J. Godard, La technique, au tout début, elle n'a pas de règles. Après, on lui apprend à parler.' Interview, p.12, 2014.

H. De and P. , Le cinématographe, Les annales politiques et littéraires, 1896.

N. Vedrès and P. L. , l'Harmattan, pp.11-16, 1958.

, See Siegfried Kracauer's discussion of the Lumière films in the introduction to his Theory of Film, and his description of 'camera-life', the 'flow of Life' and the 'indeterminate' as intrinsic qualities of film, Theory of Film: The Redemption of Physical Reality, 1960.

G. Didi-huberman, Aesthetic Immanence, Dynamics and Performativity of Imagination: The Image between the Visible and the Invisible, pp.49-50, 2009.

A. Gottlieb-baumgarten, Aesthetica scripsit, 1750. On modern aesthetics and the je ne sais quoi, see Richard Scholar's The Je-Ne-Sais, Quoi in Early Modern Europe: Encounters with a Certain Something, 2005.

, For an analytical survey of the contrasted philosophical discourses that established or critiqued the 'theoretical framework that defined sharpness as an epistemological ideal associated with value judgements', see Bernd Huppauf: 'Between Imitation and Simulation: Towards an Aesthetics of Fuzzy Images', and Gottfried Boehm, 'Indeterminacy: On the Logic of the Image, Dynamics and Performativity, pp.230-54

, See Dominique Païni's introduction to Silenzio!, an exhibition catalogue of François Fontaine's photographs (Paris: Les Editions de l'Oeil, 2012.

P. C. Pereira and J. Harcha, Revolutions of Resolution: About the Fluxes of Poor Images in Visual Capitalism, TripleC, vol.12, p.320, 2014.

, See Martin Jay's 'Genres of Blur, pp.0-000

S. Vivian-sobchack, Carnal Thoughts: Embodiment and Moving Image Culture, 2004.

L. U. Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, 2000.

J. Barker, The Tactile Eye: Touch and the Cinematic Experience, 2009.

M. Beugnet, Cinema and Sensations: French Film and the Art of Transgression, 2007.

B. Huppauf, Between Imitation and Simulation: Towards an Aesthetics of Fuzzy Images, Huppauf and Wulf, Dynamics and Performativity, p.231

, On the parallel development of military and cinema technology, see Paul Virilio 'A Travelling Shot over Eighty Years, Post-war cinema and modernity: a film reader, pp.145-60, 2001.

, Attacks and subversions of digital coding represent a growing dimension of artistic practice. See for instance the practice of datamoshing, based on the alteration or corruption of media files data

S. M. Beugnet, Miniature Pleasures: On Watching Films on an iPhone, Cinematicity in Media History, pp.196-210, 2013.
URL : https://hal.archives-ouvertes.fr/hal-02919636

, Director of photography Jean-Pierre Beauviala describes this transitional period as offering a 'colossal' range of options. Benjamin Bergery, Diane Baratier and Caroline Champetier, pp.85-101, 2006.

G. Bachelard and L. 'air, , pp.5-6, 1943.

L. Da and V. , Traité de la peinture, p.216, 2003.

E. H. Gombrich, See also Georges Didi-Huberman on the spectator's productive 'épreuve du non-savoir' (the trial of not-knowing) in Devant l'image (Paris: Editions de Minuit, Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture, 1960.

W. Huppauf, Dynamics and Performativity, pp.1-3

H. Steyerl, Defense of the Poor Image', e-flux journal, p.28, 2009.

B. Bolt, Introduction: Towards a New Materialism Through the Arts, Carnal Knowledge: Towards a New Materialism through the Arts, p.6, 2012.

. Steyerl, In Defense of the Poor Image

C. For, Z. Pereira, and . Harcha, taking their cue from Arlindo Machado, the proliferation of 'precarious' images, and the emergence of forms of 'precarious aesthetics' is an upshot of the unreliable technical conditions in which the images are produced, circulated and archived (or not), and their 'allegedly inferior representational quality' should not obscure 'their great potential, pp.319-339

E. Machado and . Mediático, Death, beauty, and iconoclastic nostalgia: Precarious aesthetics and Lana Del Rey, NECSUS (Autumn 2015 special issue on Vintage, p.24, 2016.

V. Flusser, Pour une philosophie de la photographie, 2004.

G. Agamben, Potentialities: Collected Essays in Philosophy, pp.183-188, 1999.

L. Manovich, The Language of New Media, p.56, 2001.

, Le cinéma est, par excellence, l'appareil de détection et de représentation du mouvement, c'est-à-dire de la variance de toutes les relations dans l'espace et le temps, de la relativité de toute mesure, de l'instabilité de tous les repères, de la fluidité de l'univers. Profondément, la culture cinématographique sera donc ennemie de tous les systèmes qui supposent des étalons absolus, des valeurs fixes; ennemie de toutes les conceptions encore actuellement en vigueur, qui se fondent sur l'expérience extra-cinématographique, cent fois millénaire, d'un monde stable et solide; (?) ennemie encore des rationalismes classiques, qui prétendent saisir dans une invariable règle la perpétuelle mobilité du sentiment, Ecrits sur le cinéma, vol.2

H. Pereira, Revolutions of Resolution, p.315

, As the video works included in Soulèvements, an exhibition curated by George Didi-Huberman on the theme of the notion of revolution, rebellion, and revolt (on show at the Gallery Jeu de Paume in Paris from, 2016.

, My thanks to Kriss Ravetto-Biagioli for her careful reading and her comments on this text