The Breathing Factory: Locating the global labouring body

References

• Bal, M. (1996), ‘The Discourse of the Museum’, in R. Greenberg et al. (eds.), Thinking About Exhibitions, London: Routledge.
   Google Scholar
• Benjamin, W. (1931), A Small History of Photography', in E. Jephcott and K. Shorter (eds.), (1979), One Way Street and Other Writings, London: Verso.
   Google Scholar
• Curran, M. (2006), The Breathing Factory, Heidelberg: Edition Braus and Belfast Exposed Photography.
   Google Scholar
• Green, D. (1994) ‘Time After Time’, Creative Camera, June/July (338) 10–15.
   Google Scholar
• Hammersley, M and Atkinson, P. (eds.) (1995) Ethnography: Principles in Practice (Second Edition). London: Routledge.
   Google Scholar
• Hartz, P. (1996), The Company That Breathes: Every Job has a Customer, Berlin: Springer Verlag.
   Google Scholar
• Highmore, B. (2002), Everyday Life and Cultural Theory: An Introduction, London: Routledge.
   Google Scholar
• IDA Ireland (2000), Annual Report 1999, Dublin: IDA.
   Google Scholar
• IDA Ireland (2005), Annual Report 2004, Dublin: IDA.
   Google Scholar
• Kracauer, S. (1997), Theory of Film: The Redemption of Physical Reality, Princeton: Princeton University Press.
   Google Scholar
• Lowry, J. (2003), ‘From Presence to the Performative: Rethinking Photographic Indexicality’, in D. Green (ed.), Where is the Photograph?, Photoworks Photoforum, University of Brighton.
   Google Scholar
• Marcus, G. (1995), ‘The Modernist Sensibility in Recent Ethnographic Writing and the Cinematic Metaphor of Montage’, in L. Devereaux, and R. Hillman (eds.), Fields of Vision: Essays in Film Studies, Visual Anthropology and Photography, Berkeley: University of California Press.
   Google Scholar
• Mulvey, L. (2003), ‘Stillness in the Moving Image’, in D. Green (ed.), Where is the Photograph?, Photoworks Photoforum, University of Brighton.
   Google Scholar
• Newbury, D. (2001), Diaries and Fieldnotes in the Research Process, Birmingham Institute of Art and Design (BIAD) Birmingham: University of Central England.
   Google Scholar
• O'Brien, C.C. and O'Brien, M. (1999), Ireland: A Concise History, London: Thames and Hudson.
   Google Scholar
• O'Riain, S. (2000), ‘Net-Working for a Living: Irish-Software Developers in the Global Workplace’, in Burawoy et al. (eds.), Global Ethnography: Forces, Connections and Imaginations in a Postmodern World, Berkeley: University of California Press.
   Google Scholar
• Owens, C. (1984), ‘The Allegorical Impulse: Towards a Theory of Postmodernism’, in C. Harrison and P. Wood (eds.), Art in Theory: 1900–1990, London: Blackwork.
   Google Scholar
• Pink, S. (2001), Doing Ethnography: Images, Media and Representation in Research, London: Sage.
   Google Scholar
• Roberts, J. (1997), The Impossible Document: Photography and Conceptual Art in Britain 1966–1976, London: Camerawork.
   Google Scholar
• Sekula, A. (1978), ‘Dismantling Modernism, Reinventing Documentary (notes on the Politics of Representation)’, in A. Sekula (ed.), (1999), Dismal Science, Photo Works 1972–1996, Chicago: University Galleries of Illinois State University.
   Google Scholar
• Sekula, A. (2001), ‘Excerpts From an Interview’, in Mois de la Photographie 8 novembre — 16 décembre 2001, Centre Régional de Cherbourg-Octeville (catalogue).
   Google Scholar
• Solnit, R. (1993), ‘Unsettling the West: Contemporary American Landscape Photography’, in D. Britain (ed.), (1999), Creative Camera: 30 Years of Writing, Manchester: Manchester University Press.
   Google Scholar
• Tyler, S.A. (1989), ‘Post-Modern Ethnography: From Document of the Occult to Occult Document’, in J. Clifford and G.E. Marcus (eds.), Writing Culture, Berkeley: University of California Press.
   Google Scholar
• Van Assche, C. (2003), ‘The State of Things’, in T. Leighton and P. Buhler (eds.), (2003), Saving the Image: Art After Film, Glasgow: Centre for Contemporary Arts.
   Google Scholar