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Whitelaw, Mitchell. System Stories and Model Worlds: A Critical Approach to Generative Art In Readme 100: Temporary Software Art Factory, edited by Olga Goriunova, 135-154. Norderstedt: BoD, 2005.

Apter, Emily S.. The Translation Zone. A New Comparative Literature. Princeton, NJ: Princeton Univ. Press, 2006.

Marchese, Francis T.. Software Archaeology and the Preservation of Code-based Digital Art In Proceedings of Archiving Conference 2013, edited by Society for Imaging Science and Technology, 25-30. Springfield, VA: 2013.

Christiane Paul. Expanding Cinema: The Moving Image in Digital Art In Film and Video Art, edited by Stuart ComerLondon: Tate Publishing, 2008.

Barnett, Tully. Remediating the Infected Body: Writing the Viral Self in Melinda Rackham's carrier. Biography 1, no. 35 (2012): 45-64.

Barnett, Tully. Monstrous Agents: Cyberfeminist Media and Activism Ada: A Journal of Gender, New Media and Technology , no. 5 (July 2014).

Bazzichelli, Tatiana. Networking. The Net as Artwork. Aarhus: Digital Aesthetics Research Center, 2008.

Feuerstein, Thomas. Pedigree http://www.annjakrautgasser.net/home.php?il=83&l=en [21.10.2014].

Galloway, Alexander. What you see is what you get? In The archive in motion: new conceptions of the archive in contemporary thought and new media practices, edited by Eivind Røssaak, 155-182. Oslo: Novus Press, 2010.

Baumgärtel, Tilman. Dein Code ist so verdammt elegant http://www.taz.de/1/archiv/?dig=2002/11/02/a0229 [21.10.2014].