Artificial Culture Bibliography

Aarseth, E. (1999). Aporia and Epiphany in Doom and the Speaking Clock: The Temporarality of Ergodic Art. In Marie-Laure Ryan (Ed.), Cyberspace Textuality: Computer Technology and Literary Theory (pp. 31–41). Bloomington and Indianapolis: Indiana University Press.
Abba, T. (2009). Hybrid Stories: Examining the Future of Transmedia Narrative. Science Fiction Film and Television, 2(1), 59–75. Retrieved from http://muse.jhu.edu/journals/science_fiction_film_and_television/v002/2.1.abba.html
Abbate, J. (1999). Inventing the Internet. Cambridge, Mass: MIT Press.
Abbott, C. (2007). Cyberpunk Cities. Journal of Planning Education and Research, 27(2), 122–131. https://doi.org/10.1177/0739456X07305795
Abbott, S. (2006). Final Frontiers: Computer-Generated Imagery and the Science Fiction Film. Science Fiction Studies, 33(1), 89–108. Retrieved from http://www.jstor.org/stable/4241410
Acland, C. R. (2011). You Haven’t Seen Avatar Yet. Flow TV, 13(8). Retrieved from http://flowtv.org/2011/02/you-havent-seen-avatar/
Adam, A. (1998). Artificial Knowing: Gender and the Thinking Machine. London and New York: Routledge.
Ahrens, J., & Meteling, A. (Eds.). (2010). Comics and the City: Urban Space in Print, Picture and Sequence. New York: Continuum.
Algrant, D. (2002). People I Know. Miramax Films.
Anderson, P. W. S. (n.d.). Alien Vs Predator. Twentieth Century Fox, Brandywine Productions et al.
Asimov, I. (1950). I, Robot. London: Panther.
Auslander, P. (2008). Legally Live: Law, Performance, Memory. In Liveness: Performance in a Mediatized Culture (2nd ed, pp. 128–182). Hoboken: Taylor & Francis.
Badham, J. (1977). Saturday Night Fever. Paramount Pictures and Robert Stigwood Organization (RSO).
Badmington, N. (2003). Theorizing Posthumanism. Cultural Critique, 10–27.
Bainbridge, J. (2010). “I Am New York” - Spider-Man, New York City and the Marvel Universe. In J. Ahrens & A. Meteling (Eds.), Comics and the City: Urban Space in Print, Picture and Sequence (pp. 163–179). New York: Continuum.
Baker, S. (2011). Final Jeopardy: Man vs. Machine and the Quest to Know Everything. New York: Houghton Mifflin Harcourt.
Bakke, G. (2007). Continuum of the Human. Camera Obscura, 22(66), 60–91. https://doi.org/10.1215/02705346-2007-015
Balsamo, A. (1995). Forms of Technological Embodiment: Reading the Body in Contemporary Culture. In Mike Featherstone & Roger Burrows (Eds.), Cyberspace, Cyberbodies, Cyberpunk: Cultures of Technological Embodiment. London: Sage.
Banham, G. (2001). Transcendental Philosophy and Artificial Life. Culture Machine, 3. Retrieved from http://www.culturemachine.net/index.php/cm/article/viewArticle/286
Barker, M. (2011). Playing with Gollum: Uncovering the Cultural Life and Transnational Travels of a Complex Character - Part One. Scope, 19. Retrieved from http://www.scope.nottingham.ac.uk/article.php?issue=19&id=1250
Barker, M. (2011). Playing with Gollum: Uncovering the Cultural Life and Transnational Travels of a Complex Character - Part Two. Scope, 19. Retrieved from http://www.scope.nottingham.ac.uk/article.php?issue=19&id=1251
Barnett, C. P. (2000). Reviving Cyberpunk: (Re)Constructing the Subject and Mapping Cyberspace in the Wachowski Brothers’ Film the Matrix. Extrapolation, 41(4), 359–374.
Barr, M. S. (1992). Feminist Fabulation: Space/Postmodern Fiction. Iowa City: University of Iowa Press.
Barron, L. (2011). What if Zarathustra had not spoken? Alex North’s counterfactual soundtrack to 2001: A Space Odyssey. New Review of Film and Television Studies, 9(1), 84–94. https://doi.org/10.1080/17400309.2011.521721
Bartlett, L., & Byers, T. B. (2003). Back to the Future: The Humanist Matrix. Cultural Critique, 53, 28–46.
Baudrillard, J. (1994). Simulacra and Simulation. The University of Michigan Press.
Beebe, R. W. (2000). After Arnold: Narratives of the Posthuman Cinema. In Vivian Carol Sobchack (Ed.), Meta Morphing: Visual Transformation and the Culture of Quick-Change (pp. 159–179). Minneapolis & London: University of Minnesota Press.
Bey, H. (1991). T. A. Z.: The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism. Brooklyn, New York: Autonomedia.
Blackmore, T. (2004). High on Technology; Low on Memory: Cultural Crisis in Dark City and The Matrix. Canadian Review of American Studies, 34(1), 13–54. Retrieved from http://muse.jhu.edu/journals/canadian_review_of_american_studies/v034/34.1blackmore.html
Blackmore, T. (2007). The Speed Death of the Eye: The Ideology of Hollywood Film Special Effects. Bulletin of Science, Technology & Society, 27(367). https://doi.org/DOI: 10.1177/0270467607306936
Blumberg, A. T. (2003). The Night Gwen Stacy Died: The End of Innocence and the Birth of the Bronze Age. Reconstruction, 3(4). Retrieved from http://reconstruction.eserver.org/034/blumberg.htm
Bode, L. (2006). From Shadow Citizens to Teflon Stars: Reception of the Transfiguring Effects of New Moving Image Technologies. Animation, 1(2), 173–189. https://doi.org/10.1177/1746847706068901
Bode, L. (2010). No Longer Themselves?: Framing Digitally Enabled Posthumous “Performance.” Cinema Journal, 49(4), 46–70. https://doi.org/10.1353/cj.2010.0019
Bodó, B. (2011). You Have No Sovereignty Where We Gather – Wikileaks and Freedom, Autonomy and Sovereignty in the Cloud. SSRN ELibrary. Retrieved from http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1780519#
Bolhafner, S. (1993). William Gibson: Making Light of the Cyberpunk Schtick. Retrieved from http://bolhafner.com/stevesreads/igib1.html
Bolter, J. D. (2003). Critical Theory and the Challenge of New Media. In Mary E. Hocks & Michelle R. Kendrick (Eds.), Eloquent Images: Word and Image in the Age of New Media (pp. 20–36). Cambridge and London: MIT Press.
Bolter, J. D., & Grusin, R. (1999). Remediation: Understanding New Media. Cambridge, Mass.: MIT Press.
Botting, F. (1999). Sex, Machines & Navels. New York: Manchester University Press.
Brier, S. (2006). Ficta: remixing generalized symbolic media in the new scientific novel. Public Understanding of Science, 15(153). https://doi.org/10.1177/0963662506059441
Brodie, I. (2002). The Lord of the Rings: Location Guidebook. Auckland: HarperCollins.
Brooks, M. (1968). The Producers. Metro-Goldwyn-Mayer (MGM) et al.
Buckland, W. (1999). Between Science Fact and Science Fiction: Spielberg’s Digital Dinosaurs, Possible Worlds, and the New Aesthetic Realism. Screen, 40(2), 177–192. https://doi.org/10.1093/screen/40.2.177
Bukatman, S. (2003). Matters of Gravity: Special Effects and Supermen in the 20th Century. Durham and London: Duke University Press.
Bukatman, S. (1997). Blade Runner. London: British Film Institute.
Bukatman, S. (1993). Terminal Identity: The Virtual Subject in Postmodern Science Fiction. Durham: Duke University Press.
Bukatman, S. (2008). Secret Identity Politics. In A. Ndalianis (Ed.), The Contemporary Comic Book Superhero (1st ed., pp. 109–125). London and New York: Routledge.
Burrill, D. A. (2005). Out of the Box: Performance, Drama, and Interactive Software. Modern Drama, 48(3), 492–512.
Busiek, K., & Ross, A. (1994). Marvels. New York: Marvel Entertainment.
Butler, J. (1999). Gender Trouble: Feminism and the Subversion of Identity. London and New York: Routledge.
Butler, J. W. (2009). Un-Terminated: The Imagination of Machines. In W. Irwin, R. Brown, & K. S. Decker (Eds.), Terminator and Philosophy: I’ll Be Back, Therefore I Am (pp. 52–66). Hoboken: John Wiley & Sons, Inc.
Print Friendly, PDF & Email

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.