"Barad, Karen. 2007. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press. Benjamin, Walter. 1931\/2015. “A Small History of Photography.” In On Photography, by Walter Benjamin, edited by Esther Leslie. London: Reaktion Books. 53-106.Benjamin, Walter. 1931\/1996. “Little History of Photography.” In Walter Benjamin: Selected Writings, Volume 2: 1927-1934. Edited by Michael W. Jennings, Howard Eiland and Gary Smith. Cambridge MA: Harvard University Press. 507-530.Benjamin, Walter. 2002.“The Artwork in the Age of Its Technological Reproducibility (2nd Version).” In Walter Benjamin: Selected Writings, Volume 3: 1935-1938. Edited by Howard Eiland and Michael W. Jennings. Cambridge MA: Harvard University Press. 101-133.Benjamin, Walter. 1920\/1996 “The Concept of Criticism in German Romanticism”. In Walter Benjamin: Selected Writings, Volume 1: 1913-1926. Edited by Marcus Bullock and Michael W. Jennings. Cambridge MA: Harvard University Press, 116-200.Benjamin, Walter. 2003. “On Some Motifs in Baudelaire”. Walter Benjamin: Selected Writings, Volume 4 1938-1940. Edited by Howard Eiland and Michael W. Jennings. Cambridge MA: Harvard University Press, 313-355.Benjamin, Walter. 1973. “Some Motifs in Baudelaire”. In Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. New Left Books: London.Berger, John. 1972. Ways of Seeing. London: Penguin.Brevern, Jan von. “Resemblance After Photography.” Representations 123 (1) (Summer 2013), 1-22.Bruggeman, Heinz. 2007. Walter Benjamin über Spiel, Farbe und Phantasie, Würzburg: Könighausen und Neumann.Buse, Peter. 2016. The Camera Does the Rest: How Polaroid Changed Photography. Chicago: University of Chicago Press.Doane, Mary Ann. 1980. “Misrecognition and ldentity”. In Cine-Tracts, 3 (3) (Fall): 25-31.Elsaesser, Thomas. 2009. “Between Erlebnis and Erfahrung: Cinema Experience with Benjamin.” Paragraph 32 (3): 292-312.Fenves, Peter. Foreword to Jean-Luc Nancy The Experience of Freedom. Stanford: Stanford University Press.Flusser, Vilém. 1985\/2011. Into the Universe of Technical Images. Minneapolis: University of Minnesota Press.Flusser, Vilém, Towards A Philosophy of Photography. London: Reaktion, 2013.di Folco, John. “Hill and Adamson in Germany”. In History of Photography, 25:2 (2001): 213-214Frank, Manfred. The Philosophical Foundations of Early German Romanticism, Albany, NY: SUNY Press, 2012. von Goethe, Johann Wolfgang 1927\/1985 “Über Kunst und Altertum” in Ästhetische schriften 1824-1832: Über Kunst und Altertum, Deutscher Klassiker Verlag.Hansen, Miriam. 1987. “Benjamin, Cinema and Experience: ‘The Blue Flower in the Land of Technology’”. In New German Critique, 40, Special Issue on Weimar Film Theory (Winter, 1987), 179-224.Hansen, Miriam Bratu. 2008 “Benjamin’s Aura”. In Critical Inquiry 34 (Winter).Haraway, Donna. 1992\/2004. “The Promises of Monsters: A Regenerative Politics for Inappropriate\/d Others.” In The Haraway Reader. London: Routledge. 63-124.Harding, Colin. 2011 “Introduction.” In William Henry Fox Talbot, The Pencil of Nature. Chicago: University of Chicago Press.Henning, Michelle. 2018. Photography: The Unfettered Image. London: Routledge.Kant, Immanuel, 1787\/ 1929. Critique of Pure Reason (Second edition). Translated by Norman Kemp Smith. London: Macmillan and co.Lawday, David. Napoleon’s Master: A Life of Prince Talleyrand, Random House 2011Lucretius Carus, Titus. 2002. De Rerum Natura Book 2. Translated by W.H.D. Rouse ; revised by Martin Ferguson Smith. Loeb Classical Library. Cambridge MA: Harvard University Press.Marks, Laura. 2010. Enfoldment and infinity: An Islamic Genealogy of New Media Art. Cambridge, MA: The MIT Press.McCole, John. 1993. Walter Benjamin and the Antimonies of Tradition. Cornell University Press. Nancy, Jean-Luc. 1993. The Experience of Freedom. Stanford: Stanford University Press.Novalis, 1997. Philosophical Writings. Edited by Margaret Mahony Stoljar. Albany, NY: SUNY Press.Orlik, Emil. 1924. “Über Photographie”. In Kleine Aufsätze, Berlin: Propylaen Verlag. Prandi, Julie D. 1993. “Dare to be Happy!”: A Study of Goethe’s Ethics. Maryland: University Press of America.Rivière, Joan. 1929\/1989. “Womanliness as Masquerade”. In Formations of Fantasy. Edited by Victor Burgin, James Donald and Cora Kaplan. London: Routledge, 1989.Tresch, John. 2012. The Romantic Machine: Utopian Science and Technology after Napoleon. Chicago: The University of Chicago Press.Schaaf, Larry. 2003. “Science Art and Talent”. In History of Photography, 27(1): 13-24.Seyhan, Azade. “What is Romanticism, and where did it come from?”. In The Cambridge Companion to German Romanticism. Edited by Nicholas Saul. Cambridge: Cambridge University Press, 2009: 1-20.Skaife, Thomas. (1860) Instantaneous Photography. London: Henry S. Richardson.Sontag, Susan. 1977. On Photography. London: Penguin Books.Stallybrass, Peter. 1998. “Marx’s Coat”. In Border Fetishisms: Material Objects in Unstable Spaces. Edited by Patricia Spyer. London: Routledge.Stark, Luke, and Kate Crawford. 2015. “The conservatism of emoji: Work, affect, and communication”. In Social Media+ Society 1 (2).Steiner, Uwe. 2012. Walter Benjamin: An Introduction to his Work and Thought. Chicago: University of Chicago Press.Stevenson, Sara. 2004. “Shadowing Art”. In History of Photography, 28:3, 226-236,Stoljar, Margaret Mahony. 1997. “Introduction”. In Novalis, Philosophical Writings. Edited by Margaret Mahony Stoljar. Albany, NY: SUNY Press.Wolin, Richard. 1982. “Benjamin’s Materialist Theory of Experience”. In Theory and Society, 11 (1): 17-42.",
Lists
Lists
ORCID: https://orcid.org/0000-0003-3798-7227
(2018)
Photography Sets The Image Free: Inaugural Professorial Lecture.
In: Public Lecture Series, University of West London, 7 March 2018, London, UK.
(Unpublished)
