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

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.

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.