Abstract The glowing light of cinema, which continues to claim supremacy as a collective site for evolving senses of time, has fundamentally changed since its inception, from exclusively projected light to primarily emitted light. Digital, rather than analog projectors, dominate in personal rather than public spheres. The physiological and behavioral effects of those technologies manipulate our biological clocks, creating an entanglement of time-sensing. Similarly, the art of cinema now relies far more upon energy-intensive materials and methods, from equipment to image manufacturing and data flow. This essay takes the twelve-hour clock as a slanted optic to address those profound shifts, choosing a handful of moving-image artists to feature, including Deborah Stratman, Nikolaus Geyrhalter, and Mikael Kristersson, who are attempting to find alternative temporal modes of depicting the hyperobjectiveness of eternity, ecocrises, dystopias, and deep time on screen.

中文翻译：

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实物中断

摘要 电影的光芒继续声称是时间观念进化的集体场所的至高无上的地位，自其诞生以来发生了根本性的变化，从完全投射光到主要发射光。数字而非模拟投影仪在个人领域而非公共领域占据主导地位。这些技术的生理和行为影响会操纵我们的生物钟，造成时间感知的纠缠。同样，电影艺术现在更多地依赖于能源密集型材料和方法，从设备到图像制造和数据流。这篇文章将 12 小时制作为一种倾斜的视觉来解决这些深刻的转变，选择了一些动态图像艺术家作为特色，包括 Deborah Stratman、Nikolaus Geyrhalter 和 Mikael Kristersson，