Abstract
This paper analyzes the temporality of the moving image and its manipulation as conceptual resource in the work of Douglas Gordon. The analysis is based on the specific characteristics of the type of artistic production of the time-based new media, i.e. those artworks that rely on technology and the temporal duration as interpretive dimension. The intent of this article is to reflect and discuss the different temporalities that appear in the work of Gordon and reveal the connections between their temporary resources and ideological critique. So, at first explores the relationship between perception and language to go on considering the slowing down of time and the shift of focus of attention in his work that reveals relationships of ideological and contextual type.
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