Bibliografia
Lista mais completa da bibliografia, de modo a tornear as limitações do SIGARRA:
Bibliografia
ADCOCK, Craig (2003), “Duchamp’s Perspective: The Intersection of Art and Geometry”, Tout-fait, 2:5, April 2003, <http://www.toutfait.com/issues/issue_2/Articles/anastasi.html> [consultado em: 12/11/2008].
AGAMBEN, Giorgio (1992), “Notas sobre el gesto” [Note sul gesto], trad. de Antonio Gimeno Cuspinera, in Medios sin fin: Notas sobre la política, Madrid, Pre-Textos, 2001, pp. 47-56.
AGAMBEN, Giorgio (1993), Bartleby ou la création [Bartleby o della contingenza], trad. de Carole Walter, Paris, Circé, 1995.
AGAMBEN, Giorgio (2005), Profanações [Profanazioni], trad. de Luísa Feijó, Lisboa, Edições Cotovia, 2006.
ALBERTI, Leon Battista ([c. 1435]), De la pintura [De pictura], trad. de Rocío de la Villa, , in De la pintura y otros escritos sobre arte, Madrid, Editorial Tecnos, 1999, pp 61-122.
ALBERTI, Leon Battista ([c. 1460]), “De la escultura” [De statua], trad. de Rocío de la Villa, in De la pintura y otros escritos sobre arte, Madrid, Editorial Tecnos, 1999, pp. 123-144.
ARAGON, Louis e BRETON, André (1928), “Le Cinquantenaire le l’hysterie (1878-1928)”, La Révolution Surrealiste, 4: 11, 15 Mars 1928, pp. 20-22.
ARNHEIM, Rudolf (1971), Entropy and Art: An Essay on Disorder and Order, Berkeley (CA)/London, University of California Press.
BALTRUŠAITIS, Jurgis (1957), “Pierres imagées”, in Aberrations: Quatre essais sur la légende des formes, Paris, Olivier Perrin, pp. 47-72.
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BECKETT, Samuel (1983), Pioravante Marche/Worstward Ho, trad. de Miguel Esteves Cardoso, Lisboa, Gradiva, 1988.
BENJAMIN, Walter (1928), “O brinquedo e o jogo: Notas à margem de uma obra monumental” [Spielzeug und Spielen], trad. de Maria Amélia Cruz, in Sobre arte, técnica, linguagem e política, Lisboa, Relógio d’Água, 1992, pp. 171-176.
BENJAMIN, Walter (1936), “A obra de arte na época da sua possibilidade de reprodução técnica” [Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit], trad. de João Barrento, in A Modernidade, Lisboa, Assírio & Alvim, 2006, pp. 207-241.
BENJAMIN, Walter (1977), “Fragmentos estéticos: Pintura e gravura; Sobre a pintura, ou o sinal e mancha” [Malerei und Graphik; Über die Malerei oder Zeichen und Mal], trad. de João Barrento, in A Modernidade, Lisboa, Assírio & Alvim, 2006, pp. 295-301.
BERGSON, Henri (1900), O riso: Ensaio sobre o significado do cómico [Le rire], trad. de Guilherme de Castilho, Lisboa, Guimarães Editores, 1993.
BOIS, Yve-Alain e KRAUSS, Rosalind (1996), Formless: A Users Guide [L'Informe: Mode d'emploi], New York, Zone Books, 1997.
BOULEZ, Pierre (1957), “Alea”, in Relevés d’apprenti, Paris, Éditions du Seuil, 1966, pp. 41-55.
BRECHT, George (1966), Chance-Imagery, [s.l.], Ubuweb, 2004, <http://www.ubu.com/historical/gb/brecht_chance.pdf> [acedido em: 23/1/2008].
BROECKMANN, Andreas (2005), “Image, Process, Performance, Machine: Aspects of a Machinic Aesthetics”, Media Art Histories Archive, October 2005, <http://hdl.handle.net/10002/345> [consultado em: 31/1/2009].
BURROUGHS, William (1970), A revolução electrónica [The Electronic Revolution], trad. de José Augusto Mourão e Maria Leoner Teles, Lisboa, Vega, 1994.
CAGE, John (2004), Silence, London, Marion Boyars.
CAILLOIS, Roger (1958), Os jogos e os homens [Les Jeux et les hommes], trad. de José Garcez Palha, Lisboa, Edições Cotovia, 1990.
CARERI, Francesco (2002), Walkscapes: El andar como prática estética/Walking as an Aesthetic Practice, trad. de Maurici Pla, et al., Barcelona, Editorial Gustavo Gili.
CASCONE, Kim (2000), “The Aesthetics of Failure: «Post-Digital» Tendencies in Contemporary Computer Music”, Computer Music Journal, 24: 4, Winter 2000, pp. 12-18.
CHENG, François (1979), Vide et plein: Le Langage pictural chinois, Paris, Éditions du Seuil, 1991.
CHENG, François, Ed. (1989), Souffle- Esprit: Textes théoriques chinois sur l’art pictural, Paris, Éditions du Seuil, 2006.
CHÉROUX, Clément (1994), L’Expérience photographique d’August Strindberg: Du Naturalism au sur-naturalism, Arles, Actes Sud.
COURNOT, Antoine-Augustin (1843), Exposition de la théorie des chances et des probabilités, Paris, Librairie de L. Hachette.
COZENS, Alexander (1785), “A New Method of Assisting the Invention in Drawing Original Compositions of Landscape”, in LEBENSZTEJN, Jean-Claude, L’Art de la tache: Introduction à la nouvelle méthode d’Alexander Cozens, [s.l.], Éditions du Limon, 1990, pp. 467-484 e ilustrações.
CRAMER, Charles A. (1997), “Alexander Cozen’s «New Method»: The Blot and General Nature-Painter”, The Art Bulletin, March 1997, <http://findarticles.com/p/articles/mi_m0422/is_n1_v79/ai_20824298/print> [consultado em: 29/1/2008].
CRAMER, Florian (2005), Words Made Flesh: Code, Culture, Imagination, Rotterdam, Piet Zwart Institute, <http://pzwart.wdka.hro.nl/mdr/research/fcramer/wordsmadeflesh/#words_made_fleshch3.html> [acedido em: 17/2/2008].
CRAMER, Florian (2007), “For us it’s not an error”, Neural, 28, Winter 2007, pp. 36-39.
CRUZ, Maria Teresa (1999), “Experiência e experimentação: Notas sobre euforia e disforia a respeito da arte e da técnica”, Revista de Comunicação e Linguagens, 25-26 (Real vs. Virtual), Março de 1999, pp. 425-434.
DE LANDA, Manuel, et al. (1993), “Out of Control: A trialogue on machine consciousness with Mark Pauline, Manuel De Landa and Mark Dery”, Wired, 1.04, September/October 1993, <http://www.wired.com/wired/archive/1.04/out.of.control.html> [consultado em: 12/10/2005].
DEBORD, Guy-Ernst (1956), “Théorie de la dérive”, Internationale Situationniste, 2, Décembre 1958, pp. 19-23.
DELEUZE, Gilles (1968), Diferença e repetição [Différence et répétition], trad. de Luiz Orlandi e Roberto Machado, Lisboa, Relógio d’Água, 2000.
DELEUZE, Gilles e GUATTARI, Félix (1972), O anti-Édipo: Capitalismo e esquizofrenia [L'anti-Œdipe: Capitalisme et schizophrénie], trad. de Joana Moraes Varela e Manuel Carrilho, Lisboa, Assírio & Alvim, 1995.
DELEUZE, Gilles e GUATTARI, Félix (1980), Mille plateaux: Capitalisme et schizophrénie 2, Paris, Les Éditions de Minuit, 1997.
DIDI-HUBERMAN, Georges (1982), Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière [Invention de l'hystérie: Charcot et l'iconographie photographique de la Salpêtrière], trad. de Alisa Hartz, Cambridge (Mass.)/London, MIT Press, 2004.
DUCHAMP, Marcel (1957), “The Creative Act”, in SANOUILLET, Michel e PETERSON, Elmer, Eds., The Writings of Marcel Duchamp, Cambridge (Mass.), Da Capo Press, 1989, pp. 138-140; que pode ser ouvido no Ubuweb Sound, <http://ubu.artmob.ca/sound/aspen/mp3/duchamp1.mp3> [acedido em: 24/4/2008].
DUCHAMP, Marcel (1980a [1958]), Duchamp du signe, Paris, Flammarion, 1994.
DUCHAMP, Marcel (1980b), Notas [Notes], trad. de M.ª Dolores Díaz Vaillagou, Madrid, Editorial Tecnos, 1989.
DUCHAMP, Marcel e CABANNE, Pierre (1967), Engenheiro do Tempo Perdido – Entrevistas com Pierre Cabanne [Ingénieur du temps perdu: Entretiens avec Pierre Cabanne], trad. de António Rodrigues, Lisboa, Assírio & Alvim, 1990.
ESCOHOTADO, Antonio (1999), Caos y Orden, Madrid, Espasa, 2000.
FEUK, Douglas (2001b), “The Celestographs of August Strindberg”, Cabinet, 3 (Weather), Summer 2001 <http://www.cabinetmagazine.org/issues/3/celesographs.php> [consultado em: 9/1/2008].
FOSTER, Hal (1993), Compulsive Beauty, Cambridge (Mass.)/London, The MIT Press, 2000.
FREUD, Sigmund (1919), “O sentimento de algo ameaçadoramente estranho” [Das Unheimlich], trad. de Manuela Barreto, in Textos essenciais sobre literatura, arte e psicanálise, Mem Martins, Publicações Europa-América, 1994, pp. 209-242.
FREUD, Sigmund (1920), “Além do princípio do prazer” [Jenseits des Lustprinzips], trad. de Inês Busse, in Textos essenciais da psicanálise I: O inconsciente, os sonhos e a vida pulsional, Mem Martins, Publicações Europa-América, 2001, pp. 227-278.
FREUD, Sigmund (1925), “Note sur le «bloc- magique»” [Notiz über den «Wunderblock»], trad. de P. Cotet, et al., in Œuvres completes: Psychanalyse, Vol. XVII (1923-1925), Paris, Presses Universitaires de France, pp. 137-143.
GAMBONI, Dario (2002), Potential Images: Ambiguity and Indeterminacy in Modern Art, London, Reaktion Books.
GAMBONI, Dario (2005), “Stumbling Over/Upon Art”, Cabinet, 19 (Chance), Fall 2005, pp. 58-65.
GISBOURNE, Mark (2002 [1993]), “Le Spiritisme chez Victor Hugo, Justinus Kerner et quelques autres”, in CLAIR, Jean, Ed., L’Âme au corps: Arts et sciences 1793-1993, Paris, Réunion des Musées Nationaux, 2002, pp. 488-499.
GOMBRICH, Ernst H. (1960), Art and Illusion: A Study in the Psychology of Pictorial Representation, London and New York, Phaidon Press, 2008.
GORIUNOVA, Olga e SHULGIN, Alexei (2007), “Glitch”, Neural, 28, Winter 2007, pp. 44-47.
GOUL, Stephen J. e SHEARER, Rhonda R. (1999), “Hidden in Plain Sight: Duchamp’s 3 Standard Stoppages, More Truly a «Stoppage» (An Invisible Mending) Than We Ever Realized”, Tout-fait, 1:1, December 1999, <http://www.toutfait.com/issues/issue_1/News/stoppages.html> [consultado em: 20/10/2004].
HAMBLYN, Richard (2005), “A Celestial Journey”, Tate Etc, 5, Autumn 2005 <http://www.tate.org.uk/tateetc/issue5/celestialjourney.htm> [consultado em: 23/05/2008].
HAYLES, Katherine N. (1991), Chaos and Order: Complex Dynamics in Literature and Science, Chicago, The University of Chicago Press.
HEDSTRÖM, Per, Ed. (2001), Strindberg: Peintre et photographe, Paris, Réunion des Musées Nationaux.
HUIZINGA, Johan (1938), Homo ludens: Um estudo sobre o elemento lúdico da cultura [Homo Ludens], trad. de Victor Antunes, Lisboa, Edições 70, 2003.
JANSON, Horst W. (1960), “The «Image Made by Chance» in Renaissance Thought”, in MEISS, Millard, Ed., De Artibus Opuscula XL: Essays in Honor of Erwin Panofsky, Vol. I, Zurich, Buehler Buchdruck, pp. 254-266.
JANSON, Horst W. (1973), “Chance Images”, in WIENER, Philip P., Ed., Dictionary of the History of Ideas: Studies of Selected Pivotal Ideas, Vol. 1, New York, Scribner’s, pp. 340-353.
KITTLER, Friedrich A. (1986), Gramophone, Film, Typewriter [Grammophon, Film, Typewriter], trad. de Geoffrey Winthrop-Young e Michael Wutz, Stanford (CA), Stanford Universty Press, 1999.
KLEIST, Heinrich von (1810), “Sur le théâtre de marionnettes” [Über das Marionettentheater], trad. de Pierre Deshusses, in Œuvres complètes, Tome I – Petits écrits, Paris, Gallimard, 1999, pp. 211-218.
KRAUSS, Rosalind (1993), The Optical Unconscious, Cambridge (Mass.)/London, The MIT Press.
KRAUSS, Rosalind e LIVINGSTON, Jane, Eds. (1985), L’Amour fou: Photography and Surrealism, New York, Abbeville Press.
LAUTRÉAMONT, Isidore Ducasse Conde de (1869), “Cantos de Maldoror” [Les Chants de Maldoror], trad. de Pedro Tamen, in Cantos de Maldoror, seguidos de Poesias, Lisboa, Fenda Edições, 2004, pp. 15-190.
LEBENSZTEJN, Jean-Claude (1990 [1984]), L’Art de la tache: Introduction à la nouvelle méthode d’Alexander Cozens, [s.l.], Éditions du Limon.
LICHTENSTEIN, Jacqueline (2003), La Tache aveugle: Essai sur les relations de la peinture et de la sculpture à l’âge moderne, Paris, Gallimard.
MALABOU, Catherine, Ed. (2000), Plasticité, Paris, Éditions Léo Scheer.
MALLARMÉ, Stéphane (1897), Un coup de dés jamais n’abolira le hasard [fac-simile], [Plombières-des-Dijon], Éditions du Tiroir/Ulysse fin de siècle, 1996.
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RUELLE, David (1991), O acaso e o caos [Hasard et chaos], trad. de Manuel Alberto, Lisboa, Relógio d’Água, 1993.
SAMPSON, Tony (2007), “The Accidental Topology of Digital Culture: How the Network Becomes Viral”, Transformations, 14 (Accidental Environments), 2007, <http://transformationsjournal.org/journal/issue_14/article_05.shtml> [consultado em: 12/12/2007].
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STAFFORD, Barbara Maria (1984), “Characters in Stones, Marks on Paper: Enlightenment Discourse on Natural and Artificial Taches”, Art Journal, 44: 3, Autumn 1984, pp. 233-240.
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