Speed is an obvious facet of contemporary society, whereas slowness has often been dismissed as conservative and antimodern. Challenging a long tradition of thought, Lutz Koepnick instead proposes we understand slowness as a strategy of the contemporary—a decidedly modern practice that gazes firmly at and into the present’s velocity.
As he engages with late twentieth- and early twenty-first-century art, photography, video, film, and literature, Koepnick explores slowness as a critical medium to intensify our temporal and spatial experiences. Slowness helps us register the multiple layers of time, history, and motion that constitute our present. It offers a timely (and untimely) mode of aesthetic perception and representation that emphasizes the openness of the future and undermines any conception of the present as a mere replay of the past. Discussing the photography and art of Janet Cardiff, Olafur Eliasson, Hiroshi Sugimoto, and Michael Wesely; the films of Peter Weir and Tom Tykwer; the video installations of Douglas Gordon, Willie Doherty, and Bill Viola; and the fiction of Don De Lillo, Koepnick shows how slowness can carve out spaces within processes of acceleration that allow us to reflect on alternate temporalities and durations.
Mục lục
Acknowledgments
Introduction: On Slowness
1. Slow Modernism
2. Open Shutter Photography and the Art of Slow Seeing
3. Glacial Visions, Geological Time
4. Dream|Time Cinema
5. Free Fall
6. Video and the Slow Art of Interlacing Time
7. The Art of Taking a Stroll
8. Those Who Read
Epilogue: Slowness and the Future of the Humanities
Notes
Index
Giới thiệu về tác giả
Lutz Koepnick is the Gertrude Conaway Vanderbilt Professor of German and cinema and media arts at Vanderbilt University. He has written widely on film, art, aesthetic theory, and new media aesthetics. His other publications includeFraming Attention: Windows on Modern German Culture and
Walter Benjamin and the Aesthetics of Power.
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