Attali, Jacques. ‘Noise and Politics’. Audio Culture: Readings in Modern Music, Continuum, 2016, pp. 7–9, https://contentstore.cla.co.uk/secure/link?id=d91462b1-36a8-e711-80cb-005056af4099.
---. ‘The Art of Noises: Futurist Manifesto’. Audio Culture: Readings in Modern Music, Bloomsbury Publishing, 2016, pp. 10–14, https://contentstore.cla.co.uk/secure/link?id=a772defd-39a8-e711-80cb-005056af4099.
Balsom, Erika. Exhibiting Cinema in Contemporary Art. Amsterdam University Press, 2013.
Basilico, Stefano, et al. Cut: Film as Found Object in Contemporary Video. Milwaukee Art Museum, 2004.
Betancourt, Michael. Glitched Media as Found/Transformed Footage: Post-Digitality in Takeshi Murata’s Monster Movie. http://foundfootagemagazine.com/eshop/.
Bürger, Peter. Theory of the Avant-Garde. Manchester University Press, 1984.
Carlyle, Angus. On Listening. Uniformbooks, 2013.
Elwes, Catherine. Installation and the Moving Image. Wallflower Press, 2015, http://ebookcentral.proquest.com/lib/warw/detail.action?docID=1922326.
---. Video Art: A Guided Tour. I. B. Tauris, 2005.
Harrison, Charles, and Paul Wood. Art in Theory, 1900-2000: An Anthology of Changing Ideas. New ed, Blackwell, 2003.
Hendy, David. Noise: A Human History of Sound and Listening. Profile Books, 2014.
Hopkins, David. After Modern Art: 1945-2000. Oxford University Press, 2000.
Janet Kraynak. ‘Dependent Participation: Bruce Nauman’s Environments’. Grey Room, no. 10, 2003, pp. 22–45, http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1262635?seq=1#page_scan_tab_contents.
Krauss, Rosalind. ‘Video: The Aesthetics of Narcissism’. October, vol. 1, Spring 1976, https://doi.org/10.2307/778507.
Laderman, David, and Laurel Westrup, editors. Sampling Media. Oxford University Press; 1 edition, 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.
Meigh-Andrews, Chris. A History of Video Art: The Development of Form and Function. Berg, 2006.
Navas, Eduardo. ‘’Regressive and Reflexive Mashups in Sampling Culture’. Mashup Cultures, Springer-Verlag, 2010, http://remixtheory.net/?p=444.
---. Remix Theory: The Aesthetics of Sampling. Springer, 2012.
O’Pray, Michael. Avant-Garde Film: Forms, Themes and Passions. Wallflower, 2003.
Perry, Ted. Masterpieces of Modernist Cinema. Indiana University Press, 2006.
Pinch, T. J., and Karin Bijsterveld, editors. The Oxford Handbook of Sound Studies. Oxford University Press, 2013.
Pruitt, J. ‘Ch.6: Meshes of the Afternoon: A Model of Visual Thinking’. Masterpieces of Modernist Cinema, Indiana University Press, 2006, pp. 138–58, https://contentstore.cla.co.uk/secure/link?id=11d9d3e1-2050-e611-80c6-005056af4099.
Rees, A. L. A History of Experimental Film and Video: From the Canonical Avant-Garde to Contemporary British Practice. 2nd ed, Palgrave Macmillan, 2011.
---. Expanded Cinema: Art, Performance, Film. Tate Gallery Pub, 2011.
Roberts, J. ‘Ch.11: Warhol’s “Factory”: Painting and the Mass-Cultural Spectator’. Varieties of Modernism, 1st ed, vol. Art of the 20th century, Yale University Press in association with the Open University, 2004, pp. 338–61, https://contentstore.cla.co.uk/secure/link?id=2e71f863-c643-e611-80bd-0cc47a6bddeb.
Rogers, Holly. Sounding the Gallery: Video and the Rise of Art-Music. Oxford University Press, 2013.
Rogers, Holly, and Jeremy Barham, editors. The Music and Sound of Experimental Film. Oxford University Press, 2017.
Smith, Paul, and Carolyn Wilde. A Companion to Art Theory. Blackwell, 2002, http://0-onlinelibrary.Wiley.com.pugwash.lib.warwick.ac.uk/book/10.1002/9780470998434.
---. A Companion to Art Theory. Blackwell, 2002, https://go.exlibris.link/J9gcBHFg.
---. A Companion to Art Theory. Blackwell, 2002, https://go.exlibris.link/J9gcBHFg.
Sterne, Jonathan. The Sound Studies Reader. Routledge, 2012.
Suderburg, Erika. Space, Site, Intervention: Situating Installation Art. University of Minnesota Press, 2000.
Turvey, Malcolm. The Filming of Modern Life: European Avant-Garde Film of the 1920s. The MIT Press, 2011.
Vernallis, Carol. ‘Beyoncé’s Lemonade, Avant-Garde Aesthetics, and Music Video: “The Past and the Future Merge to Meet Us Here”’. Film Criticism, vol. 40, no. 3, https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/1832287776/97984FE6277948D6PQ/1?accountid=14888.
Vernallis, Carol. Unruly Media: YouTube, Music Video, and the New Digital Cinema. Oxford University Press, 2013.
