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| Oskar Kokoschka Triptych - Left Panel - Hades and Persephone 1950 oil and tempera on canvas Courtauld Gallery, London |
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| Oskar Kokoschka Triptych - Center Panel - Apocalypse 1950 oil and tempera on canvas Courtauld Gallery, London |
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| Oskar Kokoschka Triptych - Right Panel - Prometheus 1950 oil and tempera on canvas Courtauld Gallery, London |
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| Stanley Spencer The Deposition, and Rolling Away of the Stone 1956 oil on canvas York City Art Gallery |
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| Ivor Williams Christ Healing the Sick Man of Palsy ca. 1951-54 oil on canvas Aberystwyth University School of Art Museum and Galleries, Wales |
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| Robert Lyon Harwich in the Late XVII Century (Samuel Pepys, MP for Harwich, inspecting the King's Navy) 1938 oil on canvas Essex County Council |
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| James Cowie Two School Girls 1934-35 oil on canvas Aberdeen Art Gallery, Scotland |
from An Exact Philology of Precise Things
"There is a fine line between feeling trapped and feeling at home. The question of correct or incorrect use of technology arises for media theory when even in the age of the technical producibility of art and other media things it must be assumed that in principle the relationship between technology and cultural expressions is an instrumental one. If this is the case, the latter are brought forth by the former. However, if on the other hand I assume as an operative precondition that there is a relationship of interdependency in the form of "nontrivial interaction" between the two fields of discourse, then the problem does not arise. For then we find ourselves in the midst of a cultura experimentalis, whose components are technological media."
* * *
"Alchemy was "a dream one could only listen to, and in recounting it one could only stammer. When people were no longer able to dream at their firesides and listen to themselves in material things, the dream of alchemy retreated back into the night." It is worthwhile to undertake the experiment of reactivating the dream at the current state of our knowledge of the world. This would correspond to the cultura experimentalis that I described above in connection with the arts."
– Siefgried Zielinski, After the Media: News from the Slow-Fading Twentieth Century, translated from German by Gloria Custance (Univocal, 2013)
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| William Crosbie In Memoriam ca. 1948-50 oil on canvas Scottish National Gallery of Modern Art, Edinburgh |
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| Barbara Hepworth Surgeon Waiting 1948 oil and pencil on paper York City Art Gallery |
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| John Armstrong Funeral of a Poet 1937 tempera on panel York City Art Gallery |
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| William Roberts The Palms Foretell 1937 oil on canvas Bristol Museum and Art Gallery |
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| Cecil Collins The Man with the Lamp 1943 oil on canvas Hunterian Art Gallery, University of Glasgow |
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| Edward Le Bas Dinner at the Garrick 1946 oil on canvas Lady Lever Art Gallery, Liverpool |
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| Leonard Campbell Taylor Restaurant Car ca. 1935 oil on canvas National Railway Museum, York |
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| Malcolm Drummond Princess of Wales Pub, Trafalgar Square Mrs Francis behind the Bar ca. 1931 oil on canvas Yale Center for British Art |