Ana Peraica ·

Photography theory · Visual culture · Media art

Ana Peraica

Photography theorist

Fields and interests: Media art history; visual media arts history; image science; photography (lens-based media); philosophy and theory of digital and post-digital photography; visually based digital humanities; art and science.

    About

    Ana Peraica

    Short biography

    Ana Peraica is a scholar, educator and curator working on visual media arts and post-digital photography. She teaches at the University for Continuing Education Krems and leads Atelier Peraica, the Split photographic atelier founded in 1934. She is the author of Culture of the Selfie, The Age of Total Images and Fotografija kao dokaz, with chapters published by Routledge, Springer, Palgrave and MIT Press.

    Longer biography

    Ana Peraica is a scholar, educator, curator and art critic working on visual media arts and the philosophy and theory of digital and post-digital photography. She holds a PhD from the International PhD Study Philosophy and Contemporaneity (Universities of Maribor, Rijeka and Trieste, 2010), completed the doctoral course at the Amsterdam School of Cultural Analysis (2000–2003) and was a younger researcher at the Jan van Eyck Akademie (1999–2001).

    She has taught at the University for Continuing Education Krems since 2008, where she was Visiting Professor in 2021, was Visiting Fellow at Central European University in 2019, and has lectured at Oxford Brookes University, Ankara University, the Hungarian University of Fine Arts, the University of Ljubljana and elsewhere. Her books are Culture of the Selfie (2017), Fotografija kao dokaz (2018) and The Age of Total Images (2019); her chapters have been published by Routledge, Springer, Palgrave Macmillan, Bloomsbury and MIT Press, and her articles in Leonardo, Photographies and Philosophy of Photography. She co-curated Smuggling Anthologies, reviews for Leonardo, Photographies, Photography & Culture, Visual Communication, Cogent Arts & Humanities and AI & Society, and evaluates grant proposals for Horizon Europe (Cluster 2), the Marie Skłodowska-Curie Actions (including COFUND), COST and national funds in Poland and the Czech Republic. She leads Atelier Peraica, the photographic atelier founded in Split in 1934.

    Academic IDs ORCID · Scopus · Web of Science · ResearchGate · Google Scholar

    Reference pages Leonardo journal profile · Leonardo journal contributor · Monoskop

    Download CVPDF

    Books

    Culture of the Selfie, 2017

    Culture of the Selfie
    Self-Representation in Contemporary Visual Culture
    Institute of Network Cultures, Amsterdam, 2017

    Open access

    Used in university coursesMandatory reading: City University of Hong Kong; University of Turin; Pázmány Péter Catholic University, Budapest; Jagiellonian University, Kraków. Supplementary reading: ELTE, Budapest; University of Leeds; Hebrew University of Jerusalem; University of Rijeka. Previously used at: Bilkent University, Ankara; University of Duisburg-Essen; University of Stirling.

    Fotografija kao dokaz, 2018

    Fotografija kao dokaz
    Primjena tehnologijske definicije fotografije na raspravu u estetici i teoriji fotografije
    Multimedijalni institut, Zagreb, 2018

    The Age of Total Images, 2019

    The Age of Total Images
    Disappearance of a Subjective Viewpoint in Post-digital Photography
    Institute of Network Cultures, Amsterdam, 2019

    Open access

    Used in university coursesMandatory reading: MIT, Program in Art, Culture and Technology. Supplementary reading: University of Vienna.

    Kultura selfija, 2023

    Kultura selfija
    Osobna reprezentacija u suvremenoj vizualnoj kulturi (hrvatski prijevod)
    Jesenski i Turk, Zagreb, 2023

    Education and training

    Education

    • 2010. Awarded PhD, International PhD Study Philosophy and Contemporaneity, University of Maribor, Rijeka, and Trieste. PhD thesis “Fotografija kao dokaz” (Supervisor: Prof. dr. Elvio Baccarini).
    • 2000–2003. Finished a three-year PhD course at Amsterdam School of Cultural Analysis, Theory and Interpretation (ASCA), University of Amsterdam (supervisor: Prof. dr. Mieke Bal).
    • 1997. Graduated in philosophy and art history. MA thesis “Logics in the Works of Lewis Carroll” (Supervisor: Prof. Dr. Švob).
    • 1993–1997. Studied philosophy (A1) and art history (A2), University of Zagreb.1
    • 1990–1993. Studied philosophy (A1) and art history (A2), at the University of Zadar.

    Specializations and trainings

    • 1999–2001. post-academic program of art theory at Jan Van Eyck Akademie (supervisor: Prof. Dr. Sarat Maharaj), younger-researcher position.

    Awards and subsidies

    • 2022. Getty travel grant (for 35th Congress of Art Historians—CIHA Congress). 
    • 2004–2005. BKVB, Funds Voor Beeldende Kunsten, Vormgeving en Bouwkunst, Amsterdam.
    • 2003–2004. BKVB, Funds Voor Beeldende Kunsten, Vormgeving en Bouwkunst, Amsterdam.
    • 2001. OSI Grant.
    • 1999–2000. UNESCO—International Fund for the Promotion of Culture (IFPC), Paris.

    Teaching

    Micro-credentials (lifelong learning)

    University postgraduate and doctoral studies

    • 2008–2026 – University for Continuing Education Krems, Media Art Histories and Media Art Cultures - ERASMUS MUNDUS (Universities of Lodz, Aalborg, Hong Kong, and Krems): “AI and Photography” (2022-24), “Media Art Criticism” (2020–2022), “Photographs and Maps” (2019), “Methods, Genres, Writing” (2018–2019), “Self-reflective media” (2014–2017), “Politics and Technology” (2008–2014). 
    • 2019. Central European University (CEU) Budapest, History Department. “Visual Culture, theories, and methods.”
    • 2007–2010. University of Rijeka, Department for Cultural Studies. “Media Arts” and “Systems of Propaganda in Media.”

    University graduate studies

    • 2026. University studies of media and communication, University of Split. “Academic Writing I”.
    • 2010. Rochester Institute of Technology (RIT) Croatia, all departments. “Introduction to Philosophy” (0508-210).
    • 2007–2010. University of Rijeka, all departments “Visual Culture.”

    Art graduate studies

    • 2005+2012. Fine arts academy, Department for Film and Video, “History and theory of film and video” (2012), all departments, “Art of XIX and XX centuries” and “Art of XX century” (2005),

    Recent visiting lectures at universities

    • 21.11. 2024. Oxford Brookes University.
    • 14–15. 04. 2023. University of Rijeka, Faculty of Philosophy, Fine Arts Academy, and Urban Studies. ▶ lecture ▶ book presentation
    • 9. 3. 2021. University of Split, Faculty of Architecture. 
    • 22. 10. 2020. University of Ankara, Fine Arts Academy.
    • 24. 9. 2019. University of Budapest, Hungarian Academy of Fine Arts, Multimedia Dept., and PhD Studies.
    • 13. 4. 2019. University of Zadar. Faculty of Philosophy, Sociology Dept.
    • 21. 3. 2019. University of Ljubljana, Academy of Fine Arts, Photography Dept.

    Affiliations

    • •       Visiting Professor (Gastprofessorin), 2021, University for Continuing Education Krems.
    • •       Visiting Fellow 2019. Central European University (CEU), Budapest.
    • •       Visiting researcher/lecturer, 2008–2021, University for Continuing Education Krems.
    • •       Lecturer, 2010. Rochester Institute of Technology (RIT), ACMT Dubrovnik.  
    • •       Lecturer, 2007–2010, University of Rijeka.      
    • •       Lecturer, 2005–2006. University of Split. 

    Education boards

    • 2008–2010. Leonardo Education Forum (MIT Press).

    Materials and handbooks used in the classroom

    • Ana Peraica, Culture of the Selfie: Self-Representation in Contemporary Visual Culture, Institute of Network Cultures, Hogeschool van Amsterdam/Amsterdam University of Applied Science, Amsterdam, 2017. 2Mandatory reading: City University of Hong Kong; University of Turin; Pázmány Péter Catholic University, Budapest; Jagiellonian University, Kraków. Supplementary reading: ELTE, Budapest; University of Leeds; Hebrew University of Jerusalem; University of Rijeka. Previously used at: Bilkent University, Ankara; University of Duisburg-Essen; University of Stirling.
    • Ana Peraica, The Age of Total Images: Disappearance of a Subjective Viewpoint in Post-digital Photography, Institute of Network Cultures/Hogeschool van Amsterdam/Amsterdam University of Applied Science, Amsterdam, 2019, 3Mandatory reading: MIT, Program in Art, Culture and Technology. Supplementary reading: University of Vienna.

    MA thesis supervisions at the University for Continuing Education Krems

    1. Mary Crisostomo. “Examining Digital Technologies for Identifying Silences in Visual Archives,” University for Continuing Education Krems, 2024.
    2. Hanna Hrynkievich. “Post-photographic evidence: case studies of independent Belarusian photojournalism,” University for Continuing Education Krems, 2023
    3. Amada Parra. “Archiving and presenting born-digital art: A study on institutional practices,” University for Continuing Education Krems, 2023.
    4. Melinda Karpati. “Tracing twisted bodies: Visual representations of physical deformation in digital culture.” University for Continuing Education Krems, 2022.
    5. Nathaniel Hitchcock. “Rafael Rozendaal and Sited Absorption: The screen as a site of immersion,” Danube University Krems, 2020.
    6. Hadas Emma Kedar. “Fake News in Tactical Media and in Social Media,” University for Continuing Education Krems, 2018. 4 Leonardo abstract
    7. Samik Karel. “Photography as Testimony: The role of visual evidence in documenting conflict,” University for Continuing Education Krems, 2017. Leonardo abstract
    8. Devon Schiller. “Face Artifaction: Cultural Techniques of the Human Countenance,” University for Continuing Education Krems 2017.

    PhD thesis supervisions at School of Advanced Studies Lucca

    1. Anđelko Mihanović. “Make Rome Great Again!: Presenting the Murder of Julius Caesar in the Time of Facebook,” IMT School for Advanced Studies Lucca, 2021. CRORIS

    Academic activities

    Conference papers

    1. Peraica, Ana. “Media Art History: Photography and Racial Systematization." 11th Media Art Histories: Re:generative, Manizales and Bogota, 5–9. 5. 2025.
    2. Peraica, Ana. “Ghetto: Photographs from inside and outside” Urban Borders, Boundaries and Liminality. Urban Geography Research Group (UGRG) – RGS-IBG (Royal Geographical Society with the Institute of British Geographers), 2.6.2025. online
    3. Peraica, Ana. “Javna površina, pravo na pogled i služnost vidika” Turizam, javno i zajedničko dobro. HAZU Croatian Academy of Sciences and Arts, Split, 10. 6. 2024: (invited lecture)
    4. Peraica, Ana. “Common Human Ancestor, Cambrian Explosion, and Punctuated Equilibrium in Photogenetics,” 29th ISEA, Brisbane 21–29. 06. 2024.:
    5. Peraica, Ana. “Cyanobacteria: Photosynthesis, Phototaxis, Photography” 4th POM – Politics of the Machines, Käte Hamburger Kolleg, 22–25. 4. 2024. Aachen. DOI: 10.14236/ewic/POM24.26
    6. Peraica, Ana. “Genetics and Media Art History,” 10th International Conference on the Histories of Media Art, Science and Technology RE:SOURCE, Ca’ Foscari, Venice, 13–16 September 2023.
    7. Peraica, Ana. “Armed images,” 4th International Conference on Photography and Visual Culture: (Im)material Ecologies in the Digital Age’, 22.-23.06.2023.
    8. Peraica, Ana. “Phototaxidermy,” 35th CIHA World Congress, Motion: Migrations, São Paulo, Brazil, 17–21. 01. 2022. 5: Migration, climate, surveillance: What does media art complexity want? (invited lecture)
    9. Peraica, Ana. “Pointed at” by Generated Doppelgangers. Portraits in Archives of Biometric Photographs and Generative Portraits in Neural Networks,” NECS (European Network for Cinema and Media Studies), Bucharest, 22–26. 6. 2022.
    10. Peraica, Ana. “Images of People that do not Exist,” Congress On Portraiture: Theory, Practice, and Fiction, Faculty of Fine Arts, University of Lisbon, 18.1.2022.
    11. Peraica, Ana. “Large database and particularity of art,” International Conference on Digital Representation and Research in Art, Humanities and Culture, The Hang Seng University of Hong Kong, 6–7. 5. 2021.
    12. Peraica, Ana. “Photographocene and the Index of Species”, 2nd Civilizations Forum: A Posthuman Age?, Ibn Haldun University, Istanbul, 1–2. 5. 2021 (invited lecture).
    13. Peraica, Ana. “Migration of Species into Images and Databases," Art+Anthropocene, University of York, 2. 3. 2021.
    14. Peraica, Ana. “The loss of media autonomy," Remediated maps, Bibliotheca Hertziana/Max Planck Institute, Rome, 12.-14.4.2021.
    15. Peraica, Ana. “Face-Mockers, Face-Shifters, and Face Swappers,” Dark Eden Conference, Sydney, 6–8.11.2020.
    16. Peraica, Ana. ‘Inoperative Images: ‘Deep’ Photographs and Images Larger than Reality’, Images beyond control, FAMU, Prague, 6. 11. 2020. (invited lecture)
    17. Peraica, Ana. “Toys and authorities," The Aesthetics of Drone Warfare, University of Sheffield, 7–8.2. 2020.
    18. Peraica, Ana. “Disinterested and dead,” 12th VideoVortex conference: Art, Archive, Algorithms, Activism, Malta, 26–28.9.2019.
    19. Peraica, Ana. “Echo and Space Description of the Reality Behind our Backs,” 8th Media Art Histories Conference: Re:Sound, Aalborg, 20–23.8.2019.
    20. Peraica, Ana. “View above and ruins,” Art in the Anthropocene, Trinity College, 7–9. 6. 2019.
    21. Peraica, Ana. “Photograph for the Photograph’s Sake,” The Post-photographic Apparatus, Lucerne University of Applied Sciences and Arts, 14–15. 11. 2019. (invited lecture)
    22. Peraica, Ana. “From Narcissus to Perseus," 7. Media Art Histories Conference: Re:Trace, University for Continuing Education Krems, 23–25. 11. 2017.
    23. Peraica, Ana. “The world behind your back,” Fear and loathing of the online self Conference, John Cabot University, Università Roma Tre, Rome, 22–23. 5. 2017.: (invited lecture)
    24. Peraica, Ana. “Online histories of experimental film and video art”, AVPC, Zagreb, 18–19. 6. 2016.
    25. Peraica, Ana. “From Anthropological to Ethnological in Photographic Interpretation”. FASCE, Institute of Art History, Zagreb, 24–25. 9. 2015.
    26. Peraica, Ana. “Sunset from Where?” Portable Landscape Conference, University of Durham, 9–10. 6. 2015.
    27. Peraica, Ana. “When Censorship Matters,” Multimedia Database as Narrative Mechanism, University of Thessaly, Volos, 12.-13. 4. 2013. (invited lecture)
    28. Peraica, Ana. “Glass negatives and their paper positives," 4th Int. Conference on Preservation and Conservation Issues in Digital Printing and Digital Photography, Institute of Physics, London, 27–28. 5. 2010. (invited lecture)
    29. Peraica, Ana. “Mind the Film,” 4th Video Vortex, UMAS, Split, 21–23. 5. 2009.
    30. Peraica, Ana. “AVI and DivX art,” 2nd Video Vortex Conference, Institute of Network Cultures, Amsterdam, 18–19. 1. 2008. (invited lecture)
    31. Peraica, Ana. Art and Resistance Colloquium, The International Alternative Culture Centre (IACC), OSA Archivum, Budapest, and McMaster University, Split, 3. 8.2008.
    32. Peraica, Ana. “On Indifference, inhabiting in-between as a Territory,” 26th IAPL Conference: “Intermedialities: Philosophy, Art, Politics," Erasmus University - Rotterdam, 3–8. 6. 2002.
    33. Peraica, Ana. “Machine – Philosopher”, What is Enlightenment?, Jan van Eyck Akademie, Maastricht, 26–28. 5. 2000.
    34. Peraica, Ana. “A Place where Everything has a Sense”. Understanding the Balkans Conference, CAC-The Contemporary Art Centre, Ohrid, 13–16. 10. 2000. (invited lecture)

    Academic Workshops (Participation)

    1. “Photography and Ecology”, The Photograph as Data workshop. Art, Data, and Environment/s (ADE/s), University of Nebraska–Lincoln, 11. 4. 2024. Online.
    2. “Photographocene: Mediation of Anthropocene Images.” Humanities for the Anthropocene: Values, Principles, and Practices, Online Research Incubator Workshop, University of Puget Sound & University of Victoria, 7.–10. 7. 2021. Online.
    3. “The Loss of Media Autonomy: Photography as But One Layer of a Total Image.” Remediated Maps: Transmedial Approaches to Cartographic Imagination, Bibliotheca Hertziana – Max Planck Institute for Art History, Rome, 12.–14. 4. 2021. Online.
    4. “Photograph for the Photograph’s Sake: Deliberation from Obligation to Represent in the Unhuman Photography.” The Post-Photographic Apparatus, Lucerne University of Applied Sciences and Arts (Hochschule Luzern), Lucerne, 14.–15. 11. 2019.
    5. “Private Photo-Archives as Settlements Against Censorship.” Changing Conditions and Relationships: Private Photos as a Source of Central European History 1944–1960, German Historical Institute (Deutsches Historisches Institut), Warsaw, 29.–30. 10. 2015.
    6. Learning from Belgrade (part II). Swedish Institute & Moderna Museet, Stockholm, 2007.
    7. Learning from Belgrade (part I). Swedish Institute & Student Cultural Centre Belgrade (SC), Belgrade, 2007.
    8. Communication Front (C-front). Art Today Association – Center for Contemporary Art, Plovdiv, 2001.
    9. Communication Front (C-front). Art Today Association – Center for Contemporary Art, Plovdiv, 2000.
    10. “Syndicate Network.” Net_Condition, ZKM | Center for Art and Media, Karlsruhe, 1999.
    11. “Balkania.” TEMP Temporary Media Lab, Kiasma – Museum of Contemporary Art, Helsinki, 1999.
    12. “Split 1700+.” Academy of Arts, University of Split & Berlage Institute, Amsterdam, 1997.
    13. “Architectural Manifestos” (with Cedric Price). DAZ, Zagreb, 1996.

    Conference Chairing

    • 1. Virtual discussion sessions (26 and 29. 6.). ISEA2024: 29th International Symposium on Electronic Art, Brisbane, 21.–29. 6. 2024.
    • 2. Session “Explorations.” Photo: Science – Photography and Scientific Discourses, Centre for Photography Research, Institute of Art History, Czech Academy of Sciences, Prague, 1. 12. 2020. Online.
    • 3. Session “Sentient Difference: Human Body Sensory Modalities.” ISEA2020: Why Sentience?, Montreal, 14. 10. 2020. Online.
    • 4. Session “Machinic Sense and Sensibility: Expressive AI.” ISEA2020: Why Sentience?, Montreal, 15. 10. 2020. Online.
    • 5. Session “Sound Art.” 7th International Conference on the Histories of Media Art, Science and Technology – Re:Trace, Danube University Krems, Krems, 23. 11. 2017.
    • 6. Session “Media and Politics.” 1st Association for Visual Pedagogies Conference (AVPC): Visual Pedagogies and Digital Cultures, Zagreb University of Applied Sciences, Zagreb, 19. 6. 2016.
    • 7. “Smuggling Anthologies” symposium. Museum of Modern and Contemporary Art (MMSU), Rijeka, Idrija Municipal Museum & Trieste Contemporanea, 2013. ▶ video, Trieste
    • 8. Session “Victims’ Syndrome.” Mutamorphosis: Challenging Arts and Sciences – 40 Years of Leonardo Journal, CIANT – International Centre for Art and New Technologies, Prague, 2007.
    • 9. “Women’s Liberation and Technology.” YASMIN mailing list, University of Athens, 2007.

    Conference Boards

    • 1. 7th International Conference on the Histories of Media Art, Science and Technology – Re:Trace, Krems/Göttweig/Vienna, 2017. Advisory board.
    • 2. 3rd International Conference on the Histories of Media Art, Science and Technology – Re:Live, Melbourne, 2009. Reviews panel.
    • 3. ISEA2004: 12th International Symposium on Electronic Art, Helsinki–Stockholm–Åland–Tallinn, 2004. Member of the International Programme Committee.

    Grant Reviewer

    • 1. European Commission, Horizon Europe – Marie Skłodowska-Curie Actions (MSCA), 2026. Reviewer and rapporteur.
    • 2. COST (European Cooperation in Science and Technology) Actions, 2025. Reviewer and rapporteur.
    • 3. European Commission, Horizon Europe, Cluster 2 (HORIZON-CL2-2024), 2024. Reviewer.
    • 4. National Centre Funds, Poland, 2024. Reviewer.
    • 5. Czech Science Foundation (GAČR), 2024. Reviewer.
    • 6. Human+ Fellowship Programme (Marie Skłodowska-Curie COFUND), Trinity College Dublin, 2020. Reviewer.

    Projects (research-based curating)

    Online projects

    • #Whataboutyourselfie, 2016 online /Gallery School. Funded by Ministry of Culture
    • With: Veronica Bape, Richard Barbrook, Guy Ben-Ary, Liliana Beltran, Dino Bičanić, Mladen Bilankov, Iva-Matija Bitanga, Elvis Berton, Jelena Blagović, Josip Bosnić, Dario Brajković, Tomislav Brajnović, Milan Brkić, Valeria Caballeroa, Branko Cerovac, Amalia Cortiz Ortez, Marijan Crtalić, Pedro Alves de Veiga, Eric Del Castillo, Pablo Del Castillo, Romina Dušić, Rino Efendić, Kristijan Falak, Markita Franulić, Dafna Ganani, Iva Gašparić, Gržinić Marina (with Aina Šmid, Zvonka T. Simčič, Dusan Mandić), John Hopkins, Angela Ibanez, Jodi Dean, Božidar Jurjević, Siniša Labrović, Miklos Legrady, Boris Ljubičić, Boris Kadin, Igor Kuduz, Marko Marković, Armando Martinez, Elvier Menetrier, Barbara Mihályi, Andrea Musa, Antonia Dora Pleško, Dominik Podsiadly, Niko Princen, Rayon Reyez, Lina Rica, Julija Simunić, Marko Stamenković, Damir Stojnić, Nebojša Šerić – Šoba, IIija Šoškić, Josip Špika, Igor Štromajer, Vice Tomasović, Goran Tomčić and Tina Vukasović).
    • Victims Symptom, PTSD, and Culture, 2007. Online / Lab for Culture, Amsterdam, 2008. Funded by European Cultural Foundation
    • With: Marko Peljhan, Maurizio Arango, Alejandro Duque, Martha Rosler, Andreja Kulunčić, Geert Lovink, Sezgin Boynik, Stevan Vuković, Adila Laidi – Hanieh, Tina Peraica, and Tihana Jendričko.
    • Machine Philosopher. 1999–2000. Online / Funded by Jan Van Eyck Akademie.
    • With works by Peter Bilak, Geert Lovink, et. al.
    • Technology of Sounded Space, 1998. Online / self-funded
    • With: Marin Zorić, Ljubinka Grujin, Hrvoje Pelicarić, Sanja Jonjić, Neli Ružić, Eric del Castillo, Tomislav Lerotić et. al.

    Offline projects

    • Co-curator of Smuggling Anthologies (with Sabina Salomon, Giuliana Carbi, Marija Terpin), Museum of Modern and Contemporary Art, Rijeka, Muzej Idrija, Trieste Contemporanea. Funded by Horizon Europe 2020, 2013–2015. 
    • With: Sabina Salamon, Giuliana Carbi, Marija Terpin Mlinar, Marija Mitrović, Tomislav Brajnović, Stephan Steiner, Gia Edzgveradze, Darinka Kolar Osvald, Aleksandar Garbin, Dragica Čeč, Petra Jurjavčič, Federico Sancimino, Michele Di, Róbert Tasnádi, Anja Medved, Bojan Mitrović, Jan Lemitz, Victor López, Božo Repe, González, Melita Richter, Azra Akšamija, Balázs Beöthy, Mira Hodnik, Tanja Žigon, Krešo Kovačiček, Can Sungu, Zanny Begg, Oliver Ressler, Vana Gović, Alexandra Lazar, Cristiano Berti, Soho Fond, Marco Cechet, Lorenzo Cianchi, Michele Tajariol, Ana Smokrović, Hassan Abdelghani, Ralf Čeplak Mencin, Nilesh Ujawe, Rajka Marinković, Lazarević Branišelj. Funded by Horizon 2020, 2013–2015.
    • Woman at the crossroad of Ideologies, HULU, Split, 2007. Funded by the Governmental office for the Equality of Rights.
    • With: Inmaculada Abarca, Claudia Aravena Abughosh, Julieta Aquinaco, Sol Aramendi, Enrique Arroyo, Julia Barco, Breda Beban, Madelaine, Bernstorff, Pauline Boudry, Vanda Božičević, Akademik Nenad Cambi, Eric Del Castillo, Tanja Dabo, Monica Dower, Zsombor Dyga, Zlatan Dumanić, Mina Đukić, Etats généraux du cinéma France, Larisa Escobedo, Maru de la Garza, Maria Luz Gil, Gabriela Golder, Marina Gržinić, Hrabba Gunnarsdóttir, Tina Gverović, Ana Hušman, Judith Hopf, Sanja Iveković, Maj Britt Jensen, Hanne Jiménez, Srđan Karanović, Andreja Kulunčić, Brigitta Kuster, Gabriela Larranaga, Elias Levin, Gonzalo Lebrija, Renate Lorenz, Dušan Makavejev, Karin Michalski, Daniela Muttis, Tina Nacchache, Iva Niemčić, Irena Paskali, Renata Poljak, Teresa Pustro, Grace Quintanilla, Miroslav Radman, Benny Nemerovsky Ramsay, Lala Raščić, Paul Rooney, Martha Rosler, Ana Šmid, Nasrin Tabatabai, Graciela Taquini, Dubravka Ugrešić, Nomeda and Gediminas Urbonas, Lourdes Villagomez, Stevan Vuković, and Linda Weiss).
    • co-curator Rows-curves-knots, Oreste, Italian pavilion, Biennale in Venice, self-funded.
    • With: Marija Grazio, Sabia Salomon, Neli Ruzic, Kristina Leko and Giovanna Trento, 1999.

    Selector of annual shows / selektorski rad na godišnjim manifestacijama

    • •                Rukopisi novog doba – 44. Salon of Applied Arts and Design, ULUPUH, Zagreb, 2011. Funded by the Ministry of Culture of RC
    • •                Eros-thanatos. 11. Adria Art Annale, 1997/8.

    Jury member

    • 12th. Split Film Festival, Split, 2007, jury member;
    • MIP - Museum in Progress, Global Positions (curated by Hans Ulrich Obrist), Der Standaard, Vienna, 2001;
    • 3rd International Festival of New Film, Video and New Media, Split, 1998;

    Presentation on symposiums (all invited)

    1. “Categorization of Image Reproductions in AI Implementation.” Looking for photography symposium 2022, City Museum Munich, 27–28. 5. 2022.
    2. “From Unmanned to Posthuman Images: Google Earth Photography and Covid-19” Symposion Contact! Photography and Agency, Folkwang Museum Essen, 16–18. 10. 2020.
    3. “Private photo-archives as settlements against censorship,” Changing Conditions and Relationships. German Institute in Warsaw, Warsaw, 29–30.10. 2015.
    4. “Cenzura i krijumčarske strategije u suvremenoj umjetnosti”, Apsolutno, Museum of Contemporary Arts of Vojvodina, Novi Sad, 6.2.2015.
    5. “Mind the Film”, Smuggling Anthologies, Mestni muzej Idrija, 4.11.2014. 
    6. “Smuggling in Arts and Culture”. Smuggling Anthologies. Museo Revoltella, Trieste, 7.11.2014, (invited lecture)
    7. “Fotografije bez anotacija”, Nevjerodostojni dokumenti, Museum of Contemporary Arts, Zagreb. 13. 12. 2013.
    8. “Mass Spamming”, Ideja radikalnih medija, Multimedijski institut Zagreb, 6.6.2013.
    9. “Pop Art Add-Ins”, Splendid Pop, Museum of Modern and Contemporary Arts, Rijeka, 9.6.2010. 
    10. “Censored Images”, Performative Gestures-Political Moves, Mesto Žensk, Slovenska Akademija Znanosti i Umjetnosti (ZRC SAZU), Ljubljana, 19.6.2010.
    11. “Simptomi žrtve”, Extravagant mind – Extravagant bodies, Kontejner, Zagreb 20–24.10.2010
    12. Art and Education conference. Moscow Art Fair, Moscow, Russia, 2006.
    13. “Corruption of a Grand Narrative of Art,” ist Kunst?, Galerija Sodobne Vmetnosti. Celje, 2004.
    14. “Machine – Philosopher”, ALIAS, Bozar, Brussels, 2002.
    15. “Rows-curves-knot,” Central Pavilion - Biennale in Venice, 10. 6.–7.7.1999. 

    Public lectures on art festivals (all invited)

    1. “The Age of Total Images,” Festival PAF Olomouc 2020, Prague, 3–6. 12.2020.
    2. “Self-portraying in times of surveillance capitalism,” Plećnikova hiža, Ljubljana. 21. 3. 2019.
    3. “Culture of the Selfie,” Festival Novog Filma i Videa, Split, 9. 9. 2017.
    4. “Culture of the Selfie,” Život na Internetu, Metamedij Pula, 27. 6. 2017.
    5. “Intermedijalnost slikarstva i tehnologije fotografije,” Days of Art History, Rijeka. 18. 3. 2017.
    6. “Fotografsko istraživanje,” Interfoto, University of Rijeka, 23. 7. 2013.;
    7. “Tijelo kao medij,” Dani otvorenog performancea Split, Kinoteka Zlatna Vrata, 2008.
    8. “Avi and DivX Art,” Split Film Festival, Split, 2007.
    9. Art and Education conference. Moscow Art Fair, Moscow, 2006.

    Bibliography

    Academic Books and Handbooks

    • 1. Peraica, Ana. Culture of the Selfie: Self-Representation in Contemporary Visual Culture. Theory on Demand #24. Amsterdam: Institute of Network Cultures, 2017. ISBN 978-94-92302-17-5. Peraica, Ana. Kultura selfija: Osobna reprezentacija u suvremenoj vizualnoj kulturi. Translated by Ognjen Strpić and Ana Peraica. Zagreb: Jesenski i Turk, 2023. ISBN 978-953-222-891-5. (Croatian translation of Culture of the Selfie.)

    Articles Indexed in Scopus and WoS

    • 1. Hayes, Sarah, Petar Jandrić, Linda la Velle, Sarah Earle, Filip Šrajer, Zoran Dragić, Safet Kubat, Ana Peraica, et al. “Postdigital Citizen Science and Humanities: Dialogue from the Ground.” Postdigital Science and Education 7, no. 1 (2025): 188–223. DOI: 10.1007/s42438-024-00514-z. eISSN 2524-485X. [Collective article; includes Peraica’s section “Postdigital Citizen Science and Media for Self-Protection.”]
    • 2. Peraica, Ana. “Anthropocentrism and Solipsism in Photographic Self-Portraits of Edvard Munch.” Photographies 15, no. 2 (2022): 187–203. DOI: 10.1080/17540763.2022.2060287. ISSN 1754-0763.
    • 3. Peraica, Ana. “The Work of Art in the Age of Neural Reproduction: Works of Rembrandt van Rijn in Convolutional Neural and Generative Adversarial Networks.” Art Documentation: Journal of the Art Libraries Society of North America 40, no. 2 (Fall 2021): 209–220. DOI: 10.1086/717074. ISSN 0730-7187 (print) / 2161-9417 (online).
    • 4. Peraica, Ana. “Stolen Faces: Remarks on Agency and Personal Identity in Computation Photography.” Lexia no. 37–38 (“Artificial Faces,” 2021): 455–466. ISSN 1720-5298. Volume ISBN 978-88-255-3853-3.
    • 5. Peraica, Ana. “Exploitation of Victims’ Desire for Revenge.” Leonardo 44, no. 1 (Feb. 2011): 55–62. DOI: 10.1162/LEON_A_00094. ISSN 0024-094X.
    • 6. Peraica, Ana. “The Aesthetics of the Negative or; the Negative Dialectics of Photography.” Journal of Physics: Conference Series 231 (2010): 012013. DOI: 10.1088/1742-6596/231/1/012013. ISSN 1742-6588. [Proceedings of the 4th International Conference on Preservation and Conservation Issues in Digital Printing and Digital Photography, London, 27–28 May 2010.]

    Articles Indexed in MLA, ERIH+, and DOAJ

    • 1. Peraica, Ana. “The Unphotographable: On Photography and the Unseen.” Media Theory 8, no. 1 (2024): 277–296. ISSN 2557-826X.
    • 2. Peraica, Ana. “Photographocene: The Past, Present and Future in the Photography of the Environment.” Philosophy of Photography 11, no. 1–2 (2020): 99–111. DOI: 10.1386/pop_00030_1. ISSN 2040-3682.
    • 3. Peraica, Ana. “Selfies and the World Behind Our Back.” Membrana 4 (2018): 48–54. DOI: 10.47659/m4.048.art. ISSN 2463-8501.
    • 4. Peraica, Ana. “Self-Portrait Hanging between Personal and Social Grimace.” Membrana 2 (2017): 88–90. DOI: 10.47659/m2.086.art. ISSN 2463-8501.
    • 5. Peraica, Ana. “‘Mind the Film’: Photographs and Films with Lost Narratives.” Afterimage: The Journal of Media Arts and Cultural Criticism 37, no. 2 (Sept./Oct. 2009): 45–49. DOI: 10.1525/aft.2009.37.2.45. ISSN 0300-7472.

    Book Chapters Indexed in WoS

    • 1. Peraica, Ana. “Networked Photography and ‘Image That Comes’.” In Confronting the Climate Crisis: Activism, Technology and Ecoaesthetics, edited by Daniel Binns and Rebecca Najdowski. Palgrave Studies in Media and Environmental Communication. Cham: Palgrave Macmillan, 2025, 125–143. Book DOI: 10.1007/978-3-031-89606-4.
    • 2. Peraica, Ana. “Paintings or Photographs? On Error Transitions between Media Amplified by Artificial Neural Networks.” In Spotlights on Media Borders / Perspektiven auf Mediengrenzen, edited by Nora Benterbusch. Baden-Baden: Nomos, 2025, 357–374. DOI: 10.5771/9783748962380-357. ISBN 978-3-7560-3018-7.
    • 3. Peraica, Ana. “Neither Vision nor Visualization: Satellite Imaging and the Erosion of Genres of Spatial Descriptions.” In The Mediality of Mapping: Transmedial Approaches to Space and Cartographic Imagination, edited by Tommaso Morawski and Tanja Michalsky. Quaderni della Bibliotheca Hertziana 14. Rome: Campisano Editore, 2024, 213–230. ISBN 979-12-80956-65-1.
    • 4. Peraica, Ana. “Phototopia: Photography, Utopia of the Archive, and Techno-utopianism.” In Post-Apocalyptic Cultures: New Political Imaginaries After the Collapse of Modernity, edited by Julia Urabayen and Jorge León Casero. Palgrave Studies in Utopianism. Cham: Palgrave Macmillan, 2024, 225–238. Book DOI: 10.1007/978-3-031-50510-2. ISBN 978-3-031-50510-2 (eBook).
    • 5. Peraica, Ana. “Ghetto: Aerial Photographs of Exclusion Inside or Outside in Case of Emperor Diocletian’s Palace in Split.” In Physical and Symbolic Borders and Boundaries and How They Unfold in Space: An Inquiry on Making, Unmaking and Remaking Borders and Boundaries Across the World, edited by Basak Tanulku and Simone Pekelsma. London: Routledge, 2024, 111–123. Book DOI: 10.4324/9781003354802. ISBN 9781003354802 (eBook).
    • 6. Peraica, Ana. “Large Datasets and the Particularity of Art: Will There Be Any Art in the Deep Learning Age?” In Sight as Site in the Digital Age: Art, the Museum, and Representation, edited by Kwok-kan Tam. Digital Culture and Humanities 5. Singapore: Springer, 2023, 131–143. DOI: 10.1007/978-981-19-9209-4_7.
    • 7. Peraica, Ana. “Selfies Controlling Dreadful Images.” In Psychosomatic Imagery: Photographic Reflections on Mental Disorders, edited by Ali Shobeiri and Helen Westgeest. London: Palgrave Macmillan, 2023, 183–197. DOI: 10.1007/978-3-031-22715-8_10.
    • 8. Peraica, Ana. “Autografija.” In Concepts: A Travelogue, edited by Bernd Herzogenrath. New York/London: Bloomsbury Academic, 2022, 47–56. ISBN 978-1-5013-7530-9.
    • 9. Peraica, Ana. “Genotype, Phenotype, Phototype: Digital Photography, Biological Variety, and Excessive Overpopulation of Types.” In Routledge Handbook of the Digital Environmental Humanities, edited by Charles Travis, Deborah P. Dixon, Luke Bergmann, Robert Legg, and Arlene Crampsie. Abingdon/New York: Routledge, 2022, 279–287. DOI: 10.4324/9781003082798-24. ISBN 978-1-003-08279-8 (eBook).
    • 10. Peraica, Ana. “Selfies as Augmentation of (Disappearing) Reality.” In The Aesthetics and Politics of the Online Self, edited by Peter Serram, Teresa Numerico, Geert Lovink, and Donatella della Ratta. Cham: Palgrave Macmillan, 2021, 237–254. DOI: 10.1007/978-3-030-65497-9_12.
    • 11. Peraica, Ana, Ana Kuzmanić, and Petar Jandrić. “Curating Digital Art with Heart and Mind: Conversation with Kathy Rae Huffman.” In Learning in the Age of Digital Reason, edited by Petar Jandrić. Rotterdam: Sense Publishers, 2017, 299–329.
    • 12. Peraica, Ana. “Reality Effect of (Abstract) Maps in the Post-digital Era.” In The Iconology of Abstraction: Non-figurative Images and the Modern World, edited by Krešimir Purgar. New York: Routledge, 2020, 251–263. ISBN 978-0-367-20604-8 (hbk) / 978-0-429-26250-0 (ebk).
    • 13. Peraica, Ana. “Corruption of a Grand Narrative of Arts.” In East Art Map: Contemporary Art and Eastern Europe, edited by IRWIN. London: Afterall Books / MIT Press, 2006, 472–477.
    • 14. Peraica, Ana. “Anonymous Authors, Nameless Heroes.” In East Art Map: Contemporary Art and Eastern Europe, edited by IRWIN. London: Afterall Books / MIT Press, 2006, 163–174.

    Conference Proceedings

    • 1. Peraica, Ana. “Fotografija, pravo na privatnost i služnost vidika: prostori Dioklecijanove palače fotografirani izvana i iznutra.” In Turizam, javno i zajedničko dobro: otvorena pitanja korištenja i upravljanja javnim prostorima, edited by Nikola Bašić and Lidija Petrić. Zagreb: Croatian Academy of Sciences and Arts (HAZU), 2024, 9–24. DOI: 10.21857/y54jof5qnm.
    • 2. Peraica, Ana. “Common Human Ancestor, Cambrian Explosion, and Punctuated Equilibrium in Photogenetics.” In ISEA2024 Brisbane: Proceedings of the 29th International Symposium on Electronic Art, vol. 1. Brisbane: ISEA International, 2024. DOI: 10.5204/book.eprints.256296.
    • 3. Peraica, Ana. “Cyanobacteria: Photosynthesis, Phototaxis, Photography.” In Proceedings of POM 2024: Politics of the Machines (PoM Aachen: Lifelikeness & Beyond). Aachen, 2024. DOI: 10.14236/ewic/POM24.26.
    • 4. Peraica, Ana. “Phototaxidermy: Deduction of Species by Neural Networks.” In Motion: Migrations — 35th CIHA World Congress Proceedings. São Paulo: Comitê Brasileiro de História da Arte / Vasto Edições, 2023, 430–440. ISBN 978-85-93921-02-5. [Congress held in São Paulo, January 2022.]
    • 5. Peraica, Ana. “Portraits of People That Do Not Exist: Generative Adversarial Networks (GANs) and the Problem of Existence in Portraiture.” In Congress on Portraiture: Theory, Practice, and Fiction. Lisbon: University of Lisbon, 2022, 210–218.
    • 6. Peraica, Ana. “Face Swappers: Agency and Personal Identity in Portrait Photography Today.” In Proceedings of the 6th International Conference on Transdisciplinary Imaging at the Intersections of Art, Science and Culture: Dark Eden, edited by Edward Colless et al. Melbourne, 2021, 74–83. DOI: 10.6084/m9.figshare.16993384.v2.
    • 7. Peraica, Ana. “From Sociocentric to Egocentric Place – From Panorama to 360° Video.” In Video Vortex Reader 3: Inside the YouTube Decade, edited by Geert Lovink and Andreas Treske. Amsterdam: Institute of Network Cultures, 2020, 96–103.
    • 8. Peraica, Ana. “From Anthropological to Ethnological Approach in Photojournalism.” In French Artistic Cultures and Soviet Bloc Countries, edited by Ljiljana Kolešnik and Tamara Bjažić Klarin. Zagreb: Institute of Art History, 2017, 264–278.
    • 9. Peraica, Ana. “Mass Spamming.” In The Idea of Radical Media, edited by Tom Medak and Petar Milat. Zagreb: Multimedijalni institut, 2013, 236–253.
    • 10. Peraica, Ana. “Censored Images: Women in the Army.” In Performative Gestures – Political Moves, edited by Katja Kobolt and Lana Zdravković. Ljubljana: City of Women; Zagreb: Red Athena University Press, 2014, 139–148.
    • 11. Peraica, Ana. “Chauvinist and Elitist Obstacles Around YouTube and PornTube: A Case Study of Home-Made Porn Defended as Video Art.” In Video Vortex Reader: Responses to YouTube, edited by Geert Lovink and Sabine Niederer. Amsterdam: Institute for Network Cultures, 2008, 189–196.

    Encyclopaedia Entries and Reviews Indexed in Scopus

    • 1. Peraica, Ana. Review of Archive, Photography and the Language of Administration, by Jane Birkin. Leonardo 55, no. 1 (Feb. 2022): 100. DOI: 10.1162/leon_r_02161.
    • 2. Peraica, Ana. Review of Photography off the Scale: Technologies and Theories of the Mass Image, edited by Tomáš Dvořák and Jussi Parikka. Leonardo 55, no. 1 (Feb. 2022): 99–100. DOI: 10.1162/leon_r_02164.
    • 3. Peraica, Ana. “Photography.” In The SAGE International Encyclopedia of Mass Media and Society, edited by Debra L. Merskin. Thousand Oaks: SAGE Publications, 2019, 1344–1347. DOI: 10.4135/9781483375519.n519.
    • 4. Peraica, Ana. Review of Immediations: The Humanitarian Impulse in Documentary Photography, by Pooja Rangan. Leonardo 52, no. 2 (Apr. 2019): 198–199.
    • 5. Peraica, Ana. Review of Nonhuman Photography, by Joanna Zylinska. Leonardo 52, no. 1 (Feb. 2019): 95–96. DOI: 10.1162/leon_r_01712.
    • 6. Peraica, Ana. “Commodification of Culture.” In The SAGE International Encyclopedia of Travel and Tourism, edited by Linda L. Lowry. Thousand Oaks: SAGE Publications, 2017, 258–261. DOI: 10.4135/9781483368924.n111.
    • 7. Peraica, Ana. “Culture Shock.” In The SAGE International Encyclopedia of Travel and Tourism, edited by Linda L. Lowry. Thousand Oaks: SAGE Publications, 2017, 330–332. DOI: 10.4135/9781483368924.n128.
    • 8. Peraica, Ana. Review of Mirror Affect: Seeing Self, Observing Others in Contemporary Art, by Cristina Albu. Leonardo 50, no. 5 (2017): 544–545. DOI: 10.1162/LEON_r_01507.
    • 9. Peraica, Ana. Review of Big Data, Little Data, No Data: Scholarship in the Networked World, by Christine L. Borgman. Leonardo 49, no. 1 (2016): 91–92. DOI: 10.1162/LEON_r_01183.
    • 10. Peraica, Ana. Review of Image Science: Iconology, Visual Culture, and Media Aesthetics, by W. J. T. Mitchell. Leonardo 49, no. 3 (Jun. 2016): 285–286. DOI: 10.1162/LEON_r_01247.

    Monographs and Edited Readers

    • 1. Peraica, Ana. The Age of Total Images: Disappearance of a Subjective Viewpoint in Post-digital Photography. Theory on Demand #34. Amsterdam: Institute of Network Cultures, 2019. ISBN 978-94-92302-54-0.
    • 2. Peraica, Ana. Fotografija kao dokaz: Primjena tehnologijske definicije fotografije na raspravu u estetici i teoriji fotografije. Biblioteka Vizualni kolegij. Zagreb: Multimedijalni institut, 2018. ISBN 978-953-7372-40-8.
    • 3. Peraica, Ana (ed.). Smuggling Anthologies. Rijeka: Museum of Modern and Contemporary Art, 2015. ISBN 978-953-6501-93-9.
    • 4. Peraica, Ana (ed.). Victims Symptom – PTSD and Culture. Theory on Demand #3. Amsterdam: Institute of Network Cultures, 2009. ISBN 978-90-78146-11-7.
    • 5. Peraica, Ana (ed.). Žena na raskrižju ideologija: Ogledi o vizualnoj kulturi. Split: HULU – Hrvatska udruga likovnih umjetnika, 2007, 240 pp. ISBN 978-953-6873-61-6

    Magazine Articles

    • 1. Peraica, Ana. “Grenzen überschreiten: Von ‘Great Divide’ zur Balkanroute.” Springerin, vol. 32, no. 2 (2026) — issue theme: Migration Issues: 52–55.
    • 2. Peraica, Ana. “The Horrors of Postdigital Photography.” Fotograf, no. 41 (May 2022): 61–65.
    • 3. Peraica, Ana. “Schmuggeln.” Springerin, vol. 15, no. 3 (2009) — issue theme: Escape Routes: 13–15.
    • 4. Peraica, Ana. “Sublimno in fotografija.” Fotografija, no. 60–61 (2014): 46–52.
    • 5. Peraica, Ana. “Kriptofotografija in metasistemi fotografskih slik: Uvod v pregled fotomontaž in fotokolažev Anteja Verzottija iz obdobja 1973–2012.” Fotografija, no. 50–51 (2012): 41–52.
    • 6. Peraica, Ana. “Šezdesetinka sekunde za slavo.” Fotografija, no. 49–50 (2012): 46–50.
    • 7. Peraica, Ana. “Strah pred negotovim in velike oči fotografije.” Fotografija, no. 44–45 (2011): 15–25.
    • 8. Peraica, Ana. “Photography, Truth and Metaphysics.” Eyemazing, Summer 2011: 50–59.
    • 9. Peraica, Ana. “Morgante.” Eyemazing, Spring 2011: 72–78.
    • 10. Peraica, Ana. “Time Travel and Photographic Negatives.” Art & Education Papers (2011).
    • 11. Peraica, Ana. “Commercialisation of Images of Revolution (1968–2008): A Case Study of Image Copyright and Post-Socialism.” Pavilion, no. 13 (2009)—issue theme: Social Medicine: 78–86.
    • 12. Peraica, Ana. “AVI- und DivX-Kunst: Videokunst am Rande des Überlebens.” Springerin, vol. 13, no. 2 (2007): 9–10.
    • 13. Peraica, Ana. “Ein Wandel in der Repräsentation des Arbeiters: Vom Sozialistischen Realismus zum »Soros-Realismus." Springerin, vol. 12, no. 3 (2006): 30–32.
    • 14. Peraica, Ana. “Leere Podeste.” Springerin, vol. 11, no. 1 (2005): 28–30.
    • 15. Peraica, Ana. “Auf nach Sarajevo, Ferdinand! Symptome des ‘Wienerischen’ und/oder des ‘Balkan’ in der gegenwärtigen Kultur.” Springerin, vol. 11, no. 2 (2005): 38–40.
    • 16. Peraica, Ana. “Osteuropäische ©opymanie.” Springerin, vol. 10, no. 2 (2004)—issue theme: Rip-off Culture: 26–30.
    • 17. Peraica, Ana. “Medien vor Gericht.” Springerin, vol. 10, no. 4 (2004): 26–30.
    • 18. Peraica, Ana. “The Making and Unmaking of Para-History: Or from Photomontage to Digital Sabotage.” Issues in Contemporary Arts and Aesthetics, no. 12 (2001): 91–98.

    Electronic Book Reviews (Leonardo Reviews)

    • 19 online book reviews published in Leonardo Reviews (Leonardo journal, MIT Press), December 2016–September 2021. Available at: Leonardo Reviews: Ana Peraica

    Peer Reviewing for Journals (Article Reviews)

    • 1. Leonardo (MIT Press) — 4 articles.
    • 2. Photographies (Taylor & Francis)—2 articles.
    • 3. Photography & Culture (Taylor & Francis) — 1 article.
    • 4. Visual Communication (Sage) — 1 article.
    • 5. Cogent Arts & Humanities (Taylor & Francis) — 1 article.
    • 6. AI & Society (Springer Nature) — 1 article.

    Downloads

    CV (PDF)Press photo

    Video

    Conference and classroom lectures, video essays and discussions on photographic theory and practice. Channel: Peraica: Heritage & Postdigital Photography.

    YouTube channel

    Photographic series

    Negativeland 2009

    Awarded at Photodays, Rovinj, 2010

    Negativeland, 2009
    Negativeland, 2009Negativeland, 2009
    Negativeland, 2009Negativeland, 2009

    See the series at the atelier

    Positiveland 2010/11

    Positiveland, 2010/11Positiveland, 2010/11
    Positiveland, 2010/11Positiveland, 2010/11

    See the series at the atelier

    Cookbooks 2020/21

    Handwritten darkroom recipes

    Cookbooks, 2020/21
    Cookbooks, 2020/21Cookbooks, 2020/21
    Cookbooks, 2020/21

    See the series at the atelier

    Double exposures 2010

    Archive prints with dedications, signatures and stamps written over the image

    Double exposures, 2010Double exposures, 2010Double exposures, 2010Double exposures, 2010Double exposures, 2010Double exposures, 2010

    See the series at the atelier

    Negativeland (2009), awarded at Photodays, Rovinj, 2010; Positiveland (2010/11); Cookbooks (2020/21). The series and the archive they come from are shown at the atelier’s website. atelierperajica.com

    For organisers

    Ana Peraica gives keynotes, invited lectures, seminars and workshops in English and Croatian, in person or online.

    Lectures

    Photography as a system
    What photography is when it is defined by its technological possibilities: a finite system of combinations, from the camera to generative models, and the unphotographable that every new technology colonises.
    Photographocene
    Species, landscapes and the Earth migrate into images and databases. Photography as an environmental force: phototaxidermy, the index of species, photogenetics.
    Faces that do not exist
    Biometric archives, face swapping and generative portraits: who is pointed at by a generated doppelgänger, and what a right to photographic amnesia could mean.
    Para-history
    Retouching, photomontage and propaganda, from the vanishing figure in the archive to digital sabotage and generated images.
    Negatives and the archive
    A lecture-seminar at Atelier Peraica, a working photographic atelier founded in 1934: negatives, glass plates and darkroom recipes as objects of theory.

    Formats

    Keynote · Invited lecture · Seminar or masterclass · Workshop · Online

    Biography for programmes (about 50 words)

    Ana Peraica is a photography theorist, author of Culture of the Selfie (2017), Fotografija kao dokaz (2018) and The Age of Total Images (2019); her chapters are published by Routledge, Springer, Palgrave and MIT Press. She teaches at the University for Continuing Education Krems and leads Atelier Peraica in Split, founded in 1934.

    Photograph for programmes

    Contact

    Lectures, keynotes, teaching, workshops and curatorial collaboration.

    anaperaica@gmail.com

    Notes

    1. Studies continued at the University of Zagreb during the war in Croatia.

    2. Mandatory reading in courses:

      1. City University of Hong Kong. SM6349: Platform studies

      2. University of Torino, Semiotica delle culture digitali FIL0370

      3. Pázmány Péter Katolikus Egyetem – BMNAN13500A, Critical Approaches to Visual and Popular Culture

      4. University of Krakow (WZ.ZI-303: Visual communication)

      Supplementary readings in courses

      1. ELTE Faculty of Humanities at the Institute for Art Theory and Media Studies Visuality and communication: Contemporary issues in European mediatised visual culture. (BMI-MEDD-106) Virag Vecsey

      2. University of Leeds (COMM2125- Visual communication)

      3. Hebrew University of Jerusalem (5392: From Durer to Selfie: The Art of portraiture)

      4. University of Rijeka, Kolaž u nematerijalnom (digitalnom) prostoru

      Previously used at the following universities

      1. Bilkent University (COMD 356- Digital Culture)

      2. University in Essen, (Post)photographs in the digital image society

      3. University of Stirling (FMSU9A4- Digital Media and Culture).

    3. Mandatory reading in courses

      1. MIT program in art, culture and technology (4.344/4.345, Advanced photography and related media photo futures: Automaton/Algorithms/AI

      Supplementary readings in courses

      1. University of Wien (240535 SE MM3 Machine vision)

    4. Article published in Media theory

    Teorija fotografije · Vizualna kultura · Medijska umjetnost

    Ana Peraica

    Teoretičarka fotografije

    Polja i interesi: Povijest medijske umjetnosti; povijest vizualnih medijskih umjetnosti; znanost o slici; fotografija (mediji temeljeni na leći); filozofija i teorija digitalne i post-digitalne fotografije; vizualno utemeljena digitalna humanistika; umjetnost i znanost.

      O meni

      Ana Peraica

      Kratka biografija

      Ana Peraica teoretičarka je, nastavnica i kustosica koja se bavi vizualnim medijskim umjetnostima i postdigitalnom fotografijom. Predaje na University for Continuing Education Krems i vodi Atelier Peraica, splitski fotografski atelier osnovan 1934. Autorica je knjiga Culture of the Selfie, The Age of Total Images i Fotografija kao dokaz, a njezina su poglavlja objavili Routledge, Springer, Palgrave i MIT Press.

      Duža biografija

      Dr. sc. Ana Peraica teoretičarka je, nastavnica, kustosica i likovna kritičarka koja se bavi vizualnim medijskim umjetnostima te filozofijom i teorijom digitalne i postdigitalne fotografije. Doktorirala je na Međunarodnom doktorskom studiju Filozofija i suvremenost (sveučilišta u Mariboru, Rijeci i Trstu, 2010.), završila je doktorski tečaj na Amsterdam School of Cultural Analysis (2000.–2003.) i bila mlađa istraživačica na Jan van Eyck Akademie (1999.–2001.).

      Od 2008. predaje na University for Continuing Education Krems, gdje je 2021. bila gostujuća profesorica, a 2019. bila je gostujuća suradnica na Central European University, a predavala je, među ostalim, na Oxford Brookes University, Sveučilištu u Ankari, Mađarskom sveučilištu likovnih umjetnosti, Sveučilištu u Ljubljani i drugdje. Autorica je knjiga Culture of the Selfie (2017.), Fotografija kao dokaz (2018.) i The Age of Total Images (2019.); njezina su poglavlja objavili Routledge, Springer, Palgrave Macmillan, Bloomsbury i MIT Press, a članke Leonardo, Photographies i Philosophy of Photography. Kustosica je projekta Smuggling Anthologies i drugih, recenzira za časopise Leonardo, Photographies, Photography & Culture, Visual Communication, Cogent Arts & Humanities i AI & Society te ocjenjuje projektne prijedloge za Horizon Europe (Cluster 2), Marie Skłodowska-Curie Actions (uključujući COFUND), COST i nacionalne fondove u Poljskoj i Češkoj. Vodi Atelier Peraica, fotografskog ateliera osnovanog u Splitu 1934.

      Akademski identifikatori ORCID · Scopus · Web of Science · ResearchGate · Google Scholar

      Referentne stranice Profil u časopisu Leonardo · Suradnica časopisa Leonardo · Monoskop

      Preuzmi životopisPDF

      Knjige

      Culture of the Selfie, 2017

      Culture of the Selfie
      Self-Representation in Contemporary Visual Culture
      Institute of Network Cultures, Amsterdam, 2017

      Otvoreni pristup

      Koristi se u sveučilišnoj nastaviObvezna literatura: City University of Hong Kong; Sveučilište u Torinu; Katoličko sveučilište Pázmány Péter, Budimpešta; Jagelonsko sveučilište, Krakov. Dopunska literatura: ELTE, Budimpešta; Sveučilište u Leedsu; Hebrejsko sveučilište u Jeruzalemu; Sveučilište u Rijeci. Ranije korišteno: Sveučilište Bilkent, Ankara; Sveučilište Duisburg-Essen; Sveučilište u Stirlingu.

      Fotografija kao dokaz, 2018

      Fotografija kao dokaz
      Primjena tehnologijske definicije fotografije na raspravu u estetici i teoriji fotografije
      Multimedijalni institut, Zagreb, 2018

      The Age of Total Images, 2019

      The Age of Total Images
      Disappearance of a Subjective Viewpoint in Post-digital Photography
      Institute of Network Cultures, Amsterdam, 2019

      Otvoreni pristup

      Koristi se u sveučilišnoj nastaviObvezna literatura: MIT, Program in Art, Culture and Technology. Dopunska literatura: Sveučilište u Beču.

      Kultura selfija, 2023

      Kultura selfija
      Osobna reprezentacija u suvremenoj vizualnoj kulturi (hrvatski prijevod)
      Jesenski i Turk, Zagreb, 2023

      Obrazovanje i usavršavanje

      Obrazovanje

      • 2010. Doktorirala, međunarodni doktorski studij Philosophy and Contemporaneity, Sveučilište u Mariboru, Rijeka i Trst. Doktorska disertacija “Fotografija kao dokaz” (Mentor: prof. dr. Elvio Baccarini).
      • 2000–2003. Završila trogodišnji doktorski studij na Amsterdam School of Cultural Analysis, Theory and Interpretation (ASCA), Sveučilištu u Amsterdamu (mentorica: prof. dr. Mieke Bal).
      • 1997. Diplomirala filozofiju i povijest umjetnosti. Diplomski rad “Logics in the Works of Lewis Carroll” (Mentor: prof. dr. Švob).
      • 1993–1997. Studirala filozofiju (A1) i povijest umjetnosti (A2) na Sveučilištu u Zagrebu.1
      • 1990–1993. Studirala filozofiju (A1) i povijest umjetnosti (A2) na Sveučilištu u Zadru.

      Specijalizacije i usavršavanja

      • 1999–2001. postdiplomski program teorije umjetnosti na Jan Van Eyck Akademiji (mentor: prof. dr. Sarat Maharaj), pozicija mlađe istraživačice.

      Nagrade i potpore

      • 2022. Gettyjeva putna potpora (za 35. svjetski kongres povjesničara umjetnosti – CIHA). 
      • 2004–2005. BKVB, Funds Voor Beeldende Kunsten, Vormgeving en Bouwkunst, Amsterdam.
      • 2003–2004. BKVB, Funds Voor Beeldende Kunsten, Vormgeving en Bouwkunst, Amsterdam.
      • 2001. OSI potpora.
      • 1999–2000. UNESCO – Međunarodni fond za promicanje kulture (IFPC), Pariz.

      Nastava

      Mikrovjerodajnice (cjeloživotno obrazovanje)

      Sveučilišni poslijediplomski i doktorski studiji

      • 2008–2026 – University for Continuing Education Krems, Media Art Histories and Media Art Cultures - ERASMUS MUNDUS (sveučilišta u Łódźu, Aalborgu, Hong Kongu i Kremsu): “AI and Photography” (2022-24), “Media Art Criticism” (2020–2022), “Photographs and Maps” (2019), “Methods, Genres, Writing” (2018–2019), “Self-reflective media” (2014–2017), “Politics and Technology” (2008–2014). 
      • 2019. Srednjoeuropsko sveučilište (CEU), Budimpešta, Odsjek za povijest. “Visual Culture, theories, and methods.”
      • 2007–2010. Sveučilište u Rijeci, Odsjek za kulturalne studije. “Media Arts” i “Systems of Propaganda in Media.”

      Sveučilišni diplomski studiji

      • 2026. Sveučilišni studij medija i komunikacije, Sveučilište u Splitu. “Academic Writing I”.
      • 2010. Rochester Institute of Technology (RIT) Croatia, svi odsjeci. “Introduction to Philosophy” (0508-210).
      • 2007–2010. Sveučilište u Rijeci, svi odsjeci “Visual Culture.”

      Umjetnički diplomski studiji

      • 2005+2012. Likovna akademija, Odsjek za film i video, “History and theory of film and video” (2012), svi odsjeci, “Art of XIX and XX centuries” i “Art of XX century” (2005),

      Nedavna gostujuća predavanja na sveučilištima

      • 21.11. 2024. Oxford Brookes University.
      • 14–15. 04. 2023. Sveučilište u Rijeci, Filozofski fakultet, Akademija likovnih umjetnosti i Studij urbanizma. ▶ predavanje ▶ predstavljanje knjige
      • 9. 3. 2021. Sveučilište u Splitu, Arhitektonski fakultet. 
      • 22. 10. 2020. Sveučilište u Ankari, Likovna akademija.
      • 24. 9. 2019. Sveučilište u Budimpešti, Mađarska akademija likovnih umjetnosti, Odsjek za multimediju i doktorski studij.
      • 13. 4. 2019. Sveučilište u Zadru. Filozofski fakultet, Odsjek za sociologiju
      • 21. 3. 2019. Sveučilište u Ljubljani, Akademija likovnih umjetnosti, Odsjek za fotografiju

      Afiliacije

      • •       Gostujuća profesorica (Gastprofessorin), 2021, University for Continuing Education Krems.
      • •       Gostujuća istraživačica 2019. Central European University (CEU), Budimpešta.
      • •       Gostujuća istraživačica/predavačica, 2008–2021, University for Continuing Education Krems.
      • •       Predavačica, 2010. Rochester Institute of Technology (RIT), ACMT Dubrovnik.  
      • •       Predavačica, 2007–2010, Sveučilište u Rijeci.      
      • •       Predavačica, 2005–2006. Sveučilište u Splitu. 

      Odbori u obrazovanju

      • 2008–2010. Leonardo Education Forum (MIT Press).

      Materijali i priručnici korišteni u nastavi

      • Ana Peraica, Culture of the Selfie: Self-Representation in Contemporary Visual Culture, Institute of Network Cultures, Hogeschool van Amsterdam/Amsterdam University of Applied Science, Amsterdam, 2017. 2Obvezna literatura: City University of Hong Kong; Sveučilište u Torinu; Katoličko sveučilište Pázmány Péter, Budimpešta; Jagelonsko sveučilište, Krakov. Dopunska literatura: ELTE, Budimpešta; Sveučilište u Leedsu; Hebrejsko sveučilište u Jeruzalemu; Sveučilište u Rijeci. Ranije korišteno: Sveučilište Bilkent, Ankara; Sveučilište Duisburg-Essen; Sveučilište u Stirlingu.
      • Ana Peraica, The Age of Total Images: Disappearance of a Subjective Viewpoint in Post-digital Photography, Institute of Network Cultures/Hogeschool van Amsterdam/Amsterdam University of Applied Science, Amsterdam, 2019, 3Obvezna literatura: MIT, Program in Art, Culture and Technology. Dopunska literatura: Sveučilište u Beču.

      Mentorstva diplomskih radova – University for Continuing Education Krems

      1. Mary Crisostomo. “Examining Digital Technologies for Identifying Silences in Visual Archives,” University for Continuing Education Krems, 2024.
      2. Hanna Hrynkievich. “Post-photographic evidence: case studies of independent Belarusian photojournalism,” University for Continuing Education Krems, 2023
      3. Amada Parra. “Archiving and presenting born-digital art: A study on institutional practices,” University for Continuing Education Krems, 2023.
      4. Melinda Karpati. “Tracing twisted bodies: Visual representations of physical deformation in digital culture.” University for Continuing Education Krems, 2022.
      5. Nathaniel Hitchcock. “Rafael Rozendaal and Sited Absorption: The screen as a site of immersion,” Danube University Krems, 2020.
      6. Hadas Emma Kedar. “Fake News in Tactical Media and in Social Media,” University for Continuing Education Krems, 2018. 4 Leonardo abstract
      7. Samik Karel. “Photography as Testimony: The role of visual evidence in documenting conflict,” University for Continuing Education Krems, 2017. Leonardo abstract
      8. Devon Schiller. “Face Artifaction: Cultural Techniques of the Human Countenance,” University for Continuing Education Krems 2017.

      Mentorstva doktorskih disertacija – School of Advanced Studies Lucca

      1. Anđelko Mihanović. “Make Rome Great Again!: Presenting the Murder of Julius Caesar in the Time of Facebook,” IMT School for Advanced Studies Lucca, 2021. CRORIS

      Akademske aktivnosti

      Izlaganja na konferencijama

      1. Peraica, Ana. “Media Art History: Photography and Racial Systematization." 11th Media Art Histories: Re:generative, Manizales i Bogota, 5–9. 5. 2025.
      2. Peraica, Ana. “Ghetto: Photographs from inside and outside” Urban Borders, Boundaries and Liminality. Urban Geography Research Group (UGRG) – RGS-IBG (Royal Geographical Society i Institute of British Geographers), 2.6.2025. online
      3. Peraica, Ana. “Javna površina, pravo na pogled i služnost vidika” Turizam, javno i zajedničko dobro. HAZU (Hrvatska akademija znanosti i umjetnosti), Split, 10. 6. 2024: (pozvano predavanje)
      4. Peraica, Ana. “Common Human Ancestor, Cambrian Explosion, and Punctuated Equilibrium in Photogenetics,” 29th ISEA, Brisbane 21–29. 06. 2024.:
      5. Peraica, Ana. “Cyanobacteria: Photosynthesis, Phototaxis, Photography” 4th POM – Politics of the Machines, Käte Hamburger Kolleg, 22–25. 4. 2024. Aachen. DOI: 10.14236/ewic/POM24.26
      6. Peraica, Ana. “Genetics and Media Art History,” 10th International Conference on the Histories of Media Art, Science and Technology RE:SOURCE, Ca’ Foscari, Venecija, 13.–16. rujna 2023..
      7. Peraica, Ana. “Armed images,” 4th International Conference on Photography and Visual Culture: (Im)material Ecologies in the Digital Age’, 22.-23.06.2023.
      8. Peraica, Ana. “Phototaxidermy,” 35th CIHA World Congress, Motion: Migrations, São Paulo, Brazil, 17–21. 01. 2022. 5: Migration, climate, surveillance: What does media art complexity want? (pozvano predavanje)
      9. Peraica, Ana. “Pointed at” by Generated Doppelgangers. Portraits in Archives of Biometric Photographs and Generative Portraits in Neural Networks,” NECS (European Network for Cinema and Media Studies), Bucharest, 22–26. 6. 2022.
      10. Peraica, Ana. “Images of People that do not Exist,” Congress On Portraiture: Theory, Practice, and Fiction, Fakultet likovnih umjetnosti, Sveučilište u Lisabonu, 18.1.2022.
      11. Peraica, Ana. “Large database and particularity of art,” International Conference on Digital Representation and Research in Art, Humanities and Culture, The Hang Seng University of Hong Kong, 6–7. 5. 2021.
      12. Peraica, Ana. “Photographocene and the Index of Species”, 2nd Civilizations Forum: A Posthuman Age?, Ibn Haldun University, Istanbul, 1–2. 5. 2021 (pozvano predavanje).
      13. Peraica, Ana. “Migration of Species into Images and Databases," Art+Anthropocene, Sveučilište u Yorku, 2. 3. 2021.
      14. Peraica, Ana. “The loss of media autonomy," Remediated maps, Bibliotheca Hertziana/Max Planck Institute, Rim, 12.-14.4.2021.
      15. Peraica, Ana. “Face-Mockers, Face-Shifters, and Face Swappers,” Dark Eden Conference, Sydney, 6–8.11.2020.
      16. Peraica, Ana. ‘Inoperative Images: ‘Deep’ Photographs and Images Larger than Reality’, Images beyond control, FAMU, Prag, 6. 11. 2020. (pozvano predavanje)
      17. Peraica, Ana. “Toys and authorities," The Aesthetics of Drone Warfare, Sveučilište u Sheffieldu, 7–8.2. 2020.
      18. Peraica, Ana. “Disinterested and dead,” 12th VideoVortex conference: Art, Archive, Algorithms, Activism, Malta, 26–28.9.2019.
      19. Peraica, Ana. “Echo and Space Description of the Reality Behind our Backs,” 8th Media Art Histories Conference: Re:Sound, Aalborg, 20–23.8.2019.
      20. Peraica, Ana. “View above and ruins,” Art in the Anthropocene, Trinity College, 7–9. 6. 2019.
      21. Peraica, Ana. “Photograph for the Photograph’s Sake,” The Post-photographic Apparatus, Sveučilište primijenjenih znanosti i umjetnosti u Luzernu, 14–15. 11. 2019. (pozvano predavanje)
      22. Peraica, Ana. “From Narcissus to Perseus," 7. Media Art Histories Conference: Re:Trace, University for Continuing Education Krems, 23–25. 11. 2017.
      23. Peraica, Ana. “The world behind your back,” Fear and loathing of the online self Conference, John Cabot University, Università Roma Tre, Rim, 22–23. 5. 2017.: (pozvano predavanje)
      24. Peraica, Ana. “Online histories of experimental film and video art”, AVPC, Zagreb, 18–19. 6. 2016.
      25. Peraica, Ana. “From Anthropological to Ethnological in Photographic Interpretation”. FASCE, Institut za povijest umjetnosti, Zagreb, 24–25. 9. 2015.
      26. Peraica, Ana. “Sunset from Where?” Portable Landscape Conference, Sveučilište u Durhamu, 9–10. 6. 2015.
      27. Peraica, Ana. “When Censorship Matters,” Multimedia Database as Narrative Mechanism, Sveučilište u Tesaliji, Volos, 12.-13. 4. 2013. (pozvano predavanje)
      28. Peraica, Ana. “Glass negatives and their paper positives," 4th Int. Conference on Preservation and Conservation Issues in Digital Printing and Digital Photography, Institute of Physics, London, 27–28. 5. 2010. (pozvano predavanje)
      29. Peraica, Ana. “Mind the Film,” 4th Video Vortex, UMAS, Split, 21–23. 5. 2009.
      30. Peraica, Ana. “AVI and DivX art,” 2nd Video Vortex Conference, Institute of Network Cultures, Amsterdam, 18–19. 1. 2008. (pozvano predavanje)
      31. Peraica, Ana. Art and Resistance Colloquium, Međunarodni centar za alternativnu kulturu (IACC), OSA Archivum, Budimpešta i McMaster University, Split, 3. 8.2008.
      32. Peraica, Ana. “On Indifference, inhabiting in-between as a Territory,” 26th IAPL Conference: “Intermedialities: Philosophy, Art, Politics," Erasmus University - Rotterdam, 3–8. 6. 2002.
      33. Peraica, Ana. “Machine – Philosopher”, What is Enlightenment?, Jan van Eyck Akademie, Maastricht, 26–28. 5. 2000.
      34. Peraica, Ana. “A Place where Everything has a Sense”. Understanding the Balkans Conference, CAC-The Contemporary Art Centre, Ohrid, 13–16. 10. 2000. (pozvano predavanje)

      Akademske radionice (sudjelovanje)

      1. “The Photograph as Data” radionica. Art, Data, and Environment/s (ADE/s), Sveučilište Nebraska-Lincoln, 11. 4. 2024. Online.
      2. “Photographocene: Mediation of Anthropocene Images.” Humanities for the Anthropocene: Values, Principles, and Practices, Online Research Incubator Workshop, Sveučilište Puget Sound i Sveučilište Victoria, 7.–10. 7. 2021. Online.
      3. “The Loss of Media Autonomy: Photography as But One Layer of a Total Image.” Remediated Maps: Transmedial Approaches to Cartographic Imagination, Bibliotheca Hertziana – Max Planck Institute for Art History, Rim, 12.–14. 4. 2021. Online.
      4. “Photograph for the Photograph’s Sake: Deliberation from Obligation to Represent in the Unhuman Photography.” The Post-Photographic Apparatus, Sveučilište primijenjenih znanosti i umjetnosti (Hochschule Luzern), Luzern, 14.–15. 11. 2019.
      5. “Private Photo-Archives as Settlements Against Censorship.” Changing Conditions and Relationships: Private Photos as a Source of Central European History 1944–1960, Njemački povijesni institut (Deutsches Historisches Institut), Varšava, 29.–30. 10. 2015.
      6. Learning from Belgrade (part II). Švedski institut i Moderna Museet, Stockholm, 2007.
      7. Learning from Belgrade (part I). Swedish Institute & Studentski kulturni centar Beograd (SKC), Beograd, 2007.
      8. Communication Front (C-front). Art Today Association – Centar za suvremenu umjetnost, Plovdiv, 2001.
      9. Communication Front (C-front). Art Today Association – Centar za suvremenu umjetnost, Plovdiv, 2000.
      10. “Syndicate Network.” Net_Condition, ZKM | Centar za umjetnost i medije, Karlsruhe, 1999.
      11. “Balkania.” TEMP Temporary Media Lab, Kiasma – Museum of Contemporary Art, Helsinki, 1999.
      12. “Split 1700+.” Akademija umjetnosti, Sveučilište u Splitu & Berlage Institute, Amsterdam, 1997.
      13. “Architectural Manifestos” (sa: Cedric Price). DAZ, Zagreb, 1996.

      Vođenje sesija na konferencijama

      • 1. Virtualne sesije rasprava (26. i 29. 6.). ISEA2024: 29th International Symposium on Electronic Art, Brisbane, 21.–29. 6. 2024.
      • 2. Sesija "Explorations.” Photo: Science – Photography and Scientific Discourses, Centar za istraživanje fotografije, Institut za povijest umjetnosti, Češka akademija znanosti, Prag, 1. 12. 2020. Online.
      • 3. Sesija "Sentient Difference: Human Body Sensory Modalities.” ISEA2020: Why Sentience?, Montreal, 14. 10. 2020. Online.
      • 4. Sesija "Machinic Sense and Sensibility: Expressive AI.” ISEA2020: Why Sentience?, Montreal, 15. 10. 2020. Online.
      • 5. Sesija "Sound Art.” 7th International Conference on the Histories of Media Art, Science and Technology – Re:Trace, Danube University Krems, Krems, 23. 11. 2017.
      • 6. Sesija "Media and Politics.” 1st Association for Visual Pedagogies Conference (AVPC): Visual Pedagogies and Digital Cultures, Veleučilište u Zagrebu, Zagreb, 19. 6. 2016.
      • 7. “Smuggling Anthologies” simpozij. Muzej moderne i suvremene umjetnosti (MMSU), Rijeka, Mestni muzej Idrija & Trieste Contemporanea, 2013. ▶ video, Trst
      • 8. Sesija "Victims’ Syndrome.” Mutamorphosis: Challenging Arts and Sciences – 40 Years of Leonardo Journal, CIANT – Međunarodni centar za umjetnost i nove tehnologije, Prag, 2007.
      • 9. “Women’s Liberation and Technology.” YASMIN mailing list, Sveučilište u Ateni, 2007.

      Odbori konferencija

      • 1. 7th International Conference on the Histories of Media Art, Science and Technology – Re:Trace, Krems/Göttweig/Beč, 2017. Savjetodavni odbor.
      • 2. 3rd International Conference on the Histories of Media Art, Science and Technology – Re:Live, Melbourne, 2009. Recenzentski odbor.
      • 3. ISEA2004: 12th International Symposium on Electronic Art, Helsinki–Stockholm–Åland–Tallinn, 2004. Članica međunarodnog programskog odbora.

      Recenziranje projektnih prijedloga

      • 1. Europska komisija, Horizon Europe – Marie Skłodowska-Curie Actions (MSCA), 2026. Recenzentica i izvjestiteljica.
      • 2. COST (Europska suradnja u znanosti i tehnologiji), 2025. Recenzentica i izvjestiteljica.
      • 3. Europska komisija, Horizon Europe, Cluster 2 (HORIZON-CL2-2024), 2024. Recenzentica.
      • 4. National Centre Funds, Poland, 2024. Recenzentica.
      • 5. Czech Science Foundation (GAČR), 2024. Recenzentica.
      • 6. Human+ Fellowship Programme (Marie Skłodowska-Curie COFUND), Trinity College Dublin, 2020. Recenzentica.

      Projekti (istraživačko kuriranje)

      Mrežni projekti

      • #Whataboutyourselfie, 2016 online /Gallery School. Uz potporu Ministarstva kulture
      • Sudionici: Veronica Bape, Richard Barbrook, Guy Ben-Ary, Liliana Beltran, Dino Bičanić, Mladen Bilankov, Iva-Matija Bitanga, Elvis Berton, Jelena Blagović, Josip Bosnić, Dario Brajković, Tomislav Brajnović, Milan Brkić, Valeria Caballeroa, Branko Cerovac, Amalia Cortiz Ortez, Marijan Crtalić, Pedro Alves de Veiga, Eric Del Castillo, Pablo Del Castillo, Romina Dušić, Rino Efendić, Kristijan Falak, Markita Franulić, Dafna Ganani, Iva Gašparić, Gržinić Marina (sa: Aina Šmid, Zvonka T. Simčič, Dusan Mandić), John Hopkins, Angela Ibanez, Jodi Dean, Božidar Jurjević, Siniša Labrović, Miklos Legrady, Boris Ljubičić, Boris Kadin, Igor Kuduz, Marko Marković, Armando Martinez, Elvier Menetrier, Barbara Mihályi, Andrea Musa, Antonia Dora Pleško, Dominik Podsiadly, Niko Princen, Rayon Reyez, Lina Rica, Julija Simunić, Marko Stamenković, Damir Stojnić, Nebojša Šerić – Šoba, IIija Šoškić, Josip Špika, Igor Štromajer, Vice Tomasović, Goran Tomčić i Tina Vukasović).
      • Victims Symptom, PTSD, and Culture, 2007. Online / Lab for Culture, Amsterdam, 2008. Uz potporu European Cultural Foundation
      • Sudionici: Marko Peljhan, Maurizio Arango, Alejandro Duque, Martha Rosler, Andreja Kulunčić, Geert Lovink, Sezgin Boynik, Stevan Vuković, Adila Laidi – Hanieh, Tina Peraica i Tihana Jendričko.
      • Machine Philosopher. 1999–2000. Online / Uz potporu Jan Van Eyck Akademie.
      • S radovima: Peter Bilak, Geert Lovink i dr.
      • Technology of Sounded Space, 1998. Online / vlastita sredstva
      • Sudionici: Marin Zorić, Ljubinka Grujin, Hrvoje Pelicarić, Sanja Jonjić, Neli Ružić, Eric del Castillo, Tomislav Lerotić i dr.

      Izvanmrežni projekti

      • Su-kustosica projekta Smuggling Anthologies (sa: Sabina Salomon, Giuliana Carbi, Marija Terpin), Muzej moderne i suvremene umjetnosti, Rijeka, Mestni muzej Idrija, Trst Contemporanea. Uz potporu Horizon Europe 2020, 2013–2015. 
      • Sudionici: Sabina Salamon, Giuliana Carbi, Marija Terpin Mlinar, Marija Mitrović, Tomislav Brajnović, Stephan Steiner, Gia Edzgveradze, Darinka Kolar Osvald, Aleksandar Garbin, Dragica Čeč, Petra Jurjavčič, Federico Sancimino, Michele Di, Róbert Tasnádi, Anja Medved, Bojan Mitrović, Jan Lemitz, Victor López, Božo Repe, González, Melita Richter, Azra Akšamija, Balázs Beöthy, Mira Hodnik, Tanja Žigon, Krešo Kovačiček, Can Sungu, Zanny Begg, Oliver Ressler, Vana Gović, Alexandra Lazar, Cristiano Berti, Soho Fond, Marco Cechet, Lorenzo Cianchi, Michele Tajariol, Ana Smokrović, Hassan Abdelghani, Ralf Čeplak Mencin, Nilesh Ujawe, Rajka Marinković, Lazarević Branišelj. Uz potporu Horizon 2020, 2013–2015.
      • Žena na raskrižju ideologija, HULU, Split, 2007. Uz potporu Ureda Vlade RH za ravnopravnost spolova.
      • Sudionici: Inmaculada Abarca, Claudia Aravena Abughosh, Julieta Aquinaco, Sol Aramendi, Enrique Arroyo, Julia Barco, Breda Beban, Madelaine, Bernstorff, Pauline Boudry, Vanda Božičević, Akademik Nenad Cambi, Eric Del Castillo, Tanja Dabo, Monica Dower, Zsombor Dyga, Zlatan Dumanić, Mina Đukić, Etats généraux du cinéma France, Larisa Escobedo, Maru de la Garza, Maria Luz Gil, Gabriela Golder, Marina Gržinić, Hrabba Gunnarsdóttir, Tina Gverović, Ana Hušman, Judith Hopf, Sanja Iveković, Maj Britt Jensen, Hanne Jiménez, Srđan Karanović, Andreja Kulunčić, Brigitta Kuster, Gabriela Larranaga, Elias Levin, Gonzalo Lebrija, Renate Lorenz, Dušan Makavejev, Karin Michalski, Daniela Muttis, Tina Nacchache, Iva Niemčić, Irena Paskali, Renata Poljak, Teresa Pustro, Grace Quintanilla, Miroslav Radman, Benny Nemerovsky Ramsay, Lala Raščić, Paul Rooney, Martha Rosler, Ana Šmid, Nasrin Tabatabai, Graciela Taquini, Dubravka Ugrešić, Nomeda i Gediminas Urbonas, Lourdes Villagomez, Stevan Vuković i Linda Weiss).
      • su-kustosica Rows-curves-knots, Oreste, talijanski paviljon, Venecijanski bijenale, vlastita sredstva.
      • Sudionici: Marija Grazio, Sabia Salomon, Neli Ruzic, Kristina Leko i Giovanna Trento, 1999.

      Selektorski rad na godišnjim manifestacijama

      • •                Rukopisi novog doba – 44. Salon primijenjene umjetnosti i dizajna ULUPUH, Zagreb, 2011. Uz potporu Ministarstva kulture RH
      • •                Eros-thanatos. 11. Adria Art Annale, 1997/8.

      Članstvo u žirijima

      • 12. Splitski filmski festival, Split, 2007, članica žirija;
      • MIP - Museum in Progress, Global Positions (kurator: Hans Ulrich Obrist), Der Standaard, Beč, 2001;
      • 3. međunarodni festival novog filma, videa i novih medija, Split, 1998;

      Izlaganja na simpozijima (sva pozvana)

      1. “Categorization of Image Reproductions in AI Implementation.” Looking for photography symposium 2022, Gradski muzej u Münchenu, 27–28. 5. 2022.
      2. “From Unmanned to Posthuman Images: Google Earth Photography and Covid-19” Symposion Contact! Photography and Agency, Folkwang Museum Essen, 16–18. 10. 2020.
      3. “Private photo-archives as settlements against censorship,” Changing Conditions and Relationships. Njemački institut u Varšavi, Varšava, 29–30.10. 2015.
      4. “Cenzura i krijumčarske strategije u suvremenoj umjetnosti”, Apsolutno, Muzej suvremene umjetnosti Vojvodine, Novi Sad, 6.2.2015.
      5. “Mind the Film”, Smuggling Anthologies, Mestni muzej Idrija, 4.11.2014. 
      6. “Smuggling in Arts and Culture”. Smuggling Anthologies. Museo Revoltella, Trst, 7.11.2014, (pozvano predavanje)
      7. “Fotografije bez anotacija”, Nevjerodostojni dokumenti, Muzej suvremene umjetnosti, Zagreb. 13. 12. 2013.
      8. “Mass Spamming”, Ideja radikalnih medija, Multimedijski institut Zagreb, 6.6.2013.
      9. “Pop Art Add-Ins”, Splendid Pop, Muzej moderne i suvremene umjetnosti, Rijeka, 9.6.2010. 
      10. “Censored Images”, Performative Gestures-Political Moves, Mesto Žensk, Slovenska Akademija Znanosti i Umjetnosti (ZRC SAZU), Ljubljana, 19.6.2010.
      11. “Simptomi žrtve”, Extravagant mind – Extravagant bodies, Kontejner, Zagreb 20–24.10.2010
      12. Konferencija Art and Education. Moscow Art Fair, Moskva, Rusija, 2006.
      13. “Corruption of a Grand Narrative of Art,” ist Kunst?, Galerija Sodobne Vmetnosti. Celje, 2004.
      14. “Machine – Philosopher”, ALIAS, Bozar, Brussels, 2002.
      15. “Rows-curves-knot,” Centralni paviljon - Venecijanski bijenale in Venice, 10. 6.–7.7.1999. 

      Javna predavanja na festivalima umjetnosti (sva pozvana)

      1. “The Age of Total Images,” Festival PAF Olomouc 2020, Prag, 3–6. 12.2020.
      2. “Self-portraying in times of surveillance capitalism,” Plećnikova hiža, Ljubljana. 21. 3. 2019.
      3. “Culture of the Selfie,” Festival Novog Filma i Videa, Split, 9. 9. 2017.
      4. “Culture of the Selfie,” Život na Internetu, Metamedij Pula, 27. 6. 2017.
      5. “Intermedijalnost slikarstva i tehnologije fotografije,” Dani povijesti umjetnosti, Rijeka. 18. 3. 2017.
      6. “Fotografsko istraživanje,” Interfoto, Sveučilište u Rijeci, 23. 7. 2013.;
      7. “Tijelo kao medij,” Dani otvorenog performancea Split, Kinoteka Zlatna Vrata, 2008.
      8. “Avi and DivX Art,” Splitski filmski festival, Split, 2007.
      9. Konferencija Art and Education. Moscow Art Fair, Moskva, 2006.

      Bibliografija

      Znanstvene knjige i priručnici

      • 1. Peraica, Ana. Culture of the Selfie: Self-Representation in Contemporary Visual Culture. Theory on Demand #24. Amsterdam: Institute of Network Cultures, 2017. ISBN 978-94-92302-17-5. Peraica, Ana. Kultura selfija: Osobna reprezentacija u suvremenoj vizualnoj kulturi. Preveli Ognjen Strpić i Ana Peraica. Zagreb: Jesenski i Turk, 2023. ISBN 978-953-222-891-5. (Hrvatski prijevod knjige Culture of the Selfie.)

      Članci indeksirani u Scopusu i WoS-u

      • 1. Hayes, Sarah, Petar Jandrić, Linda la Velle, Sarah Earle, Filip Šrajer, Zoran Dragić, Safet Kubat, Ana Peraica i dr. “Postdigital Citizen Science and Humanities: Dialogue from the Ground.” Postdigital Science and Education 7, br. 1 (2025): 188–223. DOI: 10.1007/s42438-024-00514-z. eISSN 2524-485X. [Kolektivni članak; uključuje Peraičin odlomak “Postdigital Citizen Science and Media for Self-Protection.”]
      • 2. Peraica, Ana. “Anthropocentrism and Solipsism in Photographic Self-Portraits of Edvard Munch.” Photographies 15, br. 2 (2022): 187–203. DOI: 10.1080/17540763.2022.2060287. ISSN 1754-0763.
      • 3. Peraica, Ana. “The Work of Art in the Age of Neural Reproduction: Works of Rembrandt van Rijn in Convolutional Neural and Generative Adversarial Networks.” Art Documentation: Journal of the Art Libraries Society of North America 40, br. 2 (jesen 2021): 209–220. DOI: 10.1086/717074. ISSN 0730-7187 (tisak) / 2161-9417 (online).
      • 4. Peraica, Ana. “Stolen Faces: Remarks on Agency and Personal Identity in Computation Photography.” Lexia br. 37–38 (“Artificial Faces,” 2021): 455–466. ISSN 1720-5298. ISBN sveska 978-88-255-3853-3.
      • 5. Peraica, Ana. “Exploitation of Victims’ Desire for Revenge.” Leonardo 44, br. 1 (veljača 2011): 55–62. DOI: 10.1162/LEON_A_00094. ISSN 0024-094X.
      • 6. Peraica, Ana. “The Aesthetics of the Negative or; the Negative Dialectics of Photography.” Journal of Physics: Conference Series 231 (2010): 012013. DOI: 10.1088/1742-6596/231/1/012013. ISSN 1742-6588. [Zbornik 4. međunarodne konferencije o pitanjima zaštite i konzervacije u digitalnom tisku i digitalnoj fotografiji, London, 27.–28. svibnja 2010.]

      Članci indeksirani u MLA, ERIH+ i DOAJ

      • 1. Peraica, Ana. “The Unphotographable: On Photography and the Unseen.” Media Theory 8, br. 1 (2024): 277–296. ISSN 2557-826X.
      • 2. Peraica, Ana. “Photographocene: The Past, Present and Future in the Photography of the Environment.” Philosophy of Photography 11, br. 1–2 (2020): 99–111. DOI: 10.1386/pop_00030_1. ISSN 2040-3682.
      • 3. Peraica, Ana. “Selfies and the World Behind Our Back.” Membrana 4 (2018): 48–54. DOI: 10.47659/m4.048.art. ISSN 2463-8501.
      • 4. Peraica, Ana. “Self-Portrait Hanging between Personal and Social Grimace.” Membrana 2 (2017): 88–90. DOI: 10.47659/m2.086.art. ISSN 2463-8501.
      • 5. Peraica, Ana. “‘Mind the Film’: Photographs and Films with Lost Narratives.” Afterimage: The Journal of Media Arts and Cultural Criticism 37, br. 2 (rujan/listopad 2009): 45–49. DOI: 10.1525/aft.2009.37.2.45. ISSN 0300-7472.

      Poglavlja u knjigama indeksirana u WoS

      • 1. Peraica, Ana. “Networked Photography and ‘Image That Comes’.” U: Confronting the Climate Crisis: Activism, Technology and Ecoaesthetics, ur. Daniel Binns i Rebecca Najdowski. Palgrave Studies in Media and Environmental Communication. Cham: Palgrave Macmillan, 2025, 125–143. DOI knjige: 10.1007/978-3-031-89606-4.
      • 2. Peraica, Ana. “Paintings or Photographs? On Error Transitions between Media Amplified by Artificial Neural Networks.” U: Spotlights on Media Borders / Perspektiven auf Mediengrenzen, ur. Nora Benterbusch. Baden-Baden: Nomos, 2025, 357–374. DOI: 10.5771/9783748962380-357. ISBN 978-3-7560-3018-7.
      • 3. Peraica, Ana. “Neither Vision nor Visualization: Satellite Imaging and the Erosion of Genres of Spatial Descriptions.” U: The Mediality of Mapping: Transmedial Approaches to Space and Cartographic Imagination, ur. Tommaso Morawski i Tanja Michalsky. Quaderni della Bibliotheca Hertziana 14. Rim: Campisano Editore, 2024, 213–230. ISBN 979-12-80956-65-1.
      • 4. Peraica, Ana. “Phototopia: Photography, Utopia of the Archive, and Techno-utopianism.” U: Post-Apocalyptic Cultures: New Political Imaginaries After the Collapse of Modernity, ur. Julia Urabayen i Jorge León Casero. Palgrave Studies in Utopianism. Cham: Palgrave Macmillan, 2024, 225–238. DOI knjige: 10.1007/978-3-031-50510-2. ISBN 978-3-031-50510-2 (e-knjiga).
      • 5. Peraica, Ana. “Ghetto: Aerial Photographs of Exclusion Inside or Outside in Case of Emperor Diocletian’s Palace in Split.” U: Physical and Symbolic Borders and Boundaries and How They Unfold in Space: An Inquiry on Making, Unmaking and Remaking Borders and Boundaries Across the World, ur. Basak Tanulku i Simone Pekelsma. London: Routledge, 2024, 111–123. DOI knjige: 10.4324/9781003354802. ISBN 9781003354802 (e-knjiga).
      • 6. Peraica, Ana. “Large Datasets and the Particularity of Art: Will There Be Any Art in the Deep Learning Age?” U: Sight as Site in the Digital Age: Art, the Museum, and Representation, ur. Kwok-kan Tam. Digital Culture and Humanities 5. Singapur: Springer, 2023, 131–143. DOI: 10.1007/978-981-19-9209-4_7.
      • 7. Peraica, Ana. “Selfies Controlling Dreadful Images.” U: Psychosomatic Imagery: Photographic Reflections on Mental Disorders, ur. Ali Shobeiri i Helen Westgeest. London: Palgrave Macmillan, 2023, 183–197. DOI: 10.1007/978-3-031-22715-8_10.
      • 8. Peraica, Ana. “Autografija.” U: Concepts: A Travelogue, ur. Bernd Herzogenrath. New York/London: Bloomsbury Academic, 2022, 47–56. ISBN 978-1-5013-7530-9.
      • 9. Peraica, Ana. “Genotype, Phenotype, Phototype: Digital Photography, Biological Variety, and Excessive Overpopulation of Types.” U: Routledge Handbook of the Digital Environmental Humanities, ur. Charles Travis, Deborah P. Dixon, Luke Bergmann, Robert Legg i Arlene Crampsie. Abingdon/New York: Routledge, 2022, 279–287. DOI: 10.4324/9781003082798-24. ISBN 978-1-003-08279-8 (e-knjiga).
      • 10. Peraica, Ana. “Selfies as Augmentation of (Disappearing) Reality.” U: The Aesthetics and Politics of the Online Self, ur. Peter Serram, Teresa Numerico, Geert Lovink i Donatella della Ratta. Cham: Palgrave Macmillan, 2021, 237–254. DOI: 10.1007/978-3-030-65497-9_12.
      • 11. Peraica, Ana, Ana Kuzmanić i Petar Jandrić. “Curating Digital Art with Heart and Mind: Conversation with Kathy Rae Huffman.” U: Learning in the Age of Digital Reason, ur. Petar Jandrić. Rotterdam: Sense Publishers, 2017, 299–329.
      • 12. Peraica, Ana. “Reality Effect of (Abstract) Maps in the Post-digital Era.” U: The Iconology of Abstraction: Non-figurative Images and the Modern World, ur. Krešimir Purgar. New York: Routledge, 2020, 251–263. ISBN 978-0-367-20604-8 (tvrdi uvez) / 978-0-429-26250-0 (e-izdanje).
      • 13. Peraica, Ana. “Corruption of a Grand Narrative of Arts.” U: East Art Map: Contemporary Art and Eastern Europe, ur. IRWIN. London: Afterall Books / MIT Press, 2006, 472–477.
      • 14. Peraica, Ana. “Anonymous Authors, Nameless Heroes.” U: East Art Map: Contemporary Art and Eastern Europe, ur. IRWIN. London: Afterall Books / MIT Press, 2006, 163–174.

      Radovi objavljeni u zbornicima konferencija

      • 1. Peraica, Ana. “Fotografija, pravo na privatnost i služnost vidika: prostori Dioklecijanove palače fotografirani izvana i iznutra.” U: Turizam, javno i zajedničko dobro: otvorena pitanja korištenja i upravljanja javnim prostorima, ur. Nikola Bašić i Lidija Petrić. Zagreb: Hrvatska akademija znanosti i umjetnosti (HAZU), 2024, 9–24. DOI: 10.21857/y54jof5qnm.
      • 2. Peraica, Ana. “Common Human Ancestor, Cambrian Explosion, and Punctuated Equilibrium in Photogenetics.” U: ISEA2024 Brisbane: Proceedings of the 29th International Symposium on Electronic Art, sv. 1. Brisbane: ISEA International, 2024. DOI: 10.5204/book.eprints.256296.
      • 3. Peraica, Ana. “Cyanobacteria: Photosynthesis, Phototaxis, Photography.” U: Proceedings of POM 2024: Politics of the Machines (PoM Aachen: Lifelikeness & Beyond). Aachen, 2024. DOI: 10.14236/ewic/POM24.26.
      • 4. Peraica, Ana. “Phototaxidermy: Deduction of Species by Neural Networks.” U: Motion: Migrations — 35th CIHA World Congress Proceedings. São Paulo: Comitê Brasileiro de História da Arte / Vasto Edições, 2023, 430–440. ISBN 978-85-93921-02-5. [Kongres održan u São Paulu, siječnja 2022.]
      • 5. Peraica, Ana. “Portraits of People That Do Not Exist: Generative Adversarial Networks (GANs) and the Problem of Existence in Portraiture.” U: Congress on Portraiture: Theory, Practice, and Fiction. Lisabon: Sveučilište u Lisabonu, 2022, 210–218.
      • 6. Peraica, Ana. “Face Swappers: Agency and Personal Identity in Portrait Photography Today.” U: Proceedings of the 6th International Conference on Transdisciplinary Imaging at the Intersections of Art, Science and Culture: Dark Eden, ur. Edward Colless et al. Melbourne, 2021, 74–83. DOI: 10.6084/m9.figshare.16993384.v2.
      • 7. Peraica, Ana. “From Sociocentric to Egocentric Place – From Panorama to 360° Video.” U: Video Vortex Reader 3: Inside the YouTube Decade, ur. Geert Lovink i Andreas Treske. Amsterdam: Institute of Network Cultures, 2020, 96–103.
      • 8. Peraica, Ana. “From Anthropological to Ethnological Approach in Photojournalism.” U: French Artistic Cultures and Soviet Bloc Countries, ur. Ljiljana Kolešnik i Tamara Bjažić Klarin. Zagreb: Institut za povijest umjetnosti, 2017, 264–278.
      • 9. Peraica, Ana. “Mass Spamming.” U: The Idea of Radical Media, ur. Tom Medak i Petar Milat. Zagreb: Multimedijalni institut, 2013, 236–253.
      • 10. Peraica, Ana. “Censored Images: Women in the Army.” U: Performative Gestures – Political Moves, ur. Katja Kobolt i Lana Zdravković. Ljubljana: City of Women; Zagreb: Red Athena University Press, 2014, 139–148.
      • 11. Peraica, Ana. “Chauvinist and Elitist Obstacles Around YouTube and PornTube: A Case Study of Home-Made Porn Defended as Video Art.” U: Video Vortex Reader: Responses to YouTube, ur. Geert Lovink i Sabine Niederer. Amsterdam: Institute for Network Cultures, 2008, 189–196.

      Natuknice u enciklopedijama i recenzije indeksirane u Scopusu

      • 1. Peraica, Ana. Prikaz knjige Archive, Photography and the Language of Administration (Jane Birkin). Leonardo 55, br. 1 (veljača 2022): 100. DOI: 10.1162/leon_r_02161.
      • 2. Peraica, Ana. Prikaz knjige Photography off the Scale: Technologies and Theories of the Mass Image (ur. Tomáš Dvořák i Jussi Parikka). Leonardo 55, br. 1 (veljača 2022): 99–100. DOI: 10.1162/leon_r_02164.
      • 3. Peraica, Ana. “Photography.” U: The SAGE International Encyclopedia of Mass Media and Society, ur. Debra L. Merskin. Thousand Oaks: SAGE Publications, 2019, 1344–1347. DOI: 10.4135/9781483375519.n519.
      • 4. Peraica, Ana. Prikaz knjige Immediations: The Humanitarian Impulse in Documentary Photography (Pooja Rangan). Leonardo 52, br. 2 (travanj 2019): 198–199.
      • 5. Peraica, Ana. Prikaz knjige Nonhuman Photography (Joanna Zylinska). Leonardo 52, br. 1 (veljača 2019): 95–96. DOI: 10.1162/leon_r_01712.
      • 6. Peraica, Ana. “Commodification of Culture.” U: The SAGE International Encyclopedia of Travel and Tourism, ur. Linda L. Lowry. Thousand Oaks: SAGE Publications, 2017, 258–261. DOI: 10.4135/9781483368924.n111.
      • 7. Peraica, Ana. “Culture Shock.” U: The SAGE International Encyclopedia of Travel and Tourism, ur. Linda L. Lowry. Thousand Oaks: SAGE Publications, 2017, 330–332. DOI: 10.4135/9781483368924.n128.
      • 8. Peraica, Ana. Prikaz knjige Mirror Affect: Seeing Self, Observing Others in Contemporary Art (Cristina Albu). Leonardo 50, br. 5 (2017): 544–545. DOI: 10.1162/LEON_r_01507.
      • 9. Peraica, Ana. Prikaz knjige Big Data, Little Data, No Data: Scholarship in the Networked World (Christine L. Borgman). Leonardo 49, br. 1 (2016): 91–92. DOI: 10.1162/LEON_r_01183.
      • 10. Peraica, Ana. Prikaz knjige Image Science: Iconology, Visual Culture, and Media Aesthetics (W. J. T. Mitchell). Leonardo 49, br. 3 (lipanj 2016): 285–286. DOI: 10.1162/LEON_r_01247.

      Monografije i uređena izdanja

      • 1. Peraica, Ana. The Age of Total Images: Disappearance of a Subjective Viewpoint in Post-digital Photography. Theory on Demand #34. Amsterdam: Institute of Network Cultures, 2019. ISBN 978-94-92302-54-0.
      • 2. Peraica, Ana. Fotografija kao dokaz: Primjena tehnologijske definicije fotografije na raspravu u estetici i teoriji fotografije. Biblioteka Vizualni kolegij. Zagreb: Multimedijalni institut, 2018. ISBN 978-953-7372-40-8.
      • 3. Peraica, Ana (ur.). Smuggling Anthologies. Rijeka: Muzej moderne i suvremene umjetnosti, 2015. ISBN 978-953-6501-93-9.
      • 4. Peraica, Ana (ur.). Victims Symptom – PTSD and Culture. Theory on Demand #3. Amsterdam: Institute of Network Cultures, 2009. ISBN 978-90-78146-11-7.
      • 5. Peraica, Ana (ur.). Žena na raskrižju ideologija: Ogledi o vizualnoj kulturi. Split: HULU – Hrvatska udruga likovnih umjetnika, 2007, 240 str. ISBN 978-953-6873-61-6

      Članci u časopisima

      • 1. Peraica, Ana. “Grenzen überschreiten: Von ‘Great Divide’ zur Balkanroute.” Springerin, sv. 32, br. 2 (2026) — tema broja: Migration Issues: 52–55.
      • 2. Peraica, Ana. “The Horrors of Postdigital Photography.” Fotograf, br. 41 (svibanj 2022): 61–65.
      • 3. Peraica, Ana. “Schmuggeln.” Springerin, sv. 15, br. 3 (2009) — tema broja: Escape Routes: 13–15.
      • 4. Peraica, Ana. “Sublimno in fotografija.” Fotografija, br. 60–61 (2014): 46–52.
      • 5. Peraica, Ana. “Kriptofotografija in metasistemi fotografskih slik: Uvod v pregled fotomontaž in fotokolažev Anteja Verzottija iz obdobja 1973–2012.” Fotografija, br. 50–51 (2012): 41–52.
      • 6. Peraica, Ana. “Šezdesetinka sekunde za slavo.” Fotografija, br. 49–50 (2012): 46–50.
      • 7. Peraica, Ana. “Strah pred negotovim in velike oči fotografije.” Fotografija, br. 44–45 (2011): 15–25.
      • 8. Peraica, Ana. “Photography, Truth and Metaphysics.” Eyemazing, ljeto 2011: 50–59.
      • 9. Peraica, Ana. “Morgante.” Eyemazing, proljeće 2011: 72–78.
      • 10. Peraica, Ana. “Time Travel and Photographic Negatives.” Art & Education Papers (2011).
      • 11. Peraica, Ana. “Commercialisation of Images of Revolution (1968–2008): A Case Study of Image Copyright and Post-Socialism.” Pavilion, br. 13 (2009)—tema broja: Social Medicine: 78–86.
      • 12. Peraica, Ana. “AVI- und DivX-Kunst: Videokunst am Rande des Überlebens.” Springerin, sv. 13, br. 2 (2007): 9–10.
      • 13. Peraica, Ana. “Ein Wandel in der Repräsentation des Arbeiters: Vom Sozialistischen Realismus zum »Soros-Realismus." Springerin, sv. 12, br. 3 (2006): 30–32.
      • 14. Peraica, Ana. “Leere Podeste.” Springerin, sv. 11, br. 1 (2005): 28–30.
      • 15. Peraica, Ana. “Auf nach Sarajevo, Ferdinand! Symptome des ‘Wienerischen’ und/oder des ‘Balkan’ in der gegenwärtigen Kultur.” Springerin, sv. 11, br. 2 (2005): 38–40.
      • 16. Peraica, Ana. “Osteuropäische ©opymanie.” Springerin, sv. 10, br. 2 (2004)—tema broja: Rip-off Culture: 26–30.
      • 17. Peraica, Ana. “Medien vor Gericht.” Springerin, sv. 10, br. 4 (2004): 26–30.
      • 18. Peraica, Ana. “The Making and Unmaking of Para-History: Or from Photomontage to Digital Sabotage.” Issues in Contemporary Arts and Aesthetics, br. 12 (2001): 91–98.

      Elektronički prikazi knjiga (Leonardo Reviews)

      • 19 mrežnih prikaza knjiga objavljenih u Leonardo Reviews (časopis Leonardo, MIT Press), od prosinca 2016. do rujna 2021. Dostupno na: Leonardo Reviews: Ana Peraica

      Recenziranje za časopise (recenzije članaka)

      • 1. Leonardo (MIT Press) — 4 članka.
      • 2. Photographies (Taylor & Francis)—2 članka.
      • 3. Photography & Culture (Taylor & Francis) — 1 članak.
      • 4. Visual Communication (Sage) — 1 članak.
      • 5. Cogent Arts & Humanities (Taylor & Francis) — 1 članak.
      • 6. AI & Society (Springer Nature) — 1 članak.

      Preuzimanje

      Životopis (PDF)Press fotografija

      Video

      Predavanja s konferencija i s nastave, video eseji i rasprave o teoriji i praksi fotografije. Kanal: Peraica: Heritage & Postdigital Photography.

      YouTube kanal

      Fotografske serije

      Negativeland 2009.

      Nagrada na Photodaysu, Rovinj, 2010.

      Negativeland, 2009.
      Negativeland, 2009.Negativeland, 2009.
      Negativeland, 2009.Negativeland, 2009.

      Pogledaj seriju na stranici ateliera

      Positiveland 2010./11.

      Positiveland, 2010./11.Positiveland, 2010./11.
      Positiveland, 2010./11.Positiveland, 2010./11.

      Pogledaj seriju na stranici ateliera

      Kuharice 2020./21.

      Rukom pisani recepti iz mračne komore

      Kuharice, 2020./21.
      Kuharice, 2020./21.Kuharice, 2020./21.
      Kuharice, 2020./21.

      Pogledaj seriju na stranici ateliera

      Dvostruke ekspozicije 2010.

      Arhivski otisci s posvetama, potpisima i pečatima ispisanima preko slike

      Dvostruke ekspozicije, 2010.Dvostruke ekspozicije, 2010.Dvostruke ekspozicije, 2010.Dvostruke ekspozicije, 2010.Dvostruke ekspozicije, 2010.Dvostruke ekspozicije, 2010.

      Pogledaj seriju na stranici ateliera

      Negativeland (2009), nagrađen na Photodaysu u Rovinju 2010.; Positiveland (2010./11.); Kuharice (2020./21.). Serije i arhiv iz kojeg potječu prikazani su na web-stranici ateliera. atelierperajica.com

      Za organizatore

      Ana Peraica drži uvodna izlaganja (keynote), pozvana predavanja, seminare i radionice na hrvatskom i engleskom, uživo ili online.

      Predavanja

      Fotografija kao sustav
      Što je fotografija kad je definiramo njezinim tehnologijskim mogućnostima: konačan sustav kombinacija, od fotoaparata do generativnih modela, i ono nefotografabilno što svaka nova tehnologija kolonizira.
      Photographocene
      Vrste, krajolici i Zemlja sele se u slike i baze podataka. Fotografija kao okolišna sila: fototaksidermija, indeks vrsta, fotogenetika.
      Lica koja ne postoje
      Biometrijski arhivi, zamjena lica i generativni portreti: na koga pokazuje generirani dvojnik i što bi moglo značiti pravo na fotografski zaborav.
      Parapovijest
      Retuš, fotomontaža i propaganda, od lika koji nestaje iz arhiva do digitalne sabotaže i generiranih slika.
      Negativi i arhiv
      Predavanje-seminar u Atelieru Peraica, fotografskom atelieru osnovanom 1934.: negativi, staklene ploče i recepti iz mračne komore kao predmet teorije.

      Oblici

      Uvodno izlaganje · Pozvano predavanje · Seminar ili masterclass · Radionica · Online

      Biografija za programe (oko 50 riječi)

      Ana Peraica teoretičarka je fotografije i autorica knjiga Culture of the Selfie (2017.), Fotografija kao dokaz (2018.) i The Age of Total Images (2019.); njezina poglavlja objavljuju Routledge, Springer, Palgrave i MIT Press. Predaje na University for Continuing Education Krems i vodi Atelier Peraica u Splitu, osnovan 1934.

      Fotografija za programe

      Kontakt

      Predavanja, keynote izlaganja, nastava, radionice i kustoska suradnja.

      anaperaica@gmail.com

      Bilješke

      1. Studij nastavljen na Sveučilištu u Zagrebu tijekom rata u Hrvatskoj.

      2. Obvezna literatura na kolegijima:

        1. City University of Hong Kong. SM6349: Platform studies

        2. Sveučilište u Torinu, Semiotica delle culture digitali FIL0370

        3. Pázmány Péter Katolikus Egyetem – BMNAN13500A, Critical Approaches to Visual and Popular Culture

        4. Sveučilište u Krakovu (WZ.ZI-303: Visual communication)

        Dopunska literatura na kolegijima

        1. ELTE, Filozofski fakultet, Institut za teoriju umjetnosti i studije medija Visuality and communication: Contemporary issues in European mediatised visual culture. (BMI-MEDD-106) Virag Vecsey

        2. Sveučilište u Leedsu (COMM2125- Visual communication)

        3. Hebrejsko sveučilište u Jeruzalemu (5392: From Durer to Selfie: The Art of portraiture)

        4. Sveučilište u Rijeci, Kolaž u nematerijalnom (digitalnom) prostoru

        Prethodno korišteno na sljedećim sveučilištima

        1. Bilkent University (COMD 356- Digital Culture)

        2. Sveučilište u Essenu, (Post)photographs in the digital image society

        3. Sveučilište u Stirlingu (FMSU9A4- Digital Media and Culture).

      3. Obvezna literatura na kolegijima

        1. MIT program in art, culture and technology (4.344/4.345, Advanced photography and related media photo futures: Automaton/Algorithms/AI

        Dopunska literatura na kolegijima

        1. Sveučilište u Beču (240535 SE MM3 Machine vision)

      4. Članak objavljen u časopisu Media theory

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