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The paper re-presents aspects of a practice-based Ph.D. in which notions of temporality within painting are researched and placed into a relation with digital imaging. The research constructs a means of theorizing process through an engagement with various conceptualisations
of duration, alongside the mapping of process derived from studio notes. It proposes an approach to painting's temporality aligned with Proustian time regained and the Deleuzian time image, and argues that a dialogue with digital imaging offers contemporary painting an expanded topography
and contributes to its ability to think time in these terms. Painting's time is viewed in relation to haptic visuality and filmic time, moving towards the proposition of a form of haptic time. These reflections are linked to various conceptions of the actual/virtual to suggest that
it is through a folding of time that painting, via the digital, might make an approach to pure duration; Proust's fragment of time in the pure state.
The domain of visual art hosts a multitude of artistic forms and practices. The Journal of Visual Art Practice supports research across the entire range of this varied field. The journal engages with the progressive nature of the subject, reflecting upon the changing terrain of art in recent years.