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Thoughts about slowness

Slow and fast are not absolute terms, they always relate to human perception. Conflicts arise due to differing interests and, as far as I can see, are a very typical human theme, not only in modern times.
I associate "fast” with -- emergency, attack, defense, etc. Otherwise, speed is hardly ever necessary. A saying goes: "haste is the worst companion to the craftsman”. Haste is purposeful, always used in a case of emergency, where anything not essential to a situation must be left out. Meaning, one must judge and choose between what is vital and risky, necessary and irrelevant, useful and useless.
If haste becomes a way of life then one is in a constant state of emergency, always tense, with all its inherent accompanying side effects, such as higher hormone dosages, rapid breathing, and a deficit in human perception. The fast lane of "time use”, in a society where "time is money” offers no parking spaces.
A deficit in visual perception is not compensated by "allotting oneself more time”, but rather through consuming, television, loud music, driving, eating out, adventure holidays—the importance of sex, etc. is practically inherent to the system. (Such a society need not wonder about the rise in violent potential, it is a consequence.) Our perceptual organs are the window to the world. Out of the sheer, endless spectrum of frequencies we humans only perceive a fraction and then only as five different aspects (five senses). Because we cannot process everything we see, hear, feel, etc. simultaneously, our brains must constantly choose and favor certain impulses over others, or register them one at a time. Out of the mass of constant impulses, some information is grouped into patterns. Through culture-specific experiences further patterns are defined, through which, for example, noise becomes language or music. To interpret perception it is necessary to seek out and recognize patterns, and sometimes, humans see patterns where there are none (i.e. star constellations). The question arises: how far apart can these singular impulses be to still enable a pattern to be recognized.? If the speed is too great then only the movement is recognizable (i.e. images in booklets, when thumbed through quickly, dissolve into a film segment); if the distance between is too great or the pattern unrecognizable, no link is made (Some japanese music, for instance, seems to our "western” ears to only be comprised of clangs and noise, without any perceiveable structure, but if the speed of the music is increased, we suddenly recognize rhythm and melody. John Cage’s interpretation of a Bach composition in a church in Halle a.d. Saale is a good example: the organ piece will take approx. 600 years to complete, because it is the artist’s wish that it be played as slowly as possible.)
In a production process it sometimes is useful to employ haste, so that something "good” can be produced (i.e. when watercoloring, or glueing, etc. where the medium could no longer be used as it was intended).
The importance of slowness is being able to allow yourself time, to hear, to see, and to give the brain time to associate. Each situation has its own time and timeplan. Artistic production is not definable as time work—art is only partially a product. Most certainly there are times of interface where artistic expression is marketable, but the economic thought must be an inner content. Criteria for quality cannot be effort expended and costs, but rather the "purity” and consequence of image and execution. Slowness in terms of ripeness. In my artistic search, the final product is not the most important thing, it is the process. The "art objects in themselves are not the goal of work, they are materialised situations of a process.” An Art Academy is not an institution which provides the student with a profession, but rather offers help to develop the student’s personality. Art is initially useless, which is not to be confused with meaningless. Art is purpose-free, but full of meaning, which can be of use to society.
"Taking one’s time” is not only important to me when creating and producing my work, "time and rhythm” are its subject.