Jump to ContentJump to Main Navigation
Sounding the GalleryVideo and the Rise of Art-Music$

Holly Rogers

Print publication date: 2013

Print ISBN-13: 9780199861408

Published to Oxford Scholarship Online: September 2013

DOI: 10.1093/acprof:oso/9780199861408.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Subscriber: null; date: 27 February 2017

(p.205) Bibliography

(p.205) Bibliography

Sounding the Gallery
Oxford University Press

Bibliography references:

Abbate Carolyn. “Drastic or Gnostic?” In Critical Inquiry 30:3 (Spring 2004): 505–536.

Abbate Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton: Princeton University Press, 1996.

Acconci Vito and Gloria Moure. Writings, Works, Projects. Barcelona: Ediciones Poligrafa, 2001.

Adlington Robert. The Music of Harrison Birtwistle. Cambridge: Cambridge University Press, 2000.

Albright Daniel. Beckett and Aesthetics. Cambridge: Cambridge University Press, 2003.

Albright Daniel. Untwisting the Serpent: Modernism in Music, Literature and Other Arts. Chicago and London: University of Chicago Press, 2000.

Altman Rick. “Inventing the Cinema Soundtrack: Hollywood’s Multiplane Sound System.” In Music and Cinema. Edited by David Neumeyer, James Buhler and Caryl Flinn, 339–359. New England: Wesleyan University Press, 2000.

Altman Rick. “The Material Heterogeneity of Recorded Sound.” In Sound Theory, Sound Practice. Edited by Rick Altman, 15–34. New York, London: Routledge, 1992.

Anonymous reviewer. “The Medium: Taking the Waste Out of the Wasteland.” In Time (May 30, 1969), 74.

Anzieu Didier. “L ’ envelope sonore du soi.” In Nouvelle revue de psychoanalyse 13 (1976): 161–179.

Apollinaire, Guillaume. Oeuvres en prose completes. Paris: Éditions Gallimard, 1991.

Art Workers’ Coalition. Documents 1. New York: Art Workers’ Coalition, 1969.

Ascott Roy. Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness. Berkeley: University of California Press, 2007.

Attali Jacques. Noise: The Political Economy of Music. Minneapolis: University of Minnesota Press, 1985.

Axelrod Alan and Charles Phillips, eds. What Every American Should Know About American History: 200 Events That Shaped the Nation. Avon, MA: Adams Media, 2003.

Ayrey Craig. “Stravinsky in Analysis: The Anglophone Traditions.” In The Cambridge Companion to Stravinsky. Edited by Jonathan Cross, 203–229. Cambridge: Cambridge University Press, 2003.

Babbitt Irving. The New Laokoon: An Essay on the Confusion of the Arts. Boston, New York: Houghton Mifflin Company, 1924.

Bakalis Anna. “It’s Unreel: DVD Rentals Overtake Videocassettes.” Washington Times (21 June, 2003). Online. Available: http://nl.newsbank.com/nl-search/we/Archives?p_action=list&p_topdoc=11. 20 February 2012.

Barron Michael. Auditorium Acoustics and Architectural Design. New York: Routledge, 1993.

Barthes Roland. “Rhetoric of the Image.” In Image, Music, Text. Edited and translated by Stephen Heath, 32–51. New York: Hill and Wang, 1977.

(p.206) Belton John. “Looking Through Video: The Psychology of Video and Film.” In Resolutions: Contemporary Video Practices. Edited by Michael Renov and Erika Suderburg, 61–72. Minneapolis, London: University of Minnesota Press, 1996.

Benhamou Reed. “Public and Private Art Education in France, 1648–1793.” In Studies on Voltaire and the Eighteenth Century 308 (1993): 1–183.

Bernard Jonathan. “Messiaen’s Synaesthesia: The Correspondence Between Colour and Sound Structure in his Music.” In Music Perception 4:1 (1986): 41–68.

Bishop Claire. Installation Art: A Critical History. London: Tate Publishing, 2005.

Blesser Barry and Lindy-Ruth Salter. Spaces Speak, Are you Listening? Experiencing Aural Architecture. Cambridge MA: MIT Press, 2007.

Boccioni Umberto. “Technical Manifesto of Futurist Sculpture.” In Futurist Manifestos. Edited by Umbro Apollonio, 51–65. London: Thames & Hudson, 1973.

Bolter Jay and Richard Grusin. Remediation: Understanding New Media. Cambridge MA: The MIT Press, 1999.

Bonitzer Pascal. “Off-Screen Space.” In Cahiers du Cinéma, Volume 3, 1969–1972: The Politics of Representation. Edited by Nick Browne, 291–305. London: Routledge, 1990.

Bordwell David. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985.

Borges Jorge Luis. “The Library of Babel” (1944). In Jorge Luis Borges: Collected Fictions. Translated by Andrew Hurley, 112–118. London: Penguin Books, 1998.

Borges, Jorge Luis. “Mirrors.” In Dreamtigers. Translated by Mildred Boyer and Harold Morland, 60–61. 1964; reprint, Texas: Texas University Press, 2004.

Bouillon Jean-Paul. Klimt—Beethoven: The Frieze for the Ninth Symphony. Translated by Michael Heron. New York: Skira, 1987.

Brockman John. “Prologue.” In Digerati: Encounters with the Cyber Elite. San Francisco: HardWired Books, 1996. Online. Available: http://www.edge.org/documents/digerati/Prologue.html. 20 February 2012.

Broude Norma and Mary D. Garrard, eds. Feminism and Art History: Questioning the Litany. New York: Harper & Row, 1982.

Broude Norma and Mary D. Garrard, eds. The Expanding Discourse: Feminism and Art History. New York: Harper Collins, 1992.

Bruggen Coosje van. Bruce Nauman. New York: Rizzoli, 1988.

Bryson Norman. Vision and Painting: The Logic of the Gaze. New Haven, CT: Yale University Press, 1983.

Bryson Norman. Word and Image: French Painting of the Ancien Régime. Cambridge: Cambridge University Press, 1983.

Burch Noël. Theory of Film Practice. Translated by Helen R. Lane. Princeton: Princeton University Press, 1981.

Bürger Peter, and Christa Bürger. The Institutions of Art. Translated by Loren Kruger. Introduction by Russell A. Berman. Lincoln, Nebraska: University of Nebraska Press, 1992.

Butler Christopher. Early Modernism: Literature, Music and Painting in Europe, 1900–1916. Oxford: Clarendon Press, 1994.

Cage John. A Year From Monday: New Lectures and Writings. 1967. Reprint, London: Marion Boyars, 1975.

Cage John. “The Future of Music Credo.” 1937. Reprint. In Audio Culture: Readings in Modern Music. Edited by Christopher Cox and Daniel Warner, 25–28. London: Continuum, 2004.

Cahen Robert. “Robert Cahen: Passage at Preston Harris Museum & Art Gallery.” Online. Available: http://www.culture24.org.uk/art/art64388. 20 February 2012.

Calvocoressi Richard. “Introduction.” In Howard Hodgkin, Howard Hodgkin: Large Paintings, 1984–2002, 9–11. Edinburgh: National Galleries of Scotland, 2002.

Campen Cretien van. “Artistic and Psychological Experiments with Synaesthetisia.” In Leonardo 32.1 (1999): 9–14.

Camper Fred. “Brakhage Wants to Make you See.” In By Brakhage: An Anthology. New York: The Criterion Collection DVD liner notes, 2003.

Campus Peter. “The Question.” In Art-Rite 7 (Autumn 1974): 15.

(p.207) Carrier David. Museum Skepticism: A History of the Display of Art in Public Galleries. North Carolina: Duke Press, 2006.

Carroll Lewis. Alice in Wonderland / Through the Looking Glass. 1865. Reprint, London: Bibliolis Books, 2010.

Chion Michel. Audiovision: Sound on Screen. Translated by Claudia Gorbman. New York: Columbia University Press, 1994.

Cone Edward T. and Benjamin Boretz eds. Perspectives on American Composers. London: W.W. Norton and Company, 1971.

Conrad Tony. “LYssophobia: On Four Violins.” In Audio Culture: Readings in Modern Music. Edited by Christopher Cox and Daniel Warner, 313–318. London: Continuum, 2004.

Conrad Tony. “Preparing for the Propaganda War in the Time of Global Culture: Trance, Form, and Persuasion in the Renovation of Western Music.” Online. Available: http://tonyconrad.net/bard.htm. 20 February 2012.

Cook Nicholas. Analysing Musical Multimedia. Oxford: Oxford University Press, 1998.

Coulter-Smith Graham. Deconstructing Installation Art: The End of the Old Avant-Garde and the Beginning of the New. Online. Available: http://www.installationart.net/MenuItems/contents.html. 20 February 2012.

Crary Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge MA: MIT Press, 1992.

Crimp Douglas. Joan Jonas, Scripts and Descriptions, 1968–1982. California: University Art Museum, University of California Press, 1983.

Crow Thomas. Painters and Public Life in Eighteenth-Century Paris. Yale: Yale University Press, 1987.

Csíkszentmihályi Mihály and Rick Emery Robinson. The Art of Seeing: An Interpretation of the Aesthetic Encounter. Los Angeles: Getty Publications, 1990.

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

Daniels Dieter. “John Cage and Nam June Paik: ‘Change Your Mind or Change Your Receiver (Your Receiver is Your Mind)’.” In Nam June Paik. Edited by Sook-Kyung Lee and Susanne Rennert, 107–125. London: Tate Publishing, 2010.

Daniels Dieter. “Sound & Vision in Avantgarde & Mainstream [1].” Translated by Michael Robinson. In Media Art Net. Online. Available: http://www.medienkunstnetz.de/themes/image-sound_relations/sound_vision/. 20 February 2012.

Daniels Dieter. “Television—Art or Anti-Art? Conflict and Cooperation Between the Avant-Garde and the Mass Media in the 1960s and 1970s.” Translated by Michael Robinson. In Media Art Net. Online. Available: http://www.medienkunstnetz.de/themes/overview_of_media_art/massmedia/1/. 20 February 2012.

Dann Kevin. Bright Colors Falsely Seen: Synaesthesia and the Search for Transcendent Knowledge. Yale: Yale University Press, 1998.

Davis Douglas. “Art and Technology: The New Combine.” In Art in America 56 (1968): 28–47.

Davis Douglas. Art and the Future: A History/Prophecy of the Collaboration Between Science, Technology and Art. London: Thames and Hudson, 1973.

De Oliveira Nicholas, Nicola Oxley, and Michael Petry. Installation Art. London: Thames and Hudson Ltd, 1994.

DeWitt Tom. “The Video Synthesizer.” In Eigenwelt der Apparate-Welt. Pioneers of Electronic Art. Edited by David Dunn, Woody Vasulka and Steina Vasulka, 165–167. Santa Fe, NM: The Vasulkas and Linz: Ars Electronica, 1992.

Doane Mary Ann. “The Voice in the Cinema: The Articulation of Body and Space.” In Yale French Studies 60 (1980): 33–50.

Dobson Terence. The Film Work of Norman McLaren. Hertfordshire: John Libbey Publishing, 2007.

Donnelly Kevin. “ Performance and the Composite Film Score.” In Film Music: Critical Approaches. Edited by Kevin Donnelly, 152–166. Edinburgh: Edinburgh University Press, 2001.

Düchting Hajo. Paul Klee: Painting Music. Munich London, New York: Prestel Verlag, 1997.

Duguid Brian. “Tony Conrad Interview.” In EST Magazine (June 1996). Online. Available: http://media.hyperreal.org/zines/est/intervs/conrad.html. 20 February 2012.

(p.208) Dyson Frances. Sounding New Media: Immersion and Embodiment in the Arts and Culture. Berkeley, Los Angeles, and London: University of California Press, 2009.

Elwes Catherine. Video Art: A Guided Tour. 2005. Reprint, London: University of the Arts, 2006.

Emery Colin. A Celebration of Art and Architecture: the National Gallery Sainsbury Wing. London, Washington: University of Washington Press, 1991.

Emmerson Simon. Living Electronic Music. Aldershot: Ashgate, 2007.

Esche Charles. “Video Installation: Conceptual Practice and New Media in the 1990s.” In Diverse Practices: A Critical Reader on British Video Art. Edited by Julia Knight, 195–206. Luton: Luton University Press, 1996.

Evans Dylan. An Introductory Dictionary to Lacanian Psychoanalysis. London: Routledge, 1996.

Fenlon Iain. “Venice: Theatre of the World.” In The Renaissance: From the 1470s to the End of the 16th Century. Edited by Iain Fenlon, 102–132. Englewood Cliffs, New Jersey: Prentice Hallm 1989. Filippo Marinetti. Marinetti: Selected Writings, ed. R. W. Flint, trans. Flint and Arthur A. Coppotelli. London: Secker and Warburg, 1972.

Fischinger Oskar. “Excerpts from Unpublished Typescript.” 1947. Online. Available: http://www.centerforvisualmusic.org/Fischinger/OFCorresp.htm. 20 February 2012.

Fischinger Oskar. “Sounding Ornaments.” In Deutsche Allgemeine Zeitung (July 8, 1932). Online. Available: http://www.oskarfischinger.org/Sounding.htm. 20 February 2012.

Flinn Caryl. Strains of Utopia: Gender, Nostalgia and Hollywood Film Music. Princeton: Princeton University Press, 1992.

Föllmer Golo and Julia Gerlach. “Audiovisions: Music as an Intermedia Art Form.” In Media Art Net. Online. Available: http://www.medienkunstnetz.de/themes/image-sound_relations/audiovisions/. 20 February 2012.

Fontana Bill. “Sound as Virtual Image.” Online. Available: http://www.resoundings.org/Pages/sound%20As%20Virtual%20Image.html. 20 February 2012.

Frascina Francis. Art, Politics and Dissent: Aspects of the Art Left in Sixties America. Manchester: Manchester University Press, 1999.

Frieling Rudolf. “No Rehearsal—Aspects of Media Art as Process.” In Media Kunst Interaktion-die 60er und 70er Jahre in Deutschland. Edited by Rudolf Frieling and Dieter Daniels, 163–169. Vienna, New York: Springer, 1997.

Furlong William. Audio Arts: Discourse and Practice in Contemporary Art. London: Academy Editions, 1994.

Galeyev Bulat Makhmudovich. “Music-Kinetic Art Medium: On the Work of the Group Prometei (SKB) Kazan, USSR.” In Leonardo 9:3 (1976): 177–82.

Galeyev Bulat Makhmudovich and Irena Leonidovna Vanechkina. “Was Skryabin a Synesthete?” In Leonardo 34:4 (2001): 357–61.

Gann Kyle. The Music of Conlon Nancarrow. Cambridge: Cambridge University Press, 2006.

Gaudreault André, and Philippe Marion. “The Cinema as a Model for the Genealogy of Media.” In Convergence 8:4 (2002): 12–18.

Giedion Sigfried. The Eternal Present: The Beginning of Art 1957. London, Oxford: Oxford University Press, 1962.

Giedion Sigfried. Time and Architecture: The Growth of a New Tradition. Cambridge, MA: Harvard University Press, 1941.

Gigliotti Davidson. “The Early Video Project.” Online. Available: 20 February 2012.

Gigliotti Davidson. “Video Art in the Sixties.” In Abstract Painting 1960–69. Long Island City, NY: Institute for Art and Urban Resources, Inc., 1983.

Goldberg RoseLee. Performance Art: From Futurism to the Present. 1979. Reprint, London: Thames and Hudson, 2001.

Gopnik Adam. “Empty Frames.” In The New Yorker (25 November, 1991): 110.

Gorbman Claudia. Unheard Melodies: Narrative Film Music. London, Indiana: Indiana University Press/BFI, 1987.

Grabes Herbert. The Mutable Glass: Mirror-Imagery in the Titles and Texts of the Middle Ages and the English Renaissance. Translated by Gordon Collier. Cambridge: Cambridge University Press, 1982.

(p.209) Graham-Dixon Andrew. “Howard Hodgkin at Tate Britain.” In Sunday Telegraph (18 June 2006). Online. Available: http://www.andrewgrahamdixon.com/archive/readArticle/419. 20 February 2012. Greenberg Clement. “‘American-Type’ Painting” (1955). Reprint, Modern Art and Modernism: A Critical Anthology. Edited by Francis Frascina, Charles Harrison and Deirdre Paul, 93–104. Los Angeles: Sage Publications Ltd, 1982.

Gregor Ulrich, Jeanpaul Goergen and Angelika Hoch, eds. Hans Richter. Film ist Rhythmus. Berlin: Freunde der Deutschen Kinemathek, 2003.

Griffiths Paul. “Catalogue de Couleurs: Notes on Messiaen’s Tone Colours on His 70th Birthday.” In The Musical Times 119:1630 (December 1978): 1035–1037.

Gruen John. “Art in New York: This is Where We Came In.” In New York 2:23 (June 9, 1969): 57.

Gschwandtner Sabrina. “Between Film and Video—The Intermedia Art of Jud Yalkut; An Interview with Jud Yalkut.” In Millennium Film Journal 42 (Fall 2004). Online. Available: http://mfj-online.org/journalPages/mfj42/gschwanpage.html. 20 February 2012.

Hahl-Koch Jelena. Arnold Schönberg/Wassily Kandinsky: Letters, Pictures and Documents. Translated by J. C. Crawford. London: Faber & Faber, 1984.

Hall David. “Video Art: The Significance of an Educational Environment.” In Video Positive 1989. Edited by Lisa Haskel. Liverpool: Merseyside Moviola Exhibition Catalogue, 1989. Haller Robert A., ed. Brakhage Scrapbook: Collected Writings 1964–1980. New Paltz: Documentext, 1982.

Hamlin Jess. “Grand Opera Gets Grander with State-of-the-Art-Screens.” In San Francisco Chronicle (June 2, 2007): 1.

Hanhardt John. The Worlds of Nam June Paik. New York: Guggenheim, 2000.

Hanhardt John. “Dé-collage/Collage: Notes Toward a Re-Examination of the Origins of Video Art.” In Illuminating Video: An Essential Guide to Video Art. Edited by Doug Hall and Sally Jo Fifer, 71–80. San Francisco: Apature/Bay Area Video Coalition, 2005.

Hankins Thomas L. “The Ocular Harpsichord of Louis-Bertrand Castel; Or, The Instrument That Wasn’t.” In Osiris 9 (1994): 141–156.

Harrison John and Simon Baron-Cohen. “Synaesthesia: An Account of Coloured Hearing.” In Leonardo 27:4 (1994): 343–346.

Hedges Inez. “Stan Brakhage’s Film Testament: The Four Faust Films.” In Avant-Garde Film. Edited by Alexander Graf and Dietrich Scheunemann, 165–182. New York: Rodopi, 2007.

Hegarty Paul. Noise/Music: A History. New York: Continuum, 2009.

Henning Michelle. Museums, Media and Cultural Theory. Maidenhead, New York: Open University Press, 2006.

Herbert Robert L., ed. Modern Artists on Art. 1964. Reprint, New York: Dover Publications, 1999.

Herzogenrath Wulf, ed. Nam June Paik: Fluxus, Video. Munich: Schreiber, 1983.

Higgins Dick. Horizons. New York: Roof Books, 1998.

Hobson Marian. The Object of Art: The Theory of Illusion in Eighteenth-Century France. Cambridge: Cambridge University Press, 1982.

Hook David. “Lacan’s Mirror Stage.” In Developmental Psychology. Edited by Jacki Watts, Norman Duncan and Kate Cockcroft, 261–282. 2002. Reprint, Cape Town: UCT Press, 2009.

Howard Deborah and Laura Moretti. Sound and Space in Renaissance Venice: Architecture, Music, Acoustics. New Haven: Yale University Press, 2009.

Huxley Aldous. Brave New World and Brave New World Revisited. 1931 and 1958. Reprint, New York: Harper Collins, 2004.

Iles Chrissie and Henriette Huldische. “Keeping Time: On Collecting Film and Video Art in the Museum.” In Collecting the New: Museums and Contemporary Art. Edited by Bruce Altshuler, 65–84. Princeton: Princeton University Press, 2005.

Iles Chrissie. “Reflective Spaces: Film and Video in the Work of Joan Jonas.” In Joan Jonas: Performance Video Installation 1968–2000. Edited by Johann-Karl Schmidt, 144–54. Stuttgart: Galerie der Stadt Sttutgart and Hatje Cantz Verlag, 2000.

Iles Chrissie. “Video and Film Space.” In Space, Site, Intervention: Situating Installation Art. Edited by Erika Suderburg, 252–62. London, Minneapolis: University of Minnesota Press, 2000.

(p.210) Ione Amy and Christopher Tyler. “Neuroscience, History and the Arts: Synesthesia, Is F-sharp Colored Violet?” In Journal of the History of the Neurosciences 13 (2004): 58–65.

Jacob Mary Jane. Gordon Matta-Clarke: A Retrospective. Chicago: Museum of Contemporary Art, 1985.

Jenkins Bruce. “The Machine in the Museum: or, The Seventh Art in Search of Authorisation.” In Space, Site, Intervention: Situating Installation Art. Edited by Erika Suderburg, 263–274. London, Minneapolis: University of Minnesota Press, 2000.

Jewanski Jörg and Natalia Sidler, eds. Farbe-Licht–Musik: Synaesthesie und Farblichtmusik. Bern: Peter Lang, 2006.

Johnson James. Listening in Paris: A Cultural History. Berkeley: University of California Press, 1995.

Jonas Joan. “Transmission.” In Woman, Art and Technology. Edited by Judy Malloy, 114–133. Cambridge MA: MIT Press, 2003.

Jones Amelia. “The 1970s ‘Situation’ and Recent Installation: Joseph Santarromana’s Intersubjective Engagements.” In Space, Site, Intervention: Situating Installation Art. Edited by Erika Suderburg, 332–246. London, Minneapolis: University of Minnesota Press, 2000.

Jordan William E. “McLaren: His Career and Techniques.” In The Quarterly of Film, Radio and Television 8:1 (Autumn 1953): 1–14.

Kandinsky Wassily. Concerning the Spiritual in Art. Translated by Michael Sadler. 1914. Reprint, New York: Dover Publications, 1977.

Kandinsky Wassily. Rückblicke. 1913. Reprint, Bern: Benteli, 1977.

Kaprow Allan. Essays on the Blurring of Art and Life. Edited by Jeff Kelley. California: University of California Press, 1993.

Kassabian Anahid. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge, 2001.

Kassinger Ruth. Glass: From Cinderella’s Slippers to Fiber Optics. Connecticut: Twenty-First Century Books, 2003.

Kaye Nick. Multi-Media: Video, Installation, Performance. Oxford: Routledge, 2007.

Kotz Liz. “Video Projection: The Space Between Screens.” In Art and the Moving Image: A Critical Reader. Edited by Tanya Leighton, 371–387. London: Tate Publishing, 2008.

Keefer Cindy. “‘Space Light Art’: Early Abstract Cinema and Multimedia, 1900–1959.” In White Noise. Melbourne: Australian Centre for the Moving Image, 2005.

Kerse C. S. The Law Relating to Noise. London: Oyez, 1975.

Kevorkian Tanya. “The Reception of the Cantata During Leipzig Church Services, 1700–1750.” In Early Music 30:1 (2002): 27–46.

Klüver, Billy and Robert Rauschenberg. E.A.T. News 1:2 (June 1967).

Kolarevic Branco and Ali Malkawi. Performative Architecture: Beyond Instrumentality. New York, London: Spon Press, 2005.

Kracauer Siegfried. Theory of Film: The Redemption of Physical Reality. New York: Oxford University Press, 1960.

Krauss Rosalind. “Video: The Aesthetics of Narcissism.” In October 1 (Spring 1976): 50–64.

Kuritz Paul. The Making of Theatre History. New Jersey: Prentice Hall College Division, 1988.

Kwon Miwon. “One Place After Another: Notes on Site Specificity.” In Space, Site, Intervention: Situating Installation Art. Edited by Erika Suderburg, 38–63. London, Minneapolis: University of Minnesota Press, 2000.

LaBelle Brandon. Background Noise: Perspectives on Sound Art. London, New York: Continuum, 2006.

Lacan Jacques. Écrits. Translated by Alan Sheridan. London: Routledge, 1977.

Lachenmann Helmut and David Ryan. “Composer in Interview: Helmut Lachenmann.” In Tempo 210 (Oct., 1999): 20–25.

Lack Russell. Twenty Four Frames Under: A Buried History of Film Music. London: Quartet Books, 1997.

Lawder Standish D. “Der Abstrakte Film: Richter und Eggeling.” In Hans Richter 1888–1976: Dadaist, Filmpionier, Maler, Theoretiker, 27–35. Berlin: Akademie der Künst, 1982.

(p.211) Lefèbvre Henri. The Production of Space. Translated by Donald Nicholson-Smith. 1974. Reprint, Oxford: Blackwell, 1991.

Leppert Richard. The Sight of Sound: Music, Representation, and the History of the Body. Berkeley, Los Angeles, London: University of California Press, 1993.

Lessing Gotthold. Laocoön: An Essay on the Limits of Painting and Poetry. Translated by Edward Allen McCormick. Baltimore, Maryland: Johns Hopkins University Press, 1984.

Licht Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli, 2007.

Lippard Lucy and John Chandler. “Visible Art and the Invisible World.” In Art International 11:5 (May 1967): 27–30.

Lippard Lucy. “The Art Workers’ Coalition: Not a History.” In Studio International 180: 927 (November 1970): 171–174.

Lippard Lucy. The Pink Glass Swan: Selected Essays on Feminist Art. New York: New Press, 1995.

Lischi Sandra. The Sight of Time: Films and Videos by Robert Cahen. Pisa: Edizioni ETS, 1997.

London Barbara. Bill Viola: Installations and Videotapes. London; New York: MOMA, 1987.

London Kurt. Film Music. Translated by Eric S. Bensinger. London: Faber and Faber, 1936.

Lovejoy Margot. Digital Currents: Art in the Electronic Age. New York: Routledge, 2004.

Lovejoy Margot. Postmodern Currents: Art and Artists in the Age of Electronic Media. London: UMI Research Press, 1989.

MacDonald Hugh. “Lighting the Fire: Skryabin and Colour.” In The Musical Times 124:1688 (1983): 600–602.

MacDonald Scott. Avant-Garde Film: Motion Studies. Cambridge: Cambridge University Press, 1993.

Maciunas George. “240.XXII George Maciunas (Fluxus objectives & Ideology) 1964.” In Fluxus etc. Addemda II: The Gilbert and Lila Silverman Collection. Edited by Jon Hendricks, 166. Pasadena: Baxter Art Gallery at the California Institute of Technology, 1983.

Malloy Judy, ed. Woman, Art and Technology. Cambridge MA: MIT Press, 2003.

Marinetti Fillipo, Bruno Corra, Emilio Settimelli, Arnaldo Ginna, Giacomo Balla, and Remo Chiti. “The Futurist Cinema” (1916). Translated by R. W. Flint. In Multimedia: From Wagner to Virtual Reality. Edited by Randall Packer and Ken Jordan, 10–15. New York: W. W. Norton and Co., 2001.

Marinetti Filippo. Marinetti: Selected Writings. Edited by R. W. Flint. Translated by R. W. Flint and Arthur A. Coppotelli. London: Secker and Warburg, 1972.

Maroević Ivo. Introduction to Museology: The European Approach. München: C. Müller-Straten, 1998.

Mathews, Timothy. Reading Apollinaire: Theories of Poetic Language. Manchester: Manchester University Press, 1987.

Maur Karin V. The Sound of Painting: Music in Modern Art. Munich, London, New York: Prestel Verlag, 1999.

McLuhan Marshall. “The Medium Is the Message.” In Understanding Media: The Extensions of Man, 23–35. New York: Signet Books, 1964.

McShine Kynaston. The Museum as Muse: Artists Reflect: “Introduction.” 1999. Reprint, Museum Studies: An Anthology of Contexts. Edited by Bettina Carbonell, 491–502. 2004. Reprint, Oxford: Blackwell, 2012.

Meigh-Andrews Chris. “Robert Cahen: Passage.” In Art Monthly 326 (May 2009): 40.

Meigh-Andrews Chris. A History of Video Art: The Development of Form and Function. Oxford; New York: Berg, 2006.

Mertens Wim. American Minimal Music. Translated by J. Hautekiet. New York: Alexander Broude, 1983.

Metz Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York, Oxford: Oxford University Press, 1974.

Meyer James. “The Functional Site; or, The Transformation of Site Specificity.” In Space, Site, Intervention: Situating Installation Art. Edited by Erika Suderburg, 23–37. London, Minneapolis: University of Minnesota Press, 2000.

Miller Lucy. Adams to Zemlinsky. New York: Concert Artists Guild, 2006.

(p.212) Moholy-Nagy László. The New Vision: From Material to Architecture. Translated by Daphne M. Hoffmann. New York: Brewer, Warren & Putnam Inc, 1932.

Monte James and Marcia Tucker, eds. Anti-Illusion: Procedures / Materials. Edited by James Monte and Marcia Tucker. New York: Whitney Museum of American Art, 1969.

Moritz William. “Jordan Belson: Last of the Great Masters.” In Animation Journal 7:2 (Spring, 1999): 4–17.

Moritz William. “Musique de la Couleur: Cinéma Intégral” (“Color Music: Integral Cinema”). In Poétique de la Couleur, 9–13. Paris: Musée du Louvre, 1995.

Moritz William. “Non-Objective Film: The Second Generation.” In Film as Film: Formal Experiment in Film, 1910–1975, 59–71. London: Hayward Gallery, 1979.

Moritz William. Optical Poetry: The Life and Work of Oskar Fischinger. Bloomington: Indiana University Press, 2004.

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

Münsterberg Hugo. The Film: A Psychological Study. 1916. Reprint, New York: Dover, 1970.

Nattiez Jean-Jacques and Robert Samuels, eds. The Boulez-Cage Correspondence. Translated by Robert Samuels. Cambridge: Cambridge University Press, 1993.

Nauman Bruce and Janet Kraynak, eds. Please Pay Attention Please: Bruce Nauman’s Words: Writings and Interviews. Cambridge, MA: MIT Press, 2002.

Nesthus Marie. “The Influence of Olivier Messiaen on the Visual Art of Stan Brakhage in Scenes from under Childhood Part One.” In Film Culture 63 (1977): 39–50.

Nicholls David. The Cambridge Companion to Cage. Cambridge: Cambridge University Press, 2002.

Notley Margaret. “‘With A Beethoven-Like Sublimity’: Beethoven in the Works of Other Composers.” In The Cambridge Companion to Beethoven. Edited by Glenn Stanley, 219–239. Cambridge: Cambridge University Press, 2000.

Nyman Michael. “Cage and Satie.” In Writings about John Cage. Edited by Richard Kostelanetz, 66–72. Ann Arbor: University of Michigan Press, 1993.

Nyman Michael. Experimental Music: Cage and Beyond. London, New York: Studio Vista, 1974.

O’Doherty Brian. Inside the White Cube: The Ideology of the Gallery Space. 1976. Reprint and expanded, Berkeley, Los Angeles, London: University of California Press, 1986.

O’Pray Michael. Andy Warhol: Film Factory. London: BFI, 1989.

Ohana David. The Futurist Syndrome. Sussex: Sussex Academic Press, 2010.

Paik Nam June. “Input-Time and Output Time.” In Video Art: An Anthology. Edited by Beryl Korot and Ira Schneider, 98–124. New York: The Raindance Foundation, 1976.

Paik Nam June. “Versatile Color TV Synthesizer.” 1969. Reprint, Nam June Paik, Videa ‘n’ Videology: 1959–1973. Edited by Judson Rosebush, 55. New York: Everson Museum of Art, 1974.

Parker Rozsika and Griselda Pollock, eds. Framing Feminism: Art and the Women’s Movement. New York: Pandora, 1987.

Pasto Tarmo. The Space-Frame Experience in Art. New York: A.S. Barnes, 1964.

Peacock Kenneth. “Instruments to Perform Color-Music: Two Centuries of Technological Experimentation.” In Leonardo 21:4 (1988): 397–406.

Perl Jed. “Welcome to the Funhouse: Tate Modern and the Crisis of the Museum.” In The New Republic 222:25 (19 June 2000): 30–36.

Perloff Marjorie. The Futurist Moment: Avant-Garde, Avant Guerre, and the Language of Rupture. Chicago: Chicago University Press, 2003.

Princenthal Nancy. “Rooms With a View.” In Sculpture 9:2 (March/April 1990): 26–31.

Pritchett James. The Music of John Cage. Cambridge: Cambridge University Press, 1996.

Reichardt Jasia. “‘Cybernetic Serendipity’: Getting Rid of Preconceptions.” In Studio International 176: 905 (November 1968): 176–177.

Reiss Julie. From Margin to Center: The Spaces of Installation Art. Cambridge, MA, London: MIT Press, 2001.

(p.213) Rennert Susan. “‘We Have Time’. Music, Fluxus, Video: Paik’s Time in Düsseldorf, in the Rhineland.” In Nam June Paik. Edited by Sook-Kyung Lee and Susanne Rennert, 55–68. London: Tate Publishing, 2010.

Restany Pierre. “San Francisco and the Grand Dame of Digital Art.” In Domus (June 1999): 114.

Revill David. The Roaring Silence: John Cage, A Life. New York: Arcade Publishing, 1993.

Rosenberg Harold. The Tradition of the New. Chicago: University of Chicago Press, 1982.

Rosenblum Robert. Transformations in Late Eighteenth-Century Art. Princeton: Princeton University Press, 1967.

Rosolato Guy. “La Voix: Entre corps et langage.” In Revue française de psychoanalyse 38 (1974): 75–94.

Ross Andrew. No Respect: Intellectuals and Popular Culture. New York: Routledge, 1989.

Ross David. “A Conversation with Nam June Paik.” In Nam June Paik: Video Time-Video Space. Edited by Thomas Kellein and Toni Stooss, 56–65. New York: Harry N. Abrams, 1993.

Ross David. Bill Viola. New York: Whitney Museum of Art / Flammarion, 1997.

Rothfuss Joan. “The Ballad of Nam June and Charlotte: A Revisionist History.” In Nam June Paik. Edited by Sook-Kyung Lee and Susanne Rennert, 145–155. London: Tate Publishing, 2010.

Russolo Luigi. “The Art of Noises.” 1913. Reprint, Manifesto: A Century of Isms. Edited by Mary Ann Caws, 205–211. Nebraska: University of Nebraska Press, 2001.

Sabaneev Leonid and S.W. Pring, “Relation Between Sound and Colour.” In Music & Letters 10:3 (1929): 266–277.

Salter Chris. Entangled: Technology and the Transformation of Performance. Cambridge MA: MIT Press, 2010.

Schaeffer Pierre. À la recherche d’une musique concréte. Paris: La Seuil, 1952.

Schafer, R. Murray. “Music, Non-Music and the Soundscape.” In A Companion to Contemporary Musical Thought. Edited by John Paynter, Tim Howell, Richard Orton and Peter Seymour, 34–45 (Vol 1). London and New York: Routledge, 1992.

Schechner Richard. “6 Axioms for Environmental Theatre.” In The Drama Review 12:3 (1968): 41–64.

Schlte Karin. Temporary Buildings: The Trade-Fair Stand as a Conceptual Challenge. Stuttgart: AVEdition, 1999.

Schneider Arthur. Jump-Cut: Memoires of a Pioneer Editor. Jefferson: McFarland, 1997.

Schneider Pierre. Matisse. Munich: Rizzoli, 1984.

Schwarz Hans-Peter. “Discourse 1: Media Museums.” In Media Art History. Edited by Rebecca Picht and Birgit Stöckmann, 11–42. New York: Prestel, 1997.

Searing Helen. New American Art Museums. Berkley, Los Angeles: University of California Press, 1982.

Sherlaw-Johnson Robert. Messiaen. London: Dent, 1975.

Shirey David L. “Art is Light.” In Newsweek (February 20, 1967): 101.

Silverman Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press, 1988.

Small Christopher. Musicking: The Meanings of Performing and Listening. Middletown, Connecticut: Wesleyan University Press, 1998.

Small Christopher. “Performance as Ritual: Sketch for Enquiry into the True Nature of a Symphony Concert.” In Lost in Music: Culture, Style and the Musical Event. Edited by Avron Levine White, 6–32. London, New York: Routledge, 1987.

Smith Roberta. “In Installation Art: A Bit of the Spoiled Brat.” In New York Times (3 January 1993): 31.

Sontag Susan. “Film and Theatre.” In Tulane Drama Review II.i (1966): 24–37.

Spielmann Yvonne. “Intermedia in Electronic Images.” In Leonardo 34:1 (2001): 55–61.

Spielmann Yvonne. Video: The Reflexive Medium. Cambridge, MA ; London: The MIT Press, 2008.

(p.214) Stam Robert. Film Theory: An Introduction. Oxford: Blackwell, 2000.

Stravinsky Igor. “The Phenomenon of Music.” In Poetics of Music in the Form of Six Lessons. 1942. Reprint, Harvard: Harvard University Press, 2003.

Strickland Edward. Minimalism: Origins. Bloomington: Indiana University Press, 1993.

Sturken Marita. “Feminist Video: Reiterating the Difference.” In Afterimage 12:9 (April, 1985): 9–11.

Sturken Martia. “Paradox in the Evolution of an Art Form: Great Expectations and the Making of a History.” In Illuminating Video: An Essential Guide to Video Art. Edited by Doug Hall and Sally Jo Fifer, 101–24. New Jersey: Aperture Foundation, 1990.

Sturken Marita. “Review: Revising Romance: New Feminist Video.” In Art Journal 45:3 (Autumn, 1985): 273–277.

Sturken Marita. “TV as a Creative Medium: Howard Wise and Video Art.” In Afterimage 11:10 (May 1984): 5–9.

Suderburg Erika. “Introduction: On Installation and Site Specificity.” In Space, Site, Intervention: Situating Installation Art. Edited by Erika Suderburg, 1–22. Minneapolis, London: University of Minnesota Press, 1996.

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. London, Minneapolis: University of Minnesota Press, 1996.

Toop Richard. “Stockhausen and the Sine-Wave: The Story of an Ambiguous Relationship.” In The Musical Quarterly 65:3 (1979): 379–391.

Träger Jörg. Philipp Otto Runge und seine Werke. Munich: Prestel, 1975.

Turim Maureen. “The Image of Art in Video.” In Resolutions: Contemporary Video Practices. Edited by Michael Renov and Erika Suderburg, 29–50. Minneapolis, London: University of Minnesota Press, 1996.

Usselmann Rainer. “The Dilemma of Media Art: Cybernetic Serendipityat the ICA London.” In Leonardo 36:5 (2003): 389–396.

Vasulka Steina. “Sony CV Portapak: Industrial, 1969.” In Eigenwelt der Apparate-Welt: Pioneers of Electronic Art. Edited by David Dunn, Steina Vasulka and Woody Vasulka, 150–152. Santa Fe, NM: The Vasulkas and Linz: Ars Electronica, 1992.

Viola Bill. “History, 10 Years, and the Dreamtime.” In Video: A Retrospective. Edited by Kathy Rae Huffman, 18–23. Long Beach, CA: Long Beach Museum of Art, 1984.

Viola Bill and Robert Violette eds. Reasons for Knocking at an Empty House: Writings 1973–1994. London: Thames and Hudson, 1995.

Virgil. The Aeneid, Book II. 19B.C. Reprint and translated by Robert Fitzgerald. New York: Everyman’s Library, 1992.

Wagner Ann. “Performance, Video, and the Rhetoric of Presence.” In October 91 (Winter 2000): 59–80.

Wagner Richard. “Outlines of the Artwork of the Future,” 1849. Reprint, translated by William Ashton Ellis. In Multimedia: From Wagner to Virtual Reality. Edited by Randall Packer and Ken Jordan, 3–9. New York, London: W. W, Norton and Company, 2001.

Walter Otto F. and Helmut Heissenbüttel, eds. Vostell: Happening & Leben. Berlin: Neuwied, 1970.

Welby Horace. Predictions Realized in Modern Times. London, Kent and Co Paternoster Row, 1862.

Whitehead Christopher. The Public Art Museum in Nineteenth Century Britain: The Development of the National Gallery. Aldershot: Ashgate, 2005.

Whitney John. “To Paint on Water: The Audiovisual Duet of Complementarity.” In Computer Music Journal 18:3 (Autumn 1994): 45–52.

Whitney John. Digital Harmony: On the Complementarity of Music and Visual Art. New York: McGraw-Hill, 1980.

(p.215) Wiles David. A Short History of Western Performance Space. Cambridge: Cambridge University Press, 2003.

Williams Raymond. Television: Technology and Cultural Form. New York: Schocken Books, 1975.

Wittgenstein Ludwig. Philosophical Investigations. Oxford: Blackwell Press, 1963.

Wörner Karl H. Stockhausen: Life and Work. Translated by Bill Hopkins. Berkley and Los Angeles: University of California Press, 1973.

Wyver John. “The Necessity of Doing Away with ‘Video Art’” (1991). In Diverse Practices: A Critical Reader on British Video Art. Edited by Julia Knight, 315–320. Luton: Luton University Press, 1996.

Xenakis Iannis. Formalized Music: Thought and Mathematics in Composition. New York: Pendragon Press, 1992.

Yalkut Jud. “TV as a Creative Medium at Howard Wise.” In Arts Magazine 44:1 (September-October 1969): 18–22.

Youngblood Gene. Expanded Cinema. Boston: E P Dutton, 1970.

Zeitlin Marilyn A. Bill Viola: Buried Secrets. Arizona: Arizona State University Art Museum, 1995.

Zutter Jörg. “Interview with Bill Viola.” In Bill Viola: Unseen Images. Edited by Marie Luise Syring, 99–104. Düsseldorf: Städtische Kunsthalle, 1992. (p.216)