Abstract

The act of slowness is by its very nature an implied reduction of physical engagement that one might argue has as much to do with impairment as it does with temporal devaluation. Yet when placed in a twenty-first century context there are a growing number of arguments that position slowness as a mediator of resistance to fast-paced communication transactions thus impacting on the ways in which human interaction coexists between digital technology and cultural immediacy. While it may be suggestive to position this new emergence as a collective of technoanthropological treaties as found, for example, in the Slow Media Manifesto , there is an under-valued relation that I will discuss throughout this paper when considering the role that slow motion plays out as a condition rather than an effect of lens based practice. Discussion will integrate the ideas of Proust, Mearleu Ponty, and Murch with review of contributions from Wes Anderson, The Wachowski Siblings, Bill Viola, and Adam Magyar. These perspectives will align with discussion of my own lens-based practice with regards to a slow motion experimental called The 51 Paintings Suite