After Time: Permanence, Recursion, Prevention

该研究项目从一个假设开始，即与控制社会概念有关的社会变化（德勒兹，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中的技术方面所带来的后果。社会、经济和技术的变化，迄今为止只从它们的地缘政治影响方面进行了研究，也是因为时间序列的重组而发生的，正如我们所声称的，在这种重组中，永久性，递归和预防取代了明确的时间结构原则和纪律时间。这种一次又一次的（不受运动的约束）不再有特定的（多时的）时态：一切都是永久可用的，事件是连续发生的，递归的，沿着沿着安全的路径。时间与运动的分离看似矛盾，表现为在场的丧失（静止），同时又表现为它的全面划界（全球化）。因此，该研究项目的目标是在社会政治，媒体理论和哲学视角中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/视频艺术的最新发展，戏剧/表演艺术和（后）数字艺术。我们的研究项目从这一分析中得出三个结论，这些结论应该更深入和详细地探讨：（1）如果人类通过算法组织的感知事件不再被体验为时间，那么美学概念意味着什么？那么，美学就不必摆脱它的以自我为中心的取向（戈林）吗？2)时间与运动的分离（及其加速、注意力改变等现象）对于主观化的过程，对于行动的概念，以及从那里会产生什么其他颠覆的可能性（Raimondi），意味着什么？3)在媒介技术无所不在的时代，艺术如何改变？在这个后数字化的背景下，当代性在多大程度上可以被视为一个美学的内在时间，什么样的根本不连续性可以保护艺术不成为全球化的工具？

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)?