Selected Books

Illusions in MotionIllusions in Motion
Media Archaeology of the Moving Panorama and Related Spectacles
February 2013, MIT Press.
Book page on MIT Press

Media Archaeology

Media Archaeology
Approaches, Applications, and Implications
June 2011, University of California Press.
Book page on UC Press


Selected Articles

  • “Art in the Rear-View Mirror: the Media Archaeological Tradition in Art,” in: Blackwell Companion to Digital Art, ed. Christiane Paul (Wiley-Blackwell), forthcoming in 2015.
  • “Freedom, Control, and Confusions in the Art Museum: Why We Need ‘Exhibition Anthropology’?,” in: Museum Media, ed. Michelle Henning (London and New York: Routledge), forthcoming in 2015.
  • “’All the World’s a Kaleidoscope.’ A Media Archaeological Perspective to the Incubation Era of Media Culture,” Rivista di estetica, Nuova series, No. 55 (2014), Anno LIV, 139-153.
  • “The Dream of Personal Interactive Media: A Media Archaeology of the Spirograph, a Failed Moving Picture Revolution,” Early Popular Visual Culture, Vol. 11, No. 4 (2013), 365-408.
  • ”The Brown-Urban-Joy Spirograph: A Postscript,” Early Popular Visual Culture, 2014, published on-line July 30, 2014.
  • “Illusion and its Reverse: About Artistic Explorations of Stereoscopic 3D,” in: Expanded Narration. Das neue Erzählen. B3 Biennale des Bewegten Bildes, ed. Bernd Kracke and Marc Ries (Frankfurt: Biennale des Bewegten Bildes / Transcript Verlag, 2013), 123-141.
  • “Metadesigning for the Future. A conversation with Gene Youngblood at the World Wide Video Festival, The Hague, Netherlands, 1 & 2 October, 1990,” 2013, online at:
  • “Watching the Borders and Peeking Beyond: Astronomical Demonstration Instruments as a Challenge for Screenology,” Écranosphère, Vol. 1, No. 1 (Winter 2014), 23 pages, at:
  • “(Un)walking At The Fair: About Mobile Visualities at the Paris Universal Exposition of 1900,” The Journal of Visual Culture, Vol. 12, No. 1 (2013), 61-88.
  • “Screen Tests: Why Do We Need an Archaeology of the Screen?,” Cinema Journal, Vol. 51, No. 2 (Winter 2012), 144-148.
  • “Toward a History of Peep Practice,” in: A Companion to Early Cinema, ed. André Gaudreault, Nicolas Dulac, Santiago Hidalgo (Chichester, West Sussex: Wiley-Blackwell, 2012), 32-51.
  • “What’s Victoria Got To Do With It? Toward an Archaeology of Domestic Video Gaming,” in: Before the Crash: Early Video Game History, ed. Mark J. P. Wolf (Detroit: Wayne State University Press, 2012), 30-52.
  • “Monumental Attractions: An Archaeology of Public Media Interfaces,” in: Interface Criticism: Aesthetics Beyond Buttons, ed. Christian Ulrik Andersen and Soeren Bro Pold (Aarhus: Aarhus University Press, 2011), 21-42.
  • “Natural Magic: a Cultural History of Moving Images,” in: The Routledge Companion to Film History, ed. William Guynn (London and New York: Routledge, 2011), 3-15.
  • “Pockets of Plenty. An Archaeology of Mobile Media,” in: The Mobile Audience: Media Art and Mobile Technologies, ed. Martin Rieser (Amsterdam-New York: Rodopi, 2011), 23-38.
  • “Dismantling the Fairy Engine: Media Archaeology as Topos Study,” in: Media Archaeology: Approaches, Applications and Implications, ed. Erkki Huhtamo and Jussi Parikka (Berkeley: University of California Press, 2011), 27-47.
  • “Pre-envisioning Mediatecture: A Media-archaeological Perspective,” in: Mediatecture. The Design of Medially Augmented Spaces, ed. Christoph Kronhagel (Wien & New York: Springer, 2010), 20-27.
  • “The Diorama Revisited,” in: Sonic Acts XIII – The Poetics of Space, Spatial Explorations in Art, Science, Music & Technology. Ed. Arie Altena & Sonic Acts (Amsterdam: Sonic Acts Press / Paradiso, 2010), 207-228.
  • “Thinkering with Media: On The Art of Paul DeMarinis,” in: Paul DeMarinis: Buried in Noise, ed. Ingrid Beirer, Sabine Himmelsbach and Carsten Seiffairth (Heidelberg and Berlin: Kehrer Verlag, 2010), 33-46.
  • “Messages on the Wall: An Archaeology of Public Media Displays,” in: Urban Screens Reader, ed. Scott McQuire, Meredith Martin and Sabine Niederer (Amsterdam: Institute of Network Cultures, 2009, INC Reader #5), 15-28. Available at:
  • “The Sky is (not) the Limit: Envisioning the Ultimate Public Media Display,” The Journal of Visual Culture, Vol. 8, No. 3 (December 2009), 329-348.
  • “The Origins of the Virtual Museum,” in: Museums in a Digital Age, ed. Ross Parry (Routledge, 2009), 121-135.
  • “Resurrecting the Technological Past: An Introduction to the Archeology of Media Art,” in: Art and Electronic Media, ed. Edward A. Shanken (London: Phaidon, 2009), 199-201.
  • “Aeronautikon! or, the Journey of the Balloon Panorama,” Early Popular Visual Culture, Vol. 7, No. 3 (November 2009), 295-306.
  • “Penetrating the Peristrephic: An Unwritten Chapter in the History of the Panorama,” Early Popular Visual Culture (Colchester, Essex: Routledge), Vol. 6, No. 3 (November 2008), 219-238.
  • “Tactile Temptations: About Contemporary Art, Exhibitions and Tactility,” in: Interface Cultures. Artistic Aspects of Interaction, ed. Christa Sommerer, Laurent Mignonneau and Dorothee King (Bielefeld: Transcript Publishers, 2008), 129-139.
  • “Cyborg is a Topos,” in: Synthetic Times. Media Art China 2008, ed. Fan Di’An and Zhang Ga (Beijing, China and Cambridge, Mass.: National Art Museum of China and The MIT Press, 2008), 52-71.
  • “Shaken Hands with Statues… On Art, Interactivity and Tactility,” 2007 (first published in 2006 in the UCLA Broad Art Center Inauguration Catalogue), online at:
  • “Intercultural Interfaces; Correcting the Pro-Western Bias of Media History,” conference paper at Re:place 2007. The Second International Conference on the Histories of Media, Art, Science and Technology, Berlin. Download the text HERE.
  • “Trouble at the Interface 2.0. On the Identity Crisis of Interactive Art,” 2007 (expanded version of an essay in Framework, The Finnish Art Review, 2/2004), online at:
  • “Twin-Touch-Test-Redux: Media Archaeological Approach to Art, Interactivity, and Tactility,” in: MediaArtHistories, ed. Oliver Grau (Cambridge, Mass: The MIT Press, 2006), 71-101.
  • “The Pleasures of the Peephole: An Archaeological Exploration of Peep Media,” in: Book of Imaginary Media: Excavating the Dream of the Ultimate Communication Medium, ed. Eric Kluitenberg (Rotterdam: NAi Publishers, 2006), 74-155.
  • “Slots of Fun, Slots of Trouble. Toward an Archaeology of Electronic Gaming,” in: Handbook of Computer Games Studies, ed. Joost Raessens & Jeffrey Goldstein (Cambridge, Mass.: The MIT Press, 2005), 1-21.
  • “Elements of Screenology: Toward an Archaeology of the Screen,” ICONICS: International Studies of the Modern Image (Tokyo), Vol. 7 (2004), 31-82.
  • “Peristrephic Pleasures, or The Origins of the Moving Panorama,” in: Allegories of Communication: Intermedial Concerns from Cinema to the Digital, ed. Jan Olsson and John Fullerton (Rome: John Libbey, 2004), 215-248.
  • “WEB STALKER SEEK AARON: Reflections on Digital Arts, Codes, and Coders,” in: Code – The Language of our Time. Ars Electronica 2003, ed. Gerfried Stocker and Christiane Schöpf (Ostfildern-Ruit: Hatje-Cantz Verlag, 2003), 110-128.
  • “Media Art in the Third Dimension: Stereoscopic Imaging and Contemporary Art,” in: Future Cinema, ed. Jeffrey Shaw and Peter Weibel (Cambridge, Mass.: The MIT Press, 2003), 466-473.
  • “Mr. Duchamp’s Playtoy, or Reflections on Marcel Duchamp’s Relationship to Optical Science,” in: Experiencing the Media: Assemblages and Cross-overs, ed. Tanja Sihvonen and Pasi Väliaho (Turku: University of Turku. School of Art, Literature and Music, Media Studies, Series A, No 53, 2003), 54-72. Download the text HERE.
  • “On the Origins of the Virtual Museum,” paper read at Virtual Museums and Public Understanding of Science and Culture, Nobel Symposium 120, 2002, Stockholm, at:
  • “From Cybernation to Interaction: A Contribution to an Archaeology of Interactivity,” in: The Digital Dialectic. New Essays on New Media, ed. Peter Lunenfeld (Cambridge, Mass.: The MIT Press, 1999), 96-110.
  • “Seeing at a Distance. Towards an Archaeology of the ‘Small Screen’,” in: Art@Science, ed. Christa Sommerer and Laurent Mignonneau (Vienna-New York: Springer, 1998), 262-278.
  • “From Kaleidoscomaniac to Cybernerd. Towards an Archeology of the Media,” Leonardo, Vol. 30, No 3 (1997), 221-224.
  • “Digitalian Treasures, or Glimpses of Art on the CD-ROM Frontier,” in: Clicking In: Hot Links to a Digital Culture, ed. Lynn Hershman Leeson (Seattle: Bay Press, 1996), 306-317.
  • “Time Machines in the Gallery. An Archeological Approach in Media Art,” in: Immersed in Technology. Art and Virtual Environments , ed. Mary Anne Moser with Douglas McLeod (Cambridge, Mass.: The MIT Press, 1996), 232-268.
  • “From Kaleidoscomaniac to Cybernerd. Towards an Archeology of the Media”, in: Electronic Culture, ed. Timothy Druckrey (New York: Aperture 1996), 296-303.
  • “Seeking Deeper Contact. Interactive Art as Metacommentary,”Convergence, Vol. 1, No. 2 (Autumn 1995), 81-104.
  • “Encapsulated Bodies in Motion. Simulators and the Quest for Total Immersion,” in: Critical Issues in Electronic Media, ed. Simon Penny (Albany: State University of New York Press, 1995), 159-186.
  • “Seven Ways of Misunderstanding Interactive Art: An Imaginary Dialogue,” in: Digital Mediations, Exhibition Catalogue (Pasadena: Art Center College of Design, Alyce de Roulet Williamson Gallery, 1995), online at:
  • “’It is interactive, but is it art’,” Computer Graphics Visual Proceedings: Annual Conference Series, 1993, ed. Thomas E. Linehan (New York: ACM SIGGRAPH 1993), 133-135.
  • “Twenty Fragmentary Thoughts on Video Installation,” in: Interface. Nordic Video Art, ed. Pål Wrange (Stockholm: Stiftelsen Nordisk Videokonst, 1990), 18-23. Download the text HERE.