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.
Terry Castle, “Phantasmagoria: Spectral Technology and the Metaphorics of Modern Reverie,” Critical Inquiry 15, no. 1 (1988): pp. 26-61.
Lorraine Daston & Peter Galison, Objectivity (Zone Books, 2010), 115-190.
Noam Elcott, Artificial Darkness: An Obscure History of Modern Art and Media (Chicago: University of Chicago Press, 2016), pp. 77-133.
*Erkki Huhtamo & Jussi Parikka, “Introduction,” in Media Archaeology: Approaches, Applications, Implications (Los Angeles: University of California Press, 2011), s 1-21.
Friedrich Kittler, Optical Media (Cambridge: Polity, 2010), 70-88.
Friedrich Kittler, Gramophone, Film, Typewriter (Stanford UP, 1999), 115-182.
Lyle Massey, Picturing Space, Displacing Bodies: Anamorphosis in Early Modern Theories of Perspective (University Park: Pennsylvania State University Press, 2007), pp. 37-69.
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.
Sean Silver, The Mind Is a Collection: Case Studies in Eighteenth-Century Thought (University of Pennsylvania Press, 2015), 84-97.
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, “The Magic of the Magic Lantern: On Analogical Demonstration and the Visualization of the Invisible,” The British Journal for the History of Science 38:2 (2005).