Professional Documents
Culture Documents
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
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Paul Wood, 700-703. Oxford and Cambridge, Mass.: Blackwell Publishers,
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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.
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.
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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
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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.
Belton, John. “Digital Cinema: A False Revolution.” October 100 (Spring 2002): 98-
114.
________. Walter. The Arcades Project. Translated by Howard Eiland and Kevin
McLaughlin. Cambridge, Mass.: The Belknap Press of Harvard University
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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.
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.
________. 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.
Campbell, Sarah and Gilane Tawadros, eds., Annotations 6: Stuart Hall and Sarat
Maharaj: Modernity and Difference. London: Institute of International Visual
Arts, 2001.
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.
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.
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.
DuBois, W. E. B. The Souls of Black Folk. New York: Bantam Books, 1989.
Fernie, Eric ed. Art History and Its Methods: A Critical Anthology. London:
Phaidon, 1995.
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.
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.
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.
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.
Harvey, David. Paris, Capital of Modernity. New York and London: Routledge,
2003.
Hassan, Salah and Dadi Iftikhar. Unpacking Europe. Rotterdam: NAI Publishers,
2002.
________. “Virtual Bodies and Flickering Signifiers.” October 66 (Fall 1993): 69-
91.
Hazard, Patrick D. “Problems of the Arts in a Mass Society.” Art Journal 20, No. 4
(Summer 1961): 222-225.
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.
________. “The Body and Technology.” Art Journal 60, No. 1 (Spring 2001): 20.
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.
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.
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.
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.
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.
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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.
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Manovich, Lev. The Language of New Media. Cambridge, Mass.: MIT Press, 2001.
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.
Michalka, Matthias, ed. X-Screen: Film, Installations and Actions in the 1960s and
1970s. Köln: Verlag der Buchhandlung Walther König, 2004.
Mitchell, W.J.T. What Do Pictures Want? The Lives and Loves of Images. Chicago
and London: University of Chicago Press, 2005.
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Morse, Margaret. “Video Installation Art: The Body, the Image, and the Space-in-
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167. New York: Aperture Foundation, 1990.
Moser, Mary Anne with Douglas MacLeod, eds. Immersed in Technology: Art and
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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, Janet. “Inventing the Medium.” In The New Media Reader. Edited by Noah
Wardrip-Fruin and Nick Montfort, 3-12. Cambridge, Mass.: MIT Press, 2003.
Nash, Mark. “Life is a Pale Imitation of the VCR. ” In Fast Forward: Media Art.
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Karlsruhe: Ingvild Goetz, 2003.
National Gallery of Victoria. “world rush_4 artists: Lee Bul.” Downloaded from
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Nelson, Robert S. “The Slide Lecture, or The Work of Art History in the Age of
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Oguibe, Olu. The Culture Game. Minneapolis and London: University of Minnesota
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Paik, Nam June. “Cybernated Art.” In Multimedia: From Wagner to Virtual Reality.
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Paul, Christiane. Digital Art. London and New York: Thames and Hudson, 2003.
Pinch, Trevor and Frank Trocco. Analog Days: The Invention and Impact of the
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Plagens, Peter. “A County Fair For Intellectuals” Newsweek. Society and the Arts.
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Plant, Sylvia. Zeroes + Ones: Digital Women + The New Technoculture. London:
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Poitevin, Jean-Louis. “Convulsions: An Essay on the World of Lee Bul.” In Lee Bul:
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Pollock, Griselda. “Visual Culture and Its Discontents: Joining in the Debate” in
“Responses to Mieke Bal’s ‘Visual Essentialism and the Object of Visual
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Popper, Frank. Art of the Electronic Age. New York: Abrams, 1993.
Posner, Helaine. “Lilla LoCurto and William Outcault: Self –Portraits for a New
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Ratliff, Floyd. Paul Signac and Color in Neo-Impressionism. New York: Rockefeller
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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
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Rinder, Lawrence. “Art in the Digital Age.” In Bitstreams [exhibition catalog]. New
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Rosler, Martha. “Video: Shedding the Utopian Moment.” In Illuminating Video, eds.
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