Art and Electronic Media (Phaidon Press, 2009).
Second printing now available!!! Reviews / Special Preview

Telematic Embrace: Visionary Theories of Art,
Technology, and Consciousness (U of California Press, 2003, 2007).
Edited collection of essays by  Roy Ascott  Reviews

Inventar el Futuro:  Arte · Electricidad · Nuevos Medios (forthcoming).

<< Scholarly Essays >>

“Alternative Nows and Thens to Be: Re-imagining History to (Re)View the Future – Photography, New Media, and Art Historical Revision” (Spanish/English, 2011).

“Contemporary Art and New Media: Toward a Hybrid Discourse?” (draft).

“Missing in Action: Agency and Meaning in Interactive Art”
(with Kristine Stiles, 2011, c 2000).

“The History and Future of the Lab: Collaborative Research at the Intersections of Art, Science, and Technology” (2010).

“Reprogramming Systems Aesthetics: A Strategic Historiography” (2009).

“Technogenesis: Aesthetic Dimensions of Art and Biotechnology”
16.7MB .pdf (with S. Anker, S. Lindee, D. Nelkin, 2008).

“Historicizing Art and Technology: Forging a Method and Firing a Canon” Media Art Histories, 2007.  Portuguese version (.pdf) in Arte Ciência Technologia, 2009.

“Artists in Industry and the Academy: Collaborative Research, Interdisciplinary Scholarship, and the Interpretation of Hybrid Forms” (2005).  Video, UCLA Art|Sci Center.

“Hot to Bot: Pygmalion’s Lust, the Maharal’s Fear, and the Cyborg Future of Art” (2005).

“Cybernetics and Art: Cultural Convergence in the 1960s”.(Draft, 130KB .pdf.  Final in From Energy to Information, 2002).

“Art in the Information Age: Technology and Conceptual Art” (2001).
Lecture at UCLA Design|Media Arts, 2000 Realplayer Video

“Telematic Embrace:  A Love Story?  Roy Ascott’s Theory of Telematic Art” (2001).

“Tele-Agency: Telematics, Telerobotics, and the Art of Meaning” (1.8MB .pdf)  (2000).  HTML Version on Neme.org

“Life as We Know It, and/or Life as It Could Be:
Epistemology and the Ontology/Ontogeny of Artificial Life” (1998).

“The House that Jack Built:
Jack Burnham’s Concept of Software as a Metaphor for Art” (1998).

“From Drips to ZOOBS: The Cosmology of Artist/Inventor Michael Grey” (1998).
ArtByte (juicy design, no footnotes 9MB .pdf); Full draft with notes (350k .pdf)

“Gemini Rising, Moon in Apollo: Art and Technology in the US, 1966-1971” (1997).

“Technology and Intuition – A Love Story?  Roy Ascott’s ‘Telematic Embrace’” (1997).

“Virtual Perspective and the Artistic Vision: A Genealogy of Technology, Perception and Power” (1996).

<< Catalog Essays, Reviews, and Commentaries >>

“Betwixt and Between, or Notes on Observing: Michael Joaquin Grey’s Between Simonettta” (2011).

“Edward Shanken on ‘Is New Media Accepted in the Artworld?’” (2011).

“Response to Domenico Quaranta’s ‘The Postmedia Perspective’” (2011).

“Contemporary Art and New Media: Outline for Developing a Hybrid Discourse” (2010).

“Knowing Art/Transcending Science: Perception, Consciousness, Synchronicity and Transgnosis” (2010).

“Art and Science: A Renewed Unity! Collaborative Research,
Transdisciplinary Scholarship, and the Interpretation of Hybrid Forms,” 2009.

“Inventing the Future:  Art and Net Ontologies,” with Annet Dekker, 2009.

“The Video Mirror and Its Genetic Double: Richard Kriesche’s Twins as Reflected Through Benjamin’s ‘Work of Art in the Age of Mechanical Reproduction,’” 2008.

“The Imploding Cube Meets the Beating Heart: The Gestalt of Andres Ramirez Gaviria’s ‘0.’ And ‘Resonance, ’” 2008.

“PICNIC 2008: ‘Three Days of Miracle and Wonder?’” (2008).

SONAR 2006 Review (2006).

“Lowell Boyers: Inhale Exhale” (2006).

“Animal, Vegetable, or Mineral? Headless Two-Headed Hydra, or, the Art of Michael Rees” (2005).

“Pioneers of Art and Science: Metzger (review of Gustav Metzger DVD)” (2005).

Telematic Embrace: A Love Story? Roy Ascott’s Theories of Telematic Art (2001).

“Divided We Stand: Interactive Art and the Limits of Freedom” (1997).

“Jeffrey Shaw’s Golden Calf: Art Meets Religion and Virtual Reality” (1994).

<< Ph.D. Dissertation >>

Art In The Information Age:  Cybernetics, Software, Telematics and The Conceptual Contributions of Art and Technology to Art History and Aesthetic Theory. Duke University, 2001.

<< Documentary Film >>

Free Space:  Process – Collaboration – Performance (28 min, color, 2003)

for complete publication details, please see Full Academic CV