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Critical Art Ensemble. Molecular Invasion. New York: Autonomedia, 2002.

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.

Huhtamo, Erkki. Encapsulated Bodies in Motion: Simulators and the Quest for Total Immersion In Critical Issues in Electronic Media, edited by Simon Penny, 159-186. Albany, NY: State University of New York Press, 1995.

Palmer, Daniel. The Art of Real Time In Politics of a Digital Present: An Inventory of Australian Net Culture, Criticism and Theory, edited by Hugh Brown and Geert Lovink and Helen et. al. Merrick, 215-223. Melbouren, AUS: Fibreculture, 2001.

Berlot, Uršula. Georges Bataille – On Art. Journal for the Criticism of Science Journal for the Criticism of Science, Imagination and New Anthropology (ČKZ) XXX (2002): 209 – 210.

Ray, Tom and Georg Gilder and Ray Kurzweil and Michael et. al. Denton. Kurzweil´s Turing Fallacy In Are We Spiritual Machines. Ray Kurzweil vs. the Critics of Strong AI, edited by Jay RichardsSeattle, WA: Discovery Inst, 2002.

Penny, Simon. Critique-New York, The Terminal Art Network (1984).

Sommer, Lucia. Simon Penny´s Electronic Critique: Notes on the Politicization of Art Against the Aestheticization of Politics Cultronix 1, no. 1 (Summer 1994).

Anker, Suzanne. Three Questions: A Holy Trinity or Three Blind Mice Institutional Critique to Hospitality: Bio Art Practice Now (May 2017): 37-50.

Lebovici Elisabeth. Mondes Croisés, Abbaye de Maubuisson. Paris, France: Archibooks, 2008.