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20 Roland Barthes, Camera Lucida: reflections on photography, trans. by Richard Howard. (New York: Hill
and Wang, 2000), p. 6.
21 Jacques Rancière, The Future of the Image, trans. by Gregory Elliot. (London: Verso, 2007), pp. 10-11.
22 This is in reference to the twenty-six and twenty-seventh sleepers (respectively, Roland Topor and
Frédérique Charbonneau) who shared the same shift.
23 This is in reference to Jennie Michelet, the thirteenth sleeper.
24 Sophie Berrebi, ‘Sophie Calle,’ Frieze Magazine, Issue 44 (1999).
25 Yve-Alain Bois, ‘“The Paper Tigress”’ in M’AS-TU VUE? Did you see me? p. 30.
26 Mordechai Omer, ‘I Sleep, But My Heart Waketh’ in True Stories, pp. 220-222. (p. 222)
27 I would refer to such mutually-repellent image-text juxtapositions as ‘mis-laminations’ because there is
a mismatch between the two. Interestingly, Freud (The Interpretation of Dreams, p. 47) discussed how,
with or without images, textual characters and words can also appear in dreams as ‘hypnogogic
hallucinations’; hypnogogic hallucinations are described as ‘those very vivid and changeable pictures
which with many people occur constantly during the period of falling asleep, and which may linger for a
while even after the eyes have been opened.’
28 For writing, see Macel (2003); For art, see James Campbell, ‘Sophie Calle,’ Border Crossings, 27: 4
(2008).
29 Michael Sheringham, ‘Checking Out: The Investigation of the Everyday in Sophie Calle’s L’Hôtel,’
Contemporary French and Francophone Studies, 10:4 (2006), 415-424, (p.420).
30 C. Wright Mills, The Sociological Imagination. (London: The Oxford University Press, 1959)
31 Mike Ball and Smith, Greg, Analyzing Visual Data. (Newbury Park, CA.:Sage, 1992)
32 See: Howard S. Becker, ‘Visual Sociology, Documentary and Photojournalism: it’s (almost) always a
matter of context’ in John Prosser (ed.) Image-based Research. (London: Routledge, 1998) and Douglas
Harper, Visual Sociology: an introduction. (London: Routledge, 2010).
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