To scan a memory: On Anouk De Clercq’s LiDAR film Thing

References

1. Alberti, L. B.. ( [1435] 2014), De la peinture (‘De pictura’) (trans. J. L. Schefer), Paris:: Macula;.
   [Google Scholar]
2. Arasse, D.. ( 2004), Histoires de peintures, Paris:: Denoël;.
   [Google Scholar]
3. Aristophanes ( 1973), Lysistrata and Other Plays: The Acharnians, the Clouds, Lysistrata (trans. A. Sommerstein), London:: Penguin Classics;.
   [Google Scholar]
4. Bachelard, G.. ( 1992), L’Air et les Songes: Essai sur l’imagination du mouvement, Paris:: Le Livre de Poche;.
   [Google Scholar]
5. Bayle, C.. ( 2018;), ‘ Pourquoi la nuit?. ’, Société des études romantiques et dix-neuvièmistes, https://serd.hypotheses.org/files/2018/08/CorinneBayle.pdf. Accessed 25 February 2022.
   [Google Scholar]
6. Benjamin, W.. ( 2002;), ‘ Little history of photography. ’, in M. Bullock, and M. W. Jennings. (eds), Selected Writings, vol. 2, Cambridge, MA:: Belknap Press of Harvard University Press;, pp. 512–42.
   [Google Scholar]
7. Berger, J.. ( 1972), Ways of Seeing, London:: Penguin Books;.
   [Google Scholar]
8. Beugnet, M., and Hibberd, L.. ( 2022;), ‘ Cinematic darkness: Dreaming across film and immersive digital media. ’, AN ICON, 1, pp. 129–54.
   [Google Scholar]
9. Chatonsky, G.. ( 2013;), ‘ La solitude des machines. ’, Art Press, 2:39, pp. 170–74.
   [Google Scholar]
10. Della Francesca, P.. ( 1460–80), De la perspective en peinture (De Prospectiva pingendi) (trans. J.-P. Le Goff and J.-P. Néraudau), Paris:: Éditions In Medias Res;.
    [Google Scholar]
11. Dvořák, T.. ( 2021;), ‘ Extraterrestrial images. ’, in O. Moskatova. (ed.), Images on the Move: Materiality – Networks – Formats, Bielefeld:: transcript;, pp. 259–78.
    [Google Scholar]
12. Flusser, V.. ( 2011), Into the Universe of Technical Images (trans. N. Ann Roth), Minneapolis, MN and London:: University of Minnesota Press;.
    [Google Scholar]
13. Foucault, M.. ( 1970), The Order of Things, London:: Random House;.
    [Google Scholar]
14. Foucault, M.. ( 1986;), ‘ Of other spaces: Utopias and heterotopias. ’, Diacritics, 6:1, pp. 22–23.
    [Google Scholar]
15. Francastel, P.. ( 1965), Peinture et société – naissance et destruction d’un espace plastique de la renaissance au cubisme, Paris:: Gallimard Jay Miskowiec and Johns Hopkins University Press;.
    [Google Scholar]
16. Grusin, R.. (ed.) ( 2015), The Nonhuman Turn, Minneapolis, MN:: University of Minnesota Press;.
    [Google Scholar]
17. Gunning, T.. ( 2003;), ‘ Re-newing old technologies: Astonishment, second nature, and the uncanny in technology from the previous turn-of-the-century. ’, in D. Thor, and H. Jenkins. (eds), Rethinking Media Change: The Aesthetics of Transition, Cambridge, MA:: MIT;, pp. 39–59.
    [Google Scholar]
18. Gunning, T.. ( 2007;), ‘ To scan a ghost: The ontology of mediated vision. ’, Grey Room, 26:winter, pp. 94–127.
    [Google Scholar]
19. Habib, A.. ( 2011), L’attrait de la ruine, Crisnée:: Yellow Now;.
    [Google Scholar]
20. Harris, A.. ( 2016), Wheatherland: Writers and Artists under English Skies, London:: Thames & Hudson;.
    [Google Scholar]
21. Hoel, A. S.. ( 2018;), ‘ Operative images: Inroads to a new paradigm of media theory. ’, in L. Feiersinger,, K. Friedrich, and M. Queisner. (eds), Image – Action – Space: Situating the Screen in Visual Practice, Berlin and Boston, MA:: Walter de Gruyter;, pp. 11–29.
    [Google Scholar]
22. Hugo, V.. ( 2002;), ‘ Proses philosophiques. ’, in J. Seebacher, and G. Rosa. (eds), Œuvres complètes, Paris:: Robert Laffont;.
    [Google Scholar]
23. Kracauer, S.. ( 1960), Theory of Film: The Redemption of Physical Reality, Oxford:: Oxford University Press;.
    [Google Scholar]
24. Kyoungmin, K.,, Hyunmin, G.,, Nalinh, T.,, Hyun, K., and SungHwan, K.. ( 2021;), ‘ SqueezeFace: Integrative face recognition methods with LiDAR sensors. ’, Journal of Sensors, 1, https://doi.org/10.1155/2021/4312245. Accessed 23 August 2022.
    [Google Scholar]
25. Leder, A.. ( 1990), The Absent Body, Chicago, IL:: Chicago University Press;.
    [Google Scholar]
26. Leibniz, G. W.. ( [1714] 1900;), ‘ Principes de la nature et de la grâce fondés en raison. ’, in P. Janet, and F. Alcan. (eds), Œuvres philosophiques de Leibniz, Paris:: Felix Alcan;, pp. 723–31.
    [Google Scholar]
27. Misek, R.. ( 2017;), ‘ The black screen. ’, in M. Beugnet,, A. Cameron, and A. Fetveit. (eds), Indefinite Visions: Cinema and the Attractions of Uncertainty, Edinburgh:: Edinburgh University Press;, pp. 38–52.
    [Google Scholar]
28. Morton, T.. ( 2013), Hyperobjects: Philosophy and Ecology after the End of the World, Minneapolis, MN and London:: University of Minnesota Press;.
    [Google Scholar]
29. Nanxi, L.,, Nanxi, L.,, Chong Pei, H.,, I-Ting, W.,, Prakash, P.,, Yuan Hsing, F.,, Yao, Z., and Lennon Yao Ting, L.. ( 2021;), ‘ Spectral imaging and spectral LIDAR systems. ’, Nanophotonics, 10:5, pp. 1437–67.
    [Google Scholar]
30. Païni, D.. ( 2010), L’attrait des nuages, Crisnée:: Yellow Now;.
    [Google Scholar]
31. Parikka, J.. ( 2015), A Geology of Media, Minneapolis, MN:: University of Minnesota Press;.
    [Google Scholar]
32. Parikka, J.. ( 2018;), ‘ Planetary memories: After extinction, the imagined future. ’, in R. Grusin. (ed.), After Extinction, Minneapolis, MN:: University of Minnesota Press;, pp. 27–48.
    [Google Scholar]
33. Simondon, A.. ( 1958), Du mode d’existence des objets techniques, Paris:: Aubier;.
    [Google Scholar]
34. Beugnet, Martine. ( 2022;), ‘ To scan a memory: On Anouk De Clercq’s LiDAR film Thing. ’, Philosophy of Photography, 13:1, pp. 135–51, https://doi.org/10.1386/pop_00043_1
    [Google Scholar]