Artists explore questions of the relationship between time, the medium and aesthesis insomuch as every work involves some mediation of the temporality of creative practice. However, it was not until artistic modernism that the visual arts directly investigated high speeds by responding to the accelerationism of modern life afforded by new technologies of transportation and the modern city. Viewing the world through the window of a train or fast-moving car divulges aspects of the visual environment previously inaccessible, with the stability of three dimensions giving way to bands of colour and movement depending on the point of view. Chapter 3 explores the relationship between speed and aesthesis through disquisitions on transportation and retinalism in modernism, particularly in the work of the artist Robert Delaunay, as well as through Bergson’s claim that perception comprises various levels of tension and contraction. Delaunay sought to create dynamic images by activating the shorter durations of aesthesis required by such phenomena as simultaneous contrast and colour fusion. However, accelerationism overly emphasised the augmentation of speed which became synonymous with rapidity, and, in doing so, did not sufficiently attend to the various thresholds underpinning aesthesis, where objects transform into processes and processes into objects.