2825. FOLLOWING MATERIALITY- M. Foucault 1966, The Order of Things: An Archaeology of the Human Science (London:
Routledge, 1970, 2003), 340–346. - Ibid., 244.
- Ibid., 408.
- A. M. Lippit 2000, Electric Animal: Toward a Rhetoric of Wildlife (Minneapolis: Uni-
versity of Minnesota Press), 8. - Ibid., 2–3.
- Ibid., 187.
- S. Platzman 2001, Cézanne: The Self-Portraits (Berkeley: University of California
Press), 29. - J. Bignell 2007, Postmodern Media Culture (Delhi: Aakar), 100.
- Foucault 1966:346.
- N. Shukin 2009, Animal Capital: Rendering Life in Biopolitical Times (Minneapolis:
University of Minnesota Press), 87–130. - Ibid., 87.
- Ibid., 92.
- Ibid., 20.
- See page 108 for Shukin’s addressing of Lippit’s lack of consideration for the material-
ity of film (a derivate of animal materials) and therefore its “pathological relationship
to animal life.” - Shukin 2009:108.
- T. Morton 2016, Dark Ecology: For a Logic of Future Coexistence (New York: Columbia
University Press), 6. - Shukin 2009:20.
- Ibid., 127.
- Ibid., 21.
- Aristotle, “Poetics,” and Plato, “Book X of the Republic,” in D. H. Richter, ed., The
Critical Tradition: Classic Texts and Contemporary Trends (New York: St. Martin’s,
1989). - J. Elkins 2008, “On Some Limits of Materiality in Art History,” in S. Neuner and
J. Gelshorn, eds., “Taktilität: Sinneserfahrung als Grenzerfahrung,” special issue,
31: Das Magazin des Instituts fur Theorie 12:25–30. - Ibid.
- J. Elkins 2000, What Painting Is (Abingdon: Taylor and Francis).
- Ibid.
- J. A. D. Ingres 1870, “Notes, 1813–27,” in H. Delaborde, Ingres, Sa Vie, Ses Travaux, Sa
Doctrine (Paris: Plon), 93–177. - Elkins 2008:27.
- Ibid., 28.
- T. Ingold 2012, “Toward an Ecology of Materials,” Annual Review of Anthropology
41:427–442. - T. de Duve 1984, Pictorial Nominalism: On Marcel Duchamp’s Passage from Painting to
the Readymade (Minneapolis: University of Minnesota Press), 78.