[1]
Attali, J. 2016. Noise and politics. Audio Culture: Readings in Modern Music. Continuum. 7–9.
[2]
Attali, J. 2016. The Art of Noises: Futurist Manifesto. Audio Culture: Readings in Modern Music. Bloomsbury Publishing. 10–14.
[3]
Balsom, E. 2013. Exhibiting cinema in contemporary art. Amsterdam University Press.
[4]
Basilico, S. et al. 2004. Cut: film as found object in contemporary video. Milwaukee Art Museum.
[5]
Bürger, P. 1984. Theory of the Avant-Garde. Manchester University Press.
[6]
Carlyle, A. 2013. On listening. Uniformbooks.
[7]
Elwes, C. 2015. Installation and the moving image. Wallflower Press.
[8]
Elwes, C. 2005. Video Art: a Guided Tour. I. B. Tauris.
[9]
Glitched Media as Found/Transformed Footage: Post-Digitality in Takeshi Murata’s Monster Movie: http://foundfootagemagazine.com/eshop/.
[10]
Harrison, C. and Wood, P. 2003. Art in Theory, 1900-2000: an Anthology of Changing Ideas. Blackwell.
[11]
Hendy, D. 2014. Noise: a human history of sound and listening. Profile Books.
[12]
Hopkins, D. 2000. After Modern Art: 1945-2000. Oxford University Press.
[13]
Janet Kraynak 2003. Dependent Participation: Bruce Nauman’s Environments. Grey Room. 10 (2003), 22–45.
[14]
Krauss, R. 1976. Video: The Aesthetics of Narcissism. October. 1, (Spring 1976). DOI:https://doi.org/10.2307/778507.
[15]
Meigh-Andrews, C. 2006. A History of Video Art: the Development of Form and Function. Berg.
[16]
Navas, E. 2012. Remix theory: the aesthetics of sampling. Springer.
[17]
O’Pray, M. 2003. Avant-garde Film: Forms, Themes and Passions. Wallflower.
[18]
Perry, T. 2006. Masterpieces of modernist cinema. Indiana University Press.
[19]
Pinch, T.J. and Bijsterveld, K. eds. 2013. The Oxford handbook of sound studies. Oxford University Press.
[20]
Pruitt, J. 2006. Ch.6: Meshes of the Afternoon: A Model of Visual Thinking. Masterpieces of modernist cinema. Indiana University Press. 138–158.
[21]
Rees, A.L. 2011. A History of Experimental Film and Video: from the canonical avant-garde to contemporary British practice. Palgrave Macmillan.
[22]
Rees, A.L. 2011. Expanded Cinema: Art, Performance, Film. Tate Gallery Pub.
[23]
’Regressive and Reflexive Mashups in Sampling Culture: 2010. http://remixtheory.net/?p=444.
[24]
Roberts, J. 2004. Ch.11: Warhol’s ‘Factory’: painting and the mass-cultural spectator. Varieties of modernism. Yale University Press in association with the Open University. 338–361.
[25]
Rogers, H. 2013. Sounding the gallery: video and the rise of art-music. Oxford University Press.
[26]
Rogers, H. and Barham, J. eds. 2017. The music and sound of experimental film. Oxford University Press.
[27]
Sampling Media: 3AD. https://www.amazon.co.uk/Sampling-Media-David-Laderman-ebook/dp/B00JE6T3AO/ref=sr_1_1?ie=UTF8&qid=1505126225&sr=8-1&keywords=Sampling+Media+laderman.
[28]
Smith, P. and Wilde, C. 2002. A companion to art theory. Blackwell.
[29]
Smith, P. and Wilde, C. 2002. A companion to art theory. Blackwell.
[30]
Smith, P. and Wilde, C. 2002. A companion to art theory. Blackwell.
[31]
Sterne, J. 2012. The sound studies reader. Routledge.
[32]
Suderburg, E. 2000. Space, site, intervention: situating installation art. University of Minnesota Press.
[33]
Turvey, M. 2011. The filming of modern life: European avant-garde film of the 1920s. The MIT Press.
[34]
Vernallis, C. 2013. Unruly media: YouTube, music video, and the new digital cinema. Oxford University Press.
[35]
Vernallis, Carol Beyoncé’s Lemonade, Avant-Garde Aesthetics, and Music Video: ‘The Past and the Future Merge to Meet Us Here’. Film Criticism. 40, 3.
