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<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><= 04. MEDIAARTHISTORIES RESEARCH IS ADVANCING INTO MOST QUOTED ART HISTORY BOOKS =========><?xml:namespace prefix = "o" ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>MediaArtHistories (Digital Arts Publications **) are advancing into the List of<SPAN style="mso-spacerun: yes"> </SPAN>MOST QUOTED<SPAN style="mso-spacerun: yes"> </SPAN>Art History books <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>(Publications since 1980, source: H-INDEX, including translations, date: May 2017)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>W. J. T. MITCHELL: Picture Theory. Essays on Verbal and Visual Representation, Chicago, 1994<SPAN style="mso-spacerun: yes"> </SPAN>(3940 quotes)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>Hans BELTING: Likeness and Presence: A History of the Image before the Era of Art, (German 1980)<SPAN style="mso-spacerun: yes"> </SPAN>(1720 quotes)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>Hal FOSTER: The Return of the Real, Cambridge/Mass., 1996 (1965)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>Rosalind E. KRAUSS, The Originality of the Avant-Garde and Other Modernist Myths, Cambridge, Mass. – London, 1986<SPAN style="mso-spacerun: yes"> </SPAN>(1535 quotes)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>**Oliver GRAU, Virtual Art. From Illusion to Immersion, Cambridge, Mass., MIT-Press, 2002<SPAN style="mso-spacerun: yes"> </SPAN>(1180 quotes)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>Martin KEMP, The Science of Art. Optical Themes in Western Art from Brunelleschi to Seurat, New Haven and London, 1990<SPAN style="mso-spacerun: yes"> </SPAN>(1000)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>Barbara Maria STAFFORD, Body Criticism. Imaging the Unseen in Enlightenment Art and Medicine, Cambridge Mass. – London, 1991<SPAN style="mso-spacerun: yes"> </SPAN>(840)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>**Michael RUSH, New Media in Late 20th-Century Art, London, 1999<SPAN style="mso-spacerun: yes"> </SPAN>(780)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>**Christiane PAUL, Digital Art, London and New York, 2003<SPAN style="mso-spacerun: yes"> </SPAN>(680)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>**Peter WEIBEL and Bruno LATOUR (eds.), Making Things Public. Atmospheres of Democracy, Cambridge, Mass. – Karlsruhe, 2005<SPAN style="mso-spacerun: yes"> </SPAN>(680)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>James ELKINS, The Object Stares Back. On the Nature of Seeing, New York, 1996<SPAN style="mso-spacerun: yes"> </SPAN>(540)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"'>Gottfried BOEHM (ed.), Was ist ein Bild? Munich, 1994<SPAN style="mso-spacerun: yes"> </SPAN>( 540)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"'>Martin WARNKE, Hofkünstler. Zur Vorgeschichte des modernen Künstlers, Cologne, 1996<SPAN style="mso-spacerun: yes"> </SPAN>(425)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"'>Horst BREDEKAMP, Antikensehnsucht und Maschinenglaube, Berlin, 1993<SPAN style="mso-spacerun: yes"> </SPAN>(400)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>Jeffrey F. HAMBURGER: The visual and the visionary, New York: Zone, 1998.<SPAN style="mso-spacerun: yes"> </SPAN>(235).<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>Wolfgang KEMP, Der Betrachter ist im Bild, Cologne, 1985<SPAN style="mso-spacerun: yes"> </SPAN>(190)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'>**Bruce WANDS, Art of the Digital Age, New York, 2006<SPAN style="mso-spacerun: yes"> </SPAN>(170)<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: normal; TEXT-AUTOSPACE: ; mso-layout-grid-align: none"><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; mso-ansi-language: EN-US'><o:p> </o:p></SPAN></P><SPAN lang=EN-US style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; LINE-HEIGHT: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-fareast-language: EN-US; mso-bidi-language: AR-SA'>Benjamin BUCHLOH: Neo-avantgarde and Culture Industry, Cambridge. </SPAN><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: "Segoe UI","sans-serif"; LINE-HEIGHT: 115%; mso-ansi-language: DE-AT; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-fareast-language: EN-US; mso-bidi-language: AR-SA'>MIT-Press 2003.<SPAN style="mso-spacerun: yes"> </SPAN>(164)</SPAN></BODY></HTML>