By Lutz Koepnick
Pace is an noticeable aspect of up to date society, while slowness has usually been pushed aside as conservative and antimodern. hard a protracted culture of inspiration, Lutz Koepnick in its place proposes we comprehend slowness as a technique of the contemporary--a decidedly smooth perform that gazes firmly at and into the present's velocity.
As he engages with overdue 20th- and early twenty-first-century artwork, images, video, movie, and literature, Koepnick explores slowness as a serious medium to accentuate our temporal and spatial studies. Slowness is helping us sign up the a number of layers of time, heritage, and movement that represent our current. It bargains a well timed (and premature) mode of aesthetic belief and illustration that emphasizes the openness of the long run and undermines any notion of the current as a trifling replay of the earlier. Discussing the images and artwork of Janet Cardiff, Olafur Eliasson, Hiroshi Sugimoto, and Michael Wesely; the flicks 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 procedures of acceleration that permit us to mirror on exchange temporalities and intervals.
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Extra resources for On Slowness: Toward an Aesthetic of the Contemporary (Columbia Themes in Philosophy, Social Criticism, and the Arts)
Duchamp rejects Cubism not just as an artistic movement but as a discipline with a set aesthetic program. The subsequent exhibition of this work in The New York Armory Show in 1913 shocked the public, since the abstract nature of the work failed to provide an appropriate visual referent for its title. This discrepancy violated the conventional norms associated with the nude as a pictorial genre, since, as Duchamp notes, “A nude should be respected ” (DMD, 44). In Nude . . No. 7 What is at issue here is a challenge of the pictorial medium through sequential photography that implies a critique of vision as a cognitive medium traditionally conﬂating spectatorship with pleasure.
This strategy of postponement does not involve the mere transposition of painting into another medium, but rather, the delay of the pictorial by impeding its becoming a picture. Duchamp’s deliberate choice of glass as a medium functions to remind the viewer of the mimetic impulses of painting, insofar as it sought to provide a window onto the world. However, by literalizing this ambition through transparency, Duchamp denies one of the signatory marks of painting, that of ﬁgure–ground relations.
However, the Hegel who is adduced by Breton is neither the Hegel of today, nor the German philosopher of his immediate contemporaries. Breton is not so much concerned with the philosopher of History as with the philosopher of the Spirit in Nature, who deals with matter, form, color, magnetism, crystals, electricity, etc. This corresponds to Breton’s general aesthetic program as outlined in Surrealism and Painting (roughly at the time of the encounter with Nadja): Everything I love, everything I think and feel, predisposes me towards a particular philosophy of immanence according to which surreality would be embodied in reality itself and would be neither superior nor exterior to it.
On Slowness: Toward an Aesthetic of the Contemporary (Columbia Themes in Philosophy, Social Criticism, and the Arts) by Lutz Koepnick