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This course approaches an examination of contemporary artistic practice, time, and new media from an interdisciplinary perspective. How, in recent artworks, is time evoked and denied, measured and transformed, linear and looped? How is time experienced differently according to class, race, nationality, and sexual identity? How has an interrogation of speed, duration, and scale become interwoven with a consideration of art and new media from the late 1960s till today? As Jonathan Crary argues, the era of late capitalism’s non-time operates on a twenty-four-hour clock in which management of attentiveness and the impairment of perception combine with compulsory routines and mimesis. This encourages a revisitation of the history of perceiving with and through various media of the last century ranging from the video works of Nam June Paik to Christian Marclay’s The Clock of 2010. Tracing the history of reproductive technologies from the introduction of inexpensive handheld video cameras and concluding with the normalizing of digital technologies in recent art, this class interrogates the intersections of art, time, and new media within a broader consideration of recent media theories as they relate to a consideration of time.