Books
The Age of Total Images, Institute of Network Cultures, Amsterdam, 2019.
Fotografija kao dokaz, Multimedijalni centar, Zagreb, 2018.
Culture of the Selfie : Self-Representation in Contemporary Visual Culture, Institute of Network Cultures, Amsterdam, 2017. translated as; Kultura Selfija, transl. Ognjen Strpić, Jesenski i Turk, Zagreb, 2022.
Edited readers
Smuggling Anthologies, Museum of Modern and Contemporary Art, Rijeka, 2015.
Victims Symptom - PTSD and Culture,Institute for Network Cultures, Amsterdam, 2009.
Žena na raskrižju ideologija, HULU, Split, 2007.
Chapters (selection)
Networked Photography and ‘Image That Comes’ Daniel Binns and Rebecca Najdowski (eds.): Confronting the Climate Crisis, Palgrave Studies in Media and Environmental Communication, 2025.
'Paintings or photographs'. in: Nora Benterbusch (ed.), Spotlight on media borders, ed., Nomos Verlag.2024.pp. 361-375.
‘Phototopia: Photography, Utopia of the Archive, and Techno-utopianism’ in: Julia Urabayen and Jorge León Casero (eds). Post-Apocalyptic Cultures: New Political Imaginaries After the Collapse of Modernity, Palgrave Macmillan, 2024, pp. 225-238.
Interscalarity: architectural, visual and social scales in: Jadwiga Charzynska and Ryszard W. Kluszcynski (eds.), Krzystof Wodiczko's Public Projections, Krzystof Wodiczko, Art, Technology and Social Change, LAZNA Center for Contemporary Art and Academy of Fine Arts in Gdansk, pp. 64-80.
'Large Datasets and the Particularity of Art: Will There Be Any Art in the Deep Learning Age?', in: Kwok Kad (ed.) Sight as Site in the Digital Age: Art, the Museum, and Representation, Springer, 2023, pp. 131-143.
'Ghetto' in: Simone Pekelsma and Basak Tanulkuand (eds.) Physical and Symbolic Boundaries across the World: An Inquiry into understanding how boundaries segregate and connect, Routledge, 2024.
‘Autografija’, in: Bernd Herzogenracht (ed.) Concepts, Bloomsbury. 2022.
‘Selfies controlling dreadful images’, in: Ali Shobeiri and Helen Westeest (eds.), Psychosomatic images: Photographic reflections on Mental Disorders, Palgrave Macmillan, 2022, pp. 183-197.
‘Genotype, Phenotype, Phototype: Digital Photography, biological variety, and excessive overpopulation of types’, in: Luke Bergmann et al (eds.) Routledge Digital Environmental Humanities Handbook, Routledge, 2022.
‘Selfies as augmentation of (disappearing) reality’ in: Peter Serram, Teresa Numerico, Geert Lovink and Donatella della Ratta (eds.), The Aesthetics and Politics of The Online self, Palgrave MacMillan, 2021. DOI: 10.1007/978-3-030-65497-9_12
‘Reality effect of [abstract] maps in post-digital era’, in: Kresimir Purgar (ed.), The Iconology of abstraction - Non-Figurative Images and the Modern World, Routledge, 2020.
'Woman at the crossroad of ideologies', in: Marina Gržinic and Rosa Reitshamer (eds.) New feminism, queer and networking conditions. Vienna: Erhard Loecker Verlaag, 2008, pp. 201-15. Republished (Parts in English and Italian) as; On Woman @ The Crossroad Of Ideologies in Carbi, G. (ed.) Third CEI Venice forum for Contemporary Art Curators - Proceedings of Continental Breakfast. Outposts : Trieste Contemporanea, Central European Initiatives, Trieste, 2008, pp. 47-52.
‘Merely a Photographer’, in: Suzana Milevska (ed.), Renaming Machine, P.A.R.A.S.I.T.E, Ljubljana, 2008.
‘Corruption of a Grand Narrative of Arts’. IRWIN (eds.): East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006, pp. 472-7.
‘Anonymous authors, Nameless Heroes, Unknown Histories (A local overview of strategies and motifs of variable x’’. IRWIN (eds.) East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006, pp. 163-74.
Encyclopedia entries
'Photography', in: Debra L. Menskin (ed.), The SAGE International Encyclopaedia of Mass Media and Society2019.
‘Commodification of Culture’, in: Linda L. Lowry (ed.), The SAGE International Encyclopedia of Travel and Tourism, DOI: http://dx.doi.org/10.4135/9781483368924.n111
'Culture Shock' In: Linda L. Lowry (ed.) The SAGE International Encyclopedia of Travel and Tourism, DOI: http://dx.doi.org/10.4135/9781483368924.n128
Peer-reviewed articles
'Common human ancestor, Cambrian explosion and Punctuate equilibrium in Photogenetics', Proceedings of the 29th International Symposium on Electronic Arts 2024, Vol.1..
The Unphotographable: On Photography and the Unseen. Media Theory, 8(1: Seeing photographically, edited by Celia Lury, 2024), 277–296. DOI: https://doi.org/10.70064/mt.v8i1.1077
'Anthropocentrism and solipsism in photographic self-portraits of Edvard, Photographies 12(2), 2022. DOI: 10.1080/17540763.2022.2060287
'The Work of Art in the Age of Neural Reproduction', Art Documentation Journal 40(2), DOI: 10.1086/717074
‘Photographocene: The past, present and future in photography of the environment’, Philosophy of Photography, 2021 11(1).
'Stolen Faces', Lexia - Artifical faces (37-38, 2021): 455-467.
‘Exploitation of victims desire for revenge‘, Leonardo 1 (44, 2011): 55-60. Republished to Croatian; O umjetnosti osvete i eksploataciji smrti : Žrtve u razmjeni politicka iskorištavanja i politike osvete, Vizura 3-4 (2008), 18-25.
‘Mind the film’: Photographs and films with lost narratives. Afterimage 37 (2/2009), 45-49.
Conference proceedings
‘Neither Vision nor visualisation’, Satellite imaging and the erosion of genres of spatial descriptions, in: Michalski and Tommaso Morawski (eds.) The Mediality of Mapping. Transmedial Approaches to Space and Cartographic Imagination, Rome: Campisano Editore, 2024.
‘Phototaxidermy: Deduction of Species by Neural Networks’, 35th World Congress of Art Historians, Sao Paulo, Brazil, 2023. pp. 430-440.
‘Portraits of people that do not exist. Generative Adversarial Networks (GANs) and the problem of existence in portraiture’, Congress on portraiture, 2022, pp. 210-218.
'Face-Mockers, Face-Shifters and Face Swappers: agency and personal identity in portrait photography today', Dark Eden conference Proceedings, Art+Australia, 2021.
‘From Sociocentric to Egocentric Place’, Geert Lovink and Andreas Treske (eds.) 12. Videovortex #14, Institute of Network Cultures, 2020, 96-103.
‘From Anthropological to Ethnological Approach in Photojournalism', in; Ljiljana Kolešnik and Tamara Bjažić Klarin, French Artistic Cultures, Institute of Art History, 2017, 264-278
‘Mass Spamming’, in; Tom Medak and Petar Milat (eds.), Idea of Radical Media, Multimedijalni institut, Zagreb, 2013, 236-253.
‘Chauvinist And Elitist Obstacles Around Youtube And Porntube’, in; Lovink Geert. and Niederer Sabine (eds.), Video Vortex #12, Institute for Networked Cultures, Amsterdam, 2008, 189-96. Republished: ‘Chauvinist And Elitist Obstacles Around Youtube And Porntube Politics of feelings / Economies of Love in Nataša Bodrožic (ed.) Loose associations, 2014.
‘Censored Images: Women in the Army’, Censored Images, Performative Gestures - Political Movements, Red Athena University Press, Zagreb, 2010. 139.-148.
‘The aesthetics of the negative or; the negative dialectics of photography‘ Journal of Physics.: Conference serial. Ser. 2010, 231 012013, DOI: 10.1088/1742-6596/231/1/012013
‘The making and unmaking of para-history: or from photomontage to digital sabotage’. Issues in Contemporary Arts and Aesthetics, 12 (2001), 91-8.
Magazine artices
'The Horrors of Postdigital Photography', Fotograf, no. 41 (May 2022): 61–65.
'Selfies and the World Behind our back', Membrana 4 (2018): 48-54.
‘Self-Portrait Hanging between Personal and Social Grimace’, Membrana 2(2017): 88-90.
‘Sublimno in fotografija’, Fotografija 60/61 (2014): 46-52.
‘Kriptofotografija in metasistemi fotografskih slik’, Fotografija 50/51 (2012): 41-52.
‘Šezdesetinka sekunde za slavo’, Fotografija 49/50 (2012): 46-50.
‘Strah pred negotovim in velike oci fotografije’, Fotografija 44/45 (2011): 15-25.
Translated to Croatian 'Strah od neizvjesnog i velike oči fotografije', Krešimir Purgar (ed.): Kritika / teorija / pojmovi u novoj hrvatskoj umjetnosti, Kontura, Zagreb, 2017.
‘Smugglein’, Springerin 2 (2009): 13-15. Commercialisation of images of Revolution (1968-2008), Pavilion 12 (2009): 78-86
‘Morgante’, Eyemazing (Spring, 2011); 72.-78.
‘Photography, truth and metaphysics’, Eyemazing (Summer, 2011): 50.-59.
‘Time travel and photographic negatives ‘, Art and Education Papers 2011. Translated to Croatian: ‘Putovanje kroz vrijeme’, Svjetovi fotografije, ULUPUH, 2012 Republished: ‘Putovanje kroz vrijeme i fotografski negativi’, in Kontejner (ed.) Teorija postnegativnog svijeta, Ekstravagantna tijela: Ekstavagantne godine, Kontejner, Zagreb, 2013. 294-295 + 295-306.
‘AVI-und DivX Kunst’. Springerin 2 (2007): 9-10. Republished: 'AVI-und DivX Kunst Videokunst am Rande des Uberlebens’. Documenta magagzine http://magazines.documenta12.de/frontend/article.php?IdLanguage=5&NrArticle=1363’
‘Ein Wandel in der Repräsentation des Arbeiters Vom Sozialistischen Realismus zum ‘Soros-Realismus’’ Springerin 3 (11, 2006): 30-2.
‘Auf nach Sarajevo, Ferdinand! Symptome des ‘Wienerischen’ und/oder des ‘Balkan’ in der gegenwärtigen Kulted’ Springerin 2 (12, 2005): 38-40.
‘Leere Podeste’ Springerin 1 (11, 2005): 28-30. Translation to English: ' Empty Pedestals', Pavilion 10-11 (2007): 142-8.
‘Medien von Gericht’, Springerin 4 (10, 2004): .26-30.
‘Ostereuropische ©opymanie‘. Springerin 2 (10, 2004): 26-30
