Abstract
Abstract Through both the viewing and the reading of art, Ali Smith’s 2016–2020 tetralogy, Autumn, Winter, Spring, and Summer, posits an ethics of meaning-making that responds to the multiplicity of time-as-it-is-lived. This essay explores how Smith portrays the viewing of art as an experience of temporal disjuncture by which habitual modes of perception and cognition are renewed. Ordinarily produced through a sequential linking of cause and effect, meaning is formed instead through a postcritical engagement, which proposes an interactive mode of understanding that operates within a network of relations. Open to difference and to alteration, this mode of interpretation is, I suggest, demanded from Smith’s readers as, through ekphrasis (the verbal description of visual art), Smith suspends the temporal progression of narrative form.
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