Boris Weisman, “Claude Levi-Strauss, Chiasmus and the Ethnographic Journey,” Arachnofiles no. 2 (Autumn 2001) →.
Ibid.
Ibid.
Michel Serres with Bruno Latour, Conversations on Science, Culture, and Time, trans. Roxanne Lapidus (Ann Arbor, MI: University of Michigan Press, 1995), 193.
Laura Salisbury, “Michel Serres: Science, Fiction, and the Shape of Relation,” Science Fiction Studies 31, no. 98 (March 2006) →.
Serres with Latour, Conversations on Science, Culture, and Time, 78.
Salisbury, “Michel Serres,” Science Fiction Studies.
Michel Serres, Genesis, trans. Geneviève James and James Nielson (Ann Arbor: University of Michigan Press, 1997), 7.
Salisbury, “Michel Serres,” Science Fiction Studies.
Ibid.
Ibid.
Another, very unclear image shows the piece as part of an ensemble that also includes a mural painting and an obelisk. Although there are no pictures of the obelisk, there is one of the painting, situated just behind the egg. The paint has the texture of molten rock forming a trail moving down the wall. The black-and-white image allows us to perceive the painting’s dark colors, combined with brighter ones, but we are unable to imagine either its real tones or its effect next to the egg.
Roland Barthes, “La Rochefoucauld: ‘Reflections or Sentences and Maxims,’” in New Critical Essays, trans. Richard Howard (New York: Farrar, Strauss and Giroux, 1980), 20.
Michel Serres, The Five Senses, trans. Margaret Sankey and Peter Cowley (London: Bloomsbury Academic, 2009), 200.
Lauren A. Benjamin, “The Sensory Philosophy of Michel Serres,” Pictures. Places. Things., May 29, 2012 →.
Serres, The Five Senses, 276.
Katherine Harmon-Courage, “How the Freaky Octopus Can Help us Understand the Human Brain,” Wired, October 1, 2013 →.
Nicholas Bunnin and Yiyuan Yu, “Aesthetic Autonomy,” in The Blackwell Dictionary of Modern Philosophy (Malden, MA: Blackwell Publishing, 2004), 15.