Books
The Age of Total Images, Institute of Network Cultures, Amsterdam, 2019.
Fotografija kao dokaz, Multimedijalni centar, Zagreb, 2018.
Culture of the Selfie : Self-Representation in Contemporary Visual Culture, Institute of Network Cultures, Amsterdam, 2017.
Kultura Selfija, transl. Ognjen Strpić, Jesenski i Turk, Zagreb, 2022.
Edited readers
Smuggling Anthologies, Museum of Modern and Contemporary Art, Rijeka, 2015.
Victims Symptom - PTSD and Culture,Institute for Network Cultures, Amsterdam, 2009.
Žena na raskrižju ideologija, HULU Split, 2007.
Chapters (selection)
‘Phototopia: Photography, Utopia of the Archive, and Techno-utopianism’ in: Julia Urabayen and Jorge León Casero (eds). Post-Apocalyptic Cultures: New Political Imaginaries After the Collapse of Modernity, Palgrave Macmillan, 2024, p. 225-238.
'Large Datasets and the Particularity of Art: Will There Be Any Art in the Deep Learning Age?', in: Kwok Kad (ed.) Sight as Site in the Digital Age: Art, the Museum, and Representation, Springer, 2023, p. 131-143.
'Ghetto' in: Simone Pekelsma and Basak Tanulkuand (eds.) Physical and Symbolic Boundaries across the World: An Inquiry into understanding how boundaries segregate and connect, Routledge, 2024.
‘Autografija’, in: Bernd Herzogengracht (ed.) Concepts, Bloomsbury. 2022.
‘Selfies controlling dreadful images’, in: Ali Shobeiri and Helen Westeest (eds.), Psychosomatic images: Photographic reflections on Mental Disorders, Palgrave Macmillan, 2022, p. 183-197.
‘Genotype, Phenotype, Phototype: Digital Photography, biological variety, and excessive overpopulation of types’, in: Luke Bergmann et al (eds.) Routledge Digital Environmental Humanities Handbook, Routledge, 2022.
‘Selfies as augmentation of (disappearing) reality’, The Aesthetics and Politics of The Online self, in: ePeter Serram, Teresa Numerico, Geert Lovink and Donatella della Ratta (eds.), Palgrave MacMillan, 2021. DOI: 10.1007/978-3-030-65497-9_12
‘Reality effect of [abstract] maps in post-digital era’, in: Kresimir Purgar (ed.), The Iconology of abstraction - Non-Figurative Images and the Modern World’, Routledge, 2020.
'Woman at the crossroad of ideologies', in: Marina Gržinic and Rosa Reitshamer (eds.) New feminism, queer and networking conditions. Vienna: Erhard Loecker Verlaag, 2008, .201-15. Republished (Parts in English and Italian) as; On Woman @ The Crossroad Of Ideologies in Carbi, G. (ed.) Third CEI Venice forum for Contemporary Art Curators - Proceedings of Continental Breakfast. Outposts : Trieste Contemporanea, Central European Initiatives, Trieste, 2008, 47-52.
‘Merely a Photographer’, in: Suzana Milevska, Renaming Machine, P.A.R.A.S.I.T.E, Ljubljana, 2008.
‘Corruption of a Grand Narrative of Arts’. IRWIN (eds.): East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006, 472-7.
‘Anonymous authors, Nameless Heroes, Unknown Histories (A local overview of strategies and motifs of variable x’’. IRWIN (eds.) East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006, 163-74.
Encyclopedia entries
'Photography', in: Debra L. Menskin (ed), The SAGE International Encyclopaedia of Mass Media and Society, , 2019.
‘Commodification of Culture’, in: Linda L. Lowry (ed), The SAGE International Encyclopedia of Travel and Tourism, DOI: http://dx.doi.org/10.4135/9781483368924.n111
'Culture Shock' In: Linda L. Lowry (ed.) The SAGE International Encyclopedia of Travel and Tourism, DOI: http://dx.doi.org/10.4135/9781483368924.n128
Peer-reviewed articles
'Anthropocentrism and solipsism in photographic self-portraits of Edvard Munch, Photographies 12(2), 2022. DOI: 10.1080/17540763.2022.2060287
'The Work of Art in the Age of Neural Reproduction', Art Documentation Journal 40(2), DOI: 10.1086/717074
‘Photographocene: The past, present and future in photography of the environment’, Philosophy of Photography, 2021 11(1).
'Stolen Faces', Lexia (37-38 Artificial Faces, 2021): 455-467.
‘The specificities of intermediality of painting and technology of photography: Some theories and examples’, Creative Economics and Social Inovations 2 (11, 2015), 11-23.
‘Exploitation of victims desire for revenge‘, Leonardo 1 (44, 2011): 55-60. Republished to Croatian; O umjetnosti osvete i eksploataciji smrti : Žrtve u razmjeni politicka iskorištavanja i politike osvete, Vizura 3-4 (2008), 18-25.
‘‘Selfie’ as the Paradigm of Cultural Change’, Creative Economics and Social Inovations 2 (7, 2014), 10-22.
‘Mind the film’: Photographs and films with lost narratives. Afterimage 37 (2/2009), 45-49.
Conference proceedings
‘Neither Vision nor visualisation’, in: Michalski and Tommaso Morawski (eds.) Satellite imaging and the erosion of genres of spatial descriptions,The Mediality of Mapping. Transmedial Approaches to Space and Cartographic Imagination, Rome: Campisano Editore, 2024.
‘Phototaxidermy: Deduction of Species by Neural Networks’, 35th World Congress of Art Historians, Sao Paulo, Brazil, 2023. pp. 430-440.
‘Portraits of people that do not exist. Generative Adversarial Networks (GANs) and the problem of existence in portraiture’, Congress on portraiture, 2022, pp. 210-218.
'Face-Mockers, Face-Shifters and Face Swappers: agency and personal identity in portrait photography today', Dark Eden conference Proceedings, Art+Australia, 2021.
‘From Sociocentric to Egocentric Place’, Geert Lovink and Andreas Treske (eds.) 12. Videovortex #14, Institute of Network Cultures, 2020, 96-103.
‘From Anthropological to Ethnological Approach in Photojournalism', in; Ljiljana Kolešnik and Tamara Bjažić Klarin, French Artistic Cultures, Institute of Art History, 2017, 264-278
‘Mass Spamming’, in; Tom Medak and Petar Milat (eds.), Idea of Radical Media, Multimedijalni institut, Zagreb, 2013, 236-253.
‘Chauvinist And Elitist Obstacles Around Youtube And Porntube’, in; Lovink Geert. and Niederer Sabine (eds.), Video Vortex #12, Institute for Networked Cultures, Amsterdam, 2008, 189-96. Republished: ‘Chauvinist And Elitist Obstacles Around Youtube And Porntube Politics of feelings / Economies of Love in Nataša Bodrožic (ed.) Loose associations, 2014.
‘Censored Images: Women in the Army’, Censored Images, Performative Gestures - Political Movements, Red Athena University Press, Zagreb, 2010. 139.-148.
‘The aesthetics of the negative or; the negative dialectics of photography‘ Journal of Physics.: Conference serial. Ser. 2010, 231 012013, DOI: 10.1088/1742-6596/231/1/012013
‘On Indifference, Inhabiting In-Between As A Territory’ / O indiferenciji], Con/Front! Kessi A, Miraztchiev E, Sevova D. (eds.), Communication Front 2000 international project of electronic and media art and cultural Crossing Points East – West. Plovdiv: Art Today Association, 2002, 17-8.
(with Lovink G.), ‘Con/Front! Radio-Active Ideological Junk [Second Hand Truths About East And West]’ / ‘Kon/front’, u; Kessi A, Miraztchiev E, Sevova D. (ed.). Communication front 2000, international project of electronic and media art and cultural Crossing Points East – West. Plovdiv : Art Today Association, 2002, 20-3.
‘A Place Where Everything Has a Sense’. Melentie Pandilovski & Bojan Šarkacevic (ed.). Understanding the Balkans Conference. Skopje : CAC, 2002, 64-70.
‘The making and unmaking of para-history: or from photomontage to digital sabotage’. Issues in Contemporary Arts and Aesthetics
Magazine artices
'Selfies and the World Behind our back', Memberana 4 (2018): 48-54.
‘Self-Portrait Hanging between Personal and Social Grimace’, Membrana 2(2017): 88-90.
‘Sublimno in fotografija’, Fotografija 60/61 (2014): 46-52.
‘Kriptofotografija in metasistemi fotografskih slik’, Fotografija 50/51 (2012): 41-52.
‘Šezdesetinka sekunde za slavo’, Fotografija 49/50 (2012): 46-50.
‘Strah pred negotovim in velike oci fotografije’, Fotografija 44/45 (2011): 15-25.
Translated to Croatian 'Strah od neizvjesnog i velike oči fotografije', Krešimir Purgar (ed.): Kritika / teorija / pojmovi u novoj hrvatskoj umjetnosti, Kontura, Zagreb, 2017.
‘Smugglein’, Springerin 2 (2009): 13-15. Commercialisation of images of Revolution (1968-2008), Pavilion 12 (2009): 78-86
‘Morgante’, Eyemazing (Spring, 2011); 72.-78.
‘Photography, truth and metaphysics’, Eyemazing (Summer, 2011): 50.-59.
‘Time travel and photographic negatives ‘, Art and Education Papers 2011. Translated to Croatian: ‘Putovanje kroz vrijeme’, Svjetovi fotografije, ULUPUH, 2012 Republished: ‘Putovanje kroz vrijeme i fotografski negativi’, in Kontejner (ed.) Teorija postnegativnog svijeta, Ekstravagantna tijela: Ekstavagantne godine, Kontejner, Zagreb, 2013. 294-295 + 295-306.
‘AVI-und DivX Kunst’. Springerin 2 (2007): 9-10. Republished: 'AVI-und DivX Kunst Videokunst am Rande des Uberlebens’. Documenta magagzine http://magazines.documenta12.de/frontend/article.php?IdLanguage=5&NrArticle=1363’
‘Ein Wandel in der Repräsentation des Arbeiters Vom Sozialistischen Realismus zum ‘Soros-Realismus’’ Springerin 3 (11, 2006): 30-2.
‘Auf nach Sarajevo, Ferdinand! Symptome des ‘Wienerischen’ und/oder des ‘Balkan’ in der gegenwärtigen Kulted’ Springerin 2 (12, 2005): 38-40.
‘Leere Podeste’ Springerin 1 (11, 2005): 28-30. Translation to English: ' Empty Pedestals', Pavilion 10-11 (2007): 142-8.
‘Medien von Gericht’, Springerin 4 (10, 2004): .26-30.
‘Ostereuropische ©opymanie‘. Springerin 2 (10, 2004): 26-30
