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Citati iz knjige „Digital Tarkovsky“ autora Metahaven

If that is the case, you are not alone. It is reported that in the US alone, the average adult spends two hours and 51 minutes on their smartphone every day.
Tarkovsky forces us to experience the fact that things take time.
that extends beyond the frame.
Instead, its drama is the unfolding of entropy itself. As in life, irreversibility is the driving force of the narrative.
the pace of everyday experience is dictated by digital updates, there is always a remainder of experiences that don’t obey this rhythm.
e’re competing with sleep, on the margin. And so, it’s a very large pool of time,” Hastings said. [11]
The thickness of reality increases when measured against the relentless pacing regimes of Facebook, Twitter, and Instagram. Our impression of the viscosity of a Now, when measured against the undeclared cinematic regime of platform-based pacing, increases, and brings us back to Tarkovsky, a progenitor of slow cinema.
Rhythm is determined by the “pressure of time” that runs through the edited pieces, and not by the length of the cuts. To join up different parts, their time pressure has to match. “One cannot, for instance, put actual time together with conceptual time, any more than one can join water pipes of different diameters
pacing presents some important starting points for thinking about platform temporality. Platforms direct narrative arches and cliffhangers, shaping themselves around a user’s needs and attention.
we see “a more complex simultaneity and folding of temporalities

How deeply set are we into these? Are we even aware of what we see and how we are ingratiated into it

rarely accounted for difference or gap between life and platform.
Bodies move slower than platform updates would like them to think they could. So does a traffic jam, so does sleep, so does waiting for a message or update that one hopes to receive, but never actually gets. So are aspiring, hoping, wishing, praying.
As Tarkovsky explains, the conflict is between war and the child. It is not within the child.
Instead of just taking duration to be the measure of any curve between a pair of points in spacetime, cinema takes it to be the time that has passed between a film’s beginning and end and uses this to classify films according to their length. According to the British Film Institute, a feature film should be 40 minutes in length or more. The Screen Actors Guild puts its shortest acceptable feature at 80 minutes.
If a film is, by cinematic convention, defined as having a beginning and an end, what would a film be in special relativity? Beginning and end form a pair of points, but the film has no definite length, or more precisely, no definite answer can be given to the question of the time difference between beginning and end. The same film has as many possible durations as there are curves that connect the points that were arbitrarily named beginning and end
So, while the pacing of updates and prompts on various platforms and devices may be interpreted as an undeclared form of cinematic editing, the fact that we live more and more, but still not all of our lives on Facebook means that there remains a rarely accounted for difference or gap between life and platform. For example, Reed Hastings, the CEO of the Netflix movie streaming service, has determined that the platform’s biggest competitor is not another digital service, but sleep
Platforms direct narrative arches and cliffhangers, shaping themselves around a user’s needs and attention. All of this is crucially dependent on the user reciprocating. The platform experience becomes increasingly lengthier, while more user data feeds back into the platform. Leif Weatherby contends that “as we live more of our lives on platforms such as Facebook, even the line between mind and matter is up for grabs. Think about Elon Musk’s proposal to jack your brain into the social network directly, surpassing the necessity for typing
The music “My Girl” by Otis Redding, echoing through the empty space, comes exactly at the wrong moment. Because it’s so beautiful. Because it reminds you of what matters most: acceptance. Forgiveness. Because it reminds you of things as they are rather than how you would like them to be. So it reminds you of the person you should be.
In China in 2018, the average daily time spent on a mobile device has begun to exceed time spent watching television, increasing to two hours and 39 minutes per day
One of the most central qualities of Tarkovsky’s films is how they make us feel the flow of time — even if such a flow is more of a human experience than an accurate scientific observation. Put differently, Tarkovsky forces us to experience the fact that things take time.
“If it were possible to demonstrate that lived reality is always a construct of the imagination and thus perceived only on condition of being fictional, irreducibly haunted by phantasms, then we would finally be forced to conclude that perception is subordinated to — is in a transductive relationship with — the imagination; that is, there would be no perception outside imagination, and vice versa, perception then being the imagination’s projection screen. The relationship between the two would be constituted of previously non-existent terms, and this in turn would mean that life is always cinema [...].”

"Якщо б можна було продемонструвати, що жива реальність завжди є конструкцією уяви і, таким чином, сприймається лише за умов вигадки, непримиренно переслідується фантазмами, то ми, нарешті, будемо змушені зробити висновок, що сприйняття підпорядковане - знаходиться в трансдуктівному відносини з - уява; тобто, не існує сприйняття поза фантазією, і навпаки, сприйняття, що є проекційним екраном уяви. Відносини між цими двома будуть складатися з раніше відсутніх термінів, і це, в свою чергу, означатиме, що життя завжди є кінематографом [...] ".

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