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This chapter predicates its argument on a distinction between the slowness that attends duration and endurance (long time, or taking time) and the slowness that is registered in the feeling of time’s dilation, however long or short (stretched time, or the making of time’s drag). Much less engaged in critical theory or practiced in contemporary art, the latter slowness—the stretching or dilating of time—has valuable lessons to impart to the scholars who may not have time to take but who nonetheless wish to make time feel slow for themselves and their interlocutors. Moreover, that slowing may yield not boredom or...

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