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In opposition to the notion of linear historical progression, according to which both the means and the contents of the arts have a continuous teleological evolution, it is increasingly more pressing to look for other ways of thinking history and art practices. If, as has often been defended, postmodernism prepared the ground for a hybridisation of the arts, now it is time to conceive a hybridisation of temporalities. In opposition to the single time of globalisation, it is now necessary to think about the disperse times of heterochrony: fractures in dominant time and the possible emergence of temporalities of resistance.