ABSTRACT
As artists around the world increasingly turn their attention to the forthcoming environmental crises, projects and works at the post-anthropocentric cusp of the arts and ecology revolving around concepts such as multi-species, microperformativity or the intertwining of the biosphere and the technosphere have become a central focus. What these strange sounding paradigms suggest is that artists are increasingly attempting to escape the bubble of human exceptionalism by working with and creating artistic and design-based works in which plants, animals, cells, bacteria (and viruses) and machines become central protagonists framed by larger ecological contexts. Yet, the majority of works are still created for human time scales, in terms of both human perceptual experience and the limited time frames of cultural institutions (i.e., the duration of an exhibition or performance). In other words, they are designed for the durations of human perception. This chapter explores the ways that time has been imagined, scaled, staged, organized and indeed, technically produced in the emerging more than human arts, putting forward ideas for potentially new time horizons in these new ecological-technical hybrids.
