Slowness in the Arts

Artists addressing slowness, duration, and acceleration

Diary of our Daily Threads

This body of work is an exploration, using Piezo technology of how cloth has the potential to evoke the memory of previous wearers and handlers. The human tendency to feel attachment to others by  touching and holding old garments  and  textile artifacts highlights the value of these objects – which are in themselves lifeless – as powerful absorbers and silent observers of life.

The viewer is invited to become part of the ongoing life of the work through the sense of touch.

By touching one of the representational artifacts the story behind it is revealed through the film.

Thus the viewer too becomes part of the story as their touch is held within the fibers of the piece.

This piece of work was created to promote reflection and consideration for the way we interact with clothing, each other and our environment. The technology was deliberately crafted from inexpensive piezos which acted as triggers to engage the viewer in the ‘story’ behind the artifact.

Below is  a link to the showtime page where one of the artifacts and its corresponding film can be viewed.

(Submitted by Tara Baoth Mooney)

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Delay and Non-Materiality in Telecommunication Art

Paper abstract

We can describe art as an asynchronous delivering of messages over physical or time distance. It maintains presence from the past and from far away, distant presence. Masters have been making artworks which are perceived by audience hundreds and thousands years later. It could be, that the sender of the artistic message has not been in existence for millennia (like authors of cave paintings). In this case, interaction between sender and recipient is not possible, but still, the act of delivery exists as there is a receiver.

We could create an imaginary axis of reception divisions, based on delay, where there are works of art on one side, whose ‘transmission’ to the receiver has lasted for millennia; and artworks sent and received in real time on the other side. Although this kind of formulation points to the vocabulary of information theory and though this viewpoint has been considered, art in this presentation has not been dealt with in this way.

Delays between performative acts and non-materiality in participative works are substantial attributes in new media art, but there are many examples in earlier art practice and art of the 20th century, which belong to the rich history of non-material art.

My interest in delay concerns its ability to be part of the concept, when delay between sequences of creation, elements of time-based artwork, exposition and reaction or feedback becomes an integral part of the interaction with the artwork and inseparable from it. Naturally, we can distinguish other episodes of delay, like one which is happening between creative intention of the artist and creative execution of the artwork.

I am discussing following works: “Telephone Paintings” by László Moholy-Nagy, collaborative “Refresh project”, “FragMental Storm 02″ by Exonemo, “Nothing Happens” by Nurit Bar-Shai and others.

(Submitted by Raivo Kelomees)

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Shadows and Falling Light

One of our recurring interests is interactive work that doesn’t react immediately to a participant’s presence. Its operation is simple: when standing still in front of the installations, your silhouette is slowly filled in with colour, merging with the silhouettes of the others who have stood there before you.

Quadratura Interactive Dance 03 from Quadratura on Vimeo.

(Submitted by Alex May)

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Eternity in an instant: the moving images of david crawford

“Crawford’s microcosmic photographic studies of (mostly) people (mostly) riding on subways might initially seem like looping micro-films. But upon closer inspection, one realizes that the animations never actually loop. Imagine a slide projector tray filled with anywhere between three to eight slides. The projector displays these same slides infinitely, but always in random order. The projector also randomizes the duration each slide is displayed, anywhere from .03 seconds to .3 seconds (give or take a bit). Finally, all the slides in the tray are of the same subject, all photographed within a limited time frame (less than two minutes). This roughly approximates the mechanics of what Crawford has termed “algorithmic montage.” The result is a kind of stochastic motion study more akin to chronophotography than film; but with a distinct, non-linear twist.”

An essay on David Crawford’s “Stop Motion Studies” related to expanded space/time:

(Submitted by Curt Cloninger)

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Game Design for High Schoolers

Josh Knowles works on game design projects and teaches a high school class about games and game design. Well-made games have a documented ability to cause people to focus very specifically on in-game goals for extended periods of time while pushing the “noise” of life out-of-mind and entering into the concept of “slowness”.

(Submitted by Josh Knowles)

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