Speed is an visible part of latest society, while slowness has frequently been brushed aside as conservative and antimodern. tough an extended culture of proposal, Lutz Koepnick as an alternative proposes we comprehend slowness as a technique of the contemporary―a decidedly sleek perform that gazes firmly at and into the present's velocity.
As he engages with past due 20th- and early twenty-first-century artwork, images, video, movie, and literature, Koepnick explores slowness as a severe medium to accentuate our temporal and spatial studies. Slowness is helping us sign in the a number of layers of time, historical past, and movement that represent our current. It deals a well timed (and premature) mode of aesthetic belief and illustration that emphasizes the openness of the longer term and undermines any belief of the current as an insignificant replay of the previous. Discussing the images and paintings of Janet Cardiff, Olafur Eliasson, Hiroshi Sugimoto, and Michael Wesely; the movies of Peter Weir and Tom Tykwer; the video installations of Douglas Gordon, Willie Doherty, and invoice Viola; and the fiction of Don DeLillo, Koepnick exhibits how slowness can carve out areas inside methods of acceleration that let us to mirror on exchange temporalities and durations.
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Extra info for On Slowness: Toward an Aesthetic of the Contemporary (Columbia Themes in Philosophy, Social Criticism, and the Arts)
Three / not anything is likely to be a extra overused cliché than the only describing time, existence, and human attention as a river, slowly yet ineluctably flowing towards its ultimate vacation spot. it is usually engaged with stable intentions: to specific the fluidity, historicity, and transformative nature of all topic. yet after all, the metaphor, in such a lot of its makes use of, comes with heavier luggage, because it indicates a undeniable automatism of switch, a uniform and accordingly predetermined development or unfolding of whatever from its starting place to finish.