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@incommonhours
Times disappearance is twofold: it disappears into events, processes, movements, things, as the mode of their becoming. And it disappears in our representations (scientific or artistic), where it is tied to, bound up in, and represented by means of space and spatiality. It suffers, or produces, a double displacement: from becoming to being, and from temporal to spatial.
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The Clock House
Do you remember the hunchback watchmaker who fixed your clock? The one who lived on the flat roof of this building in the little hut he built himself that looked like a doghouse? I called it the Clock House. The one who specialized in alarm clocks? Who knows, maybe you’ve forgotten him, though I can hardly believe that! Watches and hunchbacks can’t be forgotten just like that. Well, that was Estanislao Romagán. He would show me pictures of a sundial that triggered cannons at noon; of another clock that wasn't a sundial, that looked like a fountain on the outside; and of another, the Edinburgh clock, with a stairway, cars, horses, figures of women in tunics, and strange little men. You’ll scarcely believe me, but it was wonderful to hear the different noises of all the alarm clocks going off, and the clocks striking the hour a thousand times a day. My father didn’t agree.
At Gallery TPW, Antonia Hirsch uses references to astronomy and technology to mount an exploration of inner and outer worlds. Karina Irvine reviews.
In Kelly Lycan’s exhibition Little Glow at Susan Hobbs Gallery, the relationship between light and object is brought into enigmatic focus, where chromatic shifts and blurred and grainy images tarry with questions of mediation and value
Rosemarie Trockel: A Comos (2012/2013)
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Rosemarie Trockel
sundial of pewter, 1762
The New Gallery is a non-profit centre for contemporary art in Calgary, AB.
Carol Bove
Toril Johannessen
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Back in the Muromachi period (approx. 1337 to 1573) the wadokei were invented, known as Japanese Temporal Time Keeping. It was a system that was sensitive to the changing of the seasons and varying undulations between the light and darkness of a day. Before they adopted the westernized style of time keeping, this system of measurement pertained to a bodily experience determined by a deep cosmological time. “[Wadokei] are divided into two sets of six units called “koku”. Each koku bears the name of one of the 12 noble animals of Japanese culture, from the rat to the boar, and were numbered in an unusual way. Midnight, the hour of the rat, was associated with number 9, while 6 represented dawn. The numbering continued, with the number 4 was the last koku before noon. As with midnight, number 9 also represented noon, and the sequence repeated itself along the afternoon and beginning of the night. Numbers 1, 2 and 3 were not used in Japan for religious reasons as they corresponded to the number of bell strokes used by Buddhist monks as a call for prayer. The crucial times in this seasonal system were the boundaries between daytime and nighttime. These points in time, at dawn and dusk, were defined as the times when three lines on a human hand became visible or invisible.” – From WorldTempus, 2012
The Atmosphere: A Guide is a poster-essayby Amy Balkin depicting various human influences on the sky and their accumulated traces, whether chemical, narrative, spatial, or political.
Thinking is a product or effect of life lived in a hazardous world; its emergence solves a problem by creating a new level at which the problem might be addressed, if not solved. So it is not clear, as Bergson suggests of intelligence, whether thought can adequately think duration, even as it exists only as an effect of evolutionary duration. This is what I have struggled to address in the last decade: how to think time, given that time’s force is more lived, more qualitative than it is measurable, countable or mappable, which are all spatial qualities?
Elizabeth Grosz
http://quod.lib.umich.edu/o/ohp/12527215.0001.001/1:14/--architecture-in-the-anthropocene-encounters-among-design?rgn=div1;view=fulltext
N.E. Thing Co
Jean-Antoine Linck Swiss, 1766–1843 Reproduction of View of the Glacier des Bois and the Needles of Charmoz from the arch, called the Cap, 1799
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Michael Snow, La RĂ©gion Centrale, 1971, 16mm film, colour, sound, 180 min., National Gallery of Canada, Ottawa
“In an era of ubiquitous synthetic and digital images dissociated from human vision and directly tied to power and capital, when images and aesthetic experience have been turned into cognition and thus into empty sensations or tautological truths about reality, the image of the Anthropocene is yet to come. The Anthropocene is “the age of man” that announces its own extinction. In other words, the Anthropocene thesis posits “man” as the end of its own destiny. Therefore, while the Anthropocene narrative keeps “man” at its very center, it marks the death of the posthuman and of antihumanism, because there can be no redeeming critical antihumanist or posthuman figure in which either metaphysics or technological and scientific advances would find a way to reconcile human life with ecology. In short, images of the Anthropocene are missing. Thus, it is necessary to transcend our incapacity to imagine an alternative or something better. We can first do this: draw a distinction between images and imagery, or pictures. Although it is related to the optic nerve, the picture does not make an image. In order to make images, it is necessary to make vision assassinate perception; it is necessary to ground vision, and then perform (as in artistic activity) and think vision (as in critical activity)."
- Irmgard Emmelhainz
http://www.e-flux.com/journal/conditions-of-visuality-under-the-anthropocene-and-images-of-the-anthropocene-to-come/