Abstract
He [Lynch] said so much music [in general] would sound better if it were played slower. The glitchy post-classical editing of David Lynch’s images is often matched with music that barely moves. We are treated to a store of visual symbols and tropes that have invited a great deal of critical engagement; yet the prevalence of sonic slowness is just as persistent and, when experienced in conjunction with the images, salient. This aesthetic of slowness and sonic immobility has been hitherto little discussed until now. In this module, Elena del Río investigates the ways in which Lynch’s fascination with the sensibility of the formless enables differential energy to flow through various systems, while Greg Hainge draws on granular synthesis to show how Lynch’s worlds trouble our understanding of duration and encourage the coexistence of different temporal and narrative planes.