Precarious TimesPub Date : 2019-10-15DOI: 10.7591/cornell/9781501735103.003.0003
A. Fuchs
{"title":"Historical Perspectives","authors":"A. Fuchs","doi":"10.7591/cornell/9781501735103.003.0003","DOIUrl":"https://doi.org/10.7591/cornell/9781501735103.003.0003","url":null,"abstract":"This chapter discusses the emergence of modern speed politics. Cinema, the most innovative medium of the early twentieth century, created a captivating visual imaginary for the energizing yet frightening experience of modern speed politics. Two of the most iconic films of the Weimar period—Walter Ruttmann's Berlin: Symphony of a Great City and Fritz Lang's Metropolis—explored the city as a site of a contradictory modernity. On the one hand, these films celebrate modern technologies, the pleasure of speed, and the visual stimuli unleashed by a world that is constantly in motion; on the other hand, however, they bring into view the uncontrollable effects of a runaway world in which machines begin to transform human behavior. Released in 1927, both films created a striking visual aesthetic of urban modernity that exploited the technical opportunities of film to new effect. Meanwhile, from the 1870s, psychologists, philosophers, writers, and artists addressed the urgent question as to whether and how the modern subject would cope with the rate of change and the experience of social and technological acceleration. Attention, distraction, lateness, and slowness emerged as central tropes in a far-ranging discourse that foregrounded the precariousness of modern subjectivity, while also exploring modern reactions and coping mechanisms.","PeriodicalId":252400,"journal":{"name":"Precarious Times","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133423480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Precarious TimesPub Date : 2019-10-15DOI: 10.7591/cornell/9781501735103.003.0005
A. Fuchs
{"title":"Narrating Precariousness","authors":"A. Fuchs","doi":"10.7591/cornell/9781501735103.003.0005","DOIUrl":"https://doi.org/10.7591/cornell/9781501735103.003.0005","url":null,"abstract":"This chapter focuses on the experience of precarious times in contemporary German fiction. The first part queries the binary distinction between modernist and postmodernist literature in the light of striking epistemological and narratological continuities that capture the uneven experience of time. Brian McHale argued in his classic study of the postmodern novel that the narratological experiments of modernist novels pose epistemological questions, such as “What is there to be known?; Who knows it?; How do they know it, and with what degree of certainty?... How does the object of knowledge change as it passes from knower to knower?” By contrast, the postmodern text asks ontological questions: “What is a world?; What kinds of world are there, how are they constituted, and how do they differ?... What is the mode of existence of a text?” The chapter then analyzes diverse articulations of precariousness in contemporary literature. Julia Schoch's novel Mit der Geschwindigkeit des Sommers (With the Speed of the Summer, 2009), Karen Duve's Taxi (2008), and Clemens Meyer's Als wir träumten (When We Were Dreaming, 2006) deal with protagonists for whom 1989 represents a nonevent yet also, paradoxically, a disturbing rupture in their biographies. The chapter also looks at Jenny Erpenbeck's novel Gehen, ging, gegangen (2015; Go, Went, Gone, 2017), which tackles one of the most urgent political issues of the times: the refugee crisis.","PeriodicalId":252400,"journal":{"name":"Precarious Times","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115258157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Precarious TimesPub Date : 2019-10-15DOI: 10.7591/9781501734816-009
A. Fuchs
{"title":"Epilogue: Presentist Dystopias or the Case for Environmental Humanities","authors":"A. Fuchs","doi":"10.7591/9781501734816-009","DOIUrl":"https://doi.org/10.7591/9781501734816-009","url":null,"abstract":"","PeriodicalId":252400,"journal":{"name":"Precarious Times","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126862521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Precarious TimesPub Date : 2019-10-15DOI: 10.7591/cornell/9781501735103.003.0002
A. Fuchs
{"title":"Theoretical Perspectives","authors":"A. Fuchs","doi":"10.7591/cornell/9781501735103.003.0002","DOIUrl":"https://doi.org/10.7591/cornell/9781501735103.003.0002","url":null,"abstract":"This chapter analyzes the key terms in the debate on time. Many contributors to the debate on time in the digital era have diagnosed a paradigm shift toward a timeless present that has swallowed up the past. Indeed, network society displaces the sequential order of lived experience by way of a “real virtuality” that immerses people into a world of instantaneity. The chapter then engages with the temporal anxiety that people can no longer narrate history and their own lives as coherent stories. The ongoing debate on time and temporality revolves around a range of interconnected diagnostic tropes that aim to illuminate a fundamental recalibration of the conditions of temporality in the network era: acceleration, resonance, atomization, immediacy, the extended present, time–space compression, network time, and precarious times.","PeriodicalId":252400,"journal":{"name":"Precarious Times","volume":"120 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126143298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Precarious TimesPub Date : 2019-10-15DOI: 10.7591/cornell/9781501735103.003.0006
A. Fuchs
{"title":"Epilogue","authors":"A. Fuchs","doi":"10.7591/cornell/9781501735103.003.0006","DOIUrl":"https://doi.org/10.7591/cornell/9781501735103.003.0006","url":null,"abstract":"This epilogue connects the analysis of time and temporality with a broader perspective on the future direction of the humanities. In 2017, the renowned German writer Juli Zeh published Leere Herzen (Empty Hearts), a dystopian novel that imagines life in postdemocratic Germany and Europe. Zeh's novel does not rank among her highest literary achievements. From a temporal perspective, however, Leere Herzen is an intriguing novel: it places what one might call a “plausible dystopia” within close reach of the disillusioned age. Dystopia no longer designates the final apocalyptic catastrophe that dramatically unfolds in the distant future but rather the gradual erosion of democracy in the here and now. By radically shrinking the temporal gap between now and the future, Zeh's dystopia suspends the future perfect as an enabling perspective that can mobilize preventative action. By contrast to the apocalyptic staging of the tipping point that terminates life on this planet, presentist dystopias envisage the future as unfolding incrementally and cumulatively in the extended present.","PeriodicalId":252400,"journal":{"name":"Precarious Times","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123636363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Precarious TimesPub Date : 2019-10-15DOI: 10.7591/cornell/9781501735103.003.0004
A. Fuchs
{"title":"Contemporary Perspectives","authors":"A. Fuchs","doi":"10.7591/cornell/9781501735103.003.0004","DOIUrl":"https://doi.org/10.7591/cornell/9781501735103.003.0004","url":null,"abstract":"This chapter examines time in contemporary culture. Slowness as an aesthetic practice and a mode of reception features prominently in much contemporary photography and film, defying the fast-paced entertainment conventions and the capitalist commodification of time, as are evident, for example, in recent blockbusters. While mainstream films favor fast-paced cutting, jerky and unfocused panning, or hectic zooming, slow cinema and slow photography embrace grammars of minimalism to interrupt the cult of speed. Slowness in this sense is more than a binary term in opposition to speed: it is an aesthetic art practice that may include the employment of digital or analogue technologies; slow diegesis and slow narrative; the gallery or cinema as a contemplative exhibition or reception space; and a responsive spectatorship. The chapter then debates the concept of slow art in dialogue with international art practice, as exemplified in the performance art of Lee Lozano and Marina Abramović, before analyzing the representation of time in the works of two prominent German photographers: West German Michael Wesely and East German Ulrich Wüst.","PeriodicalId":252400,"journal":{"name":"Precarious Times","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116094107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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