2,768
Views
0
CrossRef citations to date
0
Altmetric
Articles

An ecoaesthetic of vegetal surfaces: on Seed, Image, Ground as soft montage

ORCID Icon & ORCID Icon
Pages 16-30 | Received 09 Apr 2021, Accepted 10 Apr 2021, Published online: 04 Jun 2021

References

  • Alter, Nora. 2015. “Two or Three Things I Know About Harun Farocki.” October 151. Winter 2015: 151–158.
  • Barns, Sarah. 2019. Platform Urbanism: Negotiating Platform Ecosystems in Connected Cities. Basingstoke: Palgrave.
  • Beck, John, and Ryan Bishop. 2020. Technocrats of the Imagination: Art, Technology, and the Military-Industrial Avant-Garde. Durham, NC: Duke University Press.
  • Blümlinger, Christa. 2008. “The Art of the Possible: Notes About Some Installations by Harun Farocki.” In Art and the Moving Image: A Critical Reader, edited by Tanya Leighton, 273–282. London, New York: Tate Publishing.
  • Bozak, Nadia. 2011. The Cinematic Footprint: Lights, Camera, Natural Resources. New Brunswick, NJ: Rutgers University Press.
  • Brown, Paul. 1999. Aerial bombardment to reforest the earth. The Guardian, 2 September.
  • Bruno, Giuliana. 2014. Surface: Matters of Aesthetics, Materiality, and Media. Chicago, IL: University of Chicago Press.
  • Cubitt, Sean. 2017. Finite Media. Environmental Implications of Digital Technologies. Durham, North Carolina: Duke University Press.
  • Elsaesser, Thomas. 2017. “Simulation and the Labour of Invisibility: Harun Farocki’s Life Manuals.” Animation 12 (3): 214–229.
  • Farocki, Harun. 2004. “Phantom Images.” Public 29: 12–24.
  • Farocki, Harun. 2009. “Cross Influence/Soft Montage.” In Harun Farocki. Against What? Against Whom?, edited by Antje Ehmann, and Kodwo Eshun, 69–74. London: Raven Row & Koenig Books.
  • Kittler, Friedrich. 2013. “Rock Music: A Misuse of Military Equipment.” In The Truth of the Technological World. Essays on the Genealogy of Presence, translated by Erik Butler, 152–164. Redwood, CA: Stanford University Press.
  • Kotz, Liz. 2008. Video Projection: The Space Between Screens in Art and the Moving Image.” In Art and the Moving Image: A Critical Reader, edited by Tanya Leighton, 371–385. London, New York: Tate Publishing.
  • Lury, Celia. 2021. Problem Spaces. How and Why Methodology Matters. Cambridge: Polity.
  • Pantenburg, Volker. 2016. “Working Images: Harun Farocki and the Operational Image.” In Image Operations: Visual Media and Political Conflict, edited by Jens Eder and Charlotte Klonk, 49–62. Manchester: Manchester University Press.
  • Parikka, Jussi. 2012. What is Media Archaeology? Cambridge: Polity.
  • Rosenkrantz, Jonathan. 2020. Videographic Cinema. London: Bloomsbury.
  • Saint Amour, Paul. K. 2013. “Photomosaics. Mapping the Front, Mapping the City.” In From Above: War, Violence and Verticality, edited by Peter Adey, Mark Whitehead and Alison J. Williams, 119–142. London: Hurst.
  • Siegert, Bernhard. 2015. Cultural Techniques. Grids, Filters, Doors, and Other Articulations of the Real. Translated and edited by Geoffrey Winthrop-Young. New York: Fordham University Press.
  • Uhlin, Graig. 2015. “Plant-Thinking with Film: Reed, Branch, Flower.” In The Green Thread: Dialogues with the Vegetal World, edited by Patrícia Vieira, Monica Gagliano and John Ryan, 201–217. Lanham, MD: Lexington Books.
  • Virilio, Paul. 1989. War and Cinema. Translated and edited by Patrick Camiller. London: Verso.
  • Wang, Xiaowei. 2020. Blockchain Chicken Farm. New York: FSG Originals/Logic.