[1] Perno, G.S., The Genesis of Pixar, https://cinelinx.com/movie-news/movie-stuff/the-genesis-of-pixar/ (accessed 10/08/2019)[2] Manovich, Lev, The Language of New Media, (MIT Press, 2001).

[3] Swartz, Anne. “Unit 6 Section 7.” Art History 701 Contemporary Art. https://elearning.scad.edu/webapps/scad-contentserver-BBLEARN/CourseWorkLink.jsp?course_id=_64519_1&mode=view (accessed 2/12/2018).

[4] Kant, Immanuel, What is Enlightenment, Columbia University, http://www.columbia.edu, accessed on Jan, 31, 2018. http://www.columbia.edu/acis/ets/CCREAD/etscc/kant.html, (accessed 7/3/2019).

[5] Omernick, Matthew, Creating the Art of the Game, (New Riders Publishing, 2004).

[6] Ceruzzi, Paul E., A History of Modern Computing, (MIT Press, 2014), pp. 20, 21, 32, 38, 44, 74.

[7] Ibid.

[8] Ibid.

[9] du Sautoy, Marcus, The Code: Numbers, Shapes and Predictions, (PBS Miniseries, 2011).

[10] Ceruzzi, Paul E., pp. 38, 44.

[11] Dreher, Thomas, The History of Computer Graphics, archived on http://iasl.uni-muenchen.de/links/GCA-III.2e.html, (accessed on 09/07/2019).

[12] Greenberg, Clement, “Toward a Newer Laocoon,” Partisan Review, Vol. 7, No. 4 (July-August 1940).

[13] Vignelli, Massimo, Massimo Vignelli Canon, https://s3-us-west-2.amazonaws.com/rationale-design.com/resources/vignelli-canon/Vignelli+-+Canon.pdf, (PDF, 2009), (downloaded 4/15/18).

[14] Nees, George, Generative Computergraphik, (Siemens AG, Berlin, München, 1969).

[15] Fineberg, Jonathan, Art Since 1940: Strategies of Being 3rd. Edition (Prentice Hall, 2010), pp. 312, 316.

[16] Deher, Thomas, The History of Computer Graphics, Ibid.

[17] Rhodes, Phil, https://www.redsharknews.com/technology/item/4244-a-behind-the-scenes-look-at-the-last-starfighter-and-the-very-early-days-of-cg, (accessed 10/09/19)

[18] Various Editors, The Making of Final Fantasy The Spirits Within, (Brady Games, 2001).

[19] Fineberg, Johnathan, Art Since 1940: Strategies of Being 3rd. Edition, Ibid.

[20] Bush, Vannevar, As We May Think, theatlantic.com, https://www.theatlantic.com/magazine/archive/1945/07/as-we-may-think/303881/, (accessed 09/20/2019).

[21] Fineberg, Johnathan, Art Since 1940: Strategies of Being 3rd. Edition, Ibid.

[22] Bush, Vannevar, As We May Think, Ibid.

[23] Salen, Katie and Eric Zimmerman, Emergent Systems, Rules of Play: Game Design Fundamentals (MIT Press, 2003), pp. 165.

[24] Brown, Tim, Change By Design (Harper Collins, 2009), pp. 16 – 17.

[25] Fineberg, Johnathan, Art Since 1940: Strategies of Being 3rd. Edition, Ibid.

[26] Ibid.

[27] Smithson, Robert, in the “Entropy and the New Monuments,” Artform (Dec. 1966), 26-31; reprinted in Nancy Holt, ed., The Writings of Robert Smithson (New York: New York University Press 1979), pp. 9-18.

[28] Smithson, Robert, in the “Entropy and the New Monuments,” Ibid.

[29] Fineberg, Johnathan, Art Since 1940: Strategies of Being 3rd. Edition, Ibid.

[30] Dia Art, Lightning Field by Walter Da Maria, https://www.diaart.org/visit/visit/walter-de-maria-the-lightning-field, (accessed 10/17/19).

[31] Christojeanneclaude.net, https://christojeanneclaude.net/mobile/projects?p=surrounded-islands, (accessed 9/24/19).

[32] Dia Art, Lightning Field by Walter Da Maria, Ibid.

[33] Smithson, Robert, in the “Entropy and the New Monuments,” Ibid.

[34] Wooley, Benjamin, Virtual Worlds (Oxford, UK and Cambridge, USA:Blackwell, 1992), pp. 39, 43.

[35] Morris, Brian. Religion and Anthropology: A Critical Introduction, (Cambridge University Press, 2006).

[36] Cheng, Scarlet, Olafur Eliasson flips the switch on his ‘Reality projector’ in L.A., latimes.com, http://www.latimes.com/entertainment/arts/la-ca-cm-olafur-eliasson-20180304-story.html, (accessed 7/5/2019).

[37] Fineberg, Johnathan, Art Since 1940: Strategies of Being 3rd. Edition, Ibid.

[38] Olafur Eliasson The Weather Project, 2003, tate.org.uk, http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series/unilever-series-olafur-eliasson-weather-project-0, (accessed 7/5/2019).

[39] Fineberg, Johnathan, Art Since 1940: Strategies of Being 3rd. Edition, Ibid.

[40] Olafur Eliasson The Weather Project, 2003, tate.org.uk, Ibid.

[41] Olafur Eliasson, https://en.wikipedia.org/wiki/Olafur_Eliasson, (accessed 11/05/19).

[42] Cheng, Scarlet, Olafur Eliasson flips the switch on his ‘Reality projector’ in L.A., Ibid.

[43] Kant, Immanuel, What is Enlightenment, Ibid.

[44] Joseph Beuys, cited in Caroline Tisdell, Joseph Bueys, exh. Cat. (New York: Solomon R. Guggenheim Museum, 1979), pp. 21.

[45] Fineberg, Johnathan, Art Since 1940: Strategies of Being 3rd. Edition, Ibid.

[46] Ibid.

[47] Joseph Beuys, cited in Caroline Tisdell, Joseph Bueys, Ibid.

[48] The Art Story, https://www.theartstory.org/movement/fluxus/, (accessed 8/17/19).

[49] Joseph Beuys, cited in Caroline Tisdell, Joseph Bueys, Ibid.

[50] Smithson, Robert, in the “Entropy and the New Monuments,” Ibid.

[51] Bolter, Jay David and Diane Gromala, Wooden Mirror, Windows and Mirrors (MIT Press, 2003) pp. 36, Wooden Mirror.

[52] Meadows, Mark Stephen, Interaction, Pause & Effect:The Art of Interactive Narrative (New Riders, 2003), pp. 120.

[53] Various Phaidon Editors, Atlas of Brutalist Architecture (Phaidon, 2018).

[54] Jung, C. G. The Red Book (Philomon), edited by Sonu Shamdasani, (W. W. Norton & Company,  2009).

[55] Kant, Immanuel, What is Enlightenment, Ibid.

[56] Ibid.

[57] Norman, Donald, The Design of Everyday Things: Revised Edition (Basic Books, 2013)

[58] Brown, Tim, Change By Design, Ibid.

[59] Chomsky, Noam, Language and Mind 3rd Edition, (Cambridge University Press, 2000).

[60] Rand, Harry, Arshile Gorky: Implication of Symbols, (University of California Press; New edition, 1991).

[61] Toshio, Iwai, wikipedia.org, https://en.wikipedia.org/wiki/Toshio_Iwai, (accessed 9/28/19). 

[63] du Sautoy, Marcus, The Code: Numbers, Shapes and Prediction, Ibid.

[63] Romano, Aja, A Guy Trained a Machine to “watch” Blade Runner. Then Things Got Seriously Sci-Fi, www.vox.xom, https://www.vox.com/2016/6/1/11787262/blade-runner-neural-network-encoding, accessed March 27, 2018.

[64] Campbell, Joseph, The Power of Myth, (PBS Miniseries, 1988).

[65] Brian Christian, The Most Human Human (Double Day, 2011), pp. 30 – 31.

[66] Campbell, Joseph, The Power of Myth, Ibid.

[67] http://www.rothkochapel.org/learn/about/, (accessed 11/4/2019)

[68] Barnett Newman, “The Sublime is Now,” The Tiger’s Eye, No. 6 (December 1948).

[69] https://we-make-money-not-art.com/ecovention-europe-art-to-transform-ecologies-1957-2017-part-1/, (accessed 11/2/2019)

[70] Billock, Jennifer, Walk the World’s Most Meditative Labyrinths, https://www.smithsonianmag.com/travel/walk-worlds-meditative-labyrinths-180957823/, January 20th 2016, (accessed 11/05/2019)

[71] Rand, Harry, Arshile Gorky: Implication of Symbols, Ibid.

[72] Vannevar Bush, As We May Think, theatlantic.com, https://www.theatlantic.com/magazine/archive/1945/07/as-we-may-think/303881/, (accessed 09/20/2019).

[73] Eric Raymond, The Cathedral and the Bazaar, catb.org, http://catb.org/esr/writings/cathedral-bazaar/cathedral-bazaar/, accessed 4/02/2018.

[74] Lebrun, David, Nova: Cracking The Maya Code, (WGBH, original broadcast April 8th,  2008), (accessed, 7/9/19).

[75] https://en.wikipedia.org/wiki/Glyph, (accessed 11/02/2019)

Andy Cameron, Dissimulations: Illusions of Interactivity (MFJ No. 28: Spring 1995), as cited in Tekinbas, Rules of Play: Game Design Fundamentals (MIT Press, 2003), pp. 83.

 [76] Jay David Bolter and Diane Gromala, Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency (MIT Press, 2003).

[77] du Sautoy, Marcus, The Code: Numbers, Shapes and Prediction, Ibid.

[78] Robin Hunicke, Marc LeBlanc, Robert Zubek, MDA: A Formal Approach to Game Design and Game Research (AAAI Workshop – Technical support, 2004).

[79] Cheng, Scarlet, Olafur Eliasson flips the switch on his ‘Reality projector’ in L.A., Ibid.