The present article aims to contribute to theorisations of the politics of time through a detailed engagement with techno-aesthetic strategies of temporal synchronisation and heterogeneisation of everyday rhythms during the coronavirus disease 2019 pandemic. The exploration focuses on practices of mediatisation of domestic spaces, in particular by examining photographs posted on the Bulgarian-language ‘View from the Window’ Facebook group. The group was founded during the first coronavirus lockdown in April 2020 and its members used it to share images taken from their private homes onto exterior spaces. Theoretically, I build on Henri Lefebvre’s rhythmanalytical project, from which I derive an understanding of the polyrhythmic and multi-scalar character of the everyday, while engaging writings from visual cultures, performance studies, architecture and media theory. The article looks closely at two formal aesthetic strategies that established themselves for posting on the group: The visual strategy of framing and the use of time stamps in image captions. On the one hand, I show how these media practices are engaged in synchronising views with each other; I argue that they contribute to the creation of an equivalence between views while obfuscating their underlying socio-material conditions, which tend to remain outside of the photographic frame. On the other hand, I also demonstrate that these practices can be equally generative of asynchronicity and dissonance between views, bringing to the fore a spatio-temporal heterogeneity and the articulation of stark socio-political differences. The article thus contributes an analysis of the interplay between time, politics and domestics through the conceptual prism of an engagement with aesthetic practices of mediation.

中文翻译：

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“窗外的风景”：2019 年冠状病毒大流行期间的准时、政治和家庭

本文旨在通过详细研究 2019 年冠状病毒病大流行期间时间同步和日常节奏异质化的技术美学策略，为时间政治的理论化做出贡献。探索的重点是家庭空间的媒体化实践，特别是通过检查保加利亚语“窗外风景”Facebook 群组上发布的照片​​。该组织成立于 2020 年 4 月第一次冠状病毒封锁期间，其成员利用该组织分享从私人住宅拍摄到外部空间的图像。从理论上讲，我以亨利·列斐伏尔（Henri Lefebvre）的节奏分析项目为基础，从中我获得了对日常生活的多节奏和多尺度特征的理解，同时吸收了来自视觉文化、表演研究、建筑和媒体理论的著作。这篇文章仔细研究了在小组中发布的两种正式的美学策略：框架的视觉策略和图像标题中时间戳的使用。一方面，我展示了这些媒体实践如何相互同步观点；我认为它们有助于在观点之间建立对等性，同时混淆了它们潜在的社会物质条件，而这些条件往往保留在摄影框架之外。另一方面，我还证明，这些做法同样会产生观点之间的异步性和不和谐性，从而凸显时空异质性和鲜明的社会政治差异。因此，本文通过参与调解美学实践的概念棱镜，对时间、政治和家庭之间的相互作用进行了分析。