions: Contemporary Video Practices. Edited by
Michael Renov and Erika Suderburg, 13-28. Minneapolis and London:
University of Minnesota Press, 1996.

Tate, Greg. Everything But the Burden. New York: Broadway Books, 2003.

Taylor, Grant. “How Anti-Computer Sentiment Shaped Early Computer Art.”


Presentation at Refresh! Conference. Banff New Media Institute. Thursday,
September 29, 2005. Banff, Canada. Available at
www.banffcentre.ca/bnmi/programs/archives/2005/refresh/lisiten.asp. Accessed
May 2006.

Turkle, Sherry. The Second Self: Computers and the Human Spirit. New York:
Simon & Schuster, 1994.

Turvey, Malcolm, George Baker, et al. “Round Table: The Projected Image in
Contemporary Art. ” October 104 (Spring 2003): 71-96.

Volkart, Yvonne. “Technologies of Identity” (2002). Downloaded from


www.obn.org, Accessed March 25, 2006.

________. “The Cyberfeminist Fantasy of the Pleasure of the Cyborg.” In


Cyberfeminism: Next Protocols. Edited by Claudia Reiche and Verena Kuni,
97-117. Brooklyn: Autonomedia, 2004.

________. “This Monstrosity, This Proliferation, Once Upon a Time Called Woman,
Butterfly, Asian Girl.” Make Magazine (August 2000). Downloaded from
www.obn.org. Accessed on March 25, 2006.

Wardrip-Fruin, Noah and Nick Montfort, eds. The New Media Reader. Cambridge,
Mass.: MIT Press, 2003.

Wiener, Norbert. Cybernetics or, Control and Communication in the Animal and the
Machine. Cambridge, Mass.: MIT Press, 1948.

Wooster, Ann-Sargent. “Why Don’t They Tell Stories Like They Used To?” Art
Journal 45, Number 3. Special Issue: Video: The Reflexive Medium (Fall
1985): 204-216.

Youngblood, Gene. Expanded Cinema. New York: Dutton, 1970.

You might also like