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New Sites for Slowness: Speed and Nineteenth-Century Stereoscopy

New Sites for Slowness: Speed and Nineteenth-Century Stereoscopy New Sites for Slowness Speed and Nineteenth-Century Stereoscopy arden reed Velocity and Images Somebody once asked Los Angeles artist Ed Ruscha, "How can you tell good art from bad?" He answered, "With a bad work you immediately say `Wow!' but afterwards you think, `Hum? Maybe not.' With a good work, the opposite happens."1 As Ruscha suggests, most visual art worthy of the name does not reveal itself in a flash. Yet the average American spends between six and ten seconds looking at a picture in a museum or a gallery.2 So how can we create conditions for richer and more meaningful aesthetic experiences? To address this problem I have formulated a new aesthetic category that I call "slow art."3 It is not a collection of objects, as you might suppose; rather, slow art names a dynamic relationship. It transpires in the space between observer and object. Rather than thinking conventionally, in terms of aesthetic works, we must think in terms of reciprocal experiences--encounters between the beheld and the beholders, who register their perceptions in historically specific instances. As a set of experiences, slow art will be different for everybody. And as in quantum physics, changing the way we http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Qui Parle: Critical Humanities and Social Sciences University of Nebraska Press

New Sites for Slowness: Speed and Nineteenth-Century Stereoscopy

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University of Nebraska Press
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Copyright © University of Nebraska Press
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1938-8020
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Abstract

New Sites for Slowness Speed and Nineteenth-Century Stereoscopy arden reed Velocity and Images Somebody once asked Los Angeles artist Ed Ruscha, "How can you tell good art from bad?" He answered, "With a bad work you immediately say `Wow!' but afterwards you think, `Hum? Maybe not.' With a good work, the opposite happens."1 As Ruscha suggests, most visual art worthy of the name does not reveal itself in a flash. Yet the average American spends between six and ten seconds looking at a picture in a museum or a gallery.2 So how can we create conditions for richer and more meaningful aesthetic experiences? To address this problem I have formulated a new aesthetic category that I call "slow art."3 It is not a collection of objects, as you might suppose; rather, slow art names a dynamic relationship. It transpires in the space between observer and object. Rather than thinking conventionally, in terms of aesthetic works, we must think in terms of reciprocal experiences--encounters between the beheld and the beholders, who register their perceptions in historically specific instances. As a set of experiences, slow art will be different for everybody. And as in quantum physics, changing the way we

Journal

Qui Parle: Critical Humanities and Social Sciences – University of Nebraska Press

Published: Mar 21, 2014

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