Quotes from “Digital Tarkovsky” by 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.
the image is an impression of the truth, a glimpse of the truth permitted to us in our blindness
We cannot comprehend the totality of the universe, but the poetic image is able to express that totality
An image is not some idea as expressed by the director, but an entire world reflected in a drop of water.’”
Only the point is that there are some artists who make us feel the true measure of things. It is a burden which they carry throughout their lives, and we must be thankful to them.
Why must this everyday smartphone ritual be compared to cinema?
omeone else did not agree. Reality is always a mystery, everyday, he said. But the other one continued: having run out of unknown on this planet, you jump off the edge of a cliff with a GoPro Hero camera attached to your wrist. On the cliff-edge of this utterly mapped world, this is what you do. You think it is about the only thing you can still do. This is like jumping off a flat planet, the medieval planet. You’ve run out of ideas on how to conceive of its spheric shape as an astral body, an alien planet, and of yourself, and others, as utter strangers, as aliens, so in a way there’s nothing there for you anymore, there’s just this flat world. You jump. Off the edge, into the undefined. But the belt catches you.
What characterises this cinematic consciousness, this being in and of cinema? Simply, “the coincidence between the film’s flow and that of the film spectator’s consciousness.” Deleuze surmised that there are two components here, on the one hand “instantaneous sections which are called images,” and on the other, “a movement or a time which is impersonal, uniform, abstract, invisible, or imperceptible, which is ‘in’ the apparatus, and ‘with’ which the images are made to pass consecutively.” [31] This already unravels time’s experience into a distinction between the immediacy of the Now, of the instant, of the playhead, and the larger and even imperceptible space or dimension of time which cannot be grasped in the Now.
The shady goings-on
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.
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