Oswald de Andrade, 1928.Cannibalist Manifesto transl. Leslie BarySource: Latin American Literary Review, Vol. 19, No. 38 (Jul. - Dec., 1991), pp. 38-47
Dunn, Christopher 1996. The Tropicalista Rebellion. Interview with Caetano Veloso. Transition(70): 116.
Caetano Veloso, Tropicalia, 1968
Hélio Oiticica. Tropicália, 1966/67 (Installation View, Whitney Museum 2017)
Democracy Now! From Political Prisoner to Cabinet Minister: Legendary Brazilian Musician Gilberto Gil on His Life, His Music and the Digital Divide. JUNE 25, 2008
William Burroughs. 1962. The Invisible Generation (PDF),
ALL: William Burroughs. 1961/178. The Cut-Up Method of Brion Gysin. Reprint New Media Reader.
Mark America. 2011. RemixtheBook. University of Minnesota Press (Chapter Literary Cut-ups)
Calvino, Italo. 1967/1986. Cybernetics & Ghost. In: The Uses of Literature. San Diego, New York,London. Harcourt Brace & Company pp. 3 to 27
Raymond Queneau: Cent mille milliards de poèmes. Gallimard, Paris 1961 Arte Segment
http://www.bevrowe.info/Queneau/QueneauRandom_v4.html http://x42.com/active/queneau.html
Student presentation:: Gabriele & Ivana
Halim El-Dabh (1921-2017). The Expression of Zaar/The Wire Piece. 1944
John Cage. William's Mix. 1952
Pierre Schaeffer: Etude aux chemins de fer, 1948
Pierre Schaeffer, Pierre Henry: Symphonie pour un Homme Seul, 1949
Holmes, Thom. 2008. Electronic and Experimental Music: Technology, Music, and Culture. 3rd ed. New York: Routledge. (Chapter: Music Concrete in France. S. 46-56)
Hausheer, Celilia und Christoph Settele (1992): Found footage film, Luzern: VIPER/Zyklop-Verlag.
Charles A. Ridley. Lambeth Walk: Nazi Style, 1941, 2:18 Min.
Burce Conner: A Movie, 1958, 12 Min
Dara Birnbaum. Technology/Transformation: Wonder Woman, 1978. 5 Min.
Martin Arnold. Piece Touchée, 1989, 15 Min.
Rick Prelinger: This is Prelinger Archive. 2001
Christian Marclay. Telephones, 1995
Student presentation: Tim
Crimp, Douglas. 1977 Pictures, New York: Artists Space, 1977, 30 pp
Crimp, Douglas. 1982/1993 "Appropriating Appropriation", in Image Scavengers: Photography, ed. Paula Marincola, Institute of Contemporary Art/University of Pennsylvania Press, 1982, pp 27-34; repr. in Crimp, On the Museum's Ruins, 1993, pp 126-137.
Buskirk, Martha. 1994. “Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson.” October 70(Autumn): 98–112 buskirk1994.pdf
Michael Mandiberg. AfterSherryLevine.com 2001
Metropolitan Museum of Art, The Pictures Generation, 1974–1984, 2009
Richard Prince:
Student presentation: Alexander & Marc
Stalder, Felix. 2018. The Digital Condition. Cambridge, UK ; Medford, MA: Polity Press. Section: Referentiality p. 59-79
Sonvilla-Weiss, Stefan. 2015. „Good Artists Copy, Great Artists Steal. Reflections on Cut-Copy-Paste Culture“, in: Navas, Eduardo, Owen Gallagher und Xtine Burrough (Hrsg.): The Routledge companion to remix studies, New York: Routledge, Taylor & Francis Group, S. 54–67.
Stalder, Felix (2009) Neun Thesen zur Remix-Kultur.
Student presentation: Glary & Jonas
Olia Liania, Ausstellung, Lossless ROEHRS & BOETSCH GALLERY, ZH, 26.4 — 23.6 2018 N
Meme (cultural concept). Britannica
Patrick Davison, 2012 The Language of Internet Memes. from The Social Media Reader edited by Michael Mandiberg, 2012
Jackson, Laur M., 2016 The Blackness of Meme Movement modelviewculture.com
«The Darknet – From Memes to Onionland. An Exploration» In cooperation with !Mediengruppe Bitnik and :digital brainstorming18th Kunsthall St. Gallen. October 2014 – 11th January 2015
http://knowyourmeme.com/memes nowyourmeme.com
The Story of Technoviking, Matthias Fritsch, 2016, Kneecam No.1 Matthias Fritsch, 2000
Nate Harrison Can I Get An Amen?, 2004
Student presentation: Tim Li & Many Ma & Max
Arns, Inke, and Horn Gabriele. 2007. History Will Repeat Itself. Frankfurt a.M.: Revolver, Archiv für aktuelle Kunst
Mike Figgins. The Battle of Ogreave, GB, 2001, 63 Min
Fondazione Prada. WHEN ATTITUDES BECOME FORM: BERN 1969/VENICE 2013
Student presentation: Claudia
Young, James O. 2008. Cultural Appropriation and the Arts. Malden, MA: Blackwell Publishing.
Reading: Introduction (p.1-9, 18-31), Chapter 4: Cultural Appropriation as Assault (p. 106-120), Conclusion (p.152-153)
Controversy: Dana Schutz “Open Casket”, 2016
Student presentation: Demian & Desiree
