Literature available in a compendium from Akademika: is marked *:
*Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century (Chicago: The University of Chicago Press, 1983), pp. 1-25.
*Steve Anderson, Technologies of Vision: The War between Data and Images (Cambridge, MA: MIT Press, 2017), 1-38.
Hans Belting, Florence and Baghdad: Renaissance Art and Arab Science (Cambridge, MA: MIT Press, 2011), pp. 90-128.
*Walter Benjamin, “Little History of Photography,” in The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media (Cambridge, MA: Harvard UP, 2008), pp. 274-298.
*Marta Braun, Picturing Time: The Work of Etienne-Jules Marey (Chicago: University of Chicago Press, 1995), pp. 150-198.
Terry Castle, “Phantasmagoria: Spectral Technology and the Metaphorics of Modern Reverie,” Critical Inquiry 15, no. 1 (1988): pp. 26-61.
*Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, MA: MIT Press, 1990), pp. 25-66.
Noam Elcott, Artificial Darkness: An Obscure History of Modern Art and Media (Chicago: University of Chicago Press, 2016), pp. 77-133.
Jacob Gaboury, “The Random-Access Image: Memory and the History of the Computer Screen.” Grey Room, no. 70 (2018): 24-53.
*Erkki Huhtamo & Jussi Parikka, “Introduction,” in Media Archaeology: Approaches, Applications, Implications (Los Angeles: University of California Press, 2011).
Lyle Massey, Picturing Space, Displacing Bodies: Anamorphosis in Early Modern Theories of Perspective (University Park: Pennsylvania State University Press, 2007), pp. 37-69.
Anson Rabinbach, The Human Motor: Energy, Fatigue, and the Origins of Modernity (Berkeley: University of California Press, 1990), 84-119.
Allan Sekula, “The Body and the Archive,” October 39 (Winter 1986): pp. 3-64.
*Bernhard Siegert, “(Not) In Place: The Grid, or, Cultural Techniques of Ruling Space,” in Cultural Techniques: Grids, Filters, Doors, and Other Articulations of the Real (New York: Fordham University Press, 2015), pp. 97-120.
*Kaja Silverman, The Miracle of Analogy, or, the History of Photography, Part 1 (Stanford: Stanford UP, 2015), pp. 39-65.
Pasi V?liaho, “Shadows of Expectation: Robert Hooke’s Picture Box and the Visual Economy of Projection,” Grey Room 68 (2017): pp. 6-31.
Koen Vermeir, “Athanasius Kircher’s Magical Instruments: An Essay on ‘Science’, ‘Religion’ and Applied Metaphysics,” Studies in History and Philosophy of Science 38 (2007): 363-400.
*Marina Warner, Phantasmagoria: Spirit Visions, Metaphors, and Media into the Twenty-First Century (Oxford: Oxford University Press, 2006) 131-143.