After Time: Permanence, Recursion, Prevention

时间之后：持久性、递归性、预防性

• 批准号: 320027913
• 负责人: Professor Dr. Reinhold Görling
• 金额: --
• 依托单位: Fachgebiet Philosophie
• 依托单位国家: 德国
• 项目类别: Priority Programmes
• 财政年份: 2016
• 资助国家: 德国
• 起止时间: 2015-12-31 至 2021-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/320027913?language=en
• 关键词: After; Time; Permanence; Recursion; Prevention

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)?

该研究项目始于这样一种假设，即与控制社会的概念有关的社会变化(Deleuze 1993)导致了时间组织的深刻变化。它的目的是描述这在感知过程、行动的可能性和艺术生产的技术中所产生的后果。社会、经济和技术的变化，迄今为止只从其地缘政治影响的角度进行研究，也是因为时间序列的重组，正如我们所说，永久性、递归和预防取代了明确的时间结构原则和学科计时。这一次又一次(不受运动的限制)不再有特定的(多时)时态：一切都是永久可用的，事件连续、递归地发生，沿着安全的路径发生。时间与运动的分离似乎矛盾地表现为失去存在(停滞)，同时也是其全面划界(全球化)。因此，研究项目的目标是从社会政治、媒体理论和哲学的角度来研究这些新的时间组织形式，从而赢得一套工具，以描述基于时间的电影/视频、戏剧/表演艺术和(后)数字艺术的最新发展。我们的研究项目从这一分析中得出了三个应该更深入和详细地探讨的后果：1)如果人类通过算法组织的早期事件不再作为时间体验，对美学概念意味着什么？那么美学就不必脱离它的人类中心主义取向了吗？2)时间与运动的分离(以及它的加速、注意力修正等现象)是什么？对于主观化的过程，对于行动的概念，以及由此产生的颠覆的其他可能性(Raimondi)？3)在媒体技术无处不在的时代，艺术是如何改变的？在这个后数字语境中，当代性在多大程度上可以被视为审美的内在时间，什么样的根本性中断可以防止艺术成为全球化的工具(施瓦特)？