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Experiments with shifts of pace and focus are something we are used to associating with modernism. Indeed, they are one of the most obvious things modernism's particular creativity and innovation seem to be built on. To mention these key terms in sequence easily makes one think of Eadward Muybridge's photographs of running horses, of Albert Einstein's physics, of paintings by Claude Monet that, as Jonathan Crary describes them, try to prolong and expand a momentary sliver of perception.71 Such changes of proportion show modernists something new about themselves and about their world. They also...
Experiments with shifts of pace and focus are something we are used to associating with modernism. Indeed, they are one of the most obvious things modernism's particular creativity and innovation seem to be built on. To mention these key terms in sequence easily makes one think of Eadward Muybridge's photographs of running horses, of Albert Einstein's physics, of paintings by Claude Monet that, as Jonathan Crary describes them, try to prolong and expand a momentary sliver of perception.71 Such changes of proportion show modernists something new about themselves and about their world. They also give modernists reasons to value as sources of knowledge constellations of objects and experiences to which society might have not previously accorded much weight: among them, dreams, anecdotes, tics, and photographs. To be able precisely to maintain and describe such different kinds of attention seems in itself a form of philosophy, or of an art that approaches philosophy's precision and aims. To act on one's investments in such new perspectives is also the beginning of a revisionary politics.