Contributing Author

Gürses, S., Luksch, M., & Teran, M. (2010). ‘A Trialogue on Interventions in Surveillance Space: Seda Gürses in conversation with Michelle Teran and Manu Luksch’ in Surveillance & Society, Vol. 7, No 2.

Luksch, M. (1994). Signature or Right Thumbprint. Bangkok: Goethe Institute. 

Luksch, M., contributing author to Kunzru, H., ed. (1999). The Guinness Book of The New. London: Guinness Publishing.

Luksch, M. (2000). ‘Virtual Borders or Digital Divide?’ in Lovink, G., ed. net.congestion reader. Amsterdam: De Balie.

Luksch, M. (2008). ‘From social fact to science fiction. The incident in the incidental’ in n.paradoxa, Vol. 22.

Luksch, M. (2010). ‘Moonwalk in EchtZeit’ in Avanessian, A., & Hofmann, F., eds. Raum in den Künsten. Konstruktion, Bewegung, Politik. Tranversale Band 3. München: Wilhelm Fink Verlag.

Luksch, M. (2012). ‘Alltagslabor Function Creep’ in Hartmann, D., Lemke, I., & Nitsche, J., eds. Interventionen. Grenzüberschreitungen in Ästhetik, Politik und Ökonmie. München: Wilhelm Fink Verlag.

Luksch, M. (2017). ‘From the cellar to the cloud: the network-archive as locus of power’ in Dekker, A., ed. Lost and Living (in) Archives. Amsterdam: Valiz.

Luksch, M., & Medosch, A. (1998). Art Servers Unlimited. London: self-published.

Luksch, M., & Medosch, A. (1999). ‘Apropos Art Servers Unlimited’ in Boyd, F., ed. New Media Culture in Europe. Amsterdam: Uitgeverij De Balie and the Virtual Platform.

Luksch, M., & Medosch, A. (2001). ‘Luksch & Medosch’ in Baumgärtel, T. 2.0. Neue Materialien zur Netkunst. Nürnberg: Verlag für moderne Kunst.

Luksch, M., & Patel, M. (2003). ‘Wearable Computing and Wireless Networks’ in Sotamaa, Y., ed. Cumulus: Value in design: disabling disablement, enabling enablement. Helsinki: University of Art and Design.

Luksch, M., & Patel, M. (2007). ‘ambientTV.NET: You Call It Art’ in Coyer, K., Dowmunt, T., & Fountain, A., eds. The Alternative Media Handbook. London: Routledge.

Luksch, M., & Patel, M. (2007). ‘Chasing the data shadow. A filmmaker’s close-up encounter with the Data Protection Act’ in Stocker, G., & Schöpf, C., eds. Ars Electronica: Goodbye Privacy. Berlin: Hatje Cantz Verlag.

also available online in Variant, no. 31 (2008).

Luksch, M., & Patel, M., eds. (2009). Ambient Information Systems. London: AIS.   ISSU


Publications featuring Luksch’s work

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.

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.

Doringer, B., ed. (2017). FACELESS. Wien: De Gruyter / Edition Universität für Angewandte Kunst.

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.

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

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

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

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.