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197Presentations as Aesthetic Temporalities Ludger Schwarte Presentations as Aesthetic Temporalities Articulations of time are bound to performing cultural acts and are hence pervad- ed by cultural boundaries. Considered from this vantage point, the idea of a global time appears to be as much a modern fiction as that of a global history, namely as a thoroughly colonialist product. At the same time, media and technologies alter something in this constellation. The technological, cultural, and political milieus, latencies, and sources of friction, particularly

Exploring Duration in Guatemala. Empirical and Theoretical Studies

11Aesthetic Temporalities Today Gabriele Genge | Ludger Schwarte | Angela Stercken Aesthetic Temporalities Today: Present, Presentness, Re-Presentation1 The present seems familiar to us, hardly worth mentioning. But, has it always been like this? And what does the present really signify, if we consider that its idea and meaning have shifted considerably since its emergence in the 17th and 18th centu- ries? In recent years, the historicization of the concept of a present has gained momentum2 and its “birth” at the dawn of modernity increasingly been examined

87Temporality, Oríkì and Nigeria’s Contemporary Art Nkiru Nzegwu Temporality, Oríkì and Nigeria’s Contemporary Art Disciplinary boundaries in Western academy routinely disallow counter evidence and discordant facts that challenge Western orthodoxy and confound its ontology. Written off as unimportant anomalies, these dismissed data, usually from Africa, in particular, or the Third World, in general, pile up to expose the weaknesses of theo- ries that are mired in suppositions of hegemony and false homogenization. In the short run, the dismissal works to

Present, Presentness, Re-Presentation
Series: Image, 185

234 M atters of C om m unication ― G esellschaft und System Time norms are not bound to any laws and regulations, they constantly alter and shift. Especially in relationship to new technological developments, speed is a crucial driver for change. This essay explores the role of designing time within the context of the contemporary time crisis. It analyses shifting temporalities in the context of new technological developments, including shifting time norms and the implications for current politics of time. Building on sociological research, societal time

CHAPTER I LIVED TEMPORALITIES IN GUATEMALA This chapter will give an introduction to the approach taken in this book. First, the reader’s imagination shall be invited to travel to the location of the research: Guatemala shall be introduced in relation to the theme of this book by way of Ancient Mayan mythology. This is how I first encountered vitalism, before understanding it theoretically through the philosophy of Gilles Deleuze. Second, the theme of the research shall be introduced theoretically. Third, the location of the re- search shall be introduced

Temporal Regimes of Protest Movements Media and the Participatory Condition ANNE KAUN Media technologies essentially address the organization, production and experience of time. From this starting point, this chapter engages with the role of changing time regimes and their link to dominant media technolo- gies for participation. The contexts for this investigation are American pro- test movements that emerged in the aftermaths of large-scale economic cri- ses – the unemployed workers movement in the 1930s and the Occupy Wall Street movement in

143Temporal Concepts of the Present Angela Stercken Temporal Concepts of the Present and their Aesthetic Negotiation in Black Arts Movement and ‘Black Atlantic’ “SAMO© AS AN END TO PLAYING ART. SAMO© FOR THE SO CALLED AVANTGARDE. SAMO© FOR THOSE OF US WHO MERELY TOLERATE CIVILIZATION. SAMO© AS A NEO ART FORM. SAMO© AS AN END TO MINDWASH RELIGION, NOWHERE POLITICS, AND BOGUS PHILOSOPHY.”1 The former underground musician and graffiti artist “SAMO” quickly becomes, as the visual artist and performer Jean-Michel Basquiat, the star of the New York art

Serial Narrative, Temporality and Aging: An Introduction ANITA WOHLMANN AND MARICEL ORÓ-PIQUERAS According to Melissa Ames, “never before has narrative time played such an important role in mainstream television” (9). Time travel, time retardation and time compression, disruptions of the chronological flow through flashbacks and flashforwards – these experimental uses of time have become key devices within contemporary television narratives (9). The following three examples of TV series exemplify this link between the narrative use of experimental