“The film moves at what I consider to be the speed of art — which is slow. Cremaster 2 does what I think sculpture does: It moves slowly and requires that one move around it to understand it, and to visit it repeatedly.”

— Matthew Barney

Attributed in "Matthew Barney – The Cremaster Cycle: Sculpture and Drawing", Guggenheim Arts Curriculum http://artscurriculum.guggenheim.org/lessons/cremaster_L1.php
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Matthew Barney 2

American artist 1967

Anthony Stafford Beer (1926–2002) British theorist, consultant, and professor

Source: Management Science (1968), Chapter 4, An Alphabet of Models, p. 108.

“Language does for intelligence what the wheel does for the feet and the body. It enables them to move from thing to thing with greater ease and speed and ever less involvement.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, Understanding Media (1964), p. 113

“And what is there else but pleasure, and to what else does beauty move on?”

Hilaire Belloc (1870–1953) writer

Source: The Path to Rome (1902), p. 421

“Pain reaches the heart with electrical speed, but truth moves to the heart as slowly as a glacier.”

Barbara Kingsolver Animal Dreams

Source: Animal Dreams

“Our aim is to take our art to the world and make people understand what it is to move.”

David Belle (1973) French actor

http://news.bbc.co.uk/1/hi/entertainment/tv_and_radio/1939867.stm

“The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art.”

Muriel Rukeyser (1913–1980) poet and political activist

Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.