Week 10 (Apr. 21)

SPATIAL vs. DURATIONAL TIME

Erik SATIE: Vexations (840 repetitions, 24-hour performance)

Lived, experienced time, immanent, embodied – DURATION – time passes differently for every individual

VS.

TIME CALIBRATED BY CLOCKS (chronometric time), which is a SPATIAL metaphor

Bergson and Zeno’s paradox

To proceed as Zeno is to admit that the race can be arbitrarily broken up like the space which has been covered; it is to believe that the passage is in reality applied to the trajectory; it is making movement and immobility [i.e., space] coincide and consequently confusing one with the other. (CM 145)

concentrate on the movement itself (running as such) and not the space which subtends it

DURATION can only be grasped through a process of intuition

Instead, let us imagine an infinitely small piece of elastic, contracted, if that were possible, to a mathematical point. Let us draw it out gradually in such a way as to bring out of the point a line which will grow progressively longer. Let us fix our attention not on the line as line, but on the action which traces it. Let us consider that this action, in spite of its duration, is indivisible if one supposes that it goes on without stopping; that, if we intercalate a stop in it, we make two actions of it instead of one and that each of these actions will then be the indivisible of which we speak; that it is not the moving act itself which is never indivisible, but the motionless line it lays down beneath it like a track in space. Let us take our mind off the space subtending the movement and concentrate solely on the movement itself, on the act of tension or extension, in short, on pure mobility. This time we shall have a more exact image of our development in duration.

impact of physical condition on time perception (slower, faster?)

sludgy vs. viscous time – TACTILITY OF TIME

psychological time is full of gaps, sinkholes, moments of repose vs. moments of action (BERGSON: there are no gaps—example of the spools of thread)

what matters is not the art object which is somewhere out there, but what happens once it hits your perception and how your brain and body together process time

DURATION as problematic for Michael FRIED – as separate from the INSTANT where everything is perceivable at once (as in a Greenbergian painting, or any painting)

the relationship of motion to time – real-time or slow motion time, motion as a way of calibrating time, understanding units of time measurement—how to help assess how time passes

SPATIALIZED time: non-linear editing systems spatialized timeline, Soundcloud (time reduced to a blink-of-an-eye)

DURATION TIME EXAMPLES

James Benning – Ruhr, last section (durational time, Deleuzian time-image)

Sharon Lockhart – Lunch Break

Leif Inge – 9 Beet Stretch (Nuit Blanche 2012)

ADMINISTERED time

disciplinary society

Time and Motion Studies (Fordism)

melting of bells in Revolutionary France

- Christian Marclay – The Clock (spatialized time, Deleuzian movement-image)

- Tehching Hsieh – One Year Performance series

THE ETERNAL PRESENT

Jameson – the Eternal Present (what are the advantages of being maintained in the present?)

Greenberg and Fried: CHRONOPHOBIA – fear of time (what were they afraid of?)

how time passes in post-Fordist CONTROL SOCIETY: instant feedback, control and communication, “just-in-time” capitalism

ETERNAL DURATION – Hennix – Electric Harpsichord

CHRONOPORTATION / ABDUCTION

bodily involvement: inertia, latency, affect, endurance

MUSAK as modulation of space (preemption, “nudging” of desires)

made possible by RECORDING TECHNOLOGY and SCHIZOPHONIA (SEE WEEKS 5-6)

Stimulus Progression (in Fordist times) to Quantum Modulation (in Post-Fordist times)

a means of “producing space” in post-Fordism

(its malfunctioning is what draws attention to it)

minimization of dynamic range, amplifying continuity of mood, homogenization of everything

“music is art, but Muzak is science” (“Muzak is much more than music“)

paying attention to it, humming it, as methods of defusing it

listening to muzak as a way of UNCOVERING THE BACKGROUND and what lies within it (surveillance, policing, everyday “common sense” codes / values accepted as facts etc.) – CAN YOU PAY ATTENTION TO THE BACKGROUND?

TEMPORAL ANOMALIES

Richard Serra / Nancy Holt: BOOMERANG and the interruption / blockage of stream-of-consciousness , making other connections possible.

Martin Arnold – Passage à l’acte

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