In a moment of click-to-buy instantaneity, Ms. Sozzani looks like a luxury abbess, a lone beacon of calm.
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Perhaps that is why he first tried to oppose Impressionism's immediacy, the instantaneity of things and their changing appearance in light.
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The big question for Baudrillard was always whether this instantaneity gets us closer to the "real world" or, because it's artificial, keeps the world at a distance.
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Aside from Wing Shya's "Kaboom" (2000s), a hypnotizing video that flashes dozens of close-up Polaroid portraits taken by the artist, most of the artworks on show are stripped of their instantaneity.
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"I love the instantaneity of it," she said, although she wouldn't use it as her main bank because it pays no interest on deposits and has no branches to visit in an emergency.
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This incentive emerges when they can use truth and the instantaneity of information to inform a mass audience of current civil disturbances before the regime crushes them, thus inspiring oppositionists to join the resistance.
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The process is similar to the dye-diffusion approach: a graphic is printed onto a sheet of high-release paper and then transferred onto the chosen apparel using high heat and pressure. Heat converts the solid dye particles into a gas through sublimation. The liquid phase is skipped due to the instantaneity of the physical change. This immediacy bonds the released chemicals to the polyester fibers.
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Deschenes explores the materials and properties of photography, light, and perception, often in relation to the architectural environments within which they are displayed. Curator and critic Matthew Witkovsky has written that Deschenes' work "pushes against the basic terms by which photography is conventionally defined: instantaneity, veracity, fixity, or reproducibility." At the same time, Deschenes engages with the legacy of Minimalism, drawing attention to the techniques of the observer by deploying old photographic methods and techniques such as the photogram and the daguerreotype. Deschenes "calibrates her works to the site" in order to reveal the spectator's relationship to the space, whether by encouraging new visual encounters or responding to and disrupting the architectural space.
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During this time, it became possible to record things occurring too rapidly to be seen with the naked eye. This is the central theme of three of Prodger's books—Time Stands Still (Oxford, 2003), which analyses the work of Eadweard Muybridge in relation to contemporaneous motion photography; Darwin’s Camera (Oxford, 2009), which examines Charles Darwin’s interest in recording facial expressions as they occur; and Victorian Giants (National Portrait Gallery, 2018), which connects the drive for instantaneity in pictures with the rise of art photography in Britain. Prodger coined the term ‘instantaneous photography movement’ to describe the mania for taking photographs of rapidly occurring action in the mid- to late nineteenth century. Prodger has also written extensively about Modern photography.
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"THERE'S NOTHING TO READ IN PAINT, ONLY SEEING", for art has grown up and "in place of dream the future will substitute art based on science and the technical". A statement in French, English and German appeared separately at the foot of the page: "Art is the spiritual transformation of (the) material". Page 13 had a sideways print by Schwab, titled "Composition" and dated 1929. The following page was taken up with a satirical attack on art journalism: first "A few words that have nothing to do with art": "sensibility, sensuality, emotion," but also including watchwords of the Cercle et Carré group ("abstraction") and of the Cubists ("instantaneity"); then on the second half of the page a section titled "Critical standards for hire", a verbal collage created from a vacuous "selection of recent items in the press".
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"But not infrequently the sculptor and the painter upset the equilibrium of the work of others by doing things which are out of key or out of proportion." (Arthur Jerome Eddy)Arthur Jerome Eddy, Cubists and Post-Impressionism, A.C. McClurg & Co., Chicago, 1914, second edition 1919 The use of diverging vantage-points for representing the features of objects or subject matter became a central factor in the practice of all Cubists, leading to the assertion, as noted by the art historian Christopher Green, "that Cubist art was essentially conceptual rather than perceptual". Jean Metzinger and Albert Gleizes in their 1912 writing, along with the writings by the critic Maurice Raynal, were most responsible for the emphasis given to this claim. Raynal argued, echoing Metzinger and Gleizes, that the rejection of classical perspective in favor of multiplicity represented a break with the 'instantaneity' that characterized Impressionism.
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