Bibliografía especializada sobre arte, ciencia y tecnología
Por Pau Alsina
 |
:: Academy of Media Arts. Babel - The Myth of Human Understanding in Art, Science and Technology. (1992: Cologne):: ASCOTT, Roy (ed.) (1997). Consciousness Reframed - Art and Counsciousness in the Post-biological Era. Newport: UWNC.:: ASCOTT, Roy (ed.) (1999). Reframing Consciousness. Exeter, UK: Intellect.:: ASCOTT, Roy (2003). Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness. Berkeley: University of California Press.:: BREA, José Luís (2002). La era postmedia. Acción comunicativa, prácticas (post)arísticas y dispositivos neomediales. Salamanca: Editorial Centro de Arte de Salamanca.:: CASACUBERTA, David (2003). Creación Colectiva. Barcelona: Gedisa.:: CILLERUELO, Lourdes (2001). Arte de Internet. Génesis y definición de un nuevo soporte artístico (1995-2000). Bilbao: UPV.:: COUCHOT, Edmond (1998). La technologie dans l'art, De la photographie à la réalité virtuelle. Paris: Jacqueline Chambon.:: COYNE, Richard (1999). Technoromanticism. Digital Narrative, Holism, and the Romance of the Real. Cambridge: MIT Press.:: CRITICAL ART ENSEMBLE (2001). Digital Resistence. New York: Automedia.:: CRITICAL ART ENSEMBLE (1994). Electronic Civil Disobedience. New York: Automedia.:: CRITICAL ART ENSEMBLE (1998). Flesh Machine, Cyborgs, Designer Babies, and New Eugenic Consciousness. New York: Automedia.:: CRITICAL ART ENSEMBLE (2002). Molecular Invasión. New York: Automedia.:: CUBITT, Sean (1998). Digital Aesthetics. London: Sage.:: DAVIS, Douglas (1973). Art and the Future, A History/Prophecy of the Collaboration between Science, Technology and Art. New York: Praeger.:: DINKLA, Söke (1997). Pioniere interaktiver Kunst von 1970 bis heute. Karlsruhe: ZKM - Cantz Verlag.:: DRUCKREY, Timothy (ed.) (2001). Ars Electronica: Facing the Future: A Survey of Two Decades (Electronic Culture: History, Theory and Practice). Cambridge: MIT Press.:: DRUCKREY, Timothy (1996). Electronic Culture, Technology and Visual Representation. Denville, New Jersey, USA: Aperture.:: DRUCKREY, Timothy; ARS ELECTRONICA (ed.) (1999). Ars Electronica: Facing the Future - A Survey of Two Decades. Cambridge: MIT Press.:: DRUCKREY, Timothy; BENDER, Gretchen (1994). Culture on the Brink, Ideologies of Technology. Seattle: Bay Press.:: EMMER, Michele (1993). The Visual Mind. Art and Mathematics. Cambridge: MIT Press.:: FLAKE, Gary William (1999). The Computational Beauty of Nature. Cambridge: MIT Press.:: FLUSSER, Vilém (1996). Pour une philosophie de la photographie. Saulxures: Circé.:: GIANNETTI, Claudia (ed.) (1998). Ars Telematica. Barcelona: l'Angelot.:: GIANNETTI, Claudia (ed.) (1999). Arte Facto & Ciencia. Madrid: Fundación Telefónica.:: GIANNETTI, Claudia (2002). Estética Digital. Barcelona: l'Angelot.:: GIANNETTI, Claudia (ed.) (1995). Media Culture. Barcelona: l'Angelot.:: GOLDBERG, Ken (2000). The Robot in the Garden. Telerobotics and Telepistemology in the Age of the Internet. Cambridge: MIT Press.:: GOODMAN, Cynthia (1987). Digital Visions, Computers and Art. New York: Harry N. Abrams.:: GRAU, Oliver (2003). Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.:: HARRIS, Craig (1999). The XEROX PARC Artist-in-Residence Program. Cambridge: MIT Press. (Leonardo Book Series).:: HAYLES, Katherine (1999). How we Became Posthuman. Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: The University of Chicago Press.:: HAYWARD, Philip (1990). Culture Technology and Creativity in the Late Twentieth Century. London: John Libbey.:: HERSHMAN LEESON, Lynn (1996). Clicking In, Hot Links to Digital Culture. Seattle: Bay Press.:: HOLTZMAN, Steven (1997). Digital Mosaics. The aesthetics of Cyberspace. New York: Simon & Schuster.:: KEPES, Gyorgy (1995). Language of Vision. New York: Dover Publications.:: KISSELEVA, Olga (1998). Cyberart, un essai sur l'art du dialogue. Paris: L'Harmattan.:: KRUEGER, Myron (1991). Artificial Reality II. Reading Massachussetts: Addison-Wesley.:: LANSDOWN, John; EARNSHAW, Rae (1989) Computers in Art, Design and Animation. Berlin: Springler-Verlag.:: LIU, Catherine (2000). Copying Machines. Taking Notes for the Automaton. Minneapolis: University of Minnesota Press.:: LOVEJOY, Margot (1997). Postmodern Currents, Art and Artists in the Age of Electronic Media. New Jersey: Prentice Hall, Upper Saddle River.:: LOVINK, Geert (2003). Uncanny Networks: Dialogues with the Virtual Intelligentsia. Cambridge: MIT Press.:: LOVINK, Geert (2003). Dark Fiber: Tracking Critical Internet Cultura. Cambridge: MIT Press.:: LUNENFELD, Peter (1999). The Digital Dialectic: new Essays on New Media. Cambridge: MIT Press. (Leonardo Book Series).:: LUNENFELD, Peter (2001). Snap to Grid. Cambridge: MIT Press. (Leonardo Book Series).:: MAEDA, John (2001). Design by Numbers. Cambridge: MIT Press.:: MAEDA, John (2000). Maeda @ Media. London: Thames & Hudson.:: MANOVICH, Lev (2001). The Language of New Media. Cambridge: MIT Press.:: MOHOLY-NAGY, Laszlo (1947). Vision in Motion. Chicago: Paul Theobald.:: MOLES, Abraham (1990). Art et ordinateur. Paris: Blusson.:: MORSE, Margaret (1998). Virtualities. Television, Media Art and Cyberculture. Bloomington: Indiana University Press.:: MOSER, Mary Anne; MACLEOD Douglas (1996). Immersed in Technology, Art and Virtual Environments. Cambridge: MIT Press. (Leonardo Book Series).:: PENNY, Simon (1995). Critical Issues in Electronic Media. New York: SUNY.:: PACKER, Randall; JORDAN, Ken (ed.) (2002). Multimedia: from Wagner to Virtual Reality. New York: WW Norton.:: POISSANT, Louise (1997). Dictionnaires des Arts Médiatiques. Montréal: Presses de l'Université du Québec. (Collection Esthétique).:: POISSANT, Louise (1995). Esthétique des Arts Médiatiques. Montréal: Presses de l'Université du Québec. (Collection Esthétique). Tome 1 et 2.:: RUSH, Michael (1999). New Media in Late 20th-Century Art. London: Thames & Hudson.:: SAUVAGEOT, Jacques; BLIN, Odile (1997). Images numériques. L'aventure du regard. Rennes: Ecole régionale des Beaux-Arts de Rennes.:: SOMMERER, Christa; MIGNONNEAU, Laurent (1998). Art @ Science. Wien: Springer.:: SPALTER, Anne Morgan (1998). The Computer in the Visual Arts. Reading Massachussetts: Addison Wesley.:: STOCKER, Gerfried; SCHOEPF, Christine (eds.) (1996). Ars Electronica 96- MEMESIS: The Future of Evolution. Vienna : Springer-Verlag.:: STOCKER, Gerfried; SCHOEPF, Christine (eds.) (1997). Ars Electronica 97: Fleshfactor: Informationsmaschine Mensch.Vienna: Springer-Verlag.:: STOCKER, Gerfried; SCHOEPF, Christine (eds.) (1998). Ars Electronica 98: INFOWAR - Information, Power, War / Information, Macht, Krieg. Vienna: Springer-Verlag.:: STOCKER, Gerfried; SCHOEPF, Christine (eds.) (1999). Ars Elctronica 1999 - LifeScience. Vienna: Springer Verlag.:: STOCKER, Gerfried; SCHOEPF, Christine (eds.) ( 2000). Ars Electronica 2000 - Next Sex: Sex in the Age of Its Procreative Superfluousness/Sex im Zeitalter seiner reproduktionstechnischen Überflussigkeit. Vienna: Springer Verlag.:: STOCKER, Gerfried; SCHOEPF, Christine (eds.) ( 2001). TAKEOVER, wer macht die Kunst von morgen - who's doing the art of tomorrow. Vienna: Springer Verlag.:: STOCKER, Gerfried; SCHOEPF, Christine (eds.) (2002). UNPLUGGED, Art as the Scene of Global Conflicts. Stuttgart: Hatje Cantz.:: WARDRIP-FRUIN, Noah; MONTFORT, Nick (ed.) (2003). The New Media Reader. Cambridge: MIT Press.:: WEIBEL, Peter (ed.) (2001). Net Condition: Art and Global Media (Electronic Culture). Cambridge: MIT Press.:: WEIBEL, Peter; LATOUR, Bruno (ed.) (2002). ICONOCLASH Beyond the Image Wars in Science, Religion and Art. Cambridge: MIT Pess.:: WEIBEL, Peter; LEVIN,Thomas Y.; FROHNE, Ursula (ed.) (2002). CTRL [SPACE] Rhetorics of Surveillance from Bentham to Big Brother. Cambridge: MIT Press.:: WEIBEL, Peter; SHAW, Jeffrey (ed.) (2003). Future Cinema: The Cinematic Imaginary After Film (Electronic Culture Series). Cambridge: MIT Press.:: WILSON, Stephen (2001). Information Arts: Intersections of Art, Science, and Technology. Cambridge: MIT Press.:: YOUNGBLOOD, Gene (1970). Expanded Cinema. New York: Dutton. |
Núm. 6 (2006)
Instituciones colaboradoras:
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
Los textos publicados en esta revista están -si no se indica lo contrario- bajo una licencia Reconocimiento-NoComercial-SinObraDerivada 2.5 España de Creative Commons. Puede copiarlos, distribuirlos y comunicarlos públicamente siempre que cite su autor y la revista que los publica (Artnodes), no los utilice para fines comerciales y no haga con ellos obra derivada. La licencia completa se puede consultar en http://creativecommons.org/licenses/by-nc-nd/2.5/es/deed.es.
