Speculative Taxidermy

(Joyce) #1
2825. FOLLOWING MATERIALITY


  1. M. Foucault 1966, The Order of Things: An Archaeology of the Human Science (London:
    Routledge, 1970, 2003), 340–346.

  2. Ibid., 244.

  3. Ibid., 408.

  4. A. M. Lippit 2000, Electric Animal: Toward a Rhetoric of Wildlife (Minneapolis: Uni-
    versity of Minnesota Press), 8.

  5. Ibid., 2–3.

  6. Ibid., 187.

  7. S. Platzman 2001, Cézanne: The Self-Portraits (Berkeley: University of California
    Press), 29.

  8. J. Bignell 2007, Postmodern Media Culture (Delhi: Aakar), 100.

  9. Foucault 1966:346.

  10. N. Shukin 2009, Animal Capital: Rendering Life in Biopolitical Times (Minneapolis:
    University of Minnesota Press), 87–130.

  11. Ibid., 87.

  12. Ibid., 92.

  13. Ibid., 20.

  14. 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.”

  15. Shukin 2009:108.

  16. T. Morton 2016, Dark Ecology: For a Logic of Future Coexistence (New York: Columbia
    University Press), 6.

  17. Shukin 2009:20.

  18. Ibid., 127.

  19. Ibid., 21.

  20. 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).

  21. 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.

  22. Ibid.

  23. J. Elkins 2000, What Painting Is (Abingdon: Taylor and Francis).

  24. Ibid.

  25. J. A. D. Ingres 1870, “Notes, 1813–27,” in H. Delaborde, Ingres, Sa Vie, Ses Travaux, Sa
    Doctrine (Paris: Plon), 93–177.

  26. Elkins 2008:27.

  27. Ibid., 28.

  28. T. Ingold 2012, “Toward an Ecology of Materials,” Annual Review of Anthropology
    41:427–442.

  29. T. de Duve 1984, Pictorial Nominalism: On Marcel Duchamp’s Passage from Painting to
    the Readymade (Minneapolis: University of Minnesota Press), 78.

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