Project MUSE®: Diacritics - Latest Articles
https://muse.jhu.edu/journal/46
Project MUSE®: Latest articles in Diacritics.daily12026-05-14T00:00:00-05:00text/htmlen-USVol. 26 (1996) through current issueLatest Articles: DiacriticsTWOProject MUSE®Diacritics1080-65390300-7162Latest articles in Diacritics. Feed provided by Project MUSE®Deceleration: Introduction
https://muse.jhu.edu/article/986640
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Decelerated aesthetics explore the perceptual modes, intensities, and durations of the many conflictual histories that subtend contemporaneity. From philosophy's rhythms to textured and elastic time in sound and image alike, this special issue gathers five distinct approaches to deceleration across different media (music, photography, film, theoretical writing) that have in common an orientation toward what it would mean to dwell in the openness and immeasurability of time, against its regimented tempos. Underlying this orientation is a shared concern with deceleration as a mode of relationality that resists the insistent—even murderous—metrics of the present. Deceleration, as the essays collected here theorize it
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/46/image/coversmallDeceleration: Introduction2026-03-31text/htmlen-USDeceleration: Introduction2026-03-312026TWOProject MUSE®245372026-05-14T00:00:00-05:002026-03-31Barthes's Detours: Deceleration and the Ethics of the Neutral
https://muse.jhu.edu/article/986641
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Roland Barthes's thought is the thought, I have been thinking, of the detour—insofar as his work traces a rigorous, lifelong attempt to make sense of oblique structures or, more precisely, the inhabitation (tactical, pleasurable) of oblique positions with respect to structures—especially the normative structure that is, in Barthes's terms, the doxa. The doxa and its rigid binarity produce the meanings that ground the petrified givenness of the given world; the doxa is what Barthes, throughout his life and oeuvre, tried to escape, baffle, or outplay, and the harshness which he tried to at least delay in delicious ways, in durations that suspend the demand to mean-something. But Barthes's thought is the thought of
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/46/image/coversmallBarthes's Detours: Deceleration and the Ethics of the Neutral2026-03-31text/htmlen-USBarthes's Detours: Deceleration and the Ethics of the Neutral2026-03-312026TWOProject MUSE®783772026-05-14T00:00:00-05:002026-03-31Thick Time and Anticarceral Relationality: Garrett Bradley's Time and the Music of Emahoy Tsege Mariam Gebru
https://muse.jhu.edu/article/986642
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"Time is what you make of it. Time is unbiased. Time is lost. Time flies. This situation has just been … a long time. A really long time.""What counter spells are powerful enough to break the prison stranglehold on our imaginations? … But the spell is never total. … Imagination is excess, is that which could never be contained by the prison, that which will always exceed it."Sometimes referred to as the "Italian Alcatraz," the tiny island of Asinara (52 km2or 20 mi2) lies off the northwest corner of Sardinia (Figure 1). It is home to some of the oldest rock formations in the region, black anfiboliti erciniche, which are 950 million years old. In part for this reason, Asinara is on UNESCO's tentative list for World
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/46/image/coversmallThick Time and Anticarceral Relationality: Garrett Bradley's Time and the Music of Emahoy Tsege Mariam Gebru2026-03-31text/htmlen-USThick Time and Anticarceral Relationality: Garrett Bradley's Time and the Music of Emahoy Tsege Mariam Gebru2026-03-312026TWOProject MUSE®1487062026-05-14T00:00:00-05:002026-03-31Deceleratory Encounters with Measures of Modernity: A Still Life
https://muse.jhu.edu/article/986643
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For a woman whose life was immeasurable …We are not only defending … the right to pause in life, but above all, we are saying that the time of life, that which matters, is not just the one you believe to be useful because it produces. Time is not just the constrained time that is socially useful, that of work—it is also free time. And free time is the time of life, not inactive, but the life we have control over, where we decide for ourselves what we will do. … Free time is the time when we have the possibility to be fully human.Addressed to a large crowd of protestors against the impending law to increase the retirement age in France, Jean-Luc Mélenchon's speech is an impassioned defense of free time, the
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/46/image/coversmallDeceleratory Encounters with Measures of Modernity: A Still Life2026-03-31text/htmlen-USDeceleratory Encounters with Measures of Modernity: A Still Life2026-03-312026TWOProject MUSE®1244112026-05-14T00:00:00-05:002026-03-31The Slowest Music in the World: Soundtracks for the Long Term from John Cage to the End of Time
https://muse.jhu.edu/article/986644
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A few years ago, on the "before" side of the pandemic that still occasionally feels like it hasn't had an "after," I was in Germany for a symposium on media history that was convening in Berlin. Since the flight from my home in California was on the long side—though this phrase is about to sound wildly inappropriate given some of the durations that concern me here—I gave myself a couple of extra days to see some other parts of a city I had only been to once, and with some luck and a good train schedule, to hear some music in the nearby town of Halberstadt. There was always a chance I'd get delayed and miss my flight back from Berlin, but I didn't have to worry about when exactly I might arrive in Halberstadt
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/46/image/coversmallThe Slowest Music in the World: Soundtracks for the Long Term from John Cage to the End of Time2026-03-31text/htmlen-USThe Slowest Music in the World: Soundtracks for the Long Term from John Cage to the End of Time2026-03-312026TWOProject MUSE®1193862026-05-14T00:00:00-05:002026-03-31Still Moving: The Decelerated Image
https://muse.jhu.edu/article/986645
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"in the stillness / Between two waves of the sea""An image is a grain, / a self-evolving retroactive organism""But an instant … already something else"It is said that photographs hold time. That they capture a sliver of the world. That in this sliver—a slice of time, a snapshot, a fragment, a fraction, an infinitesimal grain—dwells another world, belonging to another time. Perhaps many possible worlds with many possible temporalities; futures, pasts. In this way, the photographic image, the image seemingly perfectly stilled but never truly static, as we shall see, functions as a kind of house, a storage site or repository of time, an archive. This same image still moves. It constitutes, as David Campany, following
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/46/image/coversmallStill Moving: The Decelerated Image2026-03-31text/htmlen-USStill Moving: The Decelerated Image2026-03-312026TWOProject MUSE®1485672026-05-14T00:00:00-05:002026-03-31Images
https://muse.jhu.edu/article/986646
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I live and work on the island of Berneray in the Outer Hebrides, Scotland—a speck amidst a chain of islands on the edge of the Atlantic Ocean.To dwell in such a place, where the forces and cycles of nature are extreme, is both inspiring and humbling. Nature here is dictator, rhythm setter, and provider, despite our technological advancements.I work creatively with natural phenomena, taking my inspiration from the complexity, strength, and beauty of the oceans and wild lands. I have learnt to work with the elemental qualities of these environments, embracing the harshness of such places and channeling these forces and qualities into creative outputs. I view myself as a medium for making visible that which we
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/46/image/coversmallImages2026-03-31text/htmlen-USImages2026-03-312026TWOProject MUSE®231422026-05-14T00:00:00-05:002026-03-31