My record-buying and listening pattern is a combination of impulse, artwork, artist, review, and genre. I tend to listen exhaustively, by which I mean I latch on to an artist or group and pick up whatever I can from them until their music is either assimilated into my listening-repitoire or the buzz of the new music simply fades. Most music falls into the latter group but it doesn’t matter.
John Keene and Christopher Stackhouse’s *Seismosis* arrived today. It’s a wonderful-looking book with texts by Keene and drawings by Stackhouse. I don’t know the latter’s work but Keene’s *Annotations* has been one my favorites lately.
Further thinking about slow movies has brought me to both a more general and a more specific idea about the distinction of slow culture, inspired in part by this insightful piece by Matt LeMay.
Slow media are not necessarily the same thing as slow culture, though they are certainly related. The term *slow media* as I’m using it here refers to a direct, physical contact with a medium’s material; *slow culture*, on the other hand, is not so limited and refers to a culture which produces reflective, meditative, deliberate, and/or restful gaps in its material. Mainstream culture’s works bear revisiting because we look forward to the known satisfaction of their resolution; how we get there is less important than that we know it’s coming, and, for the most part, the sooner the better. Slow culture’s payoff comes generally in the works’ process. That is, slow culture gives its participans and audience members a chance to think about what they’re participating in while they’re participating in it. This thoughtfulness is essentially creative and mutual, an investment by the artist in the audience as well as an investment by the audience in the work.
On the left is a book called Circles of Confusion: Film · Photography · Video: Texts 1968-1980 that was written by the man on the right who was (in his lifetime, from 1936 until 1984) and is called Hollis Frampton. It is a book of essays, most of which were originally published in Artforum magazine when it was edited by Annette Michelson, a film theorist and critic whose abundant and energetic wing fostered three generations of scholars and filmmakers, including and perhaps especially, Hollis Frampton.