Диссертация (1148757), страница 44
Текст из файла (страница 44)
McCormack, J. and Dorin, A. Art, Emergence, and the Computational Sublime, URL:http://www.csse.monash.edu.au/~jonmc/research/Papers/art-2it.pdf241. Mersch D. Medientheorien zur Einführung. Hamburg: Junius Verlag, 2006.242. Michelsen, А. The Imaginary of the Artificial. Automata, Models, Machincs – OnPromiscuous Modeling as Precondition for Poststructuralist Ontology // Wendy Hui KyongChun, Thomas Keenan, ed. New Media, Old Media: a History and Theory Reader, 2006. p.233–247.243. Mitchel, W.J.
The Reconfigured Eye: Visual Truth in the Post-Photographic Era.Cambridge, MA: The MIT Press, 1992.244. Mosco V. The Digital Sublime. Myth, Power, and Cyberspace. Cambridge, MA: The MITPress, 2004.245. Moser M. A., MacLeod D., ed. Immersed in Technology: Art and Virtual Environments.Cambridge, MA: The MIT Press, 1996.246. Nye D.E. American Technological Sublime.
Cambridge, MA: The MIT Press, 1996.247. Nye D.E. The Consumer’s Sublime // The New Media Reader, ed. by Robert Hassan andJulian Thomas. N. Y., 2006.248. Nusselder A., Interface Fantasy. A Lacanian Cyborg Ontology. Cambridge, MA: The MITPress, 2009.249. Of the Sublime: Presence in Question, essays by J.-Fr.
Courtine, … et al., trans. by J.Librett. Albany: State University of New York Press, 1993.250. Packer R., Ken J. Multimedia: from Wagner to Virtual Reality, New York: Norton, 2001.251. Petersen A.R. Realism, Theatricality, Ritual: Aspects of the Aesthetics of the Installation //Reality Check, Statens Museum for Kunst Copenhagen, exhibition catalogue, 2008.252. Rancière J. The Politics of Aesthetics. The Distribution of the Sensible, trans.
by GabrielRockhill, London; N. Y., 2006.253. Ruyer R. La Cybernétique et l'origine de l'information. Paris: Flammarion, 1954.254. Sassower R. Technoscientific Angst. Ethics and Responsibility. Minneapolis: University ofMinnesota Press, 1997.255. Shaviro S. Post-Cinematic Affect. Zero Books: Winchester, UK, Washington, USA, 2010.256. Shaw P. The Sublime, Abingdon: Routledge 2006.257. Simondon G.
Du Mode d’existence des objets techniques. Paris: Aubier, 1958, 1989.258. Simondon G. The Genesis of the Individual, trans. by M. Cohen, S. Kwinter//Incorporations, ed. by J. Crary, S. Kwinter, NYC: Zone, 1992. P. 297–319.259. Simondon G. The Position of the Problem of Onthogenesis // Parresia Journal for CriticalPhilosophy, 2009, 7, 4–16, URL: parrhesiajournal.org.159260. Slack D., Wise J.M. Culture and Technology: A Primer. New York: Peter Lang, 2005.261.
Sondergaard M., ed. Get Real: Real Time+Art. New York: George Braziller, INC., 2005.262. Schwartzman M. See Yourself Sensing. Redefining Human Perception. London: Black DogPublishing, 2011.263. Miyazaki S., Howse M. ‘Detektors. Rhythms of Electromagnetic Emissions, theirPsychogeophysics and Micrological Auscultation’, in Proceedings of the 16th InternationalSymposium on Electronic Art ISEA2010 RUHR, by J. Funke, S. Riekeles, A.
Broeckmann(Eds), Hartware MedienKunstVerein, Dortmund, 2010.264. Stafford B. ed., A Field Guide to a New Metafield: Bridging the Humanities-NeurosciencesDivide. University of Chicago Press, 2011.265. Stafford B. Soma-Aesthetics: Constructing Interiority, Journal of Neuro-Aesthetic Theory,2005, no. 4.266.
Stiegler B. Technics and Time, 1, trans. by R. Beardsworth, G. Collins. Stanford, CA:Stanford University Press, 1998.267. Sutton D., Brind S., McKenzie, R. eds. State of the Real. Aesthetics in the Digital Age.London, New York: I.B.Tauris Publishers, 2007.268. Take Your Time: Olafur Eliasson, ed. by M. Grynsztejn. San Francisco Museum of ModernArt. Thames & Hudson, 2007.269.
Townsend C., ed. The Art of Bill Viola. New York: Thames & Hudson, 2004.270. Tomkins S.S. Affect Imagery Consciousness, vols. 2. New York, 1962-63. vol. 1Trend, D.Reading Digital Culture271. Tsang L.-C. The Sublime. Groundwork Towards a Theory, University of Rochester Press1998;272. Turkle S. Life on the Screen: Identity in the Age of the Internet. New York: Simon &Schuster, 1995.273. Palmer D. Contemplative Immersion: Benjamin, Adorno & Media Art Criticism// Issue No.15 November 2007.274.
Panksepp J. On the embodied Nature Of Core Emotional Affects// Journal of ConsciousnessStudies, 2005, 5. P. 158–184.275. Pries C., ed. Das Erhabene: Zwischen Grenzerfahrung und Größenwahn, Weinheim: VCAActa Humanoria 1989.276. Ray G. Terror and the Sublime in Art and Critical Theory, New York: Palgrave Macmillan2005.277. Rush M. New Media.
2nd ed. New York, London: Thames&Hudson, 2005.160278. Virilio P. Negative Horizon: An Essay in Dromoscopy, trans. by Michael Degener. London;New York: Continuum, 2005.279. Virilio P. Open Sky, trans. by Julie Rose, 2nd ed. London, New York: Verso, 2003.280. Weber S. Mass Mediauras: Form, Technics, Media. Stanford, CA: Stanford Univ.
Press,1996.281. Weibel P., Jansen G, eds. Light Art from Artificial Light. Light as a Medium in 20th and21st Century Art. Hatje Cantz, 2006.282. Weibel P., Latour B., eds.Iconoclash, Beyond the Image-Wars in Science, Religion and Art,ZKM and MIT Press, 2002.283. Wiener N. The Human Use of Human Beings: Cybernetics and Society. Cambridge, MA:The MIT Press, 1988.284. Zizek S. Tarrying with the Negative: Kant, Hegel, and the Critique of Ideology.
Durham:Duke University Press, 1993.285. Zilinska J., ed. The Cyborg Experiments: The Extensions of the Body in the Media Age.London, New York: Continuum, 2002.161.