the schnellzeit project

We step and do not step into the same rivers; we are and are not. [Heraclitus of Ephesus: Fragment 49a]

First Statement

In translation, ‘schnellzeit’ is ‘quick time’ or ‘fast time’. The concept of ‘schnellzeit’ is coined from the notion of ‘dream time’ of the Australian aborigines 1 who used cave paintings as ‘tools’. Together with music, the paintings would open up ‘dreamtime’. 2 The status of painting as a ‘tool’ no longer exists in the ‘modern’ world. This is in part due to the loss of the aura. 3 This loss has changed the way we see things, the ‘experience’ has disappeared. 4

The main thesis of the ‘schnellzeit’ project is that there is a constant desire to ‘experience aura’ that is not satisfied. A longing and ecstatic search ensues. First and foremost in the domain related to speed, cars, amusement rides, many types of sports, movies, videogames, etc.
At speed, one can laugh, dream, forget, loose one’s consciousness. 5 The faster, the more intoxicating, the more ‘spiritual’ the ‘experience’ can become. 6

This is where the ‘schnellzeit’ project enters the stage: The desire to dissolve into speed is fulfilled, the glance is accepted as a vehicle. Coloured panels with lines (stage 1) are connected with music loops. ‘Schnellzeit’ is to be initiated through trance-like contemplation.
How exactly the parallel world of ‘schnellzeit’ looks remains open. 7 8


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