Project Details
Projekt
After Time: Permanence, Recursion, Prevention
Subject Area
Practical Philosophy
Art History
Theatre and Media Studies
Art History
Theatre and Media Studies
Term
from 2016 to 2022
Project identifier
Deutsche Forschungsgemeinschaft (DFG) - Project number 320027913
The research project starts from the hypothesis that the social changes which are connected to the notion of control society (Deleuze 1993), have led to a profound change in the organization of time. It aims to describe the consequences that this entails in the processes of perception, in the possibility of action and in technology within artistic production.The social, economic and technological changes, which have hitherto been studied only in terms of their geopolitical implications, take also place because of a restructuring of temporal sequences in which, as we claim, permanence, recursion and prevention supersede the explicit temporal structural principles and the disciplinary timings. This time after time (not bound to movement) has no specific (polychronic) tense any more: everything is permanently available, events occur in series, in recursions, along secured paths. The detachment of time from movement appears paradoxically as a loss of presence (standstill), and at the same time as its comprehensive delimitation (globalization). Therefore, the research project has the goal to investigate these new temporal forms of organization in socio-political, media theory and philosophical perspective and thus to win a set of instruments in order to describe recent developments in the time-based arts of film / video, theatre / performance art and (post-) digital art.Our research project draws from this analysis three consequences which ought to be explored in more depth and detail: 1) What does it mean for a concept of aesthetics, if the percipient events, organized by humans through algorithms are no longer experienced as time? Will aesthetics then not have to break away from its anthropocentric orientation (Görling)? 2) What does the separation of time from movement (with its phenomena of acceleration, attention modification etc.) mean for the processes of subjectivation, for the concept of action and what other possibilities of subversion will arise from there (Raimondi)? 3) How do the arts change in the era of media technical omnipresence? To what extent can contemporaneity be regarded in this post digital context as an aesthetic intrinsic time and what radical discontinuity can preserve the arts from acting as an instrument of globalization (Schwarte)?
DFG Programme
Priority Programmes
