媒體藝術史
參考資料

↑  [1]Cubitt, Sean and Paul Thomas. eds. 2013. Relive: Media Art Histories. Cambridge/Mass.: MIT-Press
↑  [2]Grau, Oliver. ed. 2007. MediaArtHistories. Cambridge: MIT-Press
↑  [3]Frieling, Rudolf and Dieter Daniels. eds. 2004. Media Art Net 1: Survey of Media Art. New York/Vienna: Springer.
↑  [4]Wilson, Stephen. 2002. Information Arts. Intersections of Art, Science, and Technology Cambridge: MIT Press.
↑  [5]Wilson, Stephen. 2010. Art + Science Now. London: Thames & Hudson.
↑  [6]Henderson, Linda. 1983. The Fourth Dimension and Non - Euclidean Geometry in Modern Art . Princeton: Princeton University Press.
↑  [7]Grau, Oliver. 2003. Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.
↑  [8] http://www.mediaarthistory.org/declaration （页面存档备份，存于）
↑  [9] Rush, Michael. 2005. New Media in Art. London: Thames & Hudson
↑  [10] Tribe, Mark, Reena Jana and Uta Grosenick. 2006. New Media Art. Köln: Taschen.
↑  [11] Shanken, Edward A. 2009. Art and Electronic Media. London: Phaidon Press.
↑  [12] Paul, Christiane. 2003. Digital Art. New York: Thames and Hudson.
↑  [13] Grau, Oliver. 2003. Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.
↑  [14]Popper, Frank. 2007. From Technological to Virtual Art. Cambridge: MIT Press.
↑  [15] Broeckmann, Andreas. “Software Art Aesthetics.” In Mono 1, edited by FBAUP Porto (July 2007), 158-167.
↑  [16]Gere, Charlie. ed. 2006. White Heat, Cold Logic: Early British Computer Art. Cambridge: MIT Press/Leonardo Books.
↑  [17] Higgins, Hannah and Douglas Kahn. eds. 2012. Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts. Berkeley: University of California Press.
↑  [18]Taylor, Grant D. 2014. When the Machine Made Art: The Troubled History of Computer Art. New York: Bloomsbury.
↑  [19] Greene, Rachel. 2004. Internet Art. London: Thames & Hudson.
↑  [20] Stallabrass, Julian. 2003. Internet Art: The Online Clash of Culture and Commerce. London: Tate.
↑  [21] Schwingeler, Stephan. 2014. Kunstwerk Computerspiel – digitale Spiele als künstlerisches Material: eine bildwissenschaftliche und medientheoretische Analyse. Bielefeld: transcript.
↑  [22] Sharp, John. 2015. Works of Game. On the Aesthetics of Games and Art. Cambridge: MIT Press.
↑  [23]Cates, Jon. “Re: Copying-IT-RIGHT-AGAIN.” In Relive: Media Art Histories, edited by Sean Cubitt and Paul Thomas, 337–345. Cambridge: MIT Press, 2013.
↑  [24] Menkman, Rosa. 2011. The Glitch Moment(um). Amsterdam: Institute of Network Cultures.
↑  [25]Ascott, Roy. 2003. Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness (edited by Edward A. Shanken). Berkeley: University of California Press.
↑  [26] 	26	Grau, Oliver. “Telepräsenz. Zu Genealogie und Epistemologie von Interaktion und Simulation.” In Formen interaktiver Medienkunst. Geschichte, Tendenzen, Utopien, edited by Peter Gendolla, 19-38. Frankfurt am Main : Suhrkamp, 2001.
↑  [27] Kac, Eduardo. 2005. Telepresence and Bio Art. Ann Arbor: University of Michigan Press Press.
↑  [28] Goldberg, Ken. Ed. 2000. The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet. Cambridge: MIT Press.
↑  [29] Anker, Suzanne and Dorothy Nelkin. 2004. The Molecular Gaze: Art in the Genetic Age. Cold Spring Harbor, N.Y.: Cold Spring Harbor Laboratory Press.
↑  [30] Gessert, George. 2010. Green Light: Toward an Art of Evolution. Cambridge: MIT Press.
↑  [31] Hauser, Jens. “Bioart – Taxonomy of an Etymological Monster.” In Hybrid: Living in a Paradox. (Ars Electronica 2005), edited by Gerfried Stocker and Christiane Schöpf, 181-192. Ostfildern-Ruit: Hatje Cantz, 2005.
↑  [32] Kac, Eduardo. ed. 2007. Signs of Life: Bio Art and Beyond. Cambridge: MIT Press.
↑  [33] Kwastek, Katja. 2013. Aesthetics of Interaction in Digital Art. Cambridge: MIT Press.
↑  [34] Klütsch, Christoph. 2007. Computer Grafik: Ästhetische Experimente zwischen zwei Kulturen. Die Anfänge der Computerkunst in den 1960er Jahren. Vienna: Springer.
↑  [35] Stocker, Gerfried and Christiane Schöpf. 2003. Code: The Language of Our Time: code=law Code=Art Code=Life (Ars Electronica Catalogue). Ostfildern-Ruit: hatje Cantz.
↑  [36] Raley, Rita. 2009. Tactical Media. Minneapolis: University of Minneapolis Press.
↑  [37] Bazzichelli, Tatiana. 2013. Networked Disruption. Rethinking Oppositions in Art, Hacktivism and the Business of Social Networking. Aarhus: Digital Aesthetics Research Center.
↑  [38] http://www.digitalartarchive.at/nc/home.html （页面存档备份，存于）
↑  [39] http://rhizome.org/ （页面存档备份，存于）
↑  [40] http://netzspannung.org/ （页面存档备份，存于）
↑  [41] http://dada.compart-bremen.de/ （页面存档备份，存于）
↑  [42] http://monoskop.org/Monoskop （页面存档备份，存于）
↑  [43] http://www.fondation-langlois.org/html/e/ （页面存档备份，存于）
↑  [44] Signatories are, among others, Sean CUBITT, Goldsmith; Oliver GRAU, Danube U; Ross HARLEY, UNSW Sydney; Christiane PAUL, New School, New York; Diana DOMINGUES, Universidade de Brasília; Horst BREDEKAMP, Humboldt-University Berlin; Barbara Maria STAFFORD, Georgia Tech; Frieder NAKE, University of Bremen; Peter WEIBEL, ZKM; Roy ASCOTT, University of Plymouth, Sir Nicholas SEROTA, Tate; Martin WARNKE, Leuphana University, Mike STUBBS, FACT Liverpool; Benjamin WEIL, LABORAL; Andreas BROECKMANN, Leuphana Arts Program; Jeffrey SHAW, City University Hong Kong; Eduardo KAC, Chicago Arts Institute; Christa SOMMERER, University of Art Linz; Alex ADRIAANSENS, Institute for the Unstable Media, Lanfranco ACETI, Sabanci U; Howard BESSER, NYU’s Tisch School of the Arts, Ianina PRUDENKO, National Univ. Kiew; Anna Maria GUASCH, Universidad de Barcelona; Anne-Marie DUGUET, Sorbonne; Sara DIAMOND, OCAD Toronto; Vera FRENKEL, FRSC, York University, Gilbertto PRADO, Sao Paulo University; Itsuo SAKANE, IAMAS, Gifu; Lev MANOVICH, UC San Diego; ZHANG Ga, Tsinghua University; Ryszard W. KLUSZCZYNSKI, University of Lodz; Wolfgang MUENCH, LASALLE College of the Arts Singapore; Raivo KELOMEES, Estonian Academy of Arts; Jin-Woo LEE, Pohang University of Science and Technology; Bent FAUSING, University of Copenhagen; Mitsuhiro TAKEMURA, Sapporo City University; Nelson VERGARA, National University of Colombia; Monika FLEISCHMANN, Fraunhofer Research; Uršula BERLOT, University of Ljubljana; Margarita PAKSA, University of Buenos Aires; Julian STALLABRASS, Courtauld Institute of Art; Peter MATUSSEK, University of Siegen Jon IPPOLITO, The University of Maine; Darren TOFTS, Swinburne University; Andreas LANGE, Computerspielemuseum; Pier Luigi CAPUCCI, NABA, Milan.
↑  [1] Cubitt, Sean and Paul Thomas. eds. 2013. Relive: Media Art Histories. Cambridge/Mass.: MIT-Press.
↑  [45] cf. Grau, Oliver. Introduction. In MediaArtHistories, edited by Oliver Grau, 1-14. Cambridge: MIT Press, 2005.