Infrastructures of Time: An Introduction to Hardwired Temporalities

Stine, Kyle; Volmar, Axel

doi:10.1515/9789048550753-002

Cited by 3 publications

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“…In other words, the instrument of time references the external affordances of the instrument to govern through time, while time in policy instrument directs attention to its inner workings-that is, its time-critical factors and disparate temporal processes essential for smooth operation (cf. Stine & Volmar, 2021). Yet the distinction between inner and outer is not clear-cut, and as we have shown, regulations imposed on the internal workings of the instrument perform many of its external governing functions.…”

Section: Discussionmentioning

confidence: 90%

Taming the time zone: National large-scale assessments as instruments of time in the Russian Federation

Piattoeva

Vasileva

2023

EPAA

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Nationwide large-scale assessments (NLSA)—an example of cross-border policy mobility—manifest a proliferating means of governing formal schooling. In the Russian context, NLSA takes the form of a compulsory graduation examination called the Unified State Examinations (USE). In this article, we explore how a mobile policy instrument of the NLSA participates in the relational processes of time- and space-making in a particular federated context of Russia, and how this process intertwines with and is shaped by the presence of multiple time zones. We argue that NLSA is an instrument of time that attempts to achieve centralization of the complex federated structure of the Russian Federation. Yet, the work of the NLSA is not a smooth process in a country characterized by territorial vastness, a complex federated structure, and the existence of multiple time zones. Guided by the theory of logistical power and sociological perspectives on time, as well as empirical insights, we show how the time zones need to be tamed in order for the NLSA to exercise its centralizing role. Discursively, the time zone is introduced and publicly discussed to symbolically characterize Russia and justify political actions or their outcomes. Bureaucratically, the desire for simultaneity and synchronicity takes the form of a meticulous ordering of a sequence of actions through prescriptive documentation that regulates the NLSA. Technologically, synchronicity, simultaneity, and instantaneousness rely on and engender an expanding national infrastructure that mediates social relations and the processes of conducting the NLSA, cutting across the time zones and federal units. Based on this analysis, we propose that scholarship on policy mobility and education policy sociology at large could benefit from examining the relationship between time and education policy and governance in four intertwined ways: the time of policy, context as time, policy instruments as instruments of time, and time in policy instruments.

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Section: Discussionmentioning

confidence: 90%

Taming the time zone: National large-scale assessments as instruments of time in the Russian Federation

Piattoeva

Vasileva

2023

EPAA

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“…In this respect, although the creative possibilities afforded by technologies such as digital samples have been thoroughly discussed, the experience of library composers such as ‘Victor’ hint at the ambivalent relationship that these musicians may have with such tools, valuing their potential yet feeling unable to stay up to date with constant new releases of sample packages. While the economic factor behind this is a frequent conversation topic among library composers (with good quality samples commanding high prices), we must also take into account the time-related challenges that may lead composers to limit themselves to the same virtual instruments and sounds – revealing how, in library music, too, temporal shifts brought by digital technologies may ‘exert pressures of conformity and standardization’ over different experiences and processes (Stine and Volmar, 2021: 11).…”

Section: Composers In a Hurry (Again): Labour Strategies And Practicesmentioning

confidence: 99%

“…This is by no means a recent phenomenon, though it became more pronounced from the nineteenth century onwards, with the widespread change in musicians’ status from paid employees to freelance ‘entrepreneurs’ (Weber, 2004). However, as is the case with other music industries today, the production of library music is informed by a fundamentally capitalist perspective, where time is thought of as a scarce resource that must be carefully managed to ensure greater efficiency and productivity (Wajcman, 2015: 39) – in other words, a logic where ‘Time is now currency: it is not passed but spent’ (Stine and Volmar, 2021: 24).…”

Section: Composers In a Hurry (Again): Labour Strategies And Practicesmentioning

confidence: 99%

“…These changes, of course, cannot be simply reduced to a homogeneous (and homogenously felt) acceleration. As Stine and Volmar (2021: 9) argue, this apparently ubiquitous ‘technological and cultural acceleration’ conceals in truth complex relations within (and between) technologies. Likewise, Lohmeier et al (2020: 1522) stress that, while ‘speedup seems to be the preferred sort of temporal existence associated with digital data’, our interactions with such digital systems are not solely defined by a ‘speedup’, as it coexists with different temporal modes.…”

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confidence: 99%

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Library music as a matter of time

Durand

2024

Time & Society

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The industry of library music (pre-existing pieces that can be licensed for use in media) has grown considerably in the past two decades with its transition to a digital medium. A rising number of composers rely on this music as a source of income, along with audiovisual creators who increasingly use it in their productions. This expansion has accentuated a fundamental aspect of library music: the creation of large quantities of tracks at breakneck speed. Parallel to this, the video editors and videographers who form library music's main client base experience tight production deadlines where the choice of music is often left as an afterthought. This article explores the implications of the sped-up creation and use of library music in the current online media landscape. Although the interactions of composers and videographers with this music are often fraught with concerns of limited time, their attitudes towards this acceleration vary considerably: for instance, composers describe their fast-paced work in widely different ways, viewing it as a constraint, or, on the contrary, as a positive and freeing aspect. That being said, the sense of urgency shared by these agents has wide-ranging impacts on every step of the ‘life’ of a library track, from its composition and presentation to its selection and synchronisation with images. As composers attempt to appeal to hurried videographers browsing libraries, these, in turn, resort to this music as an invaluable strategy to retain their audience's attention. Furthermore, sonic stereotypes that are prevalent in library music are valued as communication shortcuts in audiovisuals where messages must be conveyed through instantly recognisable musical formulas. In addition to broader impacts on the workings of library music, this widespread perception of ‘lacking time’ is also a vital factor that shapes its sonic characteristics themselves, making library music truly a matter of time.

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Revolution Unfolding: The Historical Present between ‘Real Time’ and Latency in Found Footage Filmmaking

Laub

2024

Cinéma & Cie

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The inextricable connection between uprisings and technologies of audiovisual recording and broadcasting, especially within an ecology of digital networks, suggests the possibility to follow events in ‘real time’. This paper asks how filmmakers explore the complexities of this notion—and the questions of spectatorship, temporality and mediation that are attached to it—by drawing on the an-archive of protest footage. It is especially interested in the ways in which found footage filmmaking manages to (re-)create a sense of the historical present without resorting to a flat presentism. How do filmmakers re- and deconstruct experiences of ‘real time’ and the fraught notion of immediacy it proposes? How do their narrations attempt to give shape to the openness of the present moment? And how do they negotiate the latent historicity of events? To approach these questions, the paper undertakes a close reading of two films, Fragments of a Revolution (anonymous, 2011) and Videograms of a Revolution (Harun Farocki and Andrei Ujică, 1992), thus drawing a connection between digital and analogue ‘guerilla images’.

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Infrastructures of Time: An Introduction to Hardwired Temporalities

Cited by 3 publications

References 0 publications

Taming the time zone: National large-scale assessments as instruments of time in the Russian Federation

Taming the time zone: National large-scale assessments as instruments of time in the Russian Federation

Library music as a matter of time

Revolution Unfolding: The Historical Present between ‘Real Time’ and Latency in Found Footage Filmmaking

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