Bookshelf

  • “Content, Context and Signification in the Work of Michael Asher,” Journal of Curatorial Studies, 13:2 (2025), 162-179.
  • “Ian Burn and the Aporias of Conceptual Art,” Australian and New Zealand Journal of Art, 24:2 (2024), 228-236.
  • “Integrities: The Salvage of Abu Simbel," Grey Room 50 (Winter 2013), 6-44.

  • “Rendering: On Experience and Experiment” in Design Technics: Archaeologies of Architectural Practice Ed. Zeynep Çelik Alexander and John J. May. University of Minnesota Press, 2019; 1-44.

  • "Arrested in the Moment of Dying: Science, Fiction, and the Reality Effect of Reprinting", American Literature, Volume 90, Number 3, September 2018

  • "Kant’s Magic Lantern: Historical Epistemology and Media Archaeology", Representations, vol. 115, no. 1, 2011

  • "Psychic Television", Critical Inquiry 31 (Spring 2005)

  • "Sameness-Machines: On the Political Unconscious of Memes" (Representations no. 168, 2024), pages 153–69.

  • “What Does It Mean To Call Film an Art?” in Rancière and Film, ed. Paul Bowman, Edinburgh University Press, 2013. 

  • “Cinematic Assemblies: Latour and Film Studies.” Latour and the Humanities. Eds. Rita Felski and Stephen Muecke. Baltimore: Johns Hopkins University Press, 2020. 300-327.

  • Claudia Breger, "Crowd Choreographies: Spike Lee’s BlacKkKlansman (2018) and the Politics of (Post-)Cinematic Assembly.” Discourse: Journal for Theoretical Studies in Media and Culture 46.2 (2024): 208-27.
  • “Baroque Out of Focus: The Question of Mediation in Wölfflin,” New German Critique 45.1 (February 2018), pp. 79-109.

  • “The Larkin’s Architectural Technologies of Trust,” Journal of the Society of Architectural Historians 77.3 (September 2018): 300-318.

  • "Clock Time," MoMA Magazine, 16 Dec 2024.

  • “May Day Supermarket: Crisis, Impasse, Medium.” Critical Inquiry, vol. 44, no. 4, June 2018, pp. 745–65.

  •  “Medium Theory; or, ‘The War of the Worlds’ at Regular Intervals.” Current Anthropology, vol. 60, no. 5, Oct. 2019, pp. 656–73. DOI.org (Crossref), doi:10.1086/705345.

  • Technological indeterminacy: threat, medium, temporality. Anthropological Theory 13(3):267–284. 

  • “AI Imaging, or, The End of Photography and the Affordances of Latent Specificity.” In The World According to AI, edited by Antonio Somaini. Paris: Jeu de Paume, 2025. With Tim Trombley.

  • "Arthur Jafa's BG, or, Seeing Race and Visual Truth in the Age of AI," Grey Room no. 100 (2025): 62–89.

  • “Counterfactual Speculation: What if Antonia Dickson Had Invented the Kinetoscope?" Feminist Media Histories 8, no. 3 (2022): 3–34.
  • “Love and Duty (1931) and the ‘Contradictions of Modernity’” Journal of Chinese Cinemas 18, no 1. (2025)
  • “The DH Dilemma: Knowing More & Knowing for Sure vs. Never Knowing At All.” In Doing Digital Film History: Concepts, Tools, and Practices. Ed. Sarah Mai Dang, Tim van der Heijden, Christian Olesen. Oldenberg: De Gruyter, 2024.
  • “Biomusic,” Grey Room 45 (Fall 2011): 128-150.

  • “Nose-to-Nose with a Mutant: UFO Photography,” in Imponderable: The Archives of Tony Oursler (Zurich: LUMA Foundation, 2015), 495-501.

  • Branden W. Joseph, “Something One Recognizes Yet Can’t See: Andy Warhol in and as Media,” Grey Room 77 (October 2019): 6–37.

  • “Laughter in an Ungoverned Sphere: Comicality in Early Cinema and Web 2.0,” in Paul Flaig and Katherine Groo, eds., New Silent Cinema (AFI Film Reader) (New York: Routledge, 2015), 294-314

  • “‘The Art of Diddling: Slapstick, Science, and Anti-Modernism in the Films of Charley Bowers,” in Daniel Goldmark and Charlie Keil, eds., Funny Pictures: Animation and Comedy in Studio-Era Hollywood (Berkeley: University of California Press, 2011), 191-210 

  • "Promising Forms: The Political Aesthetics of Infrastructures." InThe Promise of Infrastructure, ed. Nikhil Anand, Hannah Appel and Akhil Gupta eds. (Durham NC: Duke University Press): 175-202.

  • Techniques of Inattention: The Mediality of Loudspeakers in Nigeria. Anthropology Quarterly 87(4): 989-1

  • "The Dialectic of the University: His Master's Voice," Grey Room, 60 (Summer 2015) : 82-109.

  • "Unfolded, Not Opened: On Bernhard Siegert's Cultural Techniques," Grey Room, 62 (Winter 2016): 102-115.

  • "Destruction or dialectics: Other iconoclasms and the new heritage culture industry." 2020. HAU: Journal of Ethnographic Theory 10 (3): 980-984.

  • "Mediation, the Political Task: Between Language and Violence in Contemporary South Africa," Current Anthropology 58, no. S15 (February 2017): S123-S134.

  • "Seeing in the Dark" in For Ever More Images? (Onassis Foundation: 2019).

  • "Shadow and impress: Ethnography, film, and the task of writing history in the space of South Africa's deindustrialization." History and Theory. 57. 102-125.

  • 'Theses on the New Offentlichkeit,' revise, in English. Grey Room, 51: 94-111.

  • Filmi Jagat, A Scrapbook: Shared Universe of Early Hindi Cinema. With K Bhaumik and R Allana. New Delhi: Art Heritage & Niyogi Books.

  • "Somewhere between Human, Nonhuman, and Woman: Shanta Apte’s Theory of Exhaustion," Feminist Media Histories (2020) 6.3: 21–51.

  • The Video and the Algorithm: Democracy, Antitheatricality, and Paranoia in the Age of Streaming Media, Yale Journal of Law & the Humanities, Vol. 35:1 (2024)

  • "Theatrocracy Unwired: Legal Performance in the Modern Mediasphere", Law & Literature, vol. 26, issue 1, 31–64.

  • "When Taylorism met Revolutionary Romanticism." Critical Inquiry 46 (Spring 2020): 578–604.
  • “Architecture: Out of Place—Arata Isozaki’s Electric Labyrinth,” in Place and Displacement: Exhibiting Architecture, ed. Thordis Arrhenius, Mari Lending, Wallis Miller and Jérémie McGowan (Zürich: Lars Muller Publishers, 2014): 21-39.

  • "Earthlike,” Grey Room 65 (Fall 2016): 6-35.

  • "Taxonomy of Techniques Visions of Industrial Cinema in Post-war Japan,” in Films That Work Harder: The Circulation of Industrial Film, eds. Vinzenz Hediger, Florian Hoof, Yvonne Zimmermann, Scott Anthony (Amsterdam: Amsterdam University Press): 249-273.