Joana Ebenstein, “Ode to an Anatomical Venus,” Women’s Studies Quarterly, vol. 40, no.3/4 (Fall/Winter 2012): 346-352
David Mark Mitchell, “Vividness without Vitality: The Specola Venus’s Intersecting Afterlives,” Journal 18, no. 3 http://www.journal18.org/issue3/vividness-without-vitality-the-specola-venuss-intersecting-afterlives/
Georges Didi-Huberman, “Wax Flesh, Vicious Circles,” in Encyclopedia Anatomica: a complete collection of anatomical waxes (New York: Taschen, 1999), 64-74
Martin Warnke, “ ?God Is in the Details,? or The Filing Box Answers,” in Grau, Oliver and Veigl, Thomas eds, Imagery in the twenty-first century (Cambridge, Mass.: Cambridge, 2011), 339-348.
Christopher D. Johnson, Memory, Metaphor, and Aby Warburg's Atlas of Images (Cornell University Press: Ithaca, New York), 2012, 8-42
Sergei Eisenstein, Eisenstein on Disney (Calcutta: Seagull Books, 1986), pp. 7-40
Chet A Van Duzer, “Hic sunt dracones: the geography and cartography of monsters,” in The Ashgate research companion to monsters and the monstrous, ed A. S. Mittman og P. J. Dendle (New York: Farnham, 2012), pp. 387-437.
Bernard Comment, The Painted Panorama (New York: Harry N. Abrams, 2000), pp. 7-19 & 77-114.
David Leatherbarrow, “Introduction: Architecture and Its Horizons,” Uncommon Ground: Architecture, Technology, and Topography (Cambridge, Mass.: The MIT Press, 2000) 2-24.
excerpt from Antony Moulis, “Le Corbusier’s Horizon,” Architectural Theory Review, vol. 8, no. 2 (2003): 134-142.
Elizabeth Diller and Ricardo Scofidio, Flesh: Architectural Probes (Princeton: Priinceton University Press, 1998), 223-249
James Elkins, “An Introduction to the Visual Studies That is Not in this Book,” Theorizing Visual Studies: Writing Through the Discipline (New York: Routledge, 2013), 3-15.
Excerpts from “Questionnaire on Visual Culture” in October 77 (Summer 1996): 25-70.
Vera Beyer, ?How to Frame the Vera Icon?“, Framing Borders in Literature and Other Media, ed. Werner Wolf, Amsterdam (Rodopi: Amsterdam, New York, 2006) pp. 69-91.
Per Sigurd Styve, “Sub Luce Videantur: The Time of Light in Early Renaissance Painting,” ed. Bjelland Kartzow et al. Bodies, Borders, Believer. Ancient Texts and Present Conversations (Pickwick Publications: Origen, 2015), pp. 68 – 93.
Lasse Hodne, “Painting and Pictorial Conception: Preconditions for the Development of Renaissance Perspective”, ACTA ad archaeologiam et artium historiam pertinentia, 1999, pp. 147-200. (DniR, open access).
Anne Friedberg, The Virtual Window: From Alberti to Microsoft (Cambridge, MA: MIT Press, 2006), 192-239.
Ed Finn, ”House of Cards: The Aesthetics of Absraction” What Alogorithms Want: Imagination in the Age of Computing (2017), 87-112.
John Cheney-Lippold, ”Subjectivity: Who do they think you are?” We Are Data: Algorithms and The Making of Our Digital Selves (New York: New York University Press, 2017), 181-195.
Jurgis Baltrusaitis, Anamorphic Art (New York: Harry N, Abrams, 1977), 91-114.
Gerhard Wolf , "The Origins of Painting," Res: Anthropology and aesthetics , no. 36 (1999): 60-78. (tilgjengelig p? JSTOR)
Alexander Nagel and Christopher S. Wood, “Toward a New Model of Renaissance Anachronism,” The Art Bulletin, No. 3 (2005): 403-415. (tilgjengelig p? JSTOR)