Suchergebnisse

Intro -- Copyright -- Contents -- Foreword -- Ellon -- In October in the Kitchen I Listen to My Son -- Object Handling -- When It Hit Me It Was Slow, It Was Multiple -- dining -- Cleaning the Teapot -- 10:15 -- Fish House -- Weekend -- Rhaeadr -- Friday afternoon -- At Limekiln Dock -- Colour Job -- Y Gwdihŵ -- Ice Well -- Waking Up the Stones -- L'Ospedale -- Sign at the Start of the Road -- What Great Speed In Guernsey -- That water -- Mid-Atlantic Ridge -- Dear Loris -- Stuck in a Traffic Jam on the M25 -- Ode to Getting On -- You'll Get to Know Time -- May -- The Seventh Deadly Sin -- Muzzy McIntyre -- 'Wooden boulder (1978)' -- Parkin -- Cigarettes -- Acknowledgements -- About the Emma Press.

CONTENTS -- Preface -- Acknowledgements -- 1. Slow Living in the Global Everyday -- Slow living -- Everyday life -- Global culture -- Slow arts of the self -- 2. Slow Food -- Origins, philosophy and structure -- Projects -- Citt Slow -- New social movements and Slow Food -- 3. Time and Speed -- The temporalities of modernity -- An ethics of time -- Sloworld? -- 4. Space and Place -- Home and work -- Deterritorialization, the local and place -- Terroir and tradition -- Citt Slow -- 5. Food and Pleasure -- Pleasure -- Authenticity and taste -- The shared table -- 6. The Politics of Slow Living -- Visualizing global social movements -- The politics of eco-gastronomy -- Life politics -- Conclusion: Rage against the (bread) machine? -- Endnotes -- Appendix 1: Official Manifesto for the International Movement for the Defense of and the Right to Pleasure -- Bibliography -- Index.

AbstractThis article develops the idea of slow loss as a relationship to time, space, and feeling that Black feminist theory has described in distinctive ways, helping readers to consider both Black female subjectivity and the stakes of Black feminist theory anew. This article travels with the central and undertheorized place of slow loss in the Black feminist theoretical archive at least in part because of a desire to emphasize Black feminist theory's long-standing investment in understanding and describing the subject position of Black woman.

SLOW DANS, 2019 Ten channel video projection Duration: 25 minutes SLOW DANS is a trilogy of three separate video works: KOHL, FELT TIP and THE TEACHERS which were conceived to be exhibited together. Expressed through a fictional past, an imagined future and a parallel present, each work touches upon recent social and political histories ranging from the systematic abandonment of coal mines, through technological and demographic revolutions of the office, to the corporatisation of education. KOHL, 2018 Four channel video projection Duration: 6 minutes When coal-mines are abandoned, one invisible result is that groundwater swiftly floods the underground tunnel systems. This information provides the premise for KOHL, a four channel video which imagines all the subterranean architectures of coal mining - the only mining architectures that still exist - unified as a single network by the liquid that now courses through them. The title KOHL gives a name to this liquid which, within the fiction of the work, acts as a febrile medium of transmission. Sound travels through it, and in particular, it conveys voice - songs and jokes - as expressive bodily emissions. The story is delivered by four narrators, each 'speaking' through a different projection. The projectors and screens are all oriented vertically, to stand in at various points during the story for flooded mine shafts, carboniferous swamps, ink wells, blackened lungs and digital caches. The work features the 35mm photographs of Albert Walker, courtesy of the National Coal Mining Museum for England, Wakefield. These show mine head architectures during the main period of mine abandonment in the UK, between the late 70s and the late 80s. FELT TIP, 2018 Two channel video projection Duration: 9 minutes In jokes, slang and innuendo, single things can take on multiple names, and different things may share the same name. This elasticity of naming and meaning underpins the short, narrative video called FELT TIP. The title of the work itself is the single name lent to many different things, shown, described or implied during its course. A 'felt tip' is slang for a man's neck tie, when worn by a woman - or so the narrators claim. In the fictional and futurological office world that they describe, a 'felt tip' is also a colloquial term for the fingertips of administrators - predominantly female - who are employed to retain vast corporate archives encoded within the DNA at the ends of their fingers. And within this fiction, it is also still a pen - with a soft, fabric wick. To write is also to commit to memory. This is true individually and collectively. In the digital age we may now only use ink in certain legal rituals, but we still use the word 'write' to describe how we encode files to memory storage. The administrative narrators of FELT TIP, employed to physically bear knowledge which is not their own, usurp and détourne the symbolic efficacy of the neck tie. They use it as a prop to compose a history of inscription - from ink to bytes via the Jacquard loom - and in so doing compose a marker for their own unwritten sexual history. (EP) THE TEACHERS, 2019 Four channel video projection Duration: 10 minutes A chorus of four narrators describe a strange contagion of elective muteness which once spread rapidly through certain professional groups. The worlds of publishing, museums and galleries were all affected to some degree, but academia succumbed particularly. It is primarily because of this - the narrators declare in unison - that all those who declined to speak as part of this phenomenon, soon became known as THE TEACHERS. As a proxy for speech, those affected made elaborate costumes and performed sombre rituals or slow dances. These became infamous for their absurd and profane gestures, and their singular use of oral percussion. For whilst all THE TEACHERS renounced speech, a minority still made a few distinct, non-verbal sounds. These include clicks, howls and hisses. The spine of a book is so called, because early bookbinding used animal hide to make covers, and for the sake of symmetry, aligned the spine of the hide with the fold of the book. The imagery of THE TEACHERS - points to a connection between the opening and closing of the pages of a book with the opening, closing and turning gestures of a human body.

Abstract: Recent critical thinking on anthropogenic climate change has mourned cinema's ability to capture the slow violence of large-scale environmental degradation and foresee a future of environmental disaster that is unchecked because it remains invisible to aesthetic representation. This essay argues that the rise of slow cinema aesthetics, particularly the affective mode of anxiety that it cultivates through the chronic violence of the long take, is one aesthetic approach within contemporary cinema to mediate slow violence. This argument is developed through a close reading of Tsai Ming-liang's film, I Don't Want to Sleep Alone (2006), paying particular attention to the representations of ambient toxicity, the exhausting forms of reproductive labor on display, and the queer forms of intimacy that are cultivated throughout.

In this article we seek to expand on the developing interest in Slow Violence and how it relates to immigration and asylum, by exploring how such violence is resisted. Following Foucault's insight that in order to better understand power, it helps to study resistance to it, we draw on original research into acts of protest by refugees and asylum seekers in Scotland, and connect this to existing research on experiences of and resistance to the UK asylum system. In so doing we offer 'Slow Resistance' as a potentially useful concept with which to understand resistance not just to a particular configuration of power relations, but to a particular form of violence. The conceptual utility of Slow Resistance lies in its ability to illuminate: the particular operations of power/violence in the UK asylum system; the multiple forms of resistance to this violence/power; how these forms of resistance may be connected (thus discouraging the 'silo-ing' of analysing different forms of resistance); and how time is creatively engaged with by such forms of resistance. If, as has been argued, a particular challenge of slow violence is representational – how to devise arresting images and stories adequate to this form of violence – then resistance has the potential to focus our attention on it, and to gradually prepare the ground for meaningful change. While developed here in relation to the UK asylum system, slow resistance is a concept that we think can be useful in a wide range of contexts in which slow violence operates.

A sailor crossing the Atlantic in a small yacht would want to minimize excess baggage. But it would be unthinkable not to carry more fresh water than seemed necessary, to survive unexpected calms or storms. Yet the imperative of profit, especially over the last century, has driven modernity towards 'lean, mean' strategies in every area of life; squeezing waste out of commercial, technological and environmental systems may make money in the short term, but is our highly geared, highly strung way of life sustainable? Andrew Price, sailor, explorer and environmental scientist at the Uni