https://www.youtube.com/@stankta1nt
Artaud, Antonin, The Theatre and Its Double, trans. by Mary Caroline Richards (New York: Grove Press, 1958), p. 96.
Atkins, Ed, (London: Fitzcarraldo Editions, 2016).
Auber, Olivier, The Poietic Generator; accessed 20 January 2026.
Bourriaud, Nicolas, Postproduction: Culture as Screenplay (New York: Lukas & Sternberg, 2002).
Bratton, Benjamin, The Stack: On Software and Sovereignty (Cambridge, MA: MIT Press, 2016).
Cage, John, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1961).
Camus, Albert, The Myth of Sisyphus, trans. by Justin O’Brien (London: Penguin, 2005).
Citarella, Joshua, 20 Interviews (New York: New Models, 2019).
— Choose Your Future (New York: New Models, 2021).
— Politigram and the Post-Left (New York: New Models, 2020).
Crary, Jonathan, 24/7: Late Capitalism and the Ends of Sleep (London: Verso, 2013).
Cramer, Florian, Post-Digital Aesthetics (Rotterdam: NAi Publishers, 2015).
Debray, Régis, Media Manifestos, trans. by Eric Rauth (London: Verso, 1996).
— A Thousand Plateaus, trans. by Brian Massumi (London: Continuum, 2004).
Dematagoda, Udith, Agonist (London: Arcadia Missa, 2020).
Disco Elysium, developed by ZA/UM (video game, 2019).
Fischer, Urs, Denominator (2012), mixed-media installation.
Fisher, Mark, Capitalist Realism (Winchester: Zero Books, 2009).
— Ghosts of My Life (Winchester: Zero Books, 2014).
— K-Punk; accessed 26 January 2026.
Freud, Sigmund, ‘The “Uncanny”’, in The Uncanny, trans. by David McLintock (London: Penguin, 2003).
Galloway, Alexander R., Protocol (Cambridge, MA: MIT Press, 2004).
Goldsmith, Kenneth, Uncreative Writing (New York: Columbia University Press, 2011).
Guston, Philip, Late Paintings (London: Hauser & Wirth, 2020).
Heidecker, Tim, and Tim Robinson, I Think You Should Leave (Netflix, 2019–).
Hofstadter, Douglas R., Gödel, Escher, Bach (London: Penguin, 1999).
— I Am a Strange Loop (New York: Basic Books, 2007).
Holmes, Brian, ‘The Flexible Personality’, Nettime (2001).
Holzer, Jenny, Truisms (New York: Guggenheim Museum, 1989).
Hui, Yuk, On the Existence of Digital Objects (Minneapolis: University of Minnesota Press, 2016).
JODI, jodi.org; accessed 25 January 2026.
Kafka, Franz, The Trial, trans. by Mike Mitchell (Oxford: Oxford University Press, 2009).
Kaufman, Charlie (dir.), Synecdoche, New York (Sony Pictures Classics, 2008).
Kittler, Friedrich A., Gramophone, Film, Typewriter (Stanford, CA: Stanford University Press, 1999).
Klein, Melanie, Love, Guilt and Reparation (London: Vintage, 1998).
Krauss, Rosalind E., ‘Sculpture in the Expanded Field’, October, 8 (1979).
Lacan, Jacques, ‘The Mirror Stage’, in Écrits (New York: W. W. Norton, 2006).
Lialina, Olia, My Boyfriend Came Back from the War (net artwork, 1996).
Lynch, David, Inland Empire (StudioCanal, 2006).
— How to Catch the Big Fish (New York: Tarcher/Penguin, 2006).
Manovich, Lev, The Language of New Media (Cambridge, MA: MIT Press, 2001).
Massumi, Brian, Parables for the Virtual (Durham, NC: Duke University Press, 2002).
McLuhan, Marshall, Understanding Media (London: Routledge, 2001).
Miller, J. Hillis, ‘The Critic as Host’, Critical Inquiry, 3.3 (1977).
Munch, Edvard, The Scream (1893).
Paglen, Trevor, Invisible Images (New York: Aperture, 2016).
Perec, Georges, Species of Spaces (London: Penguin, 2008).
Rafman, Jon, You Are Standing in an Open Field (London: Koenig Books, 2015).
Rozendaal, Rafaël, Abstract Browsing (Amsterdam: Roma Publications, 2014).
Russell, Legacy, Glitch Feminism (London: Verso, 2020).
Serres, Michel, The Parasite (Baltimore: Johns Hopkins University Press, 1982).
Simondon, Gilbert, On the Mode of Existence of Technical Objects (Minneapolis: Univocal, 2017).
Sloterdijk, Peter, Critique of Cynical Reason (London: Verso, 1987).
Varoufakis, Yanis, Technofeudalism (London: Bodley Head, 2023).
Virilio, Paul, Speed and Politics (Los Angeles: Semiotext(e), 2006).
Zuboff, Shoshana, The Age of Surveillance Capitalism (London: Profile Books, 2019).
Žižek, Slavoj, The Sublime Object of Ideology (London: Verso, 1989).