1
Smith P, Wilde C. A companion to art theory. Oxford: Blackwell 2002.
2
Smith P, Wilde C. A companion to art theory. Oxford: Blackwell 2002.
3
Smith P, Wilde C. A companion to art theory. Oxford: Blackwell 2002.
4
Attali J. Noise and politics. Audio Culture: Readings in Modern Music. London: Continuum 2016:7–9.
5
Attali J. The Art of Noises: Futurist Manifesto. Audio Culture: Readings in Modern Music. Bloomsbury Publishing 2016:10–4.
6
Carlyle A. On listening. Axminster, Devon: Uniformbooks 2013.
7
Hendy D. Noise: a human history of sound and listening. London: Profile Books 2014.
8
Sterne J. The sound studies reader. New York: Routledge 2012.
9
Pinch TJ, Bijsterveld K, editors. The Oxford handbook of sound studies. New York: Oxford University Press 2013.
10
Basilico S, Lessig L, Yeo R, et al. Cut: film as found object in contemporary video. Milwaukee, WI: Milwaukee Art Museum 2004.
11
Navas E. ’Regressive and Reflexive Mashups in Sampling Culture. Mashup Cultures. 2010. http://remixtheory.net/?p=444
12
Laderman D, Westrup L, editors. Sampling Media. 3 AD. 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
13
Navas E. Remix theory: the aesthetics of sampling. Wien: Springer 2012.
14
Suderburg E. Space, site, intervention: situating installation art. Minneapolis: University of Minnesota Press 2000.
15
Balsom E. Exhibiting cinema in contemporary art. Amsterdam: Amsterdam University Press 2013.
16
Elwes C. Installation and the moving image. London: Wallflower Press 2015.
17
Krauss R. Video: The Aesthetics of Narcissism. October. 1976;1. doi: 10.2307/778507
18
Janet Kraynak. Dependent Participation: Bruce Nauman’s Environments. Grey Room. 2003;22–45.
19
Betancourt M. Glitched Media as Found/Transformed Footage: Post-Digitality in Takeshi Murata’s Monster Movie. http://foundfootagemagazine.com/eshop/
20
Vernallis, Carol. Beyoncé’s Lemonade, Avant-Garde Aesthetics, and Music Video: ‘The Past and the Future Merge to Meet Us Here’. Film Criticism. ;40.
21
Rogers H, Barham J, editors. The music and sound of experimental film. New York, NY: Oxford University Press 2017.
22
Vernallis C. Unruly media: YouTube, music video, and the new digital cinema. New York: Oxford University Press 2013.
23
Rogers H. Sounding the gallery: video and the rise of art-music. New York: Oxford University Press 2013.
24
Hopkins D. After Modern Art: 1945-2000. Oxford: Oxford University Press 2000.
25
Turvey M. The filming of modern life: European avant-garde film of the 1920s. Cambridge, Massachusetts: The MIT Press 2011.
26
O’Pray M. Avant-garde Film: Forms, Themes and Passions. London: Wallflower 2003.
27
Meigh-Andrews C. A History of Video Art: the Development of Form and Function. Oxford: Berg 2006.
28
Elwes C. Video Art: a Guided Tour. London: I. B. Tauris 2005.
29
Bürger P. Theory of the Avant-Garde. Manchester: Manchester University Press 1984.
30
Perry T. Masterpieces of modernist cinema. Bloomington: Indiana University Press 2006.
31
Harrison C, Wood P. Art in Theory, 1900-2000: an Anthology of Changing Ideas. New ed. Malden, Mass: Blackwell 2003.
32
Rees AL. Expanded Cinema: Art, Performance, Film. London: Tate Gallery Pub 2011.
33
Rees AL. A History of Experimental Film and Video: from the canonical avant-garde to contemporary British practice. 2nd ed. [Houndmills, Basingstoke, Hampshire]: Palgrave Macmillan 2011.
34
Roberts J. Ch.11: Warhol’s ‘Factory’: painting and the mass-cultural spectator. Varieties of modernism. New Haven: Yale University Press in association with the Open University 2004:338–61.
35
Pruitt J. Ch.6: Meshes of the Afternoon: A Model of Visual Thinking. Masterpieces of modernist cinema. Bloomington: Indiana University Press 2006:138–58.