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  1.  10
    Lev Manovich (1988). Perceptual Semiotics. Semiotics:479-486.
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  2.  8
    Lev Manovich (1989). Describing the Structure of a Visual Image. Semiotics:193-200.
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  3.  7
    Lev Manovich (2009). The Practice of Everyday (Media) Life: From Mass Consumption to Mass Cultural Production? Critical Inquiry 35 (2):319-331.
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    Lev Manovich (1988). Perceptual Semiotics. Semiotics:479-486.
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    Lev Manovich (2008). Insights and Blind Spots On Pictorial Semiotics. American Journal of Semiotics 9 (1):131-142.
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  6.  3
    Lev Manovich (2000). Database as a Genre of New Media. AI and Society 14 (2):176-183.
    After the novel, and subsequently cinema privileged narrative as the key form of cultural expression of the modern age, the computer age introduces its correlate — database. Why does new media favour database form over others? Can we explain ist popularity by analysing the specificity of the digital medium and of computer programming? What is the relationship between database and another form, which has traditionally dominated human culture — narrative? In addressing these questions, I discuss the connection between computer's ontology (...)
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  7. Dipesh Chakrabarty, Robert B. Pippin, Ambrosio Fornet, Nancy Bentley, Sean Shesgreen, Lev Manovich & Sophia Roosth (2009). 10. Charles Bernstein Replies Charles Bernstein Replies (P. 362). Critical Inquiry 35 (2).
     
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  8. Lev Manovich (2010). Recent Arguments. Digital Dinema and the History of a Moving Image. In Marc Furstenau (ed.), The Film Theory Reader: Debates and Arguments. Routledge
     
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  9. Lev Manovich (2001). Reality Media: DV, Special Effects, Web Cams. Art Inquiry. Recherches Sur les Arts 3:197-206.
     
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