Bok
Bürger, Peter (overs. Eivind Tj?nneland): Om avantgarden, Oslo: Cappelen, 1998. Eventuelt tysk originalversjon, Theorie der Avantgarde (Frankfurt a. M.: Suhrkamp, 1982) eller engelsk oversettelse, Theory of the Avant-Garde. Overs. Michael Shaw (Minneapolis: University of Minnesota Press, 1984).
Kompendiet 'EST2000 Avantgardens estetikk: kunst, sansning, teknologi
Adorno, Theodor W. ”N?r vi ser tilbake p? surrealismen”. Notar til litteraturen. Overs. Arild Linneberg. Oslo: Det Norske Samlaget, 1992. S. 66-70.
Bataille, Georges. ”The Eye”; ”Formless”. Vision of Excess. Overs. Allan Stoekl. Minnapolis: University of Minnesota Press, 1985. S. 17-19; 31.
Benjamin, Walter. ”Kunstverket i reproduksjonsalderen”. Kunstverket i reproduksjonsalderen. Overs. Torodd Karlsten. Oslo: Gyldendal, 1991. S. 35–64.
Bois, Yve-Alain & Rosalind Krauss. “Moteur!”. Formless: A User’s Guide. New York: Zone Books, 1997. S. 133-138.
Breton, Andre: ”F?rste surrealistiske manifest”; ”Annet surrealistiske manifest”. Surrealisme. En antologi. Red. Kjartan Fl?gstad m.fl.. Oslo: Gyldendal, 1980. S. 95-117; 216-220.
Gunning, Tom. “The Cinema of Attractions. Early Film, Its Spectator and the Avantgarde.” Early Cinema: Space, Frame, Narrative. Red. Thomas Elsaesser. London: BFI Publisher, 1990. S. 56-62.
Jay, Martin. “The Disentchantment of the Eye. Bataille and the Surrealists”. Martin Jay, Downcast Eyes. The Denigration of Vision on Twentieth-Century French Thought. Berkeley: University of California Press, 1994. S. 211-262.
Prests?ter, Ellef & Karin Nyg?rd (red.). Manifest : rett kopi dokumenterer fremtiden. Oslo: Rett kopi, 2007. Utdrag: Marinetti: “Futurismens grunnlag og manifest”; Umberto Boccioni m. fl.: “Futuristisk maleri. Teknisk manifest”; Majakovskij m.fl.: “Et slag i ansiktet p? den offentlige smak”; “Marinetti m.fl.: “Futuristisk film”; Tzara: “Manifest Dada 1918”. S. 6-11; 30-32; 40-43.
Artikler tilgjengelig p? nett:
Eisenstein, Sergei. “Montage of Attractions: For ‘Enough Stupidity in Every Wiseman”. Overs. Daniel Gerould. The Drama Review: TDR, vol. 18, nr. 1. MIT Press, 1974. S. 77-85.
Foster, Hal. “What's Neo about the Neo-Avant-Garde?”.October, vol. 70. MIT Press, 1994. S. 5-32.
Kittler, Friedrich. “Gramophone, Film, Typewriter”. Overs. Dorothea von Mücke. October, vol. 41. MIT Press, 1987. S. 101-118.
Krauss, Rosalind. “The Originality of the Avant-Garde: A Postmodernist Repetition”. October, vol. 18. MIT Press, 1981. S. 47-66.
Krauss, Rosalind. “The Photographic Conditions of Surrealism”. October, vol. 19. MIT Press, 1981. S. 3-34.
Perloff, Marjorie. "Violence and Precision: The Manifesto as Art Form”.Chicago Review, vol. 34, nr. 2. Chicago Review, 1984. S. 65-101.
Virilio, Paul. “Dromoscopy, or The Ecstasy of Enormities”. Overs. Edward R. O'Neil. Ohio University School of Film, 1999. [fra Wide Angle, vol. 20, nr. 3, 1998. S. 11-22.].
Artikkelen finnes her: www.pitzer.edu/academics/faculty/lerner/wide_angle/20_3/203virilio.htm#FOOT1