Bibliography

  1. “20 Minutes into the Future.” Curated by Maciej Baron and David de la Peña, Creative Technologists at Saatchi & Saatchi London, n.d. http://20minutesintothefuture.co.uk/?cat=1 (accessed on April 21, 2012; no longer available).
  2. Adema, Janneke, and Gary Hall. “The Political Nature of the Book: On Artists’ Books and Radical Open Access.” New Formations 78 (2013): 138–156.
  3. Adorno, Theodor W. Prisms. Trans. Samuel and Shierry Weber. Cambridge, MA: MIT Press, 1981.
  4. Aguera y Arcas, Blaise. “Art in the Age of Machine Intelligence.” Medium, February 23, 2016. https://medium.com/artists-and-machine-intelligence.
  5. Barad, Karen. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press, 2007.
  6. Barthes, Roland. Camera Lucida. New York: Hill and Wang, 1981.
  7. Barthes, Roland. Mythologies. Trans. Annette Lavers. London: Paladin Books, 1973.
  8. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge, MA: MIT Press, 1997.
  9. Batchen, Geoffrey. Each Wild Idea: Writing Photography History. Cambridge, MA: MIT Press, 2001.
  10. Batchen, Geoffrey. “Electricity Made Visible.” In New Media, Old Media, ed. Wendy Hui Kyong Chun and Thomas Keenan. London: Routledge, 2006.
  11. Bazin, André. “The Ontology of the Photographic Image.” Film Quarterly 13 (4) (Summer 1960): 4–9.
  12. Beller, Jonathan. The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle. Hanover: University Press of New England, 2006.
  13. Bennett, Jane. Vibrant Matter: A Political Ecology of Things. Durham: Duke University Press, 2010.
  14. Bergson, Henri. Creative Evolution. Trans. Arthur Mitchell. 1911; New York: Random House, 1944.
  15. Bergson, Henri. Matter and Memory. Trans. Nancy Margaret Paul and W. Scott Palmer. London: George Allen & Unwin, 1911.
  16. Berman, Marshall. All That Is Solid Melts into Air. Harmondsworth, UK: Penguin, 1982.
  17. Bilton, Nick. “The Death of Photography Has Been Greatly Exaggerated.” Bits, the New York Times’s blog, July 5, 2013. http://bits.blogs.nytimes.com/2013/07/05/the-death-of-photography-has-been-greatly-exaggerated/.
  18. Birchall, Clare. “Shareveillance: Subjectivity between Open and Closed Data.” Big Data and Society 3 (2) (2016): 1–12.
  19. Blackman, Lisa, and Couze Venn. “Affect.” Body and Society 16 (1) (2010): 7–28.
  20. Bobbette, Adam. “Episodes from a History of Scalelessness: William Jerome Harrison and Geological Photography.” In Architecture and the Anthropocene, ed. Etienne Turpin, 45–58. Ann Arbor: Open Humanities Press, 2013.
  21. Bornefeld, William. Time and Light. Clarkston, GA: Borealis, 1996.
  22. Bourdieu, Pierre. Photography: A Middle-Brow Art. Trans. Shaun Whiteside. Stanford: Stanford University Press, 1990.
  23. Braidotti, Rosi. The Posthuman. Cambridge: Polity Press, 2013.
  24. Brenthel, Adam. The Drowning World: The Visual Culture of Climate Change. Lund: Lund University Press, 2016.
  25. Brown, Wendy. Politics out of History. Princeton: Princeton University Press, 2001.
  26. Buchloh, Benjamin H. D. “Gerhard Richter’s Atlas: The Anomic Archive.” In The Archive, ed. Charles Merewether. London: Whitechapel; Cambridge, MA: MIT Press, 2006.
  27. Burbridge, Ben, ed. Revelations: Experiments in Photography. London: Mack in Association with Media Space, 2015.
  28. Burgin, Victor. “Looking at Photographs.” In Thinking Photography, ed. Victor Burgin. London: Macmillan, 1982.
  29. Burgin, Victor. “Mutating Photography.” In Mutations: Perspectives on Photography, ed. Chantal Pontbriand. Göttingen: Steidl, 2011.
  30. Chalfen, Richard. Foreword. In Digital Photography and Everyday Life: Empirical Studies on Material Visual Practices, ed. Edgar Gómez Cruz and Asko Lehmuskallio. London: Routledge, 2016.
  31. Capps, Robert. “The Good Enough Revolution: When Cheap and Simple Is Just Fine.” Wired, August 24, 2009. http://www.wired.com/2009/08/ff-goodenough.
  32. Chouliaraki, Lillie, and Bolette B. Blaagaard. Guest editorial. In “The Ethics of Images,” special issue, Visual Communication 12 (3) (2013): 253–259.
  33. Clark, Timothy. “Derangements of Scale.” In Telemorphosis: Theory in the Era of Climate Change, vol. 1, ed. Tom Cohen, 148–166. Ann Arbor: Open Humanities Press, 2012.
  34. Cohen, Tom. “Introduction: Murmurations—‘Climate Change’ and the Defacement of Theory.” In Telemorphosis: Theory in the Era of Climate Change, vol. 1, ed. Tom Cohen, 13–42. Ann Arbor: Open Humanities Press, 2012.
  35. Cohen, Tom, and Claire Colebrook. Preface. In Twilight of the Anthropocene Idols, ed. Tom Cohen, Clare Colebrook, and J. Hillis Miller. London: Open Humanities Press, 2016.
  36. Colebrook, Claire. Death of the PostHuman: Essays on Extinction. Vol. 1. Ann Arbor: Open Humanities Press, 2014.
  37. Colebrook, Claire. Deleuze and the Meaning of Life. London: Continuum, 2010.
  38. Colebrook, Claire. “We Have Always Been Post-Anthropocene: The Anthropocene Counter-Factual,” n.d. https://www.academia.edu/12757260/We_Have_Always_Been_Post-Anthropocene.
  39. Coley, Rob. “The Horrors of Visuality.” In Photomediations: A Reader, ed. Kamila Kuc and Joanna Zylinska, 290–310. London: Open Humanities Press, 2016.
  40. Colman, Felicity J. “Affect.” In The Deleuze Dictionary, ed. Adrian Parr. Edinburgh: Edinburgh University Press, 2005.
  41. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT Press, 1990.
  42. Cubitt, Sean. EcoMedia. Amsterdam: Rodopi, 2005.
  43. Dean, Tacita. Floh. Göttingen: Steidl, 2001.
  44. Denison, Simon. “Printing Revolution.” Source, no. 60 (Autumn 2009): 40–43.
  45. Derrida, Jacques. Archive Fever. Trans. Eric Prenowitz. Chicago: University of Chicago Press, 1996.
  46. Devas, Bonamy. “Photographic Tai Chi.” Photomediations Machine, May 22, 2015. http://photomediationsmachine.net/2015/05/22/photographic-tai-chi/.
  47. Dillon, Brian. “Decline and Fall.” Frieze, no. 130 (April 2010). http://www.frieze.com/article/decline-and-fall.
  48. Dillon, Brian. Ruin Lust. London: Tate Publishing, 2014.
  49. Dorrian, Mark. “On Google Earth.” In Seeing from Above: The Aerial View in Visual Culture, ed. Mark Dorrian and Frederic Pousin, 290–308. London: IB Tauris, 2013.
  50. “Dr Julius Neubronner’s Miniature Pigeon Camera.” The Public Domain Review, n.d. http://publicdomainreview.org/collections/dr-julius-neubronners-miniature-pigeon-camera/.
  51. Ducharme, Véronique. “Encounters.” Photomediations Machine, February 15, 2014. http://photomediationsmachine.net/2014/02/15/encounters/.
  52. Dunston, Lara. “Revealed: Cambodia’s Vast Medieval Cities Hidden beneath the Jungle.” Guardian, June 11, 2016. https://www.theguardian.com/world/2016/jun/11/lost-city-medieval-discovered-hidden-beneath-cambodian-jungle.
  53. Dziewit, Jakub. Aparaty i obrazy: W stronę kulturowej historii fotografii. Katowice: Grupa Kulturalna, 2014.
  54. Edwards, Elizabeth. “Objects of Affect: Photography Beyond the Image.” Annual Review of Anthropology 41 (2012): 221–234.
  55. Edwards, Steve. Photography: A Very Short Introduction. Oxford: Oxford University Press, 2006.
  56. Elkins, James. The Object Stares Back: On the Nature of Seeing. San Diego: Harcourt, 1996.
  57. Ellsworth, Elizabeth, and Jamie Kruse. Making the Geologic Now: Responses to Material Conditions of Contemporary Life. Brooklyn, NY: Punctum Books, 2013.
  58. Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. New York: International Center of Photography; Göttingen: Steidl, 2008.
  59. Evans, Damian. “Airborne Laser Scanning as a Method for Exploring Long-term Socio-ecological Dynamics in Cambodia.” Journal of Archaeological Science 74 (October 2016): 164–175, doi:10.1016/j.jas.2016.05.009, available online.
  60. Ferguson, Juliet. “Stolen Images.” Photomediations Machine, April 29, 2013. http://photomediationsmachine.net/2013/04/29/stolen-images.
  61. Flieger, Jerry Aline. “The Listening Eye: Postmodernism, Paranoia, and the Hypervisible.” Diacritics 26 (1) (1996): 90–107.
  62. Flowers Gallery. Press release for the exhibition Dust by Nadav Kader, Flowers Gallery London, September 10–October 11, 2014.
  63. Flusser, Vilém. Into the Universe of Technical Images. Trans. Nancy Ann Roth. Minneapolis: University of Minnesota Press, 2011.
  64. Flusser, Vilém. Towards a Philosophy of Photography. Trans. Anthony Mathews. London: Reaktion Books, 2000.
  65. Fontcuberta, Joan. Pandora’s Camera: Photogr@phy after Photography. London: Mack, 2014.
  66. Fontcuberta, Joan, et al. From Here On: PostPhotography in the Age of Internet and the Mobile Phone. Barcelona: RM Verlag, 2013.
  67. Foster, Hal. “An Archival Impulse.” In The Archive, ed. Charles Merewether. London: Whitechapel; Cambridge, MA: MIT Press, 2006.
  68. Furness, Hannah. “V&A Accused of ‘Cultural Rape’ after Bradford Museum Loses Photo Collection.” Telegraph, February 2, 2016. http://www.telegraph.co.uk/news/uknews/12136008/VandA-accused-of-cultural-rape-after-Bradford-museum-loses-photo-collection.html.
  69. Freud, Sigmund. “A Note upon the “Mystic Writing-Pad.” In The Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. James Strachey, vol. 19. London: Hogarth Press, 1961.
  70. Fried, Michael. Why Photography Matters as Art as Never Before. New Haven: Yale University Press, 2008.
  71. Frosh, Paul. “The Gestural Image: The Selfie, Photography Theory and Kinaesthetic Sociability.” In Photomediations: A Reader, ed. Kamila Kuc and Joanna Zylinska, 251–267. London: Open Humanities Press, 2016.
  72. Gabrys, Jennifer. Digital Rubbish: A Natural History of Electronics. Ann Arbor: University of Michigan Press, 2011.
  73. Garrett, Bradley L. Explore Everything: Place-hacking the City. London: Verso, 2013.
  74. Gibson, James. The Ecological Approach to Visual Perception. Boston: Houghton Mifflin, 1979.
  75. Godfrey, Mark. “Photography Found and Lost: On Tacita Dean’s Floh.” October 114 (Fall 2005): 90–119.
  76. Goldstein, E. Bruce. Sensation and Perception. 8th ed. Belmont, CA: Wadsworth Cengage Learning, 2010.
  77. Gόmez Cruz, Edgar. “Photo-genic Assemblages: Photography as a Connective Interface.” In Digital Photography and Everyday Life: Empirical Studies on Material Visual Practices, ed. Edgar Gómez Cruz and Asko Lehmuskallio, 228–242. London: Routledge, 2016.
  78. Gómez Cruz, Edgar, and Asko Lehmuskallio, eds. Digital Photography and Everyday Life: Empirical Studies on Material Visual Practices. London: Routledge, 2016.
  79. Grusin, Richard. Introduction. In The Nonhuman Turn, ed. Richard Grusin. Minneapolis: University of Minnesota Press, 2015.
  80. Hall, Gary. Digitize This Book! The Politics of New Media, or Why We Need Open Access Now. Minneapolis: University of Minnesota Press, 2008.
  81. Hall, Gary. Pirate Philosophy: For a Digital Posthumanities. Cambridge, MA: MIT Press, 2016.
  82. Hall, Gary, and Clare Birchall. “Introduction to Version One Point Zero.” In New Cultural Studies: The Liquid Theory Reader, ed. Gary Hall and Clare Birchall. London: Open Humanities Press, 2009. http://liquidbooks.pbworks.com/New+Cultural+Studies:+The+Liquid+Theory+Reader.
  83. Hanski, Ilkka. “The World That Became Ruined.” In “Science and Society,” special issue, EMBO Reports 9 (2008): S34.
  84. Harari, Yuval Noah. Sapiens: A Brief History of Humankind. London: Harvill Secker, 2014.
  85. Haraway, Donna. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies 14 (3) (Autumn 1988): 575–599.
  86. Haraway, Donna, and Martha Kenney. “Anthropocene, Capitalocene, Chthulucene: Donna Haraway in Conversation with Martha Kenney.” In Art in the Anthropocene: Encounters among Aesthetics, Politics, Environments and Epistemologies, ed. Heather Davis and Etienne Turpin. London: Open Humanities Press, 2015.
  87. Harrison, W. Jerome. History of Photography. New York: Scovill Manufacturing Company, 1887.
  88. Harrison, W. Jerome. A Sketch of the Geology of Leicestershire and Rutland. Sheffield: William White, 1877.
  89. Hawkins, Gay. The Ethics of Waste: How We Relate to Rubbish. Lanham, MD: Rowman and Littlefield, 2005.
  90. Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press, 1999.
  91. Hayles, N. Katherine. My Mother Was a Computer: Digital Subjects and Literary Texts. Chicago: University of Chicago Press, 2005.
  92. Hayward, Eva. “Fingeryeyes: Impressions of Cup Corals.” Cultural Anthropology 25 (4) (2010): 577–599.
  93. Heise, Ursula K. “Lost Dogs, Last Birds, and Listed Species: Cultures of Extinction.” Configurations 18 (1–2) (Winter 2010): 49–72.
  94. Herbrechter, Stefan. Posthumanism: A Critical Analysis. London: Bloomsbury, 2013.
  95. Higgins, Charlotte. “Tacita Dean’s Turbine Hall Film Pays Homage to a Dying Medium.” Guardian, October 10, 2011. http://www.theguardian.com/artanddesign/2011/oct/10/tacita-dean-film-turbine-hall.
  96. Hobson, Greg. Foreword. In Revelations: Experiments in Photography, ed. Ben Burbridge. London: Mack in Association with Media Space, 2015.
  97. Horochowski, Alexa. “Club Disminución.” Photomediations Machine, January 13, 2015. http://photomediationsmachine.net/2015/01/13/club-disminucion/.
  98. “How Do You Light a Woolly Mammoth?” The 6th Floor, November 1, 2014. http://6thfloor.blogs.nytimes.com/2014/02/28/under-cover-how-do-you-light-a-woolly-mammoth/.
  99. Hugo, Pieter. Permanent Error. Munich: Prestel Art, 2011.
  100. Ingold, Tim. Being Alive: Essays on Movement, Knowledge and Description. London: Routledge, 2011.
  101. Ingold, Tim. “Beyond Biology and Culture: The Meaning of Evolution in a Relational World.” Social Anthropology 12 (2) (2004): 209–221.
  102. Innis, Harold A. The Bias of Communication. Toronto: University of Toronto Press, 1951.
  103. Innis, Harold A. The Fur Trade in Canada: An Introduction to Canadian Economic History. Toronto: University of Toronto Press, 1930.
  104. Jameson, Fredric. “Future City.” New Left Review 21 (May–June 2003). http://newleftreview.org/II/21/fredric-jameson-future-city/.
  105. Jarvis, Audley. “How Kodak Invented the Digital Camera in 1975.” Techradar, May 9, 2008. http://www.techradar.com/news/cameras/photography-video-capture/how-kodak-invented-the-digital-camera-in-1975-364822.
  106. Jeffries, Stuart. “The Death of Photography: Are Camera Phones Destroying an Artform?” Guardian, December 13, 2013. http://www.theguardian.com/artanddesign/2013/dec/13/death-of-photography-camera-phones.
  107. Johnston, John. “Machinic Vision.” Critical Inquiry 26 (Autumn 1999): 27–48.
  108. Kember, Sarah. iMedia: The Gendering of Objects, Environments and Smart Materials. Basingstoke, UK: Palgrave Macmillan, 2016.
  109. Kember, Sarah. “The Virtual Life of Photography.” Photographies 1 (2) (September 2008): 175–203.
  110. Kember, Sarah, and Joanna Zylinska. Life after New Media: Mediation as a Vital Process. Cambridge, MA: MIT Press, 2012.
  111. Kember, Sarah, and Joanna Zylinska. “Media Always and Everywhere: A Cosmic Approach.” In Ubiquitous Computing, Complexity, and Culture, ed. Ulrik Ekman et al., 224–234. New York: Routledge, 2015.
  112. Kessler, Elizabeth A. Picturing the Cosmos: Hubble Space Telescope Images and the Astronomical Sublime. Minneapolis: University of Minnesota Press, 2012.
  113. Klein, Naomi. This Changes Everything: Capitalism vs. the Climate. New York: Simon and Schuster, 2014.
  114. Klingan, Katrin, et al., eds. Grain Vapor Ray: Textures of the Anthropocene. Cambridge, MA: MIT Press, 2015.
  115. Kolbert, Elizabeth. “Enter the Anthropocene—Age of Man.” In Making the Geologic Now: Responses to Material Conditions of Contemporary Life, ed. Elizabeth Ellsworth and Jamie Kruse, 28–32. Brooklyn, NY: Punctum Books, 2012. [Originally published in National Geographic, March 2011.]
  116. Kolbert, Elizabeth. The Sixth Extinction: An Unnatural History. London: Bloomsbury, 2014. Kindle edition.
  117. Kuc, Kamila. “A Curated Object and a Disruptive e-Anarchive.” Photomediations Machine, October 20, 2015. http://photomediationsmachine.net/2015/10/20/a-curated-object-and-a-disruptive-e-anarchive/.
  118. Kuc, Kamila, and Joanna Zylinska, eds. Photomediations: A Reader. London: Open Humanities Press, 2016.
  119. Lam, Tong. Abandoned Futures: A Journey to the Posthuman World. Carpet Bombing Culture, 2013.
  120. Langford, Martha. “Strange Bedfellows: Appropriations of the Vernacular by Photographic Artists.” Photography and Culture. 1 (1) (July 2008): 73–94.
  121. Laperrouza, Mark. “TCL+IKEA=UPPLEVA.” Lift Lab blog, posted April 20, 2012. http://liftlab.com/think/marc/2012/04/ (no longer available).
  122. Lehmuskallio, Asko. “The Camera as a Sensor among Many: The Visualization of Everyday Digital Photography as Simulative, Heuristic and Layered Pictures.” In Digital Photography and Everyday Life: Empirical Studies on Material Visual Practices, ed. Edgar Gómez Cruz and Asko Lehmuskallio, 243–266. London: Routledge, 2016.
  123. Lehmuskallio, Asko, and Edgar Gómez Cruz. “Why Material Visual Practices?” In Digital Photography and Everyday Life: Empirical Studies on Material Visual Practices, ed. Edgar Gómez Cruz and Asko Lehmuskallio, 1–16. London: Routledge, 2016.
  124. Lem, Stanisław. “Dwadzieścia lat później” [Twenty Years Later]. In S. Lem, Summa Technologiae, 4th exp. ed. Lublin, Poland: Wydawnictwo Lubelskie, 1997.
  125. Lem, Stanisław. Summa Technologiae. Trans. Joanna Zylinska. Minneapolis: University of Minnesota Press, 2013.
  126. Levinas, Emmanuel. “Ethics as First Philosophy.” In The Levinas Reader, ed. Sean Hand. Oxford: Blackwell, 1989.
  127. Levinas, Emmanuel. Otherwise than Being: Or Beyond Essence. Trans. Alphonso Lingis. Pittsburgh: Duquesne University Press, 1998.
  128. Lyotard, Jean-François. The Inhuman. Trans. Geoffrey Bennington and Rachel Bowlby. Cambridge: Polity Press, 1991.
  129. Lyotard, Jean-François. The Postmodern Condition. Trans. Geoff Bennington and Brian Massumi. Minneapolis: University of Minnesota Press, 1984.
  130. Macaulay, Rose. Pleasure of Ruins. London: Thames and Hudson, 1984.
  131. Mackenzie, Adrian. Wirelessness: Radical Empiricism in Network Cultures. Cambridge, MA: MIT Press, 2010.
  132. Margulis, Lynn, and Dorian Sagan. What Is Life? Berkeley: University of California Press, 2000.
  133. Massumi, Brian. “The Future Birth of the Affective Fact: The Political Ontology of Threat.” In The Affect Theory Reader, ed. Melissa Gregg and Gregory J. Seigworth, 52–54. Durham: Duke University Press, 2010.
  134. Maxwell, Richard, and Toby Miller. Greening the Media. Oxford: Oxford University Press, 2012.
  135. McCosker, Anthony. “Drone Media: Unruly Systems, Radical Empiricism and Camera Consciousness.” Culture Machine 16 (2015) (online).
  136. McGrath, Jason. “Apocalypse, or, the Logic of Late Anthropocene Ruins.” Cross-Currents: East Asian History and Culture Review, e-journal no. 10 (March 2014): 113–119. http://cross-currents.berkeley.edu/e-journal/issue-10.
  137. McKenzie, Jai. Light and Photomedia: A New History and Future of the Photographic Image. London: IB Tauris, 2014.
  138. McLuhan, Marshall, and Quentin Fiore. War and Peace in the Global Village. New York: McGraw-Hill, 1968.
  139. McNeill, J. R., and Peter Engelke. The Great Acceleration: An Environmental History of the Anthropocene since 1945. Cambridge, MA: Harvard University Press, 2016.
  140. Merewether, Charles, ed. The Archive. London: Whitechapel; Cambridge, MA: MIT Press, 2006.
  141. Merewether, Charles. Introduction to The Archive, ed. Charles Merewether. London: Whitechapel; Cambridge, MA: MIT Press, 2006.
  142. Meyerowitz, Joel. Aftermath: World Trade Center Archive. London: Phaidon Press, 2006.
  143. Michaels, Walter Benn. “Photographs and Fossils.” In Photography Theory, ed. James Elkins, 431–450. London: Routledge, 2007.
  144. Mirzoeff, Nicholas. An Introduction to Visual Culture. London: Routledge, 1999.
  145. Mirzoeff, Nicholas. The Right to Look: A Counterhistory of Visuality. Durham: Duke University Press, 2011.
  146. Mirzoeff, Nicholas. “Visualizing the Anthropocene.” Public Culture 26 (2) (2014): 213–232.
  147. Modrak, Rebekah, with Bill Anthes. Reframing Photography: Theory and Practice. London: Routledge, 2011.
  148. Morozov, Evgeny. “Facebook Isn’t a Charity: The Poor Will Pay by Surrendering Their Data.” Observer, April 26, 2015, 8.
  149. Morton, Timothy. Ecology without Nature: Rethinking Environmental Aesthetics. Cambridge, MA: Harvard University Press, 2007.
  150. Morton, Timothy. Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis: University of Minnesota Press, 2013.
  151. Nakas, Kassandra. “Jana Sterbak.” Website documenting the exhibition project “Becoming Animal, Becoming Human / Animal Perspectives,” 2009. http://becoming-animal-becoming-human.animal-studies.org/html/sterbak.html.
  152. “National Media Museum Invests in Science and Technology—Transferring Art of Photography Collections to the V&A.” NMM website, February 2, 2016. http://www.nationalmediamuseum.org.uk/aboutus/pressoffice/2016/february/national-media-museum-transfers-photography-collections-to-v-and-a.
  153. Newhall, Beaumont. The History of Photography from 1839 to the Present Day. 5th ed. New York: Museum of Modern Art, 1982.
  154. O’Toole, Sean. “Permanent Error.” Mahala, May 5, 2011. http://www.mahala.co.za/art/permanent-error/.
  155. Paglen, Trevor. The Last Pictures. Berkeley: University of California Press, 2012.
  156. Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. 3rd ed. London: John Wiley and Sons, 2012.
  157. Parikka, Jussi. The Anthrobscene. Minneapolis: University of Minnesota Press, 2014. Kindle edition.
  158. Parikka, Jussi. A Geology of Media. Minneapolis: University of Minnesota Press, 2015.
  159. Parikka, Jussi. “Introduction: The Materiality of Media and Waste.” In Medianatures, ed. Jussi Parikka. London: Open Humanities Press, 2013.
  160. Peters, John Durham. The Marvelous Clouds: Toward a Philosophy of Elemental Media. Chicago: University of Chicago Press, 2015.
  161. Peters, John Durham. “Space, Time, and Communication Theory.” Canadian Journal of Communication [online] 28 (4) (2003).
  162. Pulver, Andrew. “Artist and Photographer Tacita Dean’s Best Shoot.” Guardian, September 16, 2009. https://www.theguardian.com/artanddesign/2009/sep/16/photography-tacita-dean-best-shoot.
  163. Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. Trans. Gabriel Rockhill. London: Continuum, 2014.
  164. Rexer, Lyle. The Edge of Vision: The Rise of Abstraction in Photography. New York: Aperture, 2013.
  165. Rich, Nathaniel. “The Mammoth Cometh.” New York Times Magazine, February 27, 2014. http://www.nytimes.com/2014/03/02/magazine/the-mammoth-cometh.html.
  166. Ritchin, Fred. After Photography. New York: W. W. Norton, 2009.
  167. Rosenblum, Naomi. A World History of Photography. 3rd ed. New York: Abbeville Press, 1997.
  168. Ross, Andrew. Nice Work If You Can Get It: Life and Labor in Precarious Times. New York: New York University Press, 2009.
  169. Rowan, Rory. “Extinction as Usual? Geo-Social Futures and Left Optimism.” In “Supercommunity,” special issue, e-flux journal 65 (May–August 2015): 1–11.
  170. Roy, Arundhati. “Is There Life after Democracy?” Dawn.com, May 7, 2009. http://www.dawn.com/news/475778/is-there-life-after-democracy.
  171. Rubinstein, Daniel, and Katrina Sluis. “A Life More Photographic: Mapping the Networked Image.” Photographies 1 (1) (March 2008): 9–28.
  172. Russill, Chris. “Earth Imaging: Photograph, Pixel, Program.” In Ecomedia: Key Issues, ed. Stephen Rust, Salma Monani, and Sean Cubitt, 228–250. London: Routledge, 2016.
  173. Rust, Stephen, Salma Monani, and Sean Cubitt. “Introduction: Ecologies of Media.” In Ecomedia: Key Issues, ed. Stephen Rust, Salma Monani, and Sean Cubitt. London: Routledge, 2016.
  174. Salminen, Antti. “Photography in the Age of Fossil Nihilism.” Mustarinda, Helsinki Photography Biennial Edition HBP14 (2014): 65–70.
  175. Schmid, Christina. “A Club at the End of the World.” October 16, 2014. MN artists website, http://www.mnartists.org/article/club-end-world.
  176. Scholz, Trebor. “Becoming Facebook.” In Facebook and Philosophy, ed. D. E. Wittkower. Chicago: Open Court, 2010.
  177. Searle, Adrian. “Hiroshi Sugimoto: Art for the End of the World.” Guardian, May 16, 2014. http://www.theguardian.com/artanddesign/2014/may/16/hiroshi-sugimoto-aujordhui-palais-de-tokyo-paris-exhibition.
  178. Seers, Lindsay. Human Camera. Birmingham, UK: Article Press, 2007.
  179. Shaw, Jonathan. “Hybridity and Digital Transformations.” In NewFotoScapes, ed. Jonathan Shaw. Birmingham, UK: Library of Birmingham, 2014.
  180. Sholette, Gregory. “Richard Whitlock’s The Street: An Interview.” Afterimage Online: The Journal of Media Arts and Cultural Criticism November 7, 2013. http://vsw.org/afterimage/2013/11/07/video-and-interview-i-richard-whitlocks-the-street/.
  181. Shore, Robert. Post-Photography: The Artist with a Camera. London: Laurence King, 2014.
  182. Silverman, Kaja. The Threshold of the Visible World. London: Routledge, 1996.
  183. Sluis, Katrina. “Authorship, Collaboration, Computation? Into the Realm of Similar Images.” In Photomediations: A Reader, ed. Kamila Kuc and Joanna Zylinska, 283–289. London: Open Humanities Press, 2016.
  184. Sontag, Susan. Regarding the Pain of Others. New York: Picador, 2003.
  185. Sontag, Susan. “Regarding the Torture of Others.” New York Times, May 23, 2004. http://www.nytimes.com/2004/05/23/magazine/regarding-the-torture-of-others.html.
  186. Squiers, Carol. What Is a Photograph? New York: International Center of Photography and DelMonico Books, 2014.
  187. Stevenson, Michael. “Permanent Error.” 2010. Project description on the Stevenson gallery website, http://archive.stevenson.info/exhibitions/hugo/index2010.htm.
  188. Sugimoto, Hiroshi. Interview with PBS, Art21, 2011. Transcript published on Archinect blog, http://archinect.com/windscreens/to-me-photography-functions-as-a-fossilization-of-time.
  189. Tagg, John. “Mindless Photography.” In Photography: Theoretical Snapshots, ed. J. J. Long, Andrea Noble, and Edward Welch, 16–30. London: Routledge, 2008.
  190. Talbot, H. Fox. The Pencil of Nature. London: Longman, Brown, Green and Longmans, 1844. Project Gutenberg online edition.
  191. Tiberghien, Gilles. “Robert Smithson and Aerial Art.” In Seeing from Above: The Aerial View in Visual Culture, ed. Mark Dorrian and Frederic Pousin, 277–289. London: IB Tauris, 2013.
  192. Turpin, Etienne. “Who Does the Earth Think It Is, Now?” In Architecture in the Anthropocene, ed. Etienne Turpin, 3–10. Ann Arbor: Open Humanities Press, 2013.
  193. University of Sheffield. “Aylan Kurdi: How a Single Image Transformed the Debate on Immigration.” December 14, 2015. https://www.sheffield.ac.uk/news/nr/aylan-kurdi-social-media-report-1.533951/.
  194. Vadén, Tere. “Fossil Sense.” Mustarinda, Helsinki Photography Biennial Edition HBP14 (2014): 99–101.
  195. van Dooren, Thom. Flight Ways: Life and Loss at the Edge of Extinction. New York: Columbia University Press, 2014.
  196. Weir, Maxfield. “Our Photographic Future: Vision and Action in a Dematerialised World.” In catalog for the exhibition “Photography: [De]Materialised,” Oxford House Gallery, London, April 2015.
  197. Whitlock, Richard. “Non-perspectival Photography: Towards a Post-digital Visuality.” Photomediations Machine, May 18, 2014. http://photomediationsmachine.net/2014/05/18/non-perspectival-photography-towards-a-post-digital-visuality/.
  198. Williams, Raymond. “Culture Is Ordinary.” In Studying Culture, ed. Anne Gray and Jim McGuigan, 5–15. London: Arnold, 1997.
  199. Wolfe, Cary. What Is Posthumanism? Minneapolis: University of Minnesota Press, 2009.
  200. Wright, Terence. The Photography Handbook. 2nd ed. London: Routledge, 2004.
  201. Zabala, Santiago. “I’m Wired, Therefore I Exist.” New Statesman, July 29, 2012. http://www.newstatesman.com/sci-tech/sci-tech/2012/07/im-wired-therefore-i-exist.
  202. Zhang, Michael. “This Is What the History of Camera Sales Looks Like with Smartphones Included.” PetaPixel, April 9, 2015. http://petapixel.com/2015/04/09/this-is-what-the-history-of-camera-sales-looks-like-with-smartphones-included/.
  203. Zielinski, Siegfried. [… After the Media]: News from the Slow-Fading Twentieth Century. Trans. Gloria Custance. Minneapolis: Univocal, 2013.
  204. Zielinski, Siegfried. Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means. Trans. Gloria Custance. Cambridge, MA: MIT Press, 2006.
  205. Zylinska, Joanna. “All the World’s a Camera: Notes on Nonhuman Photography.” In Drone: The Automated Image, ed. Paul Wombell. Bielefeld: Kerber, 2013.
  206. Zylinska, Joanna. Bioethics in the Age of New Media. Cambridge, MA: MIT Press, 2009.
  207. Zylinska, Joanna. “The Creative Power of Nonhuman Photography.” In Photographic Powers, ed. Mika Elo and Marko Karo, with Marc Goodwin. Helsinki: Aalto ARTS, 2015.
  208. Zylinska, Joanna. The Ethics of Cultural Studies. London: Continuum, 2005.
  209. Zylinska, Joanna. Minimal Ethics for the Anthropocene. Ann Arbor: Open Humanities Press, 2014.
  210. Zylinska, Joanna. “On Bad Archives, Unruly Snappers and Liquid Photographs.” Photographies 3 (2) (August 2010): 139–153.
  211. Zylinska, Joanna. “Photomediations: An Introduction.” In Photomediations: A Reader, ed. Kamila Kuc and Joanna Zylinska, 7–17. London: Open Humanities Press, 2016.