“Digital Art Between Fintech Mysticism and Fintech Activism,” in Ed. Geert Lovink et al, Moneylab Reader Vol. 2, Amsterdam: Institute for Network Culture (forthcoming).
Dynamic Fair Dealing. Creating Canadian Culture Online. Eds. Rosemary J. Coombe, Darren Wershler and Martin Zeilinger. University of Toronto Press, 2014. [link]
“Métic Action in Digital Culture,” Platform Journal 8.1 (2017): 8-23. [link]
“Digital Art as ‘Monetised Graphics:’ Enforcing Intellectual Property on the Blockchain,” Philosophy and Technology Journal 30.1 (2016). [Open Access download link]
“Live Coding the Law: Code, Copyright, & Improvisation,” Computer Music Journal 38.1 (2014), MIT Press, (special issue: Live Coding; eds. Alex McLean, Julian Rohrhuber, and Nick Collins): 77-89. [link]
“Chiptuning Intellectual Property: Electronic Music Between Creative Commons and Moral Economy,” International Association for the Study of Popular Music Journal 3.1 (2012): 19-34. [link]
“‘Quit stalling…!’ – Traffic and Control on Hollywood’s Inner City Roads,” Culture Unbound: Journal of Current Cultural Research 1.2 (2009): 367-384. [link]
“Hypertextual Jealousy – Reading Robbe-Grillet’s Novel as a Non-linear Narrative,” Transverse 2 (2004): 19-30.
Peer-reviewed book chapters
“Everything You’ve Always Wanted to Know about the Blockchain* (*But Were Afraid to Ask Mel Ramsden),” in Ed. Ruth Catlow et al, Artists Rethinking the Blockchain, London: Torque & Furtherfield (distributed by Liverpool Univ. Press): 2017, 287-295.
“Treasuring Intellectual Property: the Pirate Party Movement and Cultural Ownership” (with Lisa Dobbin), in The IP Handbook, Eds. Matthew David and Deborah Halbert. New York: Sage Publications, 2015: 370-386.
“Sampling as Analysis, Sampling as Symptom: Found Footage and Repetition in Martin Arnold’s Alone. Life Wastes Andy Hardy,” in Sampling Media. Eds. David Laderman and Laurel Westrup. New York: Oxford University Press, 2014: 155-167. [link]
“A Manifesto for a Robust Culture of Fair Dealing Online” (with Rosemary J. Coombe and Darren Wershler), in Dynamic Fair Dealing. Creating Canadian Culture Online. Eds. Rosemary J. Coombe, Darren Wershler and Martin Zeilinger. Toronto: University of Toronto Press, 2014: 3-40.
“Chipmusic, Out of Tune: Crystal Castles and the Misappropriation of Creative Commons-Licensed Sounds,” in Dynamic Fair Dealing. Creating Canadian Culture Online. Eds. Rosemary J. Coombe, Darren Wershler and Martin Zeilinger. Toronto: University of Toronto Press, 2014: 305-316.
“The NFB, Canada’s Experimental Documentary Tradition, and Found Futures” (with Eli Horwatt), in Dynamic Fair Dealing. Creating Canadian Culture Online. Eds. Rosemary J. Coombe, Darren Wershler and Martin Zeilinger. Toronto: University of Toronto Press, 2014: 294-304.
“Three Peters and an Obsession with Pierre: Intellectual Property in John Greyson’s Un©ut” (with Rosemary J. Coombe), in The Perils of Pedagogy. Eds. Brenda Longfellow, Scott MacKenzie and Thomas Waugh. McGill-Queens University Press, 2013: 438-449. [link]
“Appropriation and the Authoring Function of Camera Surveillance in Manu Luksch’s Faceless,” in Eyes Everywhere: The Global Growth of Camera Surveillance. Eds. Randy Doyle, Aaron Lippert and Emily Smith. Introduction by David Lyon. London: Routledge, 2012: 262-273. [link]
Interactive Narratives, New Media & Social Engagement (Electronic Proceedings). Eds. Hudson Moura, Ricardo Sternberg, Regina Cunha, and Martin Zeilinger. ISBN: 9780993952005, 2014. [link]
“Remix Culture and the Radical Imagining of Alternative Intellectual Property Policies.” Leonardo Electronic Almanac, ISEA 2011 Proceedings, n.p. [link]
“Speak No Evil, Sample Well: Musical Adaptation in the ‘Age of Plunder,’” in ASCA Sonic Interventions Reader, Amsterdam School for Cultural Analysis, Amsterdam 2005. 62-78.