Chapter 3
p.202

1

This is the metaphor used by Pierre Musso in his text “La ‘révolution numérique’: Techniques et mythologies” (2010, p. 6), a manuscript accessible online on the site of the Institut Mines-Télécom. (Published in La Pensée 355 [2008]: 103–20.).

Find out more

The article is accessible at the following address: https://hal.archives-ouvertes.fr/hal-00479598/document.

2

Marie-Julie Catoir and Thierry Lancien, “Multiplication des écrans et relations aux médias: De l’écran d’ordinateur à celui du Smartphone,” MEI (Médiation et information) 34 (2012): 56.

3

Here we might think of information storage sites such as MegaUpload, which gave rise to a complete political and legal saga.

Find out more

4

Jeremy Rifkin, The Age of Access: The New Culture of Hypercapitalism, Where All of Life Is a Paid-for Experience (2001).

5

Michel Marie, personal e-mail to André Gaudreault on March 9, 2013.

Find out more

6

Philippe Dubois, L’Acte photographique (1983), 9.

7

Laurent Le Forestier, “Le DVD, nouveau jouet d’optique?” in Francesco Casetti, Jane Gaines, and Valentina Re, eds., In the Very Beginning, at the Very End: Film Theories in Perspective (Udine: Forum, 2010), 163.

8

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

9

Philippe Marion, moreover, has previously distanced his work from that of Philippe Dubois by rehabilitating the photograph’s iconic dimension
as a “mechanical” capturing of reality and by reserving indexicality for the graphic line (at work in the graphic novel, contiguous with the artist’s
gesture). See Traces en cases: Travail graphique, figuration narrative et participation du lecteur (1993).

Mots clés: , , , , , , , , , ,