Index

Abramović, M. (2002) ‘Interview’, BOMB Magazine, 81, pp. 124–125.

Arcangel, C. (2020) Surfware. Available at: https://arcangelsurfware.biz/ (Accessed: 23 April 2023).

Barbatsis, G., Fegan, M. and Hansen, K. (2006) 'The Performance of Cyberspace: An Exploration Into Computer-Mediated Reality', in Handbook of Visual Communication. Routledge.

Barker, T.S. (2012) Time and the Digital: Connecting Technology, Aesthetics, and a Process Philosophy of Time. Hanover, N.H: Dartmouth College Press.

Bartholl, A. (2009) Speed Show. Available at: http://speedshow.net (Accessed: 23 April 2023).

Barthes, R. (1974) S/Z. Translated by R. Miller. New York: Hill and Wang.

Beasley, M. (2024) Personal interview. [Interview]. Conducted 15 April 2024.

Benedikt, M. (ed.) (1992) Cyberspace: First Steps. Cambridge, MA: MIT Press.

Benjamin, W. (1969) 'The Work of Art in the Age of Mechanical Reproduction', in Illuminations. Translated by H. Zohn. New York: Schocken Books, pp. 1–26.

Bethwaite, J. (2019) The Cultural Economics of the Contemporary Art Biennale. London: Routledge.

Bicknell-Knight, B. (2022) F.U.V. with Bob Bicknell-Knight of isthisit?. Available at: https://www.offsiteproject.org/interview-bob-bicknell-knight (Accessed: 23 April 2023).

Blast Theory (2013) Can You See Me Now? [Online]. Available at: https://www.blasttheory.co.uk/projects/can-you-see-me-now/ (Accessed: 27 May 2024).

Bolter, J.D. and Grusin, R. (1999) Remediation: Understanding New Media. Cambridge, MA: MIT Press.

Bosma, J. (2004) 'The Dot on a Velvet Pillow - Net.art Nostalgia and net art today'. Available at: http://www.liveart.org/net.art/bosma.htm (Accessed: 7 February 2020).

Bratton, B.H. (2015) The Stack: On Software and Sovereignty. Cambridge, MA: MIT Press.

Candy, L. (2006) Practice Based Research: A Guide. CCS Report: 2006-V1.0 November. Sydney: Creativity & Cognition Studios, University of Technology.

Chun, W. (2016) Update to Remain the Same: Habitual New Media. Cambridge: The MIT Press.

Chun, W.H.K. (2006) Control and Freedom: Power and Paranoia in the Age of Fiber Optics. Cambridge, Mass.: MIT Press.

Connor, M. (2014) Post-Internet. In Kholeif, O. (ed.) You Are Here: Art After the Internet. Cornerhouse and SPACE.

Connor, M. (2019) Foreword. In The Art Happens Here: Net Art Anthology. Rhizome.

Cook, S. and Graham, B. (2010) Rethinking Curating: Art after New Media. Cambridge, MA: MIT Press.

Cook, S. (2001) 'In conversation with Mark Tribe', CRUMB Interviews. Available at: https://www.crumbweb.org/getPresentation.php?presID=6&op=4&sublink=&fromSearch=1 (Accessed: 28 December 2025).

Cornell, L. and Halter, E. (eds.) (2015) Mass Effect: Art and the Internet in the Twenty-First Century. Cambridge, MA: MIT Press.

Cramer, F. (2007) Command line poetics. [Online] Available at: http://reader.lgru.net/texts/echo-echo-echo-echo-command-line-poetics/ (Accessed: 16 December 2023).

Cramer, F. (2011) ‘What Is Interface Aesthetics, or What Could It Be (Not)?’, in Broeckmann, B., Volk, A. and Rühmann, I. (eds) Interface Criticism: Aesthetics Beyond the Buttons. Aarhus: Aarhus University Press, pp. 117–130.

Cramer, F. and Fuller, M. (2008) ‘Interface’, in Fuller, M. (ed.) Software Studies: A Lexicon. Cambridge, MA: MIT Press, pp. 149–153.

Davis, D. (1995) The Work of Art in the Age of Digital Reproduction (An Evolving Thesis: 1991-1995), Leonardo, 28(5), pp. 381-386.

Deleuze, G. (1988) Bergsonism. Translated by H. Tomlinson and B. Habberjam. New York: Zone Books.

Deleuze, G. and Guattari, F. (1987) A Thousand Plateaus: Capitalism and Schizophrenia. Translated by B. Massumi. Minneapolis: University of Minnesota Press.

Drucker, J. (2013) ‘Performative Materiality and Theoretical Approaches to Interface’, Digital Humanities Quarterly, 7(1), pp. 1-18.

Duché, V. and de Bock, F., 2024. Room Tour. [Online exhibition]. The Wrong Biennale No. 6. Available at: https://thewrong.org/ (Accessed 15 April 2024).

Dustan, G. (2013) The Works of Guillaume Dustan, Volume 1: Novels: In My Room, I'm Going Out Tonight, Stronger Than Me. Paris: Éditions POL.

Espenschied, D. (2018) ‘Preserving Digital Art with Wikibase: The Rhizome ArtBase’, Lecture at the Museum of Modern Art, 12 November.

Fino-Radin, B. (2018) 'Digital Preservation and Access at Rhizome', lecture presented at Museum of Modern Art, New York, 15 March.

Foucault, M. (1984) 'Of Other Spaces: Utopias and Heterotopias', Architecture, Mouvement, Continuité, 5, pp.46-49. [Online] Available at: https://web.mit.edu/allanmc/www/foucault1.pdf (Accessed 15 April 2022).

Foucault, M. (1972) The Archaeology of Knowledge. Translated by A. M. Sheridan Smith. London: Routledge.

Frieling, R. (2008) The Art of Participation: 1950 to Now. San Francisco: San Francisco Museum of Modern Art.

Fuller, M. (2016) ‘Eleven Pro-Tips For Art Plus Internet’, Mute Magazine. [Online] Available at: https://www.metamute.org/editorial/articles/eleven-pro-tips-art-plus-internet (Accessed: 15 July 2022).

Galloway, A.R. (2004) Protocol: How Control Exists After Decentralization. Cambridge, MA: The MIT Press.

Galloway, A.R. (2012) The interface effect. Cambridge, UK: Polity

Galloway, A.R. and Thacker, E. (2007) The exploit: a theory of networks. Minneapolis: University of Minnesota Press

Ghidini, M. (2019) Curating on the Web: The Evolution of Platforms as Spaces for Producing and Exhibiting Art Online. PhD Thesis, Coventry University.

Gibson, W. (1984) Neuromancer. London: Gollancz.

Goldsmith, K. (ed.) (2004) I’ll Be Your Mirror: The Selected Andy Warhol Interviews. New York: Carroll & Graf.

Goldsmith, K. (2016). Wasting Time on the Internet. Harper Perennial.

Goriunova, O. (2011) Art Platforms and Cultural Production on the Internet. New York: Routledge. Available at:

https://monoskop.org/images/6/65/Goriunova_Olga_Art_Platforms_and_Cultural_Production_on_the_Internet_2011.pdf (Accessed: 20 December 2022).

Green, R. (2004) Internet Art. London: Thames & Hudson.

Groys, B. (2016) In the Flow. London: Verso.

Fino-Radin, B. (2018) 'Digital Preservation and Access at Rhizome', lecture presented at Museum of Modern Art, New York, 15 March.

Hamman, R. (1996) ‘Rhizome@Internet: Using the Internet as an Example of Deleuze and Guattari’s “Rhizome”’, CTHEORY. Available at: https://www.thing.net/~rdom/ecd/rhizomatic.html (Accessed: 1 October 2023).

Hayles, N. K. (2002) Writing Machines. Cambridge: MIT Press.

Hui, Y. (2016) On the Existence of Digital Objects. University of Minnesota Press.

Institute of Contemporary Art, Boston (2018) Art in the Age of the Internet, 1989 to Today. [Exhibition]. Boston: Institute of Contemporary Art.

Ippolito, J. (2002) 'Ten Myths of Internet Art', Leonardo, 35(5), pp. 485-498

Jones, C.A. (1996) Machine in the Studio: Constructing the Postwar American Artist. Chicago: University of Chicago Press.

Kaprow, A. (1993) Essays on the Blurring of Art and Life. Edited by J. Kelley. Berkeley: University of California Press

Kay, A. (1989) ‘User Interface: A Personal View’, in Laurel, B. (ed.) The Art of Human-Computer Interface Design. Reading, MA: Addison-Wesley, pp. 191–207

Kenny, D. (2013) Quoted in Swenson, K., ‘Performing the Meme: An Interview with Devin Kenny’, Art21 Magazine, [Online] Available at: https://www.artic.edu/digital-publications/36/perspectives-on-instability/17/seven-figure-settlements-and-paid-days-off-an-interview-with-devin-kenny (Accessed: 15 April 2024).

Khan, N.N. (2019) The Distributed Speculative Archive. Art Journal, 78(3), pp. 362-365.

Kittler, F. (1997) ‘There is no software’, in Literature, media, information systems: essays. Amsterdam: G+B Arts International, pp. 147–155.

Krysa, J. (ed.) (2006) Curating immateriality: The Work of the Curator in the Age of Network Systems. Brooklyn, NY: Autonomedia.

Lambert, N., McNeil, J. and Quaranta, D. (2013) Art and The Internet. London: Black Dog Publishing.

Landow, G. P. (2006) Hypertext 3.0: Critical Theory and New Media in an Era of Globalization. Baltimore: Johns Hopkins University Press.

Lialina, O. (2005) A Vernacular Web. [Online] Available at: http://art.teleportacia.org/observation/vernacular/ (Accessed: 15 April 2024).

Lialina, O. (2012) Turing Complete User. Available at: http://contemporary-home-computing.org/turing-complete-user/(Accessed: 23 April 2023).

Lialina, O. (2017) 'All You Need Is Link', Rhizome, 21 February. Available at: https://rhizome.org/editorial/2017/feb/21/all-you-need-is-link/ (Accessed: 30 December 2024).

Lialina, O. (2021) ‘From “My” to “Me”’, Interface Critique, 4, pp. 91-102. Available at: https://interfacecritique.net/book/olia-lialina-from-my-to-me/ (Accessed: 14 April 2025)

Lunenfeld, P. (1999) ‘Unfinished Business’, in Lunenfeld, P. (ed.) The Digital Dialectic: New Essays on New Media. Cambridge: MIT Press, pp. 6-22.

Manovich, L. (2001) The Language of New Media. Cambridge, MA: MIT Press.

Manovich, L. (2011) ‘Inside Photoshop’, Computational Culture [Preprint]. Available at: http://manovich.net/index.php/projects/inside-photoshop (Accessed: 23 April 2023).

McGann, J. (2001) Radiant Textuality: Literature after the World Wide Web. New York: Palgrave Macmillan

McLuhan, M. (1964) Understanding Media: The Extensions of Man. New York: McGraw-Hill.

McLuhan, M. (1968) ‘Introduction to the Second Edition’, in Understanding Media: The Extensions of Man. New York: McGraw-Hill, pp. 15–30.

Merriam-Webster (2024) Interface. Available at: https://www.merriam-webster.com/dictionary/interface (Accessed: 23 April 2023).

Moss, C. (2019) Expanded Internet Art: Twenty-First-Century Artistic Practice and the Informational Milieu. London: Bloomsbury Academic.

Mousse Magazine (2018) ‘Interview with Eva Respini’, Mousse Magazine, 62.

Nair, A. (2022) 'The Wrong Biennale: An Interview with Founder David Quiles Guilló', Berlin Art Link. Available at: https://www.berlinartlink.com (Accessed: 28 December 2022).

Nake, F. (2019) ‘The instrumental medium. A reflection on the aesthetic of the digital’, in Griem, J. and Scholz, L. (eds.) Aesthetics of the tool: technical media and operational aesthetics. Heidelberg: Springer, pp. 33–48

Norman, D.A. (1990) ‘Why Interfaces Don’t Work’, in Laurel, B. (ed.) The Art of Human-Computer Interface Design. Reading, MA: Addison-Wesley, pp. 209–219

Nunes, M. (2006) Cyberspaces of Everyday Life. Minneapolis: University of Minnesota Press.

O’Doherty, B. (1986) Inside the White Cube: The Ideology of the Gallery Space. Expanded Edition. Berkeley: University of California Press.

O’Neill, P. (2007) 'The Curatorial Turn: From Practice to Discourse', in Rugg, J. and Sedgwick, M. (eds.) Issues in Curating Contemporary Art and Performance. Bristol: Intellect Books, pp. 13-28.

Olson, M. (2014) Interview. In Connor, M. Post-Internet. In Kholeif, O. (ed.) You Are Here: Art After the Internet. Cornerhouse and SPACE.

Paul, C. (2008) New Media in the White Cube and Beyond: Curatorial Models for Digital Art. Berkeley: University of California Press.

Paul, C. (2006) 'Flexible contexts, democratic filtering and computer-aided curating: models for online curatorial practice', in Krysa, J. (ed.) Curating immateriality: the work of the curator in the age of network systems. Brooklyn, NY: Autonomedia, pp. 81-101.

Paul, C. (2016) A Companion to Digital Art. Chichester: Wiley-Blackwell

Perks, S. (2016) 'Interview with Dragan Espenschied and Michael Corcoran', in The Power of the Virtual: Digital Archiving and Preservation. London: University of the Arts London Press, pp. 210-225.

Pold, S. (2005) 'Interface Realisms: The Interface as Aesthetic Form', Postmodern Culture, 15(2). Available at: https://pmc.iath.virginia.edu/issue.105/15.2pold.html (Accessed: 15 July 2024).

Reason, P. and Bradbury, H. (eds.) (2001) Handbook of Action Research: Participative Inquiry and Practice. London: Sage.

Roffe, J. (2010) ‘Multiplicity’, in The Deleuze Dictionary, Revised Edition. Edinburgh: Edinburgh University Press, pp. 182-184.

Rozendaal, R. (2010) Bring Your Own Beamer. Available at: https://www.byobworldwide.com/ (Accessed: 23 April 2023).

Samaras, L. (1966) Quoted in Solomon, A., ‘Lucas Samaras: Room #1’, Artforum, 5(3), p. 33.

Schwulst, L. (2019) Artists Space Website Design Notes. [Online] Available at: https://artistsspace.org/about-this-website (Accessed: 15 April 2024).

Segni, G. (n.d.) Today’s Top 25 Expiring Internet. [Online]. Available at: https://topexpiringinternetartists.com/ (Accessed: 27 May 2024).

Segni, G. and Reyes, M.E. (n.d.) Green Cube Gallery Manifesto. [Online] Available at: https://greencube.gallery/(Accessed: 15 April 2024).

Sheikh, S. (2017) ‘Notes on Institutional Critique’, in O’Neill, P., Wilson, M. and Steeds, L. (eds.) The Curatorial Conundrum: What to Study? What to Research? What to Practice? London: The MIT Press, pp. 22-33.

Strate, L. (1999) 'The varieties of cyberspace: Problems in definition and delimitation', Western Journal of Communication, 63(3), pp. 382-412.

Tang, J. (2007) ‘The Geography of the Venice Biennale’, in Filipovic, E., Van Hal, M. and Øvstebø, S. (eds.) The Biennale Reader. Bergen: Bergen Kunsthall, pp. 250-263.

Vierkant, A. (2010) The Image Object Post-Internet. [Online] Available at: http://jstchillin.org/artie/pdf/The_Image_Object_Post-Internet_us.pdf (Accessed: 15 July 2024).

Žižek, S. (2012) Less Than Nothing: Hegel and the Shadow of Dialectical Materialism. London: Verso.