Errin Quinn

Margaret Pelham

Rose Cowan

XinRu Zhang

Xiaoyang Wu

# T              I             M             E

Illustration & Time is a carefully curated selection of published works which speak to the theme of time through the lens of contemporary illustration theory. The reader is divided into 4 subsections of time: Measuring, Marks of time, Memory and Pandemic. The time stamp system found on the landing page, combined with hybrid texts and connecting comments from our editors allow the user free rein to "choose your own adventure" and in so doing exercise control over the time spent exploring the reader. 

We hope you enjoy.

"On January 11, 2020, two decades after he first started the project, Kalina updated the video and went viral again.  The 8-minute piece, set to a somber piano score, tells a story as backgrounds change and Kalina ages in seconds, all while his eyes remain fixed on the viewer.  It is intimate and unsettling in a way you can't quite put your finger on, like intruding on something you weren't meant to see."

Noah Kalina took a picture of himself every day for 20 years - and will until he dies

# Noah Kalina took a picture of himself everyday for 20 years - and will until he dies

"On January 11, 2020, two decades after he first started the project, Kalina updated the video and went viral again. The 8-minute piece, set to a somber piano score, tells a story as backgrounds change and Kalina ages in seconds, all while his eyes remain fixed on the viewer. It is intimate and unsettling in a way you can't quite put your finger on, like intruding on something you weren't meant to see.
And he plans to continue the project forever."


![Time-real-and-imaginaryhighres-scaled.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1621856627/Time_real_and_imaginaryhighres_scaled_80e83dc2d6.jpg)

Time, Real and Imaginary
Woodblock made with fossilised ink from the Jurassic period.
46 x 46 cm
2020
1/45

Lintott's process begins with photography and drawing, then continues through to an experimental approach to relief printmaking.  This was born out of a fascination with the Japanese woodblock tradition and practical improvisational techniques for guiding the creative process.  He incorporates drawn elements, intuitive mark making and found materials.  His research is focused on celebrating and unearthing something from the past that appears valuable or forgotten in the present. An object, an image, a forgotten ceremony or ritual or personal experience.

He is currently working on a series of prints based on 50 year old mountaineering photography taken by his late father.  The work is a collaboration in some sense.  In some way this process connects me to him.  I feel like I am almost standing where he chose to stop that day.

The darker tones in the print contain ink made from 200 million year old fossilised squid ink.  Connecting to the age of the mountain range itself – around 10 million years.  In this sense there is both a geological and generational arc of time embedded within the print.

Matthew Lintott, Printmaker

# Fossilised Ink

![matthew lintott.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622710897/matthew_lintott_3f184562cc.jpg)

*Matthew Lintott, "Time, Real and Imaginary" fossilised ink from the Jurassic period, 46 x 46 cm, 2020*

“Matthew Lintott is an artist specialising in woodblock printmaking, often printing by hand without the use of a printing press.  His practice is focused on evaluating our present dis-connect to our natural environment by exploring personal and collective memory.  His research is focused on celebrating and unearthing something from the past that appears valuable or forgotten in the present. 


He is currently working on a series of prints based on 50 year old mountaineering photography taken by his late father.  The work is a collaboration in some sense.  In some way this process connects me to him.  I feel like I am almost standing where he chose to stop that day. The darker tones in the print contain ink made from 200 million year old fossilised squid ink.  Connecting to the age of the mountain range itself – around 10 million years.  In this sense there is both a geological and generational arc of time embedded within the print.”



Emma Harry, Illustrator

# Emma Harry, Illustrator

![Emma Harry.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622711164/Emma_Harry_5ae9905d8d.jpg)

*Microscopic rock drawings (Chalk and Acrylic) 2018*

“(Layered Time) A rock is an object of mystery as we try to comprehend its permanence against our transient state. Water, sky and rock combine to explore how time can be viewed in multiple ways within the landscape, the sea being tidal, the sky seen to change daily and the rock formed over millions of years. The chalk, created by ancient sea creatures is now being eroded by new ones in an ongoing cycle of life. The water moves over the surface of the rock and sculpts it into its current form. The landscape ever evolving and eroding over time.” 

Archaeologist Clive Gamble tells the story of how a discovery in 1859 changed the relationship between humans and time.

Making Deep History

# Making Deep History, Clive Gamble

![Screenshot 2021-04-12 at 18.56.32.png](https://res.cloudinary.com/illustration-reader/image/upload/v1622711627/Screenshot_2021_04_12_at_18_56_32_0c873591bc.png)

*Still from presentation, Clive Gamble, British Museum, 2021*

This image shows a photograph of the archaeological site in France where a "cat's tongue" (ancient tool) was found in 1859. The discovery gave birth to "the great time revolution" proving man's antiquity, something, until then, which was considered unimaginable. The photograph was crucial in persuading the public of the validity & consequence of the finding.
  




Emma McNally talks about her drawings in “MIRRORCITY” at the Hayward Gallery.

Emma Mcnally

# Emma Mcnally

![Emma Mcnally 2021.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622713361/Emma_Mcnally_2021_32f0faabd0.jpg)


"I mine all sorts of ways of thinking visually about space and time: the spiral paths of particles in bubble chambers, which are infinitely fast and small; images of cellular mitochondria; the Hubble Deep Field images that probe deep time, where all time is held in the surface of the image but can’t be reached. I like looking at images that show fleeting events and images of aerial views of cities at night—all the emergent formations at a macro scale that look like deep-sea organisms in the dark water."

"Photography: Rachel Sussman documents The Oldest Living Things In The World"

Rachel Sussman

# The Oldest Living Things In The World

![rachel sussman- the oldest living thing.webp](https://res.cloudinary.com/illustration-reader/image/upload/v1622719121/rachel_sussman_the_oldest_living_thing_6a39788ca4.webp)

*Rachel Sussman: The Oldest Living Things In The World – Underground Forest, South Africa (13,000 years old but believed to now be extinct)*

> Historians have long appreciated the cultural necessity of gathering oral testimonies about the past from those who experienced it while we still have the chance. Brooklyn-based artist Rachel Sussman has spent 10 years applying this same principle to the natural world, and the fruits of her extraordinary labours have now been published in a stunning new book. The Oldest Living Things In The World is exactly what it sounds like; a photographic documentation of 30 of our planet’s most enduring natural phenomena; featuring lichens and shrubs, fungi, coral and Apsen trees all of which have been around for more than 2,000 years (and in the case of the Apsen trees, a mind boggling 80,000 years).

# An Hour of Drawing, 2021

Five MA Illustration students at UAL Camberwell arranged a timed drawing activity, the subject to be their choice. Many chose to draw from their personal projects and the images below were taken once an hour had passed. 


![IMG_5932.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622721887/IMG_5932_c9f613f7ef.jpg)

*Margaret Pelham*

![time lines.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622721879/time_lines_8c49fae2fe.jpg)

*Errin Quinn, section of "Interpretations of George Kubler's Historical Time", pen and ink.*

![1hour.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622721883/1hour_e94c601bf8.jpg)

*Rose Cowan*

![IMG_1838.JPG](https://res.cloudinary.com/illustration-reader/image/upload/v1622721883/IMG_1838_e22359a69f.jpg)

*Xinru Zhang (Claire)*

![pt2021_03_26_15_28_25.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622721887/pt2021_03_26_15_28_25_16bb2a5b81.jpg)

*Xiaoyang Wu*


**




# Illustration & Time Padlet Growth 

A short video showing the growth of Time group's discussions and team work on the Reader project.

![studiohero.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622467576/studiohero_4afad579d9.jpg)
"For thirty years Francis Bacon lived worked in Reece Mews, a former coach house located in a Victorian mews in the London borough of South Kensington. It was here where he produced many of his greatest paintings. Years after his death, the studio remained uninhabited and untouched exactly as he had left it."

Francis Bacon Reece Mews Studio

![studiohero.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622467576/studiohero_4afad579d9.jpg)
# Francis Bacon's Reece Mews Studio 

"For thirty years Francis Bacon lived worked in Reece Mews, a former coach house located in a Victorian mews in the London borough of South Kensington. It was here where he produced many of his greatest paintings. Years after his death, the studio remained uninhabited and untouched exactly as he had left it."

“To create the work, the artist covered every surface of the apartment with white paper and used coloured pencils to transfer the textures of the underlying structure. “My energy has been accumulated, and in way, I think, my rubbing shows that…just imagine how many times that I actually flip that light switch when I was living in here for 18 years. I’m trying to show the layers of time.”
![suh-rubbing-still-204-1024x576.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622462788/suh_rubbing_still_204_1024x576_f80926eae7.jpg)


Do Ho Suh

![suh-rubbing-still-204-1024x576.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622462788/suh_rubbing_still_204_1024x576_f80926eae7.jpg)
# Do Ho Suh 

To create the work, the artist covered every surface of the apartment with white paper and used coloured pencils to transfer the textures of the underlying structure. “My energy has been accumulated, and in way, I think, my rubbing shows that…just imagine how many times that I actually flip that light switch when I was living in here for 18 years. I’m trying to show the layers of time.

Performance 1: Tehching Hsieh

This is the inaugural installation in an ongoing series that will bring performance documentation, original performance pieces, and live reenactments of historic performances to various locations throughout the Museum. The first artist to be spotlighted is Tehching Hsieh (b. 1950, Taiwan), who is best known for his five One Year Performances: between 1978 and 1986, the artist spent one year locked inside a cage, one year punching a time clock every hour, one year completely outdoors, one year tied to another person, and, lastly, one year without making, viewing, discussing, reading about, or in any other way participating in art. Hsieh’s final performance piece, Thirteen Year Plan, was completed in 1999 after a process lasting thirteen years. This exhibition focuses on the artist’s earliest performance, commonly called his Cage Piece (1978–79), with 365 photographs meticulously documenting the daily passing of time.
![Screen Shot 2021-06-04 at 6.05.15 AM.png](https://res.cloudinary.com/illustration-reader/image/upload/v1622757949/Screen_Shot_2021_06_04_at_6_05_15_AM_d5c6560557.png)


Biesenbach, Klaus. “Performance 1: Tehching Hsieh: MoMA.” The Museum of Modern Art, 2009, www.moma.org/calendar/performance/322. 

Tehching Hsieh

Nobuhiro Nakanishi takes pictures of forests or clouds over a period of time. Later, these pictures will be reproduced onto transparent acrylic panels, which will be attached in chronological order side by side. This way, the Japanese artist creates unique perceptions. Based on space and time, his installations create fascinating interactions between the artwork itself and the viewer’s individual perception. Nobuhiro Nakanishi’s ‘Layered Drawings’ series seems to bridge the gap between art, space, time, and reality.

Nobuhiro Nakanishi

![acac_yamamoto_05.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622772216/acac_yamamoto_05_76c8bc66f7.jpg)


"This series portrays changes that take place in everyday life, like the sun rising or ice cream melting. These ordinary events were photographed at regular intervals, printed on transparent film and assembled in sequence. Capturing the accumulation of time as a sculpture allows the viewer to experience the ephemerality of time.
We are all subject to the passing of time, yet each of us feels and perceives it in our own way. Time itself has no shape or boundary and cannot be fixed or grasped. When we look at the photographs in these sculptures, we attempt to fill in the gaps between the individual images. We draw from our physical experiences to fill in missing time and space, both ephemeral and vague. In this series, I attempt to depict time and space as sensations shared by both viewer and artist."

![irene_chou_time___space.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622466478/irene_chou_time_space_52e74b16bf.jpg)

"In Time and Space, as the title suggests, Chou explored the concept of time and space. “We know that the ‘fourth dimension’ is time,” Chou wrote, “and time is not unilateral [linear], it flows forward into the future but it may also flow backward into the past.” (Chou, 1989) By not clearly indicating of the coming and going of the ink marks in the impact structural stroke, by making the stroke order of the sweeping strokes ambiguous and by not making clear whether the whirls are expanding or contracting, Chou attempted to produce an image that depicted movements in all imaginable directions, like time flowing forwards into the future and backwards into the past. Meanwhile, the two- and three-dimensional whirls, the sweeping strokes which have turned calligraphic-like, and the dark and light ink marks of the impact structural stroke all help to carve out many layers of space. "


Irene Chou - Time&Space

![irene_chou_time___space.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622466478/irene_chou_time_space_52e74b16bf.jpg)
# Irene Chou - Time&Space (1989)

In Time and Space, as the title suggests, Chou explored the concept of time and space. “We know that the ‘fourth dimension’ is time,” Chou wrote, “and time is not unilateral [linear], it flows forward into the future but it may also flow backward into the past.” (Chou, 1989) By not clearly indicating of the coming and going of the ink marks in the impact structural stroke, by making the stroke order of the sweeping strokes ambiguous and by not making clear whether the whirls are expanding or contracting, Chou attempted to produce an image that depicted movements in all imaginable directions, like time flowing forwards into the future and backwards into the past. Meanwhile, the two- and three-dimensional whirls, the sweeping strokes which have turned calligraphic-like, and the dark and light ink marks of the impact structural stroke all help to carve out many layers of space. (pg 187) 

![0023.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622562331/0023_5a42f5be73.jpg)
“The exhibition TimeSpace: After “Here”, brings McGuire’s room to life as a walk-in, act-in stage space. Visitors are invited to move through the life-size setting and thus to become protagonists of the story themselves, to change the scenery and become characters in the story, but also become its storyteller. In both versions of “Here”, the course of time is mirrored in the coming and going of generations of occupants and in changing landscapes and atmospheres, but also in the emergence and disappearance of the room itself. In the exhibition, it is historical furniture, objects and accessories from the museum collections, complete with the passing of time they represent, that enhance the McGuirean room with a series of domestic settings dating from many different eras.”

Richard McGuire - TimeSpace, After Here

![0023.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622562331/0023_5a42f5be73.jpg)

# Richard McGuire-TimeSpace, After Here

“The exhibition TimeSpace: After “Here”, brings McGuire’s room to life as a walk-in, act-in stage space. Visitors are invited to move through the life-size setting and thus to become protagonists of the story themselves, to change the scenery and become characters in the story, but also become its storyteller. In both versions of “Here”, the course of time is mirrored in the coming and going of generations of occupants and in changing landscapes and atmospheres, but also in the emergence and disappearance of the room itself. In the exhibition, it is historical furniture, objects and accessories from the museum collections, complete with the passing of time they represent, that enhance the McGuirean room with a series of domestic settings dating from many different eras.” 


# Illustration & Time First Session 

A short video showing every time the Time group say the word time in the first reader session. 

# The Lucian Freud Studio Series: Day And Night Rooms

Rooms can serve as time-capsules, allowing us a glimpse into the lives of those who have passed.  In this video, David Dawson shows us around the studio of Lucian Freud, which had been preserved in the state it was in at his death.

The Lucian Freud Studio Series: Day and Night Rooms

Coordinated Universal Time (UTC) is the basis for civil time today. This 24-hour time standard is kept using highly precise atomic clocks combined with the Earth's rotation.

UTC Defined

### UTC Defined

![The Greenwich Meridian, London, UK.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622883757/The_Greenwich_Meridian_London_UK_95f2bdc8d6.jpg)

*The Greenwich Meridian, London, UK, istockphoto.com*

> Coordinated Universal Time (UTC) is the basis for civil time today. This 24-hour time standard is kept using highly precise atomic clocks combined with the Earth's rotation...The world's timing centers have agreed to keep their time scales closely synchronised - or coordinated - therefore the name Coordinated Universal Time.

![Screenshot 2021-06-01 at 10.08.30.png](https://res.cloudinary.com/illustration-reader/image/upload/v1622538530/Screenshot_2021_06_01_at_10_08_30_3460935aad.png)



*Mixed media, 500 cm x 500cm, Kinetic drawing installation, Laing Art Gallery, Newcastle upon Tyne, 2013*





Timecasting is a large-scale kinetic drawing installation by Newcastle based artist, Nick Kennedy. Developed from the artist's wider interests in the notions of chance, order, control and in particular, the role of the systems in our understanding and perception of the world, Timecasting can be seen as an experiment in recording time and making it visible through a mechanised drawing process.




The installation consists of a number of autonomous drawing devices, arranged on the gallery floor, growing week by week to mirror the passage of time. Operating continuously throughout the three month exhibition period, each of these Timecasts will trace out a delicate graphite form on the paper it rests on. Like the slow erosion of rock in a river bed over millions of years, the process of accumulation is organic. Nearly eight million seconds will pass in this time and with each one tiny, barely perceptible marks will register. Invisible in the moment, these marks gradually build to reveal order from apparent chaotic movement. 





Timecasting (I), Nick Kennedy

# Timecasting, Nick Kennedy


 ![Screenshot 2021-06-01 at 10.08.30.png](https://res.cloudinary.com/illustration-reader/image/upload/v1622538530/Screenshot_2021_06_01_at_10_08_30_3460935aad.png)


*Timecasting (I), Mixed media, 500 cm x 500cm, Kinetic drawing installation, Laing Art Gallery, Newcastle upon Tyne, 2013*




Timecasting is a large-scale kinetic drawing installation by Newcastle based artist, Nick Kennedy. Developed from the artist's wider interests in the notions of chance, order, control and in particular, the role of the systems in our understanding and perception of the world, Timecasting can be seen as an experiment in recording time and making it visible through a mechanised drawing process.




The installation consists of a number of autonomous drawing devices, arranged on the gallery floor, growing week by week to mirror the passage of time. Operating continuously throughout the three month exhibition period, each of these Timecasts will trace out a delicate graphite form on the paper it rests on. Like the slow erosion of rock in a river bed over millions of years, the process of accumulation is organic. Nearly eight million seconds will pass in this time and with each one tiny, barely perceptible marks will register. Invisible in the moment, these marks gradually build to reveal order from apparent chaotic movement. 


Extract from transcript:

> “(Discussing indegenious communities from Xingu National Park, Brazil) So event based time consists of time intervals that are not measured but indexes to happenings. These happenings are events that work all year such as the water level of the river, the Sun, the Sun is so important because the position of the Sun, it’s sunlight - the absence of the light…...
 
…….So the moon is very important for all these communities, the moon is a beam that they incorporate into their cultural practice and their beliefs.  The moon can bring good fortune, the moon can make good health, good harvest but the moon as well indexes the menstrual cycle that measures the periods of the women in the communities.  For example when you are a young girl and you have your first period, you have your first day bleeding, the first thing you do is look up at the sky and from that moment on, that shape will be your index of your menstrual cycle for the rest of your life.” 


“(Discussing indigenous communities from Xingu National Park, Brazil) So event based time consists of time intervals that are not measured but indexes to happenings. These happenings are events that work all year such as the water level of the river, the Sun, the Sun is so important because the position of the Sun, it’s sunlight - the absence of the light…...
 
…….So the moon is very important for all these communities, the moon is a beam that they incorporate into their cultural practice and their beliefs.  The moon can bring good fortune, the moon can make good health, good harvest but the moon as well indexes the menstrual cycle that measures the periods of the women in the communities.  For example when you are a young girl and you have your first period, you have your first day bleeding, the first thing you do is look up at the sky and from that moment on, that shape will be your index of your menstrual cycle for the rest of your life.” 


Event Based Time & The Moon

![tibetan time stick 2.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622536735/tibetan_time_stick_2_99bf215649.jpg)


Tibetan priest's Time-stick from Darjeeling, unsigned, West Bengal, India, 1895-1905. It worked in a simliar way to the column sundial, a wire gnomonwas placed in the hole that corresponded with the month, it was then twisted to align the shadow with the scale.

A Tibetan priest's Time-stick from Darjeeling.




Ashadar or time stick, Northern India, 1895-1905

# Ashadar (Time Stick) 

![tibetan time stick 2.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622557300/tibetan_time_stick_2_68213f992f.jpg)

*Northern India, 1895-1905, Science Museum Group Collection*

Tibetan priest's Time-stick from Darjeeling, unsigned, West Bengal, India, 1895-1905. It worked in a similar way to the column sundial, a wire gnomonwas placed in the hole that corresponded with the month, it was then twisted to align the shadow with the scale.

https://www.youtube.com/watch?v=Bl-s4tqR8Bc

The Cosmic Calendar | Cosmos: Possible Worlds

![jane-grisewood-afoldintime.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622537615/jane_grisewood_afoldintime_bdc623fc1c.jpg)

*italic text*
A Fold in Time is part of AMBruno's One-Fold Books collection. Printed on 1 sheet of heavyweight paper to express the simplest book format and the action of folding in real time during the process of making. Inspired by the concept of folded time, this work focuses on the action of folding in real time during the process of making. Words placed along the centre-fold add a textual folded element.

A Fold in Time, Jane Grisewood

# A Fold in Time

![jane-grisewood-afoldintime.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622537615/jane_grisewood_afoldintime_bdc623fc1c.jpg)

*Jane Grisewood, A Fold in Time (2012), 2 leaves. 15 x 11cm. Edition of 50.*

A Fold in Time is part of AMBruno's One-Fold Books collection. Printed on 1 sheet of heavyweight paper to express the simplest book format and the action of folding in real time during the process of making. Inspired by the concept of folded time, this work focuses on the action of folding in real time during the process of making. Words placed along the centre-fold add a textual folded element.


“Einstein thought that the beginning of the universe, the Big Bang, created all of space and all of time at once in a big whole, something. So every point in the past and every point in the future are just as real as the point of time you feel yourself in right now. Einstein believed that literally. One of his best friends died and he wrote a letter to this person's wife talking about how his friend still exists. Time is a landscape and if you had the right perspective on the universe you would see all of it laid out in front of you. All past, present, and future as a whole thing. And he said, you know, your husband, my friend, is just over the next hill. He's still there. We can't see him where we are now, but we are on this landscape with him and he still exists just as much as he ever has. Einstein believed that you right now had been dead for trillions of years, but you haven't been born yet. That everything that's happened to you, if you could get the right perspective on the universe, you could see all at once."

Time: Do the past, present, and future exist all at once?

# Do the past, present, and future exist all at once?

[Big Think Video](https://www.youtube.com/watch?v=5vzymaIabWI&t=773s)

"Einstein thought that the beginning of the universe, the Big Bang, created all of space and all of time at once in a big whole, something. So every point in the past and every point in the future are just as real as the point of time you feel yourself in right now. Einstein believed that literally. 

One of his best friends died and he wrote a letter to this person's wife talking about how his friend still exists. Time is a landscape and if you had the right perspective on the universe you would see all of it laid out in front of you. All past, present, and future as a whole thing. And he said, you know, your husband, my friend, is just over the next hill. He's still there. We can't see him where we are now, but we are on this landscape with him and he still exists just as much as he ever has. 

Einstein believed that you right now had been dead for trillions of years, but you haven't been born yet. That everything that's happened to you, if you could get the right perspective on the universe, you could see all at once."

(Extracted transcript)

The Time Ball, Greenwich

# The Time Ball

![Timeball L8627-032_slider.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622559647/Timeball_L8627_032_slider_d8d47273c3.jpg)

*The Royal Museums Greenwich*

The bright red Time Ball on top of Flamsteed House is one of the world's earliest public time signals, distributing time to ships on the Thames and many Londoners. It was first used in 1833 and still operates today.

Each day, at 12.55, the time ball rises half way up its mast. At 12.58 it rises all the way to the top. At 13.00 exactly, the ball falls, and so provides a signal to anyone who happens to be looking. Of course, if you are looking the wrong way, you have to wait until the next day before it happens again.


"[the telescope's] importance for everyone else dates from a conference held in Washington DC in 1884 to create an international time-zone system. It was agreed that the meridian line marked by the cross-hairs in the Airy Transit Circle eyepiece would indicate 0° longitude and the start of the Universal Day."



The Airy Transit Circle (telescope) Greenwich, 1851

# The Airy Transit Circle (Telescope)

![Airy-transit-circle_L2156-002_slider.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622560349/Airy_transit_circle_L2156_002_slider_bbea177e4a.jpg)
*Royal Museums Greenwich*


[the telescope's] importance for everyone else dates from a conference held in Washington DC in 1884 to create an international time-zone system. It was agreed that the meridian line marked by the cross-hairs in the Airy Transit Circle eyepiece would indicate 0° longitude and the start of the Universal Day.

 “I am in Greenwich, and I am standing on the Prime Meridian. Zero degrees of longitude. This foot is in the eastern hemisphere, that foot is in the western. Except. My GPS tells me that I'm actually about 100 metres west of the meridian. It's actually a little way over there. And that's not an accuracy problem: the reading is correct. So what's going on? Well, first of all, the earth. It is shaped like a slightly squashed sphere. But that's an approximation: in reality, it is not a perfect spheroid -- and I'm not just talking mountains and valleys here, the entire thing is a little bit... lumpy. So if you're designing a latitude and longitude system, you cannot take into account all those lumps. Instead, you pick a mathematical, perfect spheroid, one that is as close as you can reasonably get. Now the Ordnance Survey, the wonderfully-named British government department that deals with maps, chose their spheroid in 1936, based on an earlier survey by Victorian Astronomer Royal, George Airy. All official British government maps, to this day, use that spheroid as their base. And it works brilliantly, incredibly well -- for the UK, where the measurements were taken. 

Unfortunately, the world is lumpy, and Airy's measurements weren't quite as good for the rest of the globe. Over the years, dozens of other spheroids have been chosen around the world, each one fitting best to a particular country. But no-one minded that for a very long time, because the resulting maps were never used together. They were on paper, so any map that was accurate enough that the spheroid could make a real difference would only cover a tiny area of the world. And besides, you navigated using local landmarks, you never had a magic device that said here are some numbers, you are here. But then: the space race came along, and suddenly, we had satellites, and we had the need for one, standardised latitude and longitude for the world so you knew that your missiles were going to hit the right target. So in the fifties, over at Johns Hopkins University, in the US, the Applied Physics Laboratory and the US Navy set up the first satellite navigation system. And as the base point for their calculations, they used their latitude and longitude that they knew, based on their North American spheroid. Now, that spheroid then changed many times over the years as the scientific world refined its calculations, but that baseline stuck for American systems. And you can probably see where this is going. The GPS system, an American military invention that's now a global standard, uses a descendent of the American spheroid and baseline. The Royal Observatory, up on that hill, continues to use the British spheroid, because, well, our government uses that spheroid, because it's more accurate for geographic calculations within Britain, but also because it would be incredibly inconvenient to move that hill a hundred metres that way. 

Who's right? Both of them. Neither of them. The truth is there can be no actual, zero meridian, first of all because the earth is lumpy, it's always going to be a little bit wrong, but mainly because the earth's tectonic plates move. According to GPS, Greenwich is moving, and so is pretty much every other point on land. Modern latitude and longitude are a mathematical abstraction, nothing more. So I really am in both hemispheres at once. It just depends how you measure it.”


Why The Prime Meridian Isn't At 0º

# Why The Prime Meridian Isn't At 0º

[Tom Scott Video](https://www.youtube.com/watch?v=DmvHZ4omB2A)

Extract from Transcript:

I am in Greenwich, and I am standing on the Prime Meridian. Zero degrees of longitude. This foot is in the eastern hemisphere, that foot is in the western. Except. My GPS tells me that I'm actually about 100 metres west of the meridian. It's actually a little way over there. And that's not an accuracy problem: the reading is correct. So what's going on? ~~Well, first of all, the earth. It is shaped like a slightly squashed sphere. But that's an approximation: in reality, it is not a perfect ~~The GPS system, an American military invention that's now a global standard, uses a descendent of the American spheroid and baseline. 


The Royal Observatory, up on that hill, continues to use the British spheroid, because, well, our government uses that spheroid, because it's more accurate for geographic calculations within Britain, but also because it would be incredibly inconvenient to move that hill a hundred metres that way. Who's right? Both of them. Neither of them. The truth is there can be no actual, zero meridian, first of all because the earth is lumpy, it's always going to be a little bit wrong, but mainly because the earth's tectonic plates move. According to GPS, Greenwich is moving, and so is pretty much every other point on land. Modern latitude and longitude are a mathematical abstraction, nothing more. So I really am in both hemispheres at once. It just depends how you measure it.



A Minor History of Time Without Clocks, Extract

# A Minor History of Time without Clocks


> **1972**
French speleologist and sleep researcher Michel Siffre kisses his wife goodbye and then descends a 100-foot vertical shaft into Midnight Cave in Texas. He remains there alone for 177 days, isolated from the sun and without access to a clock, sleeping only when his body tells him to. On the thirty-seventh day of the Midnight Cave experiment, Siffre undergoes a strange physiological shift known as “spontaneous internal desynchronisation.” Without his realising it, his schedule becomes wildly erratic. Some days last as long as fifty-two hours, others as short as sixteen. It seems entirely random, though it isn’t. In fact, his body’s temperature cycle and sleep cycle, normally aligned, have become unlinked, causing his life to be governed by two competing internal clocks.



“In medieval and early modern societies, mechanical time was secondary to social time. What we now see as exquisite detail and craftmanship on early clocks exhibits socially meaningful information.  Derek de Solla Price argues, ‘The first great clocks of medieval Europe were designed as astronomical showpieces, full of complicated gearing and dials to show the motions of the Sun, Moon and planets, to exhibit eclipses, and to carry through the involved computations of the ecclesiastical calendar.  As such they were comparable to the orreries of the 18th century and to modern planetariums; that they also showed the time and rang it on bells was almost incidental to their main function' (1959: 86).  In other words, the positions of celestial bodies were more important than the time of the day.  The movement of the stars was a way to discern auspicious and inauspicious days, weather, the growth of crops, and medical information about the human body.  The ‘hour’ of the day, the temporal hour, was also uneven, divided into equal units of daylight and night. Many early mechanical clocks (fourteenth-century Europe) did not have a minute hand, and if they did, it needed to be periodically corrected using a sundial.  In East Asia after the Jesuits introduced clocks, these mechanical devices became markers of wealth and prestige.  In Edo society (seventh-to nineteenth-century Japan) craftsmen added a second folio so that these status symbols could follow the temporal hour.  Mechanical time had to be adjusted to social time.”

History without Chronology

# History without Chronology

“In medieval and early modern societies, mechanical time was secondary to social time. What we now see as exquisite detail and craftmanship on early clocks exhibits socially meaningful information.  Derek de Solla Price argues, ‘The first great clocks of medieval Europe were designed as astronomical showpieces, full of complicated gearing and dials to show the motions of the Sun, Moon and planets, to exhibit eclipses, and to carry through the involved computations of the ecclesiastical calendar.  As such they were comparable to the orreries of the 18th century and to modern planetariums; that they also showed the time and rang it on bells was almost incidental to their main function” (1959: 86).  In other words, the positions of celestial bodies were more important than the time of the day.  The movement of the stars was a way to discern auspicious and inauspicious days, weather, the growth of crops, and medical information about the human body.  The ‘hour’ of the day, the temporal hour, was also uneven, divided into equal units of daylight and night. Many early mechanical clocks (fourteenth-century Europe) did not have a minute hand, and if they did, it needed to be periodically corrected using a sundial.  In East Asia after the Jesuits introduced clocks, these mechanical devices became markers of wealth and prestige.  In Edo society (seventh-to nineteenth-century Japan) craftsmen added a second folio so that these status symbols could follow the temporal hour.  Mechanical time had to be adjusted to social time.”

"The evidence shows that the calendar is a contrivance for dividing the flow of time into units that suit society’s current needs. Though calendar makers put to use time signs offered by nature—the Moon’s phases, for example—they rearranged reality to make it fit society’s constructions."

Ancient and Religious Calendar Systems

# Ancient and Religious Calendar Systems

"The evidence shows that the calendar is a contrivance for dividing the flow of time into units that suit society’s current needs. Though calendar makers put to use time signs offered by nature—the Moon’s phases, for example—they rearranged reality to make it fit society’s constructions."


"when EA turns her head to the right, she explained that the months on the left of the calendar become "fuzzy", and she struggled to remember what happened during those months. The opposite is true when she looks to the left.
"In this case, Ramachandran suggests that EA's access to her memories are influenced by the movements of her neck and eyes. 
"While both these cases are incredibly unique, they could teach us a lot about how all of our brains perceive time.
"It's possible that when humans evolved the ability to deal with time and numbers, our brains didn't have the capacity to evolve a separate area to deal with this, so it could have ended up packed into the same area that controls our visual cortex.
"'Given the opportunistic nature of evolution, perhaps the most convenient way to represent the abstract idea of sequences of numbers and time might have been to map them onto a preexisting map of visual space, already present in the brain,' said Ramachandran.
"This idea is backed up by the fact that brain scans have shown connections between the areas of the brain involved in processing numbers, and those involved with mapping the world around us. For example, blind people can 'repurpose' their visual cortices to make mathematical calculations."


Some People Can 'See' Calendars, And It Could Explain How Our Brain Processes Time

# Some People Can 'See' Calendars, And It Could Explain How Our Brain Processes Time

"when EA turns her head to the right, she explained that the months on the left of the calendar become "fuzzy", and she struggled to remember what happened during those months. The opposite is true when she looks to the left.
"In this case, Ramachandran suggests that EA's access to her memories are influenced by the movements of her neck and eyes. 
"While both these cases are incredibly unique, they could teach us a lot about how all of our brains perceive time.
"It's possible that when humans evolved the ability to deal with time and numbers, our brains didn't have the capacity to evolve a separate area to deal with this, so it could have ended up packed into the same area that controls our visual cortex.
"'Given the opportunistic nature of evolution, perhaps the most convenient way to represent the abstract idea of sequences of numbers and time might have been to map them onto a preexisting map of visual space, already present in the brain,' said Ramachandran.
"This idea is backed up by the fact that brain scans have shown connections between the areas of the brain involved in processing numbers, and those involved with mapping the world around us. For example, blind people can 'repurpose' their visual cortices to make mathematical calculations."

# A Brief History of the Calendar and Time Keeping

"How many times a day do you check your calendar or look at your clock? These days our lives are driven by deadlines, schedules and timetables. Time and its many divisions (hours, days, weeks, months, and years) have completely shaped our lives and yet we seldom take the time to consider how these concepts arose. 
The calendar is inextricably linked to the mechanics of our solar system, and the way in which we describe our periods of time has arisen from ancient speculation in astronomy, mathematics and religion. 
In this talk, Donna Carroll will provide a brief history of our calendar and an introduction to time measurement. A fascinating field where astronomy, astrology, mathematics, politics, agriculture, superstition and religion all come together."


"How many times a day do you check your calendar or look at your clock?  These days our lives are driven by deadlines, schedules and timetable.  Time and its many divisions (hours, days, weeks, months, and years) have completely shaped our lives and yet we seldom take the time to consider how these concepts arose. 
The calendar is inextricably linked to the mechanics of our solar system, and the way in which we describe our periods of time has arisen from ancient speculation in astronomy, mathematics and religion.
In this talk, Donna Carroll will provide a brief history of our calendar and an introduction to time measurement.  A fascinating field where astronomy, astrology, mathematics, politics, agriculture, superstition and religion all come together."

A brief History of the Calendar and Time Keeping

"In the modern world, time is often imagined as a straight line running from the distant past to an infinite future but not so for the Aztecs.  As the historian R.F. Townsend describes, 'Time for the Aztecs was full of energy and motion.  The cosmogenic myths reveal a preoccupation with the process of creation, destruction and recreation, and the calendrical system reflected these notions about the character of time.'  For the Aztecs, specific times, dates and periods, such as one's birthday for example, could have an auspicious (or opposite) effect on ones personality, the success of harvests, the prosperity of a ruler's reign, and so on.  Time was to be kept, measured, and recorded.  It is significant that most major Aztec monuments and artworks conspicuously carry a date of some kind."

The Aztec Calendar

# The Aztec Calendar

"In the modern world, time is often imagined as a straight line running from a distant past to an infinite future but not so for the Aztecs. As the historian R.F. Townsend describes, 'Time for the Aztecs was full of energy and motion, the harbinger of change, and always charged with a potent sense of miraculous happening. The cosmogenic myths reveal a preoccupation with the process of creation, destruction and recreation, and the calendrical system reflected these notions about the character of time. (127)'
For the Aztecs, specific times, dates and periods, such as one’s birthday for example, could have an auspicious (or opposite) effect on one’s personality, the success of harvests, the prosperity of a ruler’s reign, and so on. Time was to be kept, measured, and recorded. It is significant that most major Aztec monuments and artworks conspicuously carry a date of some kind."


Joseph Kosuth Clock (One and Five), English/Latin Version 1965

# Clock (One and Five), 1965, Joseph Kosuth

![definition of time, tate.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622710190/definition_of_time_tate_c2676a1113.jpg)

*ARS, NY and DACS, London 2021*

Like many conceptual works, this is concerned with different modes of representation. It is thus an examination of a fundamental aspect of art. It brings together a real object with representations of different aspects of that object. It consists of a working clock, a photograph of it on the same scale, and enlarged entries from an English/Latin dictionary for the words, 'time,' 'machination' and 'object'. At the time, the artist was interested in 'linguistic anthropology' and the effect language has on the way we see and represent the world. He made a number of such works combining everyday things with photographs and descriptions or definitions translated from English into other European languages.

“At the psychological or individual level, it may seem natural that spatial externalizations can switch between linear and circular forms, depending on the imagined timeframe, each adapted to express two temporal phenomena: repetitions in nature and society, versus the irreversibility of linear decay. The circular spatial model seems pervasive for representing the sequence and perhaps the subjective ‘duration’ of time, of the day or year, since several salient events in nature seem isomorphic to this specific model (e.g., the regular rising and setting of the sun and other stars, the waxing and waning of the moon).”

Where are the Months? Mental Images of Circular Time in a Large Online Sample

![where are the months.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622761132/where_are_the_months_a96231f00d.jpg)


# Where are the Months? Mental Images of Circular Time in a Large Online Sample

“At the psychological or individual level, it may seem natural that spatial externalizations can switch between linear and circular forms, depending on the imagined timeframe, each adapted to express two temporal phenomena: repetitions in nature and society, versus the irreversibility of linear decay. The circular spatial model seems pervasive for representing the sequence and perhaps the subjective ‘duration’ of time, of the day or year, since several salient events in nature seem isomorphic to this specific model (e.g., the regular rising and setting of the sun and other stars, the waxing and waning of the moon).”



"The structure of time has long been a disputed topic by philosophers and physicists alike. What can the newly discovered brain’s mechanism for episodic time tell us about how we perceive time? Is our perception of time linear resembling a flowing river, or cyclical like a wheel or a helix? Data from the Kavli study suggest both are correct, and that the signal in the time-coding network can take on many forms depending on the experience."


How your brain experiences time

# How your brain experiences time

"The structure of time has long been a disputed topic by philosophers and physicists alike. What can the newly discovered brain’s mechanism for episodic time tell us about how we perceive time? Is our perception of time linear resembling a flowing river, or cyclical like a wheel or a helix? Data from the Kavli study suggest both are correct, and that the signal in the time-coding network can take on many forms depending on the experience."

Old Farmer’s Almanac. “Moon Phase Calendar: What Is the Moon Phase Today?” Old Farmer's Almanac, 2021, www.almanac.com/astronomy/moon/calendar. 

Moon Phase Calendar

![June-2021-New-Moon-Calendar.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622756798/June_2021_New_Moon_Calendar_7edd6b9c6a.jpg)

# Moon Phase Calendar


As the Moon orbits around Earth and Earth orbits around the Sun, the angle between the Sun, Moon, and Earth changes. As a result, the amount of sunlight that reflects off the Moon and travels to our eyes changes every day. (The Moon itself produces no light of its own.)

We see the Moon’s disk change from all dark to all light to all dark again: This span of time is called a lunar cycle, lunation, lunar month, or synodic month. The length of the cycle can vary slightly, but on average, it is 29.53059 days. (See “What’s the Moon’s Age?” below for more information.)

Astronomers have broken down this cycle into four primary Moon phases: New Moon, First Quarter, Full Moon, and Last Quarter. There are also four secondary phases: Waxing Crescent, Waxing Gibbous, Waning Gibbous, and Waning Crescent. The primary phases occur at a specific moment, no matter where you are on Earth, which is then converted to local time. (Depending on where you live, you may or may not be able to see the exact moment of a phase, in part because the Moon may not have risen yet in your area.) The secondary phases, however, represent a span of time rather than a specific moment


# John Berger - About Time 

Time Stamp 29:35 
'To draw is to look, examining the structure of appearances. A drawing of a tree shows not a tree but a tree being looked at. From each glance a drawing assembles a light evidence but it consists of the evidence of many glances which can be seen together. If one excepts the metaphor of time as a flow, a river, than the act of drawing by driving up stream achieves the stationary. A photograph is static because it has stopped time. A drawing is static because it in-composites time.'


"To draw is to look, examining the structure of appearances. A drawing of a tree shows not a tree but a tree being looked at. From each glance a drawing assembles a light evidence but it consists of the evidence of many glances which can be seen together. If one excepts the metaphor of time as a flow, a river, than the act of drawing by driving up stream achieves the stationary. A photograph is static because it has stopped time. A drawing is static because it in-composites time."

John Berger - About Time 

![1248911.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622464297/1248911_b3a10ddd15.jpg)
"Consisting of movie clips spliced together, all featuring a clock or referencing time, viewers are able to watch in real time as 24 hours (and crucially, 1440 minutes) are depicted on screen and in sequence. In a darkened room at 9:24 am, those that sit and watch “The Clock” will find a film scene that depicts the exact moment when the camera panned away to reveal a clock face reading the time, 9:24 am. It’s a dangerously brilliant concept and by-and-large seemingly impossible to make."

Christian Marclay’s ‘The Clock’

![1248911.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622464297/1248911_b3a10ddd15.jpg)

# Christian Marclay - The Clock 

"Consisting of movie clips spliced together, all featuring a clock or referencing time, viewers are able to watch in real time as 24 hours (and crucially, 1440 minutes) are depicted on screen and in sequence. In a darkened room at 9:24 am, those that sit and watch “The Clock” will find a film scene that depicts the exact moment when the camera panned away to reveal a clock face reading the time, 9:24 am. It’s a dangerously brilliant concept and by-and-large seemingly impossible to make."

"What Time Is It? examines the different ways we may think about what is on a chronometer: personal time, clock time, the way time bends and stretches and loop-de-loops for each of us in a unique way as we walk through the world, and how we are always walking in the shadow of our own death, whether or not we know it. Time in one place for one person is not necessarily the same as time for another, even if both may be measured by the same clock—and, of course, as Einstein famously observed, time is relative: clocks tick slightly differently, depending on how fast they are moving in space."

For John Berger, The Time We Feel Most Deeply Can’t Be Kept on a Clock.

# For John Berger, The Time We Feel Most Deeply Can’t Be Kept on a Clock.

"What Time Is It? examines the different ways we may think about what is on a chronometer: personal time, clock time, the way time bends and stretches and loop-de-loops for each of us in a unique way as we walk through the world, and how we are always walking in the shadow of our own death, whether or not we know it. Time in one place for one person is not necessarily the same as time for another, even if both may be measured by the same clock—and, of course, as Einstein famously observed, time is relative: clocks tick slightly differently, depending on how fast they are moving in space."

![1976+2005, Chino Otsuka.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1621856867/1976_2005_Chino_Otsuka_128ec36bea.jpg)

Imagine Finding Me 1976 and 2005, Kamakura, Japan

Chino Otsuka is a photographer who explores issues of memory and identity. In her project, Imagine Finding Me, she uses digital manipulation to insert her adult self into photographs from her youth.



Chino Otsuka

# Chino Otsuka



![1976+2005, Chino Otsuka.jpeg](https://res.cloudinary.com/illustration-reader/image/upload/v1622556766/1976_2005_Chino_Otsuka_c3a7f2730e.jpg)


*Imagine Finding Me 1976 and 2005, Kamakura, Japan*




Chino Otsuka is a photographer who explores issues of memory and identity. In her project, Imagine Finding Me, she uses digital manipulation to insert her adult self into photographs from her youth.



large_large purple memory time stamp-01_202.jpg

medium_large purple memory time stamp-01_202.jpg

small_large purple memory time stamp-01_202.jpg

thumbnail_large purple memory time stamp-01_202.jpg

large purple memory time stamp-01_202.jpg

“Armed with memory, the individual is able to deal with the present moment so that it need not create a ‘violent disruption’ in his consciousness.  But memory is unfortunately an uncertain ally.  By enveloping objects in the present with associations, memory can produce a state of confusion in which ‘nothing is any longer one thing’; indeed, when the associations invoke powerful emotions, the present may be obliterated completely by the past…. ‘Memory is the seamstress, and a capricious one at that.  Memory runs her needle in and out, up and down, hither and thither.  We know not what comes next, or what follows after’”

The Dialectic of Time in Orlando

# The Dialectic of Time in Orlando

“Armed with memory, the individual is able to deal with the present moment so that it need not create a ‘violent disruption’ in his consciousness.  But memory is unfortunately an uncertain ally.  By enveloping objects in the present with associations, memory can produce a state of confusion in which ‘nothing is any longer one thing’; indeed, when the associations invoke powerful emotions, the present may be obliterated completely by the past…. ‘Memory is the seamstress, and a capricious one at that.  Memory runs her needle in and out, up and down, hither and thither.  We know not what comes next, or what follows after’”

“For Bergson, all our inner experiences – thoughts, feelings, sensations, memories – exist together in the mind at once; it makes no sense to separate them into the form of a linear sequence.  'Inner duration,' says Bergson, 'is nothing else but the melting of states of consciousness into one another.'  Durée describes an experiences of time in which 'heterogeneous moments permeate one another' and 'the past co-exists along with the present.'”

On Orlando, and Virginia Woolf's Defiance of Time

# On Orlando, and Virginia Woolf's Defiance of Time

“For Bergson, all our inner experiences – thoughts, feelings, sensations, memories – exist together in the mind at once; it makes no sense to separate them into the form of a linear sequence.  “Inner duration,” says Bergson, “is nothing else but the melting of states of consciousness into one another.”  Durée describes an experiences of time in which “heterogeneous moments permeate one another” and “the past co-exists along with the present.”


“The madeleine unleashes a string of involuntary memories, such that fictional narrative itself (in the universe of Proust’s novel) is propelled not by the forward march of clock time, but by the impulses of memory. Time – for Proust as for Bergson – was better understood as the accumulation of qualitative impressions than as a quantifiable and progressive movement.”

Modernism, Time and Consciousness: The Influence of Henri Bergson and Marcel Proust

# Modernism, Time and Consciousness: The Influence of Henri Bergson and Marcel Proust

“The madeleine unleashes a string of involuntary memories, such that fictional narrative itself (in the universe of Proust’s novel) is propelled not by the forward march of clock time, but by the impulses of memory. Time – for Proust as for Bergson – was better understood as the accumulation of qualitative impressions than as a quantifiable and progressive movement.” 

# Marcel Proust’s in Search of Lost Time 


Time stamp: 04:21

“Marcel discovers his invisible antagonist.  His hidden enemy who he cannot see, touch or smell. It’s Time.  Time is slowly killing him. Because time makes him change, he isn’t the same person, physically, mentally, experientially as ten years ago, or last week, or even yesterday. Time makes him older, fall out of love with someone, makes forget things, people, experiences, his past obsessions, pains, and pleasures. A quote: “He sat there silent, watching their love expire.” Nothing is permeant. It’s time that turns you into many versions of you over your lifetime. And each version differs in his romantic feelings, outlooks, understanding of things, obsessions, likes and dislikes. But involuntary memory allows him to find the lost versions of him. In that madeleine, Marcel smells and tastes an entire childhood that he had lost, his mother, father and dozens of other characters from his past. The places he had been. The things he had seen, heard, smelled, touched, and tasted. All those memories were inside that madeleine taste sensation. In this moment of triggered memory that transports and unites him with a past version of him, Marcel exists in the present and as well as in the past. This moment is when you capture your past. Your lost time. You lost selves.  It’s here that Marcel manages to defeat time, however brief that is. For in that moment, when we listen to music or smell certain food, we’re suddenly transported into the past, time seems to have no power over you. You transcend time.”

“Marcel discovers his invisible antagonist.  His hidden enemy who he cannot see, touch or smell. It’s Time.  Time is slowly killing him. Because time makes him change, he isn’t the same person, physically, mentally, experientially as ten years ago, or last week, or even yesterday. Time makes him older, fall out of love with someone, makes forget things, people, experiences, his past obsessions, pains, and pleasures. A quote: “He sat there silent, watching their love expire.” Nothing is permeant. It’s time that turns you into many versions of you over your lifetime. And each version differs in his romantic feelings, outlooks, understanding of things, obsessions, likes and dislikes. But involuntary memory allows him to find the lost versions of him. In that madeleine, Marcel smells and tastes an entire childhood that he had lost, his mother, father and dozens of other characters from his past. The places he had been. The things he had seen, heard, smelled, touched, and tasted. All those memories were inside that madeleine taste sensation. In this moment of triggered memory that transports and unites him with a past version of him, Marcel exists in the present and as well as in the past. This moment is when you capture your past. Your lost time. You lost selves.  It’s here that Marcel manages to defeat time, however brief that is. For in that moment, when we listen to music or smell certain food, we’re suddenly transported into the past, time seems to have no power over you. You transcend time.”

Marcel Proust’s In Search of Lost TIme 

"Andrews suggests that imagination is pivotal to the construction of experiences in the here and now as well as the past, that is, psychotherapeutic places may not necessarily exist in real, linear, time and in physical space. He proposes they can exist as spaces and places created by and located in the mind. From our perspective, and in engaging with participants in the study, we approach memory and imagined spaces as existing in a temporal as well as a spatial framework, whose boundaries are porous, one influencing the other. Memory pulls information from the past as well as the present and present experiences influence memories."

Re-imagining Landscapes 

# Re-imagining Landscapes 

“Andrews suggests that imagination is pivotal to the construction of experiences in the here and now as well as the past, that is, psychotherapeutic places may not necessarily exist in real, linear, time and in physical space. He proposes they can exist as spaces and places created by and located in the mind. From our perspective, and in engaging with participants in the study, we approach memory and imagined spaces as existing in a temporal as well as a spatial framework, whose boundaries are porous, one influencing the other. Memory pulls information from the past as well as the present and present experiences influence memories.” 

“Ricoeur points out that we experience time in two different ways. We experience time as linear succession, we experience the passing hours and days and the progression of our lives from birth to death. This is cosmological time–time expressed in the metaphor of the “river” of time. The other is phenomenological time; time experienced in terms of the past, present and future. As self-aware embodied beings, we not only experience time as linear succession, but we are also oriented to the succession of time in terms of what has been, what is, and what will be. Ricoeur’s concept of “human time” is expressive of a complex experience in which phenomenological time and cosmological time are integrated. For example, we understand the full meaning of “yesterday” or “today” by reference to their order in a succession of dated time. To say “Today is my birthday” is to immediately invoke both orders of time: a chronological date to which is anchored the phenomenological concept of “birthday.” Ricoeur describes this anchoring as the “inscription” of phenomenological time on cosmological time”

Paul Ricoeur

# Paul Ricoeur

“Ricoeur points out that we experience time in two different ways. We experience time as linear succession, we experience the passing hours and days and the progression of our lives from birth to death. This is cosmological time–time expressed in the metaphor of the “river” of time. The other is phenomenological time; time experienced in terms of the past, present and future. As self-aware embodied beings, we not only experience time as linear succession, but we are also oriented to the succession of time in terms of what has been, what is, and what will be. Ricoeur’s concept of “human time” is expressive of a complex experience in which phenomenological time and cosmological time are integrated. For example, we understand the full meaning of “yesterday” or “today” by reference to their order in a succession of dated time. To say “Today is my birthday” is to immediately invoke both orders of time: a chronological date to which is anchored the phenomenological concept of “birthday.” Ricoeur describes this anchoring as the “inscription” of phenomenological time on cosmological time”

"Looking at the notebook in Styzbel's hands, half of its pages bloated and crinkled from the dried paint, I get the distinct sense that she is holding an archival artefact.  Styzbel's 'Notebook Series' has become a colourful chronicle of the strangest period in recent history.  Looking back over her Instagram now is like rewinding a newsreel of the surreal spring months, brought to life with Hockney-esque vibrancy and sharp-witted wordplay.  Since that day in February, Styzbel has documented stories like the stock-market dive, the closure of the Louvre, the stock-piling frenzy, record-breaking unemployment claims, the cancellation of the Tokyo Olympics and the advent of anti-lockdown protests... Her entries serve as windows to a past that can at times feel like an alien history, given how fast-moving pandemic journalism has been."

Madeleine Pollard Interviews New York Based Artist and Illustrator Pamela Styzbel

![Unemployment.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622651628/Unemployment_aef2dfa57a.jpg)

# Madeleine Pollard Interviews New York Based Artist and Illustrator Pamela Styzbel

"Looking at the notebook in Sztybel’s hands, half of its pages bloated and crinkled from the dried paint, I get the distinct sense that she is holding an archival artefact. Sztybel’s ‘Notebook Series’ has become a colourful chronicle of the strangest period in recent history. Looking back over her Instagram now is like rewinding a newsreel of the surreal spring months, brought to life with Hockney-esque vibrancy and sharp-witted wordplay. Since that day in February, Sztybel has documented stories like the stock-market dive, the closure of the Louvre, the stock-piling frenzy, record-breaking unemployment claims, the cancellation of the Tokyo Olympics and the advent of anti-lockdown protests. She has also highlighted novelty stories like the walking of unusual pets in Spain and the ‘business on top, pyjamas underneath trend’ of video call meetings, as well as dubiously hopeful moments like the supposed return of dolphins to Venice’s canals. Her entries serve as windows to a past that can at times feel like an alien history, given how fast-moving pandemic journalism has been."



(Losing the Notion of Time) Quarantine leads to the interruption of normal activities. What was interrupted is indeed a series of landmarks in the regular citizen’s schedule. In addition to losing a schedule at work to remind us which day we are, there were no more outings to the theatre on Thursday or to the cinema on Friday, or dinner with friends or family on Saturday or Sunday, or services at the church, or a favourite program or professional sports game on TV on a week day. Slowly, the days have lost their identities, their specific flavour, and the name of the days has lost some of its significance. With the loss of these landmarks in the week, or in the month, people were exposed to losing their motivation (Dai and Li, 2019).

At the same time, new habits were taken, with little association with specific days of the week. There was a serious increase of the time spent on screens, especially for children (Wiederhold, 2020). This situation makes average citizens who have experienced the loss of their daily temporal landmarks realising the extent to which our lives were previously scheduled, conditioned. Instead, with the disruption of time that people might have experienced, time sense was recovering its right to adjust to a more natural pace; in modern occidental life, there is a need to synchronise activities, to have frequent precise timing of events relative to other people (Elliott, 2019).


Pandemic, Quarantine, and Psychological Time

# Pandemic, Quarantine, and Psychological Time

> (Losing the Notion of Time) Quarantine leads to the interruption of normal activities. What was interrupted is indeed a series of landmarks in the regular citizen’s schedule. In addition to losing a schedule at work to remind us which day we are, there were no more outings to the theater on Thursday or to the cinema on Friday, or dinner with friends or family on Saturday or Sunday, or services at the church, or a favorite program or professional sports game on TV on a week day. Slowly, the days have lost their identities, their specific flavor, and the name of the days has lost some of its significance. With the loss of these landmarks in the week, or in the month, people were exposed to losing their motivation (Dai and Li, 2019).


Page 41, Single Panel, Anna Bhushan.
Handwritten : expressive lettering in the digital age / Steven Heller and Mirko Ilic.
by Heller, Steven; Ilić, Mirko, 1956-.
Publisher: London : Thames & Hudson, [2004]
Description: 192 pages : illustrations (some colour), facsimiles, portraits ; 25 cm.

Anna Bhushan: The Shooting of Old Man Time (2003)

# The Shooting of Old Man Time, Anna Bhushan

![Screenshot 2021-06-03 at 12.41.21.png](https://res.cloudinary.com/illustration-reader/image/upload/v1622724227/Screenshot_2021_06_03_at_12_41_21_88d7a3428e.png)

> I think that my work has a quiet intensity and a narrative quality which reflects my interest in storytelling, fiction and the process of reading. I love the fact that words on a page are silent and yet create a whole sensory world in your brain which is noisy and lovely and full of images. 


Some days seem to pass very slowly while some weeks, and even months, fly by. The global coronavirus pandemic has heightened our awareness that time is subjective. For some people who enjoy working from home, the days have whizzed by. For others desperate to travel or visit a loved one, time has slowed to a crawl

Why does time feel so weird in 2020

# Why does time feel so weird in 2020

Some days seem to pass very slowly while some weeks, and even months, fly by. The global coronavirus pandemic has heightened our awareness that time is subjective. For some people who enjoy working from home, the days have whizzed by. For others desperate to travel or visit a loved one, time has slowed to a crawl.




“The sameness of each day, combined with a loss of routine, is changing our perception of time.
A recent survey from the UK found that more than 80 percent of people experienced changes to how quickly they perceived time passing during lockdown compared to pre-lockdown.” 


Perception of Time Has Shifted During COVID-19

# Perception of Time Has Shifted During COVID-19

“The sameness of each day, combined with a loss of routine, is changing our perception of time.
A recent survey from the UK found that more than 80 percent of people experienced changes to how quickly they perceived time passing during lockdown compared to pre-lockdown.” 

We also have our memory to thank for this strange passing of time. According to Dr. Pavan Madan, M.D., a psychiatrist at Community Psychiatry, the more new experiences we have, the longer time feels. For example, time seems to pass slowly when you’re on vacation exploring new-to-you cities or interesting tourist attractions. 
Over the last several months, he says there has been a significant drop in novel experiences like eating at a restaurant or going for a trip. Even small experiences, like stopping at a gas station, occur less often, which Madan says can make time go by extra slowly.
“The more emotions a situation generates, the more we remember it,” says Madan. And since many of us are not leaving home, he says we are experiencing less range of emotions, which also reduces the landmarks of time stored into our memory, skewing the perception of time. 
Additionally, Madan says the transition from weekdays at work and weekends at home is no longer the same. “As the hallmarks of our workweek change, it makes it more difficult to feel the amount of time that has passed.” 


![FULLER-Quarantine-Survival-Map-Web.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622463701/FULLER_Quarantine_Survival_Map_Web_e7395da885.jpg)
"In March 2020, Fuller spent 14 days in enforced home quarantine in Beijing. During this time he created a series of artworks titled The Quarantine Maps."

The Quarantine Maps

![FULLER-Quarantine-Survival-Map-Web.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622463701/FULLER_Quarantine_Survival_Map_Web_e7395da885.jpg)

# The Quarantine Maps 

"In March 2020, Fuller spent 14 days in enforced home quarantine in Beijing. During this time he created a series of artworks titled The Quarantine Maps."

“This study examined the passage of time during the UKs lockdown period in response to the Covid-19 pandemic. Specifically, the study aimed to establish factors which contributed to the relative speeding up and slowing down of the passage of time during this period. The results show that, for many people, the passage of time felt distorted during the lock-down period in comparison with normal. For both the day and the week, Passage of time judgments (POTJs) participants were more likely to respond that the speed of the passage of time was distorted in comparison with normal, than to respond that time was passing at a normal rate. Interestingly, time did not distort in a single direction for all participants (i.e. faster or slower), instead, experiences of time passing more quickly or more slowly than normal were split almost evenly across those who experienced a distortion of the passage of time. These findings enable us to draw a number of conclusions about the passage time during the UK Covid-19 lockdown. Firstly, during times of social and physical distancing, satisfaction with current levels of social interaction is a significant predictor of the speed of the passage of time. Greater dissatisfaction with levels of social interaction are associated with a slowing of the passage of time whereas greater satisfaction with the level of social interaction are associated with an increase in the speed of the passage of time. Secondly, there are some differences in the factors which affect the subjective speed of the passage of time over shorter (day) and longer (week) epochs. Although age and satisfaction with levels of social interaction predicted both day and week POTJs, stress and task load only predicted day POTJs. For POTJ-day, increasing stress was associated with a slowing of the passage of time whereas increasing task load was associated with a faster passage Finally, the findings of this study suggest that during times of social and physical distancing, age is a significant predictor of the passage of time, with increasing age being associated with an increasingly slow passage of time. Specifically, whilst people aged 18 to 60 appear to experience time in a comparable way, people over the age of 60 appear to experience a relative slowing of the passage of time during lockdown when compared to those under the age of 60. This contrasts with recent studies conducted under “normal” circumstances which typically show that the passage of time does not differ between younger and older adults. The results of this study suggest that the UK’s Covid-19 social and physical distancing measures had a significant effect on peoples experience of the passage of time in comparison to normal times (pre-lockdown). This suggests that fundamental changes in day-to-day life distort our experience of time. Age and level of satisfaction with social interaction were predictive of the relative speed that time passed during the lockdown in comparison to normal. Experiencing time as passing quickly during the lockdown was therefore associated with reduced age and increased satisfaction with current levels of social interaction. Stress and task load also affected the passage of time day judgment with increased task load and reduced stress being associated with a faster passage of time. Whilst these findings are reminiscent of those observed in studies of the passage of time during normal daily life, the predictive value of social satisfaction, as apposed to anxiety and depression, highlights the benefit of measuring situation specific variables when understanding the passage of time. Furthermore, the age effects observed reopen the debate about whether the passage of time really does distort with increasing age."


The passage of time during the UK Covid-19 lockdown

# The passage of time during the UK Covid-19 lockdown

“This study examined the passage of time during the UKs lockdown period in response to the Covid-19 pandemic. Specifically, the study aimed to establish factors which contributed to the relative speeding up and slowing down of the passage of time during this period. The results show that, for many people, the passage of time felt distorted during the lock-down period in comparison with normal. For both the day and the week, Passage of time judgments (POTJs) participants were more likely to respond that the speed of the passage of time was distorted in comparison with normal, than to respond that time was passing at a normal rate. Interestingly, time did not distort in a single direction for all participants (i.e. faster or slower), instead, experiences of time passing more quickly or more slowly than normal were split almost evenly across those who experienced a distortion of the passage of time"

“Time, the philosopher Aristotle once mused, is the measure of change. It does not exist on its own as a container to put things into; rather, it depends on what is shifting, reshaping, and what remains the same. In 2020, the coronavirus has become the fulcrum for change. And along the way, something has happened to time. Its march onward is no longer measured in days, but in confirmed cases of Covid-19 and number of deaths. Milan is no longer five hours ahead of New York, but several weeks ahead. The virus has created its own clock, and in coronatime, there is less demarcation between a day and a week, a weekday and a weekend, the morning and night, the present and the recent past. The days blend together, the months lurch ahead. And while so much of the pandemic’s impact has landed unequally across geography, race, and class, these distortions of time feel strangely universal.”

The Coronavirus Has Warped All Sense of Time

# The Coronavirus Has Warped All Sense of Time

"Time, the philosopher Aristotle once mused, is the measure of change. It does not exist on its own as a container to put things into; rather, it depends on what is shifting, reshaping, and what remains the same. In 2020, the coronavirus has become the fulcrum for change. And along the way, something has happened to time. Its march onward is no longer measured in days, but in confirmed cases of Covid-19 and number of deaths. Milan is no longer five hours ahead of New York, but several weeks ahead. The virus has created its own clock, and in coronatime, there is less demarcation between a day and a week, a weekday and a weekend, the morning and night, the present and the recent past. The days blend together, the months lurch ahead. And while so much of the pandemic’s impact has landed unequally across geography, race, and class, these distortions of time feel strangely universal.”

![image.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622833845/image_a60e16d2ce.jpg)


Working From Home 

![image.jpg](https://res.cloudinary.com/illustration-reader/image/upload/v1622833845/image_a60e16d2ce.jpg)
 
# Working from Home by Yao Xiao