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A fragment of time in the pure state: painting in search of haptic time

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A fragment of time in the pure state: painting in search of haptic time. / Harland, Beth.
In: Journal of Visual Art Practice, Vol. 8, No. 1-2, 05.2009, p. 37-58.

Research output: Contribution to Journal/MagazineJournal articlepeer-review

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Harland B. A fragment of time in the pure state: painting in search of haptic time. Journal of Visual Art Practice. 2009 May;8(1-2):37-58. doi: 10.1386/jvap.8.1and2.37_1

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Harland, Beth. / A fragment of time in the pure state : painting in search of haptic time. In: Journal of Visual Art Practice. 2009 ; Vol. 8, No. 1-2. pp. 37-58.

Bibtex

@article{d25209b0017b49608a08efd38ab5f3d3,
title = "A fragment of time in the pure state: painting in search of haptic time",
abstract = "The paper re-presents aspects of a practice-based Ph.D. in which notions of temporality within painting are researched and placed into a relation with digital imaging. The research constructs a means of theorizing process through an engagement with various conceptualisations of duration, alongside the mapping of process derived from studio notes. It proposes an approach to painting's temporality aligned with Proustian {\textquoteleft}time regained{\textquoteright} and the Deleuzian {\textquoteleft}time image{\textquoteright}, and argues that a dialogue with digital imaging offers contemporary painting an expanded topography and contributes to its ability to {\textquoteleft}think{\textquoteright} time in these terms. Painting's time is viewed in relation to haptic visuality and filmic time, moving towards the proposition of a form of haptic time. These reflections are linked to various conceptions of the actual/virtual to suggest that it is through a folding of time that painting, via the digital, might make an approach to pure duration; Proust's {\textquoteleft}fragment of time in the pure state{\textquoteright}.",
keywords = "painting process, digital imaging, time, haptic ",
author = "Beth Harland",
year = "2009",
month = may,
doi = "10.1386/jvap.8.1and2.37_1",
language = "English",
volume = "8",
pages = "37--58",
journal = "Journal of Visual Art Practice",
issn = "1470-2029",
publisher = "Intellect Publishers",
number = "1-2",

}

RIS

TY - JOUR

T1 - A fragment of time in the pure state

T2 - painting in search of haptic time

AU - Harland, Beth

PY - 2009/5

Y1 - 2009/5

N2 - The paper re-presents aspects of a practice-based Ph.D. in which notions of temporality within painting are researched and placed into a relation with digital imaging. The research constructs a means of theorizing process through an engagement with various conceptualisations of duration, alongside the mapping of process derived from studio notes. It proposes an approach to painting's temporality aligned with Proustian ‘time regained’ and the Deleuzian ‘time image’, and argues that a dialogue with digital imaging offers contemporary painting an expanded topography and contributes to its ability to ‘think’ time in these terms. Painting's time is viewed in relation to haptic visuality and filmic time, moving towards the proposition of a form of haptic time. These reflections are linked to various conceptions of the actual/virtual to suggest that it is through a folding of time that painting, via the digital, might make an approach to pure duration; Proust's ‘fragment of time in the pure state’.

AB - The paper re-presents aspects of a practice-based Ph.D. in which notions of temporality within painting are researched and placed into a relation with digital imaging. The research constructs a means of theorizing process through an engagement with various conceptualisations of duration, alongside the mapping of process derived from studio notes. It proposes an approach to painting's temporality aligned with Proustian ‘time regained’ and the Deleuzian ‘time image’, and argues that a dialogue with digital imaging offers contemporary painting an expanded topography and contributes to its ability to ‘think’ time in these terms. Painting's time is viewed in relation to haptic visuality and filmic time, moving towards the proposition of a form of haptic time. These reflections are linked to various conceptions of the actual/virtual to suggest that it is through a folding of time that painting, via the digital, might make an approach to pure duration; Proust's ‘fragment of time in the pure state’.

KW - painting process

KW - digital imaging

KW - time

KW - haptic

U2 - 10.1386/jvap.8.1and2.37_1

DO - 10.1386/jvap.8.1and2.37_1

M3 - Journal article

VL - 8

SP - 37

EP - 58

JO - Journal of Visual Art Practice

JF - Journal of Visual Art Practice

SN - 1470-2029

IS - 1-2

ER -