VIRTUAL PATTERN RECOGNITION, ERROR, PATHS TO CONSCIOUSNESS & AUGMENTING THE EVOLUTION OF SELF
Listed below are references to diagrams, images, video documentation, and the artworks central to this dissertation. Please access the following links whether to view or download the enclosed content. Please note, that images and diagrams are included in the body of the submitted dissertation. Links to videos are also listed in the text and are cited in the Bibliography, however, must be viewed online.
NOTE: If hard copies are required, please email MAXKAZEMZADEH@GMAIL.COM and they will be forwarded to you.
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I. GESTURES OF CHANGE (2013) aka. GoC13:
https://vimeo.com/239352257
A. GOC13 DEVELOPMENT PROCESS DIAGRAM:
B. GOC13 VIDEO DOCUMENTATION: Gestures Of Change (2013) by Max Kazemzadeh from max kazemzadeh on Vimeo.
GesturesOfChange (2013) Di-Egy Fest - Cairo, Egypt from max kazemzadeh on Vimeo.
C. GOC13 IMAGE DOCUMENTATION:
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C.
GoC13 SOFTWARE (CASE STUDY AND PRACTICE):
(Please Note: This software requires either a built-in or usb webcam be connected to your laptop. The software will not run without this requirement.)
1. MAC VERSION 64 BIT DOWNLOAD >
2. WINDOWS VERSION 32 BIT DOWNLOAD >
3. WINDOWS VERSION 64 BIT DOWNLOAD >
(Please Also Note: This software recognizes and counts the number of faces on screen at any given moment. You will need to either photography these facial image with your phone and show your phone's images to the camera, or download and print the face images in order to test the many functions. You may also get three other friends to help out. The original installation allowed for anywhere up to 10 people, however, for this demo and since it will be tested in a more intimate setting, the number of people is limited to 4. You may also test printing out your own face.)
D. DOWNLOAD THESE IMAGES TO SHOW THE COMPUTER CAMERA:
(PRINT AND TRY EACH SEPARATELY. OR JUST USE A PHOTO OF ANYONE):
1 OF ME >
2 OF ME >
3 OF ME >
4 OF ME >
E.
LINKS TO TWITTER ACCOUNT GOC13 POSTS TO:
LINK TO THE @GESTURESoCHANGE TWITTER ACCOUNT PAGE >
F. LINK TO THE MUHAMMAD MORSI ACCOUNTS THAT FEED GOC13:
DICTATOR #1 = @MuhammadMorsi >
DICTATOR #2 = @MUHAMMADMORRSI >
DICTATOR #3 = @Morsi8686 >
DICTATOR #4 = @Morsi_RT >
DICTATOR #5 = @MuhammadMorsi84 (presently closed account) >
DICTATOR #6 = @MMorsi (presently closed account) >
(there are more that were used in the installation not included here for brevity)
DICTATOR #6 = @Morsi8686
DICTATOR #7 = @8MuhammadMorsi1
DICTATOR #8 = @MahammadMorsi
DICTATOR #9 =
@Muhammad1Morsi
DICTATOR #10 = @Muhamadaboyusuf
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II. DABARITHMS (2014):
https://vimeo.com/116585386
A. DABARITHMS (2014) DEVELOPMENT PROCESS:
B. DABARITHMS (2014) VIDEO DOCUMENTATION:
DABARITHMS: Palm Wish (ISEA2014) from Reza Safavi on Vimeo.
C. DABARITHMS (2014) IMAGE DOCUMENTATION:
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III. POSEIDON'S PULL SERIES:
A. POSEIDON'S PULL (2012) EXHIBITION VIDEO DOCUMENTATION:
1. WASHINGTON STATE UNIVERSITY: PULLMAN EXHIBITION: https://vimeo.com/73144125
Poseidons Pull Install Documentation from max kazemzadeh on Vimeo.
2. LINDA JORDAN GALLERY EXHIBITION: https://vimeo.com/155260063
Poseidons Pull (2012) (Exhibition at Gallaudet University in the Linda Jordan Gallery) from max kazemzadeh on Vimeo.
3. POSEIDON'S PULL (2012): POSEIDON'S MESSAGE VIDEO DOCUMENTATION: https://vimeo.com/72278249
Poseidon's Message from max kazemzadeh on Vimeo.
B. POSEIDON'S PULL (2012) IMAGE DOCUMENTATION:
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C. POSEIDON'S PULL (REVISITED): PART 1: "Channeling the gestures of a god" (2018): https://vimeo.com/280070076
1. POSEIDON'S PULL: REVISITED(2018) DEVELOPMENT PROCESS DIAGRAM:
2. POSEIDON'S PULL (REVISITED): PART 1: "Channeling the gestures of a god" (2018) VIDEO DOCUMENTATION: https://vimeo.com/280070076
Poseidon's Pull (Revisited, 2018): "Part 1: Channeling the gestures of a god" (by Max Kazemzadeh & Reza Safavi) from max kazemzadeh on Vimeo.
3. GOC13 IMAGE DOCUMENTATION:
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IV. ADDITIONAL REFERENCED PROJECTS:
A. PAGGANK DAYWAYGUN (2017) aka. PAGDAY'17:
PAGDAY'17 PAGGANK DAYWAYGUN PHOTO >
PAGDAY'17 PAGGANK DAYWAYGUN VIDEO DOCUMENTATION >
Paggank Daywaygun (2017) aka. PagDay'17 by Max Kazemzadeh and Reza Safavi from max kazemzadeh on Vimeo.
B. COLOMBIRITMOS (2017):COLOMBIRITMOS '17 PHOTO >
COLOMBIRITMOS '17 VIDEO DOCUMENTATION >
Colombiritmos 2017 (Manizales, Colombia, for ISEA 2017) by Max Kazemzadeh & Reza Safavi from max kazemzadeh on Vimeo.
"Lilipod (Waterworks)" (2010) (Collaborative Project) with Kelly Andres from max kazemzadeh on Vimeo.
C. LILIPOD WATERWORKS (2010):LILIPOD WATERWORKS PHOTO 1 >
LILIPOD WATERWORKS PHOTO 2 >
D. MADRITMOS (2016): https://vimeo.com/174589509
"Madritmos '16" by Max Kazemzadeh (Developed during residency @ Medialab-Prado. Sponsored by Banco Sabadell) from max kazemzadeh on Vimeo
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V. FIGURE REFERENCES TO IMAGES IN THE TEXT:
A. LIST OF ILLUSTRATIONS:
Figure 1: Apophenoetic Toggle Model for Perceiving Significance from Stimuli (by Max Kazemzadeh in 2018)
Figure 2: Apophenoetic Black Box Chart (by Max Kazemzadeh in 2013)
Figure 3: Apophenoesis as Disruption within a Cybernetic System for Creative Development and the Interactive Experience (by Max Kazemzadeh in 2018)
Figure 4: Apophenoetic Toggle Model for Accessing Creativity (with references to Cybernetics)( by Max Kazemzadeh in 2018)
Figure 5: Empirical vs. Apophenoetic Toggle Model Comparison (by Max Kazemzadeh in 2018)
Figure 6: Feud (2004) (by Max Kazemzadeh)
Figure 7: Feud (2004) (by Max Kazemzadeh)
Figure 8: L/R I/O (2005) (by Max Kazemzadeh)
Figure 9 L/R I/O (2005) - Interactive Detail (by Max Kazemzadeh)
Figure 10: L/R I/O (2005) – Interactive Detail (by Max Kazemzadeh)
Figure 11: IS.US (2006) (by Max Kazemzadeh)
Figure 11.5: IS.US (2006) (by Max Kazemzadeh)
Figure 12: Processing Gesture (2006) - Diagram (by Max Kazemzadeh)
Figure 13: Processing Gesture (2006) - Installation(by Max Kazemzadeh) - see Appendix 02
Figure 14: Processing Gesture (2006) – Interactive Installation with Drawn Byproducts (by Max Kazemzadeh)
Figure 15: Spin.Flick (2006) - Diagram(by Max Kazemzadeh)
Figure 16: Spin.Flick (2006) Installation and Coin Shadow Detection Console (by Max Kazemzadeh)
Figure 17: Max is a Pushover (2009) - Installation View (by Max Kazemzadeh)
Figure 18: Max is a Pushover (2009) - Interactive Detail (by Max Kazemzadeh)
Figure 19: Max is a Pushover (2009) - Interactive Detail (by Max Kazemzadeh)
Figure 20: Image of i.m.pshovr (2012) - Installation View with Green Screen Recording Space (by Max Kazemzadeh)
Figure 21: Image of Thank You for Recycling (2012) (by Martina Kalogjera and collaborators) (photo by Reza Safavi)
Figure 22: The Wishing Well (2013) – Website (by Max Kazemzadeh and Joe Scheinberg)
Figure 23: The Wishing Well (2013) – Functional Diagram (by Max Kazemzadeh and Joe Scheinberg)
Figure 24: The Wishing Well (2013) – Opening with Representatives from the Jackie Chan Foundation (by Max Kazemzadeh and Joe Scheinberg)
Figure 25: indexchange (2010) (by Max Kazemzadeh)
Figure 26: ThinkThanks (2010) (by Max Kazemzadeh)
Figure 27: ThinkThanks: Chakras (2010) – Applied to Person’s Skin (by Max Kazemzadeh)
Figure 28: Plantenkere (2011) – Diagram (Plant + Norwegian for Thinkers - by Max Kazemzadeh)
Figure 29: Plantenkere (2011) – One of the Two Sets of Three House Plants with Coded Arduino Bases (Plant + Norwegian for Thinkers - by Max Kazemzadeh)
Figure 30: Plantenkere (2011) – Evidence of Effects on Plants (Plant + Norwegian for Thinkers - by Max Kazemzadeh)
Figure 31: Plantenkere (2011) - Data Collection (Plant + Norwegian for Thinkers - by Max Kazemzadeh)
Figure 32: Plantenkere (2011) Plants, Code, Evidence of Erosion, Data Collection (Plant + Norwegian for Thinkers - by Max Kazemzadeh)
Figure 33: Plantenkere II (2011) – Variation Study Diagram (Plant + Norwegian for Thinkers II - by Max Kazemzadeh)
Figure 34: Volvofyta stochastis (2011) (Plant Bulb Thinker - by Max Kazemzadeh)
Figure 35: Myrmoskepsis (2011) (Norw. for “Ant Thoughts”) aka. Antenkere (2011) (Ant + Norw. for “Thinkers”) by Max Kazemzadeh
Figure 36: Fourier Transform Emission/Absorption Spectroscopy (Nuclear Magnetic Resonance) - by Max Kazemzadeh in 2012
Figure 37: Nuclear Magnetic Resonance [NMR] (by Max Kazemzadeh in 2012)
![Figure 37: Nuclear Magnetic Resonance [NMR] (by Max Kazemzadeh in 2012)](f15.gif){kind=link}
Figure 38: Gestures of Change (2013) – Four Participants (by Max Kazemzadeh in 2017)
Figure 39: Gestures of Change (2013) - Installation Space at the Gezirah Art Center in Cairo 1 (by Max Kazemzadeh in 2013)
Figure 40: @GesturesOChange Twitter Page: Full View
Figure 41: @GesturesOChange Twitter Page: Scrolled Down View
Figure 42: @GesturesOChange Twitter Pages: Scrolled Down Detail 1
Figure 42.5: @GesturesOChange Twitter Pages: Scrolled Down Detail 1
Figure 43: @GesturesOChange Twitter Pages: Scrolled Down Detail 2
Figure 44: GoC13 Development Process (by Max Kazemzadeh in 2018)
Figure 45: Gestures of Change (2013) - Installation and Functional Diagram: Face Recognition (by Max Kazemzadeh in 2017)
Figure 46: Gestures of Change (2013) - Apophenia and the Mirror Effect (by Max Kazemzadeh in 2017)
Figure 47: Gestures of Change (2013) - Apophenia and the Mirror Effect with Target (by Max Kazemzadeh in 2017)
Figure 48: Gestures of Change (2013) - Installation and Functional Diagram (by Max Kazemzadeh in 2017)
Figure 49: Gestures of Change (2013) - Installation ReTweet Transmission to @GesturesOChange Twitter Account Diagram
Figure 50. Gestures of Change (2013) - Screenshot with One Participant (by Max Kazemzadeh in 2013)
Figure 51: Gestures of Change (2013) - Screenshot with Two Participants (by Max Kazemzadeh in 2013)
Figure 52: Gestures of Change (2013) - Installation Space with Two Participants at the Gezirah Art Center in Cairo (by Max Kazemzadeh in 2013)
Figure 53: Gestures of Change (2013) - Original Code Extract (by Max Kazemzadeh in 2013)
Figure 54: Beirithms (2016) – Navigating Phone App(by Max Kazemzadeh with Reza Safavi) Beijing, China at the Central Academy of Fine Arts Gallery
Figure 55: Beirithms (2016) – App Directs Rice Bag Drop Location(by Max Kazemzadeh with Reza Safavi) Beijing, China at the Central Academy of Fine Arts Gallery.
Figure 56: Beirithms (2016) – Testing Ceiling Mounted XY Mapped Rice Dropping Mechanism in Development (by Max Kazemzadeh with Reza Safavi)
Figure 57: Beirithms (2016) – Installation View (by Max Kazemzadeh with Reza Safavi) Beijing, China at the Central Academy of Fine Arts Gallery.
Figure 58: Madritmos (2016) - Tracking App (by Max Kazemzadeh with Reza Safavi)
Figure 59: Madritmos (2016) – Navigating App Takes a Working Siesta. Participant Must Complete App Task (ie. Dormir, Amor, Bailar, Cantar, or Jugar). Until Complete, the Curtains will animate accordingly in the Exhibition (by Max Kazemzadeh with Reza Safavi)
Figure 59.5: Madritmos (2016) – Navigating App Takes a Working Siesta. Participant Must Complete App Task (ie. Dormir, Amor, Bailar, Cantar, or Jugar). Until Complete, the Curtains will animate accordingly in the Exhibition (by Max Kazemzadeh with Reza Safavi)
Figure 60: Madritmos (2016) – ResponsiveCurtain Installation that either Tracks or Does Task (ie. Dormir, Amor, Bailar, Cantar, or Jugar) (by Max Kazemzadeh with Reza Safavi)
Figure 61: Colombiritmos (2017) – Installation View – Offer 1 of 5 Coffee Bean in Gondola (by Max Kazemzadeh with Reza Safavi)
Figure 62: Colombiritmos (2017) – Installation View – Select 3rd Coffee Bean, in Gondola (by Max Kazemzadeh with Reza Safavi)
Figure 63: Colombiritmos (2017) – 3rd Coffee Container Drips on 3rd Sugar Cube Detail (by Max Kazemzadeh with Reza Safavi)
Figure 63.5: Colombiritmos (2017) – 3rd Coffee Container Drips on 3rd Sugar Cube Detail (by Max Kazemzadeh with Reza Safavi)
Figure 64: Paggank Daywaygun (2017) – Installation View (by Max Kazemzadeh with Reza Safavi)
Figure 65: Dabarithms (2014) – Navigating Phone App (by Max Kazemzadeh with Reza Safavi)
Figure 66: Dabarithms (2014) – Collected Wish (by Max Kazemzadeh with Reza Safavi)
Figure 67: Dabarithms (2014) – Wish-specific Sand Sample (by Max Kazemzadeh with Reza Safavi)
Figure 68: Dabarithms (2014) – Each Wish Placed in Wish-specific Sand Sample (by Max Kazemzadeh with Reza Safavi)
Figure 69: Dabarithms (2014) – GPS Tracks with Collected Wish Locations on Palm Jumeirah (by Max Kazemzadeh with Reza Safavi)
Figure 70: Dabarithms (2014) – 9 Fairies on Trees Mapped to Each Wish (by Max Kazemzadeh with Reza Safavi)
Figure 71: Dabarithms (2014) – GPS Playback Uses Wishes to Trigger Fairy to Launch (by Max Kazemzadeh with Reza Safavi)
Figure 72: Dabarithms Development Process (by Max Kazemzadeh in 2018)
Figure 73: Poseidon's Pull (2012) – Installation View (by Max Kazemzadeh with collaborators)
Figure 74: Poseidon's Pull (2012) – Constellation and Drifting Star Points (by Max Kazemzadeh with collaborators)
Figure 75: Poseidon's Pull (2012) – Message from Poseidon, Poseidon’s GPS Tracking Water Vessel, and Hardware Interface for Selecting Drifting Star Narratives (by Max Kazemzadeh with collaborators)
Figure 76: Poseidon's Pull: Revisited (2018) – Raspberry Pi, GPS Tracker and Receipt Printer (by Max Kazemzadeh and Reza Safavi)
Figure 77: Poseidon's Pull: Revisited (2018) – Computer (by Max Kazemzadeh and Reza Safavi)
Figure 78: Poseidon's Pull: Revisited (2018) – EEG (by Max Kazemzadeh and Reza Safavi)
Figure 79: Poseidon's Pull: Revisited (2018) – Drifting Collecting GPS Messages (by Max Kazemzadeh and Reza Safavi)
Figure 80: Poseidon's Pull: Revisited (2018) – Printed EEG Framed GPS Messages (by Max Kazemzadeh and Reza Safavi)
Figure 81: Poseidon's Pull: Revisited (2018) – Studying GPS Tracks for Significance (by Max Kazemzadeh and Reza Safavi)
Figure 82: Poseidon's Pull: Revisited (2018) – Installation (by Max Kazemzadeh and Reza Safavi)
Figure 83: Poseidon’s Pull: Revisited (2018) Development Process (by Max Kazemzadeh in 2018)
Figure 84: Poseidon’s Pull: Mortal Emulation of Drift Control (thinking like a god)(2018) – In Field (by Max Kazemzadeh and Reza Safavi)
Figure 85: Poseidon’s Pull: Mortal Emulation of Drift Control (thinking like a god)(2018) – Installation View (by Max Kazemzadeh and Reza Safavi)
Figure 86: The Waiter (1574) by Giuseppe Arcimboldo - Creative Commons image
Figure 87: Waterworks (LiliPod) (2010) (by Max Kazemzadeh in collaboration with Kelly Andres) - Lilipod collecting data from the simulation of a nearby pond and sending it to the application.
VI. LINKS TO REFERENCED VIDEO DOCUMENTATION:
A. Multi-Touch-Finger-Paintings by Evan Roth:
www.evan-roth.com/work/multi-touch-finger-paintings
B. Plantenkere:
www.maxkazemzadeh.com/plantenkere.html
C. Antenkere ("Ant Thinkers"):
www.youtube.com/watch?v=gRqydF-U-0Q
D. Austrian Public Broadcasting Interview for Kazemzadeh's Wishing Well Project:
www.maxkazemzadeh.com/orf.html
E. Gestures of Change (2013):
vimeo.com/72616842
F. Strindberg's Occult Diary:
ww.wdl.org/en/item/14294/view/1/1/
G. David Rokeby's "Giver of Names" Project:
www.davidrokeby.com/gon.html
H. Poseidons Pull by Kazemzadeh and Collaborators:
www.poseidonspull.com
I. Egyrithms (2013):
vimeo.com/64028702
J. Beirithms(2016):
vimeo.com/176380179
K. Madritmos(2016):
vimeo.com/174589509
L. Dorkbot Group (previously www.dorkbot.org has become decentralized into localized dorkbots):
http://dorkbot.org/dorkbotnyc/01.oct.2014/
M.
Medialab Prado:
medialab-prado.es
N.
Jonah Brucker-Cohen’s Scrapyard Challenge Workshops:
www.scrapyardchallenge.com
O. White Glove Tracking:
whiteglovetracking.com
P.
White Glove Tracking documentation:
www.youtube.com/watch?v=k9AMlMl9m54
R.
Global Village Construction Set:
opensourceecology.org/wiki/Global_Village_Construction_Set
S. MILKProject:
milkproject.net
T. Waterworks (LiliPod) Kazemzadeh collaborated with Kelly Andres and others to create this project:
https://vimeo.com/155249538
W. "Glitch Art". Ninth Letter:
jonas.do/assets/essays/glitch-art-jonasdowney.pdf
AA.
“Art Interview: Gabriel Orozco.” BOMB 98.:
bombmagazine.org/article/2862/gabriel-orozco
BB. "Paranormal Beliefs Linked to Brain Chemistry." NewScientist.com.
https://www.newscientist.com/article/dn2589-paranormal-beliefs-linked-to-brain-chemistry/
CC. Unified Field Theory in a Nutshell —Elicit Dreams of a Final Theory Series:
www.scirp.org/journal/jmp
DD.“'Virgin Mary' toast fetches $28,000.” BBC News.
news.bbc.co.uk/2/hi/4034787.stm
EE. "Faces, Faces Everywhere.":
www.nytimes.com/2007/02/13/health/psychology/13face.html?mcubz=0
FF.
Proc. Of Computer Vision and Pattern Recognition:
https://www.cs.ucsb.edu/~mturk/Papers/mturk-CVPR91.pdf
GG.
Technoetic Arts: A Journal of Speculative Research:
www.intellectbooks.co.uk/journals/view-Journal,id=142
HH. “Harmony of The Worlds.” Script:
adrianpradana.com/2016/02/07/carl-sagan-on-astrology
II. "Heinz von Foerster’s self organization, the progenitor of conversation and interaction theories. Systems Research":
https://onlinelibrary.wiley.com/doi/abs/10.1002/%28SICI%291099-1735%28199609%2913%3A3%3C349%3A%3AAID-SRES103%3E3.0.CO%3B2-G
KK.
Critical-Art-Ensemble:
theinfluencers.org/en/critical-art-ensemble
LL. Steve Kurtz:
www.lightresearch.net/interviews/kurtz/index.html
MM. 2016-art-market-report:
news.artnet.com/market/tefaf-2016-art-market-report-443615
OO.
"Artist Manipulates 48 Pools of Water with Her Mind.":
creators.vice.com/en_uk/article/yp5wk7/artist-manipulates-48-pools-of-water-with-her-mind
PP.
Neurowear necomimi:
neurowear.com/projects_detail/necomimi.html
QQ. "Meditate. Levitate."
vimeo.com/98731133
RR. "Isaac Asimov Asks, 'How Do People Get New Ideas?'"
https://www.technologyreview.com/s/531911/isaac-asimov-asks-how-do-people-get-new-ideas/
SS. David Bohm on Krishnamurti and the problem of thought.
www.youtube.com/watch?v=emAeFuwtelQ
UU.
Anoiko. "Creativity.":
https://oiko.files.wordpress.com/2011/03/2011_wiki_anoiko_creativity1.pdf
VV. "Gimzewski & The Art and Science of Transformation.":
http://bfsp.net/wbctest/gimzewski-the-art-and-science-of-transformation/
XX. "Propaganda Fantasies and Stand-in Heroes.":
www.ibraaz.org/essays/42
VII. APPENDIX 02: CATEGORIZATION OF APOPHENIA IN PRACTICE:
A. “Birdsong Diamond: Mimic” (Governor’s Island - 2015):
https://vimeo.com/134160866
B. “Birdsong Diamond is the East/West Mimic” (2016):
http://www.harvestworks.org/july-19-bird-song-mimic-east-to-west-coast-birdhuman-communication-demo/
C. Dabarithms:
https://vimeo.com/116585386
E.
Jabbertalkey (2012):
vimeo.com/124257693
F.
Jabbersquawkey (2013):
www.youtube.com/watch?v=s77p0FVW8Qs
G.
The Other Side of the Tracks (2013):
vimeo.com/155243662
H.
Wishing Well (2010):
https://vimeo.com/124257934
I.
Spin.flick (2006):
https://vimeo.com/33815325
J.
Processing Gesture (2005):
https://vimeo.com/34270643
K. Antisocialbots (2007)
https://vimeo.com/33815304
L. Max is a Pushover (2007):
https://vimeo.com/33815283
M. i.m.pshovr (2008):
https://vimeo.com/33815249
VIII. APPENDIX 04: PUBLISHED WORKS IN REFEREED JOURNALS
Kazemzadeh, Max B. “Postnational Technollaboration within the Postbiotanical Village” Technoetic Arts Journal, Volume 11, Issue 3, Intellect Publishers, December 2013
Kazemzadeh, Max B. “Art, Skill & Thought: The Moist Machine” Skilled Art: Engenho & Arte, Artshare Publishers, May 2012.
Kazemzadeh, Max B. “Apophenoetics: Virtual Pattern Recognition, the Origins of Creativity & Augmenting the Evolution of Self.” Technoetic Arts Journal, Volume 10, Number 1, Intellect Publishers, May 2012. pp. 115- 118. ISSN: 1477965X, Online ISSN: 17589533
Kazemzadeh, Max B. “From Walls to Walkways, from Facts to Fields: Apophenia, DIWOD, Open Src Everything, the Post Nomadic Community & Syncretic Methods for Exploring Consciousness” CR12 Presence in the Mindfield: Art Identity and the Technology of the Transformation: editors: Roy Ascott and Luis Miguel Girao. Universidad de Aveiro, November 2011. ISBN: 978-972-789-356-0
Kazemzadeh, Max B. “Visibly Invisible: Spukhafte Fernwirkung, Mechano-Moist & (the) Enlightenment.” Making Reality Really Real. editors: Roy Ascott, Gangvik, Jahrmann. TEKS Publishing, Trondheim, Norway, November, 2010 ISBN: 978-82-998211-2-4
Kazemzadeh, Max B. “Psychic Systems and Metaphysical Machines: Experiencing Behavioral Prediction with Neural Networks” Technoetic Arts Journal, Volume 8, Number 2, Intellect Publishers, pp. 189-198(10), November 2010 , ISSN 1477-965X
Kazemzadeh, Max B., Parberry, I., Roden, T., Nunn, J. R., Scheinberg, J., Carson, E., Cole, J., Challenges and Opportunities in the Design of Game Programming Classes for a Traditional Computer Science Curriculum” Publisher: larc.unt.edu, Publication Date: Jan 1, 2010