Publications

2016
Levin, Thomas Y.We Have Never been Present (at least not to ourselves)”. Presence - A Conversation at Cabaret Voltaire, Zurich. Philip Ursprung, Mechtild Widrich & Jürg Berthold Eds. Berlin: Sternberg Press, 2016. passim. Print.
2010
Levin, Thomas Y.Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Hanecke’s Caché [Revised and expanded version]”. A Companion to Michael Hanecke. Roy Grundmann, Ed. London: Wiley-Blackwell, 2010. 75-90. Print. Levin-Five_Tapes_Four_Halls_Two_Dreams_-On_Haneckes_Caché.pdf
  • In German, translated by Wilhelm Werthern, as “Fünf Bänder, vier Flure, zwei Träume: Wechselfälle der Überwachungsnarration in Michael Haneckes Caché,” in Winfried Pauleit, Christine Rüffert, Karl-Heinz Schmid, Alfred Twes, Eds., Public Enemies: Film zwischen Identitätsbildung und Kontrolle (Berlin: Bertz & Fischer, 2011): 76-87
Levin, Thomas Y.Surveillance, Aesthesis, Literacy”. Twenty-Five: An Anthology for the 25th Anniversary of BIT Teatergarasjen. Marie Nerland, Ed. Bergen (Norway): BIT Teatergarasjen, 2010. 189-193. Print. Levin-Surveillance_Aesthesis_Literacy.pdf
2009
Levin, Thomas Y.Alegato por la violencia sonora”. Cultura/s [= weekly cultural magazine of] La Vanguardia (November 4, 2009) 2009: , 3-4. Print.
2008
Levin, Thomas Y., and Michael W. Jennings. “Publishing Industry and Radio [=Introductory essay]”. Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media. Jennings, Doherty & Levin, Eds. Cambridge, Mass.: Harvard UP, 2008. 343-352. Print.
Levin, Thomas Y.Film [Section Introduction]”. Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility. Jennings, Doherty & Levin, Eds. Cambridge, Mass.: Harvard UP, 2008. 315-322. Print.
Levin, Thomas Y., Michael W. Jennings, and Brigid Doherty. “Editor’s Introduction”. Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media. Cambridge, Mass.: Harvard UP, 2008. 1-8. Print.
Levin, Thomas Y.Agencies of Vision: Remarks on Selected Works by Denis Beaubois”. Video Logic. Sidney: Museum of Contemporary Art, 2008. 14-21. Print.
Levin, Thomas Y.The Eye Reconfigured - New Apparatuses”. Fotografia e Novas Mídias. Antonio Fatorelli, Ed. Rio de Janeiro: Editora Contra Capa, 2008. 146-160. Print.
  • In Brazilian Portuguese as “A reconfiguração do olhar - novos dispositivos” in Fatorelli, Ed., Fotografia e  Novas Mídias: 61-75
Levin, Thomas Y.Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Hanecke’s Caché”. Function/Fiction: Utilitarian Images Reconfigured. Vincent Bonin & France Choinière, Eds. Montreal: Les Éditions Dazibao, Centre de Photographies Actuelles / Edipresse, 2008. 59-70. Print.
  • In French, translated by Colette Tougas, as “Cinq cassettes video, quatre couloirs, deux rêves: Les Vicissitudes du récit de surveillance dans Caché de Michael Haneke,”  in: Bonin & Choinière, Eds., Fonction/Fiction: L'image utilitaire reconfigurée: 61-73

	Walter Benjamin - The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
Levin, Thomas Y., et al. Walter Benjamin - The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media . (with Brigid Doherty & Michael W. Jennings) Cambridge, Mass.: Harvard UP, 2008. Print.
2006
Levin, Thomas Y.Surveillant”. Sensorium: Embodied Experience, Technology, and Contemporary Art. Caroline A. Jones, Ed. . Cambridge, Mass.: List Visual Art Center and MIT Press, 2006. 212-215. Print.
Levin, Thomas Y.Film As Critical Practice: Thomas Y. Levin, Keith Sanborn and Anthony Vidler in Conversation with Jean-Michel Rabaté”. Rrrevolutionnaire: Conversations in Theory, Vol. 1. Gregg Lambert & Aaron Levy, Eds. Philadelphia: Slought Books, 2006. 151-171. Print. Levin-Film_as_Critical_Practice.pdf
2003
Levin, Thomas Y.'Tones from out of Nowhere': Rudolf Pfenninger and the Archaeology of Synthetic Sound””. Grey Room 12 (2003): , 12, 32-79. Print. Levin-Tones_from_Nowhere_On_Pfenninger.pdf
  • Reprinted in Thomas Keenan and Wendy Hui Kyong Chun, Eds., New Media, Old Media: A History and Theory Reader (NY: Routledge, 2005): 45-81
  • In French, in a somewhat edited version translated by Jean-François Allain, as “‘Des sons venus de nulle part’: Rudolf Pfenninger et l’archéologie du son synthétique” in: Sophie Duplaix & Marcella Lista, Eds, Sons & Lumieres, une histoire du son dans l’art du XXe siècle (Paris: Éditions du Centre Pompidou, 2004): 51-60
2002
Levin, Thomas Y.Rhetoric of the Temporal Index: Surveillant Narration and the Cinema of 'Real Time'”. CTRL [Space]: Rhetorics of Surveillance from Bentham to Big Brother. Thomas Y. Levin et. al Eds. . Cambridge, Mass.: MIT Press, 2002. 578-593. Print. Levin-Rhetoric_of_the_temporal_Index_levin.pdf
  • Rpt. in Wendy Hui Kyong Chun, Anna Watkins Fisher & Thomas Keenan, Eds.,  New Media, Old Media A History and Theory Reader, 2nd Edition (New York: Routledge, 2015): 523-538
  • Rpt. in English and in a Greek translation by Titika-Maria Saratsi, in Big Brother: Architecture and Surveillance (Athens: National Museum of Contemporary Art, 2002): 24-37
  • In Portuguese, translated by Raquel Mouta, as “Retórica do índex Temporal: Narração Vigilante e o Cinema do ‘Tempo Real’” in: Insi(s)tu: revista de Cultura Urbana (Porto) #5/6 (Summer 2003): 126-147
  • In German, translated by Michael Wedel, as “Die Rhetorik der Zeitanzeige: Erzählen und Über-wachen im Kino der »Echtzeit«” in: Malte Hagener, Johann N. Schmidt & Michael Wedel, Eds., Die Spur durch den Spiegel: Der Film in der Kultur der Moderne (Berlin: Bertz Verlag, 2004): 349-366
  • In Swedish, translated by Astrid Trotzig, as “Retorik för temporala index: om övervakningens berättelse och filmens ‘realtid’” in Konst och Nya Media (Stockholm: Kungl. Konsthögskolan, 2005): 86-102
  • In Hebrew, translated by Analu Verbin, as “Retorikat Ha'index Shel Hazman: Pikuakh Ve'hakolno'a Shel Zman Emet” in Block #02: Control (Tel Aviv, Summer 2005): 8-21
  • In Brazilian Portuguese, translated by Renato Rezende, as “Retórica do Índex Temporal: Narração Vigilante e o Cinema de ‘Tempo Real’,” in Katia Maciel, Ed., TransCinemas (Rio de Janeiro: ContraCapa, 2009): 175-192
Levin, Thomas Y.'Töne aus dem Nichts': Rudolf Pfenninger und die Archäologie des synthetischen Tons”. Zwischen Rauschen und Offenbarung. Zur Kultur- und Mediengeschichte der Stimme. Berlin: Akademie Verlag, 2002. 313-355. Print. Levin-Töne_aus_dem_nichts.pdf
  • Partial reprint, both in English (“The Race that Wasn’t One: Oskar Fischinger, Rudolf Pfenninger and the ‘Discovery’ of Synthetic Sound”; pp. 85-93) and in a German translation by David Hauptmann (“Der Wettlauf der keiner war: Fischinger, Pfenninger und die ‘Entdeckung’ des synthetischen Tons”; pp. 93-103) in Paul DeMarinis, Buried in Noise (Heidelberg: Kehrer Verlag, 2011): 85-103
CTRL [Space]: Rhetorics of Surveillance from Bentham to Big Brother
Levin, Thomas Y. CTRL [Space]: Rhetorics of Surveillance from Bentham to Big Brother. Cambridge, Mass.: MIT Press, 2002. Print.
2001
Levin, Thomas Y.Jeff Guess: 'Fonce Alphonse'”. CTRL [Space]: Rhetorics of Surveillance from Bentham to Big Brother. Thomas Y. Levin et. al Eds. . Cambridge, Mass.: MIT Press, 2001. 612-613. Print.
Levin, Thomas Y.'Where my tape, man?': Denis Beaubois and the Performative Politics of Panoptical Détournement”. Die wachsame Gesellschaft. Internationaler Medienkunstpreis 2001 . Karlsruhe: ZKM/SWR, 2001. 80-99. Print. Levin-Where_my_Tape_Man?.pdf
  • Reprinted in Levin, et.al. Eds., CTRL [Space]: Rhetorics of Surveillance from Bentham to Big Brother (2001): 608-611
  • Reprinted as “Surveillance and the Ludic Reappropriation of Public Space” in: Open #6 “(in)security” issue (Amsterdam: NAI Publishers, 2004): 50-60
  • In German, translated by Nikolaus G. Schneider, as “‘Where my tape, man?’: Denis Beaubois und die performative Politik des panoptischen Détournement,” in: CTRL [SPACE]: Die wachsame Gesellschaft. Internationaler Medienkunstpreis 2001 (Karlsruhe: ZKM/SWR, 2001): 80-99
  • In Dutch, translated by Leo Reijnen, as “Surveillance en de ludieke herovering van de openbare ruimte” in: Open #6 “(on) veiligheid” issue (Amsterdam: NAI Publishers, 2004): 61-71
  • Reprinted in English and in the Dutch translation by Leo Reijnen, in: Petran Kockelkoren, Ed. Mediated Vision (Arnhem and Rotterdam: ArtEZ Press and Veenman Publishers, 2007): 84-99
2000
Levin, Thomas Y.'You Never Know the Whole Story': Ute Friederike Jürß and the Aesthetics of the Heterochronic Image”. Ute Friederike Jürß: You Never Know the Whole Story. Stuttgart: Cantz Verlag, 2000. 54-87. Print.
  • Reprinted, in an updated and revised version, in Tanya Leighton, Ed., Art and the Moving Image: A Critical Reader (London: Tate Publishing in association with AFTERALL: 2008): 460-474
  • In German, translated by Gerd Burger, as “’You Never Know the Whole Story’: Ute Friederike Jürß und die Ästhetik des heterochronen Bildes,” in: Ute Friederike Jürß: You Never Know the Whole Story (Stuttgart: Cantz Verlag, 2000): 54-87
  • In French, translated by Jean-Francois Allain, as “‘Le Tremblement de la Représentation’: Ute Friederike Jürß et l´ésthétique de l´image hétérochrone” in: Les Cahiers du Musée National d’Art Moderne #78 (Winter 2001-2002): 21-39
  • In Brazilian Portuguese, translated by Elisabety Lissovsky, as “O Terremoto De Representação: Composição Digital e a Estética Tensa de Imagem Heterocrônica,” in Fernanda Bruno & Antonio Fatorelli, Eds., Limiares Da Imagem: Tecnologia e Estética na Cultura Contemporãnea (Rio de Janeiro: Mauad Editora, 2006): 197-215

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