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Book Chapters, Journals & Magazine Articles

Aldiss, Brian W. “Introduction”. Science Fiction Art. London: Hart-Davis, MacGibbon, 1976. Unnumbered.

Anderson, Ben. “A Principle of Hope: Recorded Music, Listening Practices and the Immanence of Utopia.” Geografiska Annaler. Series B, Human Geography, Vol. 84, No. 3/4, Special Issue: The Dialectics of Utopia and Dystopia (2002): pp. 211-227.

Anderson, Daniel R., Hanson, Katherine G. “From blooming, buzzing confusion to media literacy: The early development of television viewing.” Developmental Review, 2010 #30. pp 239-255.

Anderson, Walter Truett. “Augmentation, symbiosis, transcendence: technology and the future(s) of human identity”, Futures, #35, 2003. pp 535-546.

Attali, Jacques, “Noise and Politics.”  Audio Culture: Readings in Modern Music. New York/London: Continuum Books, 2004. pp 7-10.

Baker, Brian. “Iterative Architecture: A Ballardian Text,” A Journal of Contemporary & Innovative Fiction, #21.

Ballard, J.G. “Airports: Cities of the Future”. Blueprint. Issue #42, September 1997. pp 26-29.

Ballard, J.G. “Which Way To Inner Space?” A User’s Guide to the Millennium. London: Picador, 1999. pp 187-210.

Banash, David. “Reading Baudrillard”. Science Fiction Studies, Vol. 30, No. 1 (Mar., 2003), pp. 123-129.

Baudrillard, Jean. “The Hell of the Same”. The Transparency of Evil. London/New York: Verso. 1990 [1993]. pp 113-123.

Baudrillard, Jean. “Simulacra and Science Fiction”. Science Fiction Studies, Vol. 18, No. 3, Science Fiction and Postmodernism (Nov., 1991), pp. 309-313.

Baudrillard, Jean. “Xerox to Infinity”. The Transparency of Evil. London/New York: Verso. 1990 [1993]. pp 51-59.

Bavelier, Daphne, Green, C. Shaw, Dye, Matthew W.G. “Children, Wired: For Better and For Worse”. Neuron #67, September 9, 2010. pp 692-698.

Beck, Bernard. “The Overdeveloped Society: THX 1138.” Film In Society. Arthur Asa Berger. New Brunswick: New Jersey. 1980. Pp 59-68.

Beckley, Bill. “Introduction: Sublimats Mobilis.” Beauty and the Contemporary Sublime. New York: Allworth Press, 1999. pp 2-15.

Beckman, Karen. “Film Falls Apart: ‘Crash’, Semen, and Pop”, Grey Room, No. 12 (Summer, 2003). pp. 94-115.

Berger, Arthur Asa. “War of The Worlds.” Popular Culture Genres: Theories & Texts, Foundations of Popular Culture Volume 2.  Newbury Park: Sage Publications. 1992. pp. 131-146.

Bignell, Jonathan “Familiar Aliens: Teletubbies and Postmodern Childhood”, Screen, Vol. 46, No.3, Autumn [2005]. pp 373-383.

Borenstein, Eliot. “Survival of the Catchiest: Memes and Postmodern Russia”. The Slavic and East European Journal, Vol. 48, No. 3, Special Forum Issue: Innovation through Iteration: Russian Popular Culture Today (Autumn, 2004). pp. 462-483

Bradbury, Ray. “Foreword: One Thousand Giant Steps for Mankind”, Infinite Worlds: The Fantastic Visions of Science Fiction Art, Vincent di Fate, London: Virgin Books, 1997. pp -6-9.

Bratlinger, Patrick. “The Gothic Origins of Science Fiction” NOVEL: A Forum on Fiction, Vol. 14, No. 1 (Autumn, 1980). pp. 30-43

Brian Britt, “The fall from Eden, critical theory, and The Teletubbies”, Culture and Religion, Vol. 5, No. 1, [2004]. pp 3-21.

Matt Briggs, “Beyond the Audience”, 
European Journal of Cultural Studies. 2006 #9. pp 441-457.

Boutoux, Thomas, ed. “JG Ballard.” Hans Ulrich Obrist Interviews.  Milan: Charta. pp 58-68.

Brzozowska-Brywcyynska, Maja, “Monstrous/Cute: Notes on the Ambivalent Nature of Cuteness, Monsters and the Monstrous: Myths and Metaphors of Enduring Evil. Niall Scott, ed. Amsterdam/New York: Rodopi, 2007. pp 213-225.

Clarke, David B., Doel, Marcus. A. “Engineering space and time: moving pictures and motionless trips”. Journal of Historical Geography 2005, #31. pp 41-60.

Collins, Jim. “When the Legend Becomes Hyperconscious, Print the…” Architecture of Excess: Cultural Life in the Information Age. London: Routledge. 1995. pp 125-149.

Collins, Karen. “Dead Channel Surfing: the commonalities between cyberpunk literature and industrial music.” Popular Music (2005) Volume 24/2. (2005): Cambridge University Press. pp. 165–178.

Cholodenko, Alan. “Apocalyptic Animation: In the Wake of Hiroshima, Nagasaki, Godzilla and Baudrillard”. Baudrillard West of The Dateline. Palmerston North: Dunmore Press. 2003. pp 241.

Colatrella, Carol. “Science Fiction in the Information Age”. American Literary History, Vol. 11, No. 3 (Autumn, 1999). pp. 554-565.

Conner, James A. “Strategies for Hyperreal Travelers”. Science Fiction Studies, Vol. 20, No. 1 (Mar., 1993), pp. 69-79.

Consolmagno, Guy J. “Astronomy, Science Fiction and Popular Culture: 1277 to 2001 (And beyond)”, Leonardo, Vol. 29, No. 2 (1996). pp. 127-132

Csicsery-Ronay Jr., Ronay. “Antimancer: Cybernetics and Art in Gibson’s ‘Count Zero’”. Science Fiction Studies, Vol. 22, No. 1 (Mar., 1995), pp. 63-86.

Csicsery-Ronay Jr., Ronay.  “Science Fiction and Empire.” Science Fiction Studies, Vol. 30, No. 2, Social Science Fiction (Jul., 2003): pp. 231-245.

Csicsery-Ronay Jr., Ronay.  “The SF of Theory: Baudrillard and Haraway”. Science Fiction Studies, Vol. 18, No. 3, Science Fiction and Postmodernism (Nov., 1991): 387-404.

Csicsery-Ronay Jr., Ronay. “Review: Postmodern Technoculture or the Gordian Knot Revisited.” Science Fiction Studies, Vol. 19, No. 3 (Nov., 1992), pp. 403-410.

Dahl, Curtis. “The American School of Catastrophe”, American Quarterly, Vol. 11, No. 3 [Autumn 1959]. pp 380-390.

Diken, Bülent. “From refugee camps to gated communities: biopolitics and the end of the city”, Citizenship Studies, 2004, Volume 8, #1. pp 83 — 106.

Doyle, Peter. “From ‘My Blue Heaven’ to ‘Race with the Devil’: echo, reverb and (dis)ordered space in early popular music recording.” Popular Music [2004] Volume 23/1. Cambridge University Press, pp. 31–49.

Doyle, Peter. “Harnessing the Echo”, Echo & Reverb: Fabricating Space in Popular Music Recording, 1900-1960. Middletown Connecticut: Wesleyan University Press, 2005. pp 38-63.

Easterbrook, Neil. “Alternate Presents: The Ambivalent Historicism of “Pattern Recognition”, Science Fiction Studies, Vol. 33, No. 3 (Nov., 2006). pp. 483-504.

Edwards, Malcolm J. “Hugo Gernsback”. The Encyclopedia of Science Fiction. John Clute & Peter Nicholls, eds. London: 1999 [2nd Ed]. p 490.

Engström, Timothy H. “The Postmodern Sublime?: Philosophical Rehabilitations and Pragmatic Evasions.” Boundary 2, Vol. 20. No. 2, [Summer 1993]. pp 190-204.

Evans, Arthur B. “Optograms and Fiction: Photo in a Dead Man’s Eye.” Science Fiction Studies, Vol. 20, No. 3 (Nov., 1993). pp. 341-361.

Farnell, Ross. “Posthuman Topologies: William Gibson’s ‘Architexture’ in ‘Virtual Light’ and ‘Idoru’”, Science Fiction Studies, Vol. 25, No. 3 (Nov., 1998). pp. 459-480.

Fischlin, Daniel, Hollinger, Veronica, Andrew Taylor et al. “’The Charisma Leak’: A Conversation with William Gibson and Bruce Sterling”. Science Fiction Studies, Vol. 19, No. 1 (Mar., 1992). pp. 1-16.

Fleming, Robin. “Picturesque History and the Medieval in Nineteenth-Century America”. The American Historical Review, Vol. 100, No. 4 (Oct., 1995), pp. 1061-1094

Foss, Imogen. “Earthman, Come Home”. Hardware: The Definitive SF Works of Chris Foss. London: Titan Books, 2011. pp 8-13.

Franklin, H. Bruce. “Don’t Look Where We’re Going: Visions of the Future in Science-Fiction Films, 1970-82.” Science Fiction Studies, Vol. 10, No. 1 (Mar., 1983). pp. 70-80.

Freedman, Carl. “2001 and the Possibility of a Science-Fiction Cinema”. Science Fiction Studies, Vol. 25, No. 2 (Jul., 1998). pp. 300-318.

Gasché, Rodolphe. “The Sublime, Ontologically Speaking”. Yale French Studies, No. 99, Jean-Francois Lyotard: Time and Judgment (2001), pp. 117-128.

Gemtou, Eleni. “Depictions of Sunsets as Information Sources”, Leonardo, Vol. 44, No. 1, 2011. pp 49–53,

Gibson, William, “Cloning the Future: Science Fiction Film 1895-1996”, Sight and Sound Sci-Fi supplement, Nov. 1996. Unnumbered.

Grant, John, & Nicholls, Peter. “Chesley Bonestell”. The Encyclopedia of Science Fiction. John Clute & Peter Nicholls, eds. London: 1999 [2nd Ed]. p 143.

Grunenberg, Christopher. “Capability Brown: Spectacles of Hyperrealism, The Panorama and the Abject Horror in the Painting of Glenn Brow.” Glenn Brown. London: Tate Publishing, 2009. pp 17-28.

Haslam, Jason. “Coded Discourse: Romancing the (Electronic) Shadow in ‘The Matrix’” College Literature, Vol. 32, No. 3 (Summer, 2005). pp. 92-115.

Hartwell, David G. & Cramer, Kathryn. “How Shit Became Shionola: Definition and Redefinition of Space Opera”. The Space Opera Renaissance. New York: Orb/Tom Doherty Associates, 2007. pp 9-18.

Hathaway, Rosemary V. “’Life in the TV’: The Visual Nature of 9/11 Lore and Its Impact on Vernacular Response”, Journal of Folklore Research, Vol. 42, No. 1 (Jan. – Apr., 2005). pp. 33-56.

Hayward, Philip. “Sci-Fidelity”. Off The Planet: Music, Sound and Science Fiction Cinema. New Barnet: John Libbey Publishing, 2004. pp 1-29.

Hesier, Jorg. “Romantic Conceptualism and the Trouble with the Sublime. Now Is The Time: Art & Theory in the 21st Century. Rotterdam: Now Is The Time/NAi Publishers. 2009. pp 176-185.

Hollinger, Veronica. “Contemporary Trends in Science Fiction Criticism, 1980-1999”, Science Fiction Studies, Vol. 26, No. 2 (Jul., 1999). pp. 232-262.

Kakoudaki, Despina. “Spectacles of History: 
 Race Relations, Melodrama, and the Science Fiction/Disaster Film”, Camera Obscura 50, Volume 17, Number 2, 2002. pp 109-148.

Kelley, Mike. “In Conversation with Thomas McEvilley.” The Sublime: Documents of Contemporary Art. London: Whitechapel Gallery/Cambridge Mass: The MIT Press, 2010. pp 199-239.

de Kerckhove, Derrick. 
 “Connectivity: Art and Interactive Telecommunications” (1991), Leonardo, Vol. 24, No. 2. pp. 131-135.

Khouri, Nadia. “Lost Worlds and the Revenge of Realism (Les Mondes perdus et la revanche du réalisme)” Science Fiction Studies, Vol. 10, No. 2 (Jul., 1983). pp. 170-190.

Klein, Yves. “Truth becomes reality.” The Sublime: Documents of Contemporary Art. London: Whitechapel Gallery/Cambridge Mass: The MIT Press, 2010. pp 72-73.

Lacoue-Labarthe, Philippe, Kuchta, David. “Sublime Truth (Part 1)”. Cultural Critique, No. 18 (Spring, 1991). pp. 5-31.

Leydon, Rebecca. “The Soft-Focus Sound: Reverb as a Gendered Attribute in Mid-Century Mood Music”. Perspectives of New Music, Vol. 39, No. 2 (Summer, 2001): pp. 96-107.

Luckhurst, Roger. “Border Policing: Postmodernism and Science Fiction”. Science Fiction Studies, Vol. 18, No. 3, Science Fiction and Postmodernism (Nov., 1991): pp. 358-366.

Luckhurst, Roger. “Found-footage science fiction: Five films by Craig Baldwin, Jonathan Weiss, Werner Herzog and Patrick Keiller.” Science Fiction and Television, 2008. Volume 1, #2. Pp 193-214.

Lyotard, Jean-Francois. “The Sublime and the Avant-Garde.” The Inhuman: Reflections on Time. Stanford, California: Stanford University Press, 1991. pp 89-107.

Mather, Philip. “Figures of Estrangement in Science Fiction Film.” Science Fiction Studies, Vol. 29, No. 2 (Jul., 2002): pp. 186-201.

McEvilley, Thomas. “Turned Upside Down and Torn Apart.” Sticky Sublime. New York: Allworth Press, 2001: pp 57-83.

McLeod, Ken. “Space Oddities: Aliens, Futurism and Meaning in Popular Music.” Popular Music, Vol. 22, No. 3 (Oct. 2003): pp 337-355.

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Web Sites, Blogs & Online Content

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Films & TV

2012. Dir. Roland Emmerich. Columbia Pictures/Centropolis Entertainment, 2009. Film.

Aeon Flux. Dir. Karyn Kusama. Paramount, 2005. Film.

American Graffiti. Dir. George Lucas. Lucas Film/Coppola Co./Universal, 1973. Film.

Another Earth. Dir. Mike Cahill. Artists Public Domain/Twentieth Century Fox, 2011. Film.

Battlestar Galactica. Dirs. Michael Rymer, Michael Nankin, Rod Hardy et al. David Eick Productions/Universal Television, 2004-2009. TV series.

Ben & Holly’s Little Kingdom. Dir. Neville Astley. Astley Baker Davies Ltd, 2009. TV Series.

Blade Runner. Dir. Ridley Scott. Warner Bros./Ridley Scott Productions, 1982. Film.

Blindness. Dir. Fernando Meirelles. Rhombus Media/02 Filmes, 2008. Film.

Children of Men. Dir. Alfonso Cuarón. Universal Pictures, 2006. Film.

Citizen Kane, Dir. Orson Welles. Mercury Productions/RKO Radio Pictures, 1941. Film.

Close Encounters of the Third Kind. Film. Dir. Steven Spielberg. Columbia Pictures/EMI 1977. Film.

The Conquest of Space. Dir. Byron Haskin. Paramount Pictures, 1955. Film.

Contact. Dir. Robert Zemeckis. Southside Amusement Company/Warner Bros. Pictures, 1997. Film.

The Day After Tomorrow. Dir. Roland Emmerich. Twentieth Century Fox/Centropolis Entertainment, 2004. Film.

The Day The Earth Stood Still. Dir. Robert Wise. Twentieth Century Fox, 1951. Film.

Destination Moon. Dir. Irving Pichel. George Pal Productions Inc. George Pal, 1950. Film.

Donnie Darko. Dir. Richard Kelly. Flower Films, 2001. Film.

Ed Wood. Dir. Tim Burton. Touchstone Pictures, 1994. Film.

Flood. Dir. Tony Mitchell. Flood Productions/Muse Entertainment Enterprises, 2007. Telemovie.

Forbidden Planet. Dir. Fred M. Wilcox. Metro-Goldwyn-Mayer, 1956. Film.

The Fountainhead. Dir. King Vidor. Warner Bros./ Henry Blanke, 1949. Film.

Idiocracy. Dir. Mike Judge. 20th Century Fox, 2006. Film.

Impostor. Dir. Gary Fleder. Dimension Films/Mary Katz Productions/Mojo Films, P.K. Pictures, 2001. Film.

Independence Day. Dir. Roland Emmerich. Twentieth Century Fox/Centropolis Entertainment, 1996. Film.

John Carter. Dir. Andrew Stanton. Disney, 2012. Film.

Judy, Frank and Dean: Once in a Lifetime. Dir. Norman Jewison. Famous Artists Productions Ltd, 1962. TV Special.

Knowing. Dir. Alex Proyas. Summit Entertainment, 2009. Film.

Logan’s Run. Dir. Michael Anderson. MGM, 1976. Film.

Mars Attacks! Dir. Tim Burton. Tim Burton Productions/Warner Bros. Pictures, 1996.

The Matrix. Dir. Andy & Larry Wachowski. Village Roadshow Pictures/Warner Bros. 1999. Film.

Monsters. Dir. Gareth Edwards. Vertigo Films, 2010. Film.

La nuit américaine. Dir. François Truffaut. Les Films du Carrosse, 1973. Film.

Planet of The Apes. Dir. Franklin J. Schaffner. 20th Century Fox, 1968. Film.

Prince of Darkness. Dir. John Carpenter. Alive Films/Larry Franco Productions, 1987. Film.

Primer. Dir. Shane Carruth. Palisades/Tartan Video. 2004. DVD.

A Scanner Darkly.  Dir. Richard Linklater. Warner Independent Pictures/Thousand Words/Section Eight/Detour Filmproduction/3 Arts Entertainment. 2006. Film.

Screamers. Dr. Christian Duguay. Allegro Films/Fries Film Group/Fuji Eight Company Ltd/Triumph Films, 1995.

Sleeper. Dir. Woody Allen. United Artists, 1973. Film.

Star Trek. Dirs. Marc Daniel, Joseph Pevney, Vincent McEveety, et al. Desilu Productions/Norway Corporation/Paramount Television, 1966-69. TV Series.

Star Trek. Dir. J.J. Abrams. Paramount Pictures/Spyglass Entertainment/Bad Robot et al, 2009. Film.

Star Wars [aka Star Wars: Episode IV – A New Hope]. Dir. George Lucas. Lucas Film/Twentieth Century Fox, 1977. Film.

Superstorm. Dir. Julian Simpson. Michael J. Mosely./BBC Worldwide, 2007. Miniseries.

Supervolcano. Dir. Tony Mitchell. Big Blast Productions/BBC, 2005. Telemovie.

Teletubbies. Dir: Paul Gawith, Vic Finch, Andrew Davenport, et al. Ragdoll Productions, 1997-2001. TV Series.

Tom Corbett, Space Cadet. Dir. Robert Ward, George Gould et al. Rockhill Productions/CBS/ABC/NBC/Du Mont Television, 1951-53. TV Series.

Total Recall. Dir. Paul Verhoeven. Carolco Pictures, 1990. Film.

The Truman Show. Dir. Peter Weir. Paramount Pictures, 1998. Film

The Thing From Another World. Dir. Christian Nyby. Winchester Pictures, 1951. Film.

THX 1138. Dir. George Lucas. American Zoetrope/Warner. Bros, 1971. Film.

Twin Peaks: Fire Walk With Me. Film. Directed by David Lynch. New York, NY: Mark Frost, David Lynch. New Line Cinema, 1992.

2001: A Space Odyssey. Dir. Stanley Kubrick. MGM/Stanley Kubrick Productions, 1968. Film.

War of The Worlds. Dir. Byron Haskin. Paramount Pictures, 1953. Film.

The Wizard of Oz. Film. Dir. Victor Fleming. Mervyn LeRoy. Metro-Goldwyn-Mayor, 1939.

Zardoz. Dir. John Boorman. John Boorman Productions, 1974. Film.

Music

Baxter, Les. Music Out of the Moon. Universe, [Digital Download 1947], 2012.

Baxter, Les. Space Escapades. El Records. Digital Download, [1958]. 2012.

Czukay, Holger. Moving Pictures. Alpha Records. CD, 1993.

Czukay, Holger. On The Way To The Peak of Normal. EMI. Album, 1981.

Czukay, Holger. Radio Wave Surfer. Virgin, Album, 1991.

Czukay, Holger. Rome Remains Rome. Virgin. Album. 1987.

Esquivel. Other Worlds, Other Sounds. Master Classics Records [1958], 2011.

Free The Robots. “Sci-Fidelity”, Ctrl. Alt. Delete. Alpha Pup Records, 2010.

Garcia, Ross. Fantastica: Music from Outer Space. Album. Capitol Records, LLC, 1958.

Henke, Robert. Layering Buddha. Imbalance Computer Music. Digital Download, 2006.

Henke, Robert. Signal To Noise. Imbalance Computer Music. Digital Download, 2004.

Kubisch, Christina. Five Electrical Walks. Important Records. CD, 2007.

Kubisch, Christina. La Ville Magnétique / The Magnetic City. Ville De Poitiers. CD, 2008.

Kubisch, Christina. Magnetic Flights. Important Records. CD, 2011.

Simonsound, The. Reverse Engineering. First World Records, 2010.

Toop, David. Hot Pants Idol. Digital Download. Barooni , 1997

Toop, David. Pink Noir. Digital Download. Virgin, 1996.

Toop, David. Screen Ceremonies. Digital Download. The Wire Editions, 1995.

Toop, David. Spirit World. Digital Download. Virgin, 1997.

Toop, David. Digital Download. 37th Floor at Sunset: Music for Mondophrenetic™. Sub Rosa. 2000.


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