A selection of publications discussing Luksch’s work

Albuquerque, Paula. The Webcam as an Emerging Cinematic Medium. in Elssaesser, Thomas, ed. (2018) Film Culture in Transition series. Amsterdam University Press

Andersen, Ch. U., Pold, S. B., eds. (2018) The Metainterface. The Art of Platforms, Cities, and Clouds. Cambridge: MIT Press

Andrew, S., & Stokes, S., eds. (2008). Art Law Field Guide. London: Arts Council England.

Arns, I. (2008). ‘Transparent World. Minoritarian Tactics in the Age of Transparency’, pp. 20-35, in Del Favero, D., Frohne, U., & Weibel, P., eds. Un_imaginable. Ostfildern: Hatje Cantz.

Arns, I. (2010). ‘Transparency and Politics. On Spaces of the Political beyond the Visible, or: How transparency came to be the lead paradigm of the 21st century’ in Pold, S., et al, eds. The Aesthetic Interface. Aarhus: Aarhus Univ. Press.

Avanessian, A. (2010). Gesichter und ‘Geschichten des Raumes – Von technologischen und fiktionalen Räumen’ in Armen A., & Hofmann, F., eds. Raum in den Künsten. Konstruktion, Bewegung, Politik. Berline: Verlag Tranversale.

Bonin, V., & Choinière, F., eds. (2009). Fonction/Fiction. L’image utilitaire reconfigurée. Montréal: Édipresse.

Brighenti, Andrea Mubi; Artveillance: At the Crossroads of Art and Surveillance. in: Monahan, Ed Torin; Wood, David Murakami eds. (2018) Surveillance Studies. A Reader. Oxford University Press

Carvalho, M. (2009). ‘Affective Territories’ in INFLeXions Journal No. 3.

Cazdyn, E. (2012). The Already Dead: The New Time of Politics, Culture, and Illness. Durham: Duke Univ. Press.

Cowie, E. (2015). ‘The World Viewed: Documentary Observing and the Culture of Surveillance’ in Juhasz, A., Lebow, A., eds. A Companion to Contemporary Documentary Film. Wiley- Blackwell 

Doringer, Bogomir; Felderer, Brigitte, eds. (2018). FACELESS. Re-inventing Privacy Through Subversive Media Strategies. Wien: De Gruyter / Edition Angewandte

Ebner, F., Dahò, M., Michaud Ph.-A., eds. (2019) Cámara y ciudad. La vida urbana en la fotografia y el cine. Barcelona: Editorial RM

Falkenhayner, Nicole. (2019 ) Media, Surveillance and Affect. Narrating Feeling-States. Routledge

Falkenhayner, Nicole. (2019 ) CCTV Beyond Surveillance. The Experience of Being Captured. Talk at Amsterdam School of Cultural Analysis/

Fürst, P. (2008). ‘Who is watching us? – Datenschutz als Kunst’. Diplomarbeit. Theaterwissenschaft, Universität Wien.

Gade, R., & Gunhild, B., eds. (2012). Performing Archives/ Archives of Performance. Copenhagen: Museum Tusculanum Press.

Guertin, C. (2012). Digital Prohibition Piracy and Authorship in New Media Art. New York: Continuum.

Joelson, Jo (2019) Library of Light. Encounters with artists and designers. London: Lund & Humphries

Joseph-Hunter, G. (2011). Transmission Arts. New York: PAJ Publications.

Medosch, A. (2003). Freie Netze. Hannover: Heise Verlag.

Morrison, E. (2016) Discipline and Desire. Surveillance technologies in performance. University of Michigan Press

Moulon, D. (2011). Art Contemporain Nouveaux Médias. Paris: Nouvelles éditions Scala.

Müller, Sabine, Vinzelberg, Jacqueline, eds. (2018) AUGENBLICK MAL. Winterthur: Schweizer Augenoptikerverband Team 93

O’Rourke, K. (2013). Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press.

Östlind, N., Vujanovic, D., Wolthers, L., eds. (2016). WATCHED! Surveillance, Art and Photography. Köln: Walther König Verlag.

Patel, M. (2009). ‘A Brief History of Real Time’ in Wolfgang Sützl, W., ed. Creating Insecurity. Plymouth: Plymouth University / Autonomedia.

Piper, A. (2012). Book Was There: Reading in Electronic Times. Chicago: U. of Chicago Press.

Pold, S. (2009). ‘Faceless – Manu Luksch’ in Dinesen, P., Løssing, A., Witzke, A., & Ørskou, G., eds. ENTER ACTION – Digital Art Now. Aarhus: ARoS.

Pold, S. (2009). ‘Overvågningens kunst. Overvågningsdystopier og interfacebegær i det urbane rum i Nineteen Eighty-Four, Faceless og andre urbane interfaces’ in Lauritsen, P., & Olesen, F., eds. Overvågning – perspektiver, studier, praksis. Aarhus: Aarhus Universitetsforlag.

Vykoukal, M. (2011). Neither Shoreditch nor Manhattan. Black Country creative advantage. Wolverhampton: Multistory.

Zeilinger, M. (2009). ‘Art and Politics of Appropriation’. PhD thesis. Centre for Comparative Literature, University of Toronto. 

Zeilinger, M. (2011). ‘Appropriation and the authoring function of surveillance in Manu Luksch’s Faceless’, pp 262-273 in Doyle, A., Lippert, R., & Lyon, D., eds. Eyes Everywhere. The Global Growth of Camera Surveillance. London: Routledge.