<div dir="ltr"><div dir="ltr"><div class="gmail_default"><div class="gmail_default">1.<span style="white-space:pre"> </span>Maybe there is also such a thing as mountain time that's inhabited and experienced differently by people attracted to mountains for the sublime/universal time or as in Chiang's film, for the duration of survival</div><div class="gmail_default">2.<span style="white-space:pre"> </span>In this case, duration itself might be running still and flowing deep but not in the sense of 'movement' or 'perspectival depth.' </div><div class="gmail_default"><br></div><div class="gmail_default">With respect to Liz’s contributions, I’m so pleased this conversation has touched on the work of Hou Hsiao Hsien - a filmmaker whose lengthy, durational scenes has inspired my own research.</div><div class="gmail_default"><br></div><div class="gmail_default">What fascinates me here is the intersection of multiple temporal vectors: A personal, phenomenological experience of passage, a continuous reassessment of authoritative historical narratives and momentous encounters with seemingly universal timescales that go beyond human experience. Works of art allow us viewers to variously “inhabit” these temporal vectors by focusing experience on a specific set of aesthetic conditions. </div><div class="gmail_default"><br></div><div class="gmail_default">The NZ-based art collective Local Time have achieve this by focusing aesthetic experience on the act of drinking water. They serve exhibition visitors glasses of fresh spring water drawn from the Horotiu stream – a significant historical resource for indigenous Maori peoples of Auckland – that has been paved over and now runs beneath the roads of Auckland’s central business district. Local Time approach this as a gesture of hospitality, but I’m wondering if visual arts such as this offer a special means of implicating viewers/experiencers in durational passages that are ‘unknown’ to them. Is there such thing as subversive experience of duration? How might this relate to the survival of subjugated histories and natural phenomena that have been “paved over” by dominant ideologies? So many thoughts!</div><div style="font-size:small"> </div><div style="font-size:small">- Kate</div></div></div></div><br><div class="gmail_quote"><div dir="ltr">On Thu, 8 Nov 2018 at 15:00, Timothy Conway Murray <<a href="mailto:tcm1@cornell.edu">tcm1@cornell.edu</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
Elizabeth Wijaya wrote "On Kate's point on deep time and the danger of obscuring/forgetting<br>
historical subjugation and social inequality, maybe there is also such a<br>
thing as mountain time that's inhabited and experienced differently by<br>
people attracted to mountains for the sublime/universal time or as in<br>
Chiang's film, for the duration of survival."<br>
<br>
Something I've been discussing with artists and students over the past couple of months are the traversals and transversals of duration as cross-inhabited by differing populations and by differing epistemologies. While nature frequently has been figured vis à vis the "sublime" or the "universal," its understanding remains contingent on the populations inhabiting it. Just as "understanding" itself carries the footprint of historically fraught philosophical traditions. For Liz's cinematic characters, habitation runs contrary to the inhibitions of constrained passage and labor. Flight itself is both liberatory and terroristic depending on whether the look goes backward or forward. But in this case, the artistic engine still might remain to be tied to "projection" in relation to "distance" or "distancing." I'm wondering whether this isn't a peculiarly cinematic condition, one that signals the historical discussion of the gaze in all of its complexities. Might Chiang's cinematography and still off something different? <br>
<br>
Along the lines of plastic arts, I'm also wondering whether the counter-to-deep time of indigenous art might not signal something different both in apparatus and epistemology? In this case, duration itself might be running still and flowing deep but not in the sense of 'movement' or 'perspectival depth.' Just a thought provoked by Kate and Liz's posts.<br>
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Tim<br>
<br>
Timothy Murray<br>
Director, Cornell Council for the Arts and Curator, CCA Biennial<br>
<a href="http://cca.cornell.edu" rel="noreferrer" target="_blank">http://cca.cornell.edu</a><br>
Curator, Rose Goldsen Archive of New Media Art <br>
<a href="http://goldsen.library.cornell.edu" rel="noreferrer" target="_blank">http://goldsen.library.cornell.edu</a> <<a href="http://goldsen.library.cornell.edu/" rel="noreferrer" target="_blank">http://goldsen.library.cornell.edu/</a>><br>
Professor of Comparative Literature and English<br>
<br>
B-1 West Sibley Hall<br>
Cornell University<br>
Ithaca, New York 14853<br>
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<br>
On 11/7/18, 1:16 PM, "<a href="mailto:empyre-bounces@lists.artdesign.unsw.edu.au" target="_blank">empyre-bounces@lists.artdesign.unsw.edu.au</a> on behalf of Elizabeth Wijaya" <<a href="mailto:empyre-bounces@lists.artdesign.unsw.edu.au" target="_blank">empyre-bounces@lists.artdesign.unsw.edu.au</a> on behalf of <a href="mailto:ew388@cornell.edu" target="_blank">ew388@cornell.edu</a>> wrote:<br>
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----------empyre- soft-skinned space----------------------<br>
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empyre forum<br>
<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br>
<a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.edu</a></blockquote></div>