Conclusion
p.218

7

Gibert Simondon, quoted by François Albera and Maria Tortajada: “In this genesis, one finds imagination, the project, conception: Simondon calls this ensemble an ‘imaging genesis’ and sees a virtual dimension in it.” François Albera and Maria Tortajada, “The Dispositive Does Not Exist!,” in Cine-Dispositives: Essays in Epistemology Across Media, ed. François Albera and Maria Tortajada (2014), 31-32.

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The complete quotation reads as follows:

“Under which condition, Simondon asks, may the technical object be so called? It is not as I contemplate it, nor is it when it is simply being used, nor even when it is considered objectively from the standpoint of its usage and functions or when it is considered according to its physical structures: it is the knowledge of the process of concretization of the technical object that constitutes it as such. In this genesis, one finds imagination, the project, conception: Simondon calls this ensemble an ‘imaging genesis’ and sees a virtual dimension in it.”

8

François Jost, “Twitter, un univers faussement égalitaire,” Le Monde, June 21, 2012.

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The article is accessible at the following address: http://www.lemonde.fr/idees/article/2012/06/21/twitter-un-univers-faussement-egalitaire_1722594_3232.html.

9

Ibid.

10

Raymond Bellour, La Querelle des dispositifs: Cinéma—installations, expositions (Paris: P.O.L, 2012), 19.

11

Gilles Lipovetsky and Jean Serroy, L’Écran global: Culture-médias et cinéma à l’âge hypermoderne (2007), 10.

12

Online publicity by Cineplex to promote the UltraAVX audiovisual experience, translated from the French. Our emphasis on the word generation.

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The reader may consulter the business’s site, which is, of course, constantly changing, at the following address: http://www.cineplex.com/Theatres/UltraAVX.

A screen capture of the original advertisement can be seen below.

Figure 1 – Screen capture of a Cineplex ad promoting the audiovisual experience UltraAVX

13

The authors thank Frank Kessler and Laurent Le Forestier, with whom they have had many fruitful exchanges on the question of the difference between cultural practice and cultural series.

14

André Bazin, “Le mythe du cinéma total et les origines du cinématographe,” Critique 6 (1946): 555. A very similar passage can be found in the later version of Bazin’s text and thus in the English translation: André Bazin, What is Cinema?, vol. 1, trans. Hugh Gray (1967), 20.

15

W. J. T. Mitchell, Cloning Terror: The War of Images, 9/11 to the Present (2011).

16

Bazin, What is Cinema?, 17.

17

Ibid., 21.

18

Ibid., 20. Our emphasis.

19

Bazin, “Le mythe du cinéma total,” (1946 version), 555.

20

Bazin, What Is Cinema?, 21.

21

Bazin, “Le mythe du cinéma total,” (1946 version), 556.

22

Bazin, What Is Cinema?, 22.

23

Laurent Le Forestier, personal e-mail to André Gaudreault, May 11, 2013.

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fichier-joint.docx

24

Ibid.

25

André Bazin, “Le mythe du cinéma total,” (1946 version), 557.

26

In the original version of his text (p. 557), Bazin writes: “From a machine to capture life as it unfolds it became, with Georges Méliès, an instrument for producing miracles, meaning to insert the impossible into reality.”

27

Jacques Aumont, Que reste-t-il du cinéma? (2012), 59–60.

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