"During a stay in the desert of Death Valley in California, Karl Lemieux meets a wall of a demolished house, standing alone in the void and whose windows are only open gaps, washed out by the light. Fascinated by the incongruity and the poetry of the object, he films it. This segment of film, later, he (...) will re-film it in a variety of positions and situations; off-center, oblique, fixed, in motion, and above all, burning in the heat. This work will result in the film Halo Getters. The act of burning the film, as if under the effect of a magnifying glass, duplicates the effect and the memory of the light and the intense heat of the desert, the place of origin of the image. An orange, bubble-strewn circle forms in the image, resembling a "sun" that adds to and destroys the image. This circle, which is burning the film in Halo Getters, forms a blind spot that masks and destroys the image, making visible the fragility of the medium." - Élène Tremblay, “The affects in the practice of re-employed experimental cinema”, Les chantiers de la creation.