21 April 2015
In the world of contemporary art, many artists have tried to interpret in their own way through their works, time. They tried to give him a picture, to stop it and share it with the public. All these artists, to name a few, as Opalka, On Kawara, Magritte, Boltanski, video-artists Tacita Dean, Paul Chan, Douglas ... have their ideological foundations rooted in the thought of two great filososi:
Henri Bergson and Edmund Husserl.
Henri Bergson (Figure 3) was a French philosopher of the first half of the '900. His in-depth study on time is considered today by scientists and philosophers. This consideration is given by the novelty of Bergson, in being able to identify the time lived with the "duration", which states that in his studies, is not perceived by the intelligence and knowledge but through memory and consciousness.
He in his three theses on the move, quoted and analyzed in "The Movement-Image" (Gilles Deleuze), studies the relationship between the movement and the time.
According to his theory, the movement is not confused with the distance traveled, by dividing the distance traveled and the present movement. Consequently space ritch is divisible inifinitamente in space and time making the movement indivisible.
Thus confirming that the time does not exist a single instant, but their continuous flow, which can not be broken down but lived in their real life in the consciousness of each of us, where psychic states do not succeed but coexist. So the time of science is different from the real one that each of us lives in his own conscience. Famous is the example of the sugar cube (third thesis on Bergson movement) 2 that dissolves in a glass of water: physics calculate the time it will take to melt the sugar according to an analytical procedure is extended from the initial the final one of liquefaction. This time thus calculated will be defined symbolically equal for all the times that will be measured in the same conditions. Very different is instead the time lived in my consciousness, that does not take into account the time spatialized and objectified physics but rather from my psychological conditions of impatience or calm.
This conception of time Bergson bases its interpretation of memory in his work "Matter and Memory". The philosopher, however, noted as the second science medical-psychological relationship between perception and memory is not found, then there is a different relationship between them.
He believes that the perception is a partial crop an image of perceived reality that lasts for the moment of perception; then this is exceeded by other perceptions, ie clippings, of reality.
Memory is rather the accumulation, the stratification of memories permanent and ever present. The memory is independent of the consciousness that you have and the time dimension which is not the moment, as to the perceptions, but the actual length.
He in "the creative evolution" 3 quotes:
"All this could be a real continuity indivisible, relationships do not belong to objects but to everything."
The whole is then, according to Bergson, represented as an inverted cone (Fig.4); base (perception) and points (memory) of the cone form a whole. So the relationship between the perception of reality (matter-tip of the cone) and memory (spirit-base of the cone): the alleged differentiation of spirit and matter now becomes one.
In 1931 the surrealist painter Salvador Dali, seems to capture the philosophy of Bergson concerning the flow of time, and the painting is "The Persistence of Memory" (Figure 5).
Bergson's influence is present in the deformity of the watches, remembering that the duration of an event can be expanded in the memory as claimed Bergosn own. The three watches loose, represent the appearance of the time, to spend, in the subjectivity perceived by man, takes on speed and carrateristiche different, following the mood of remembrance.
The fourth clock, the one held by the ants, which devour, indicating the cancellation of chronological time and the instrument that best characterizes it.
So how does Bergson through a quote, in the "sage on the immediate data in the consciousness" 4:
"When I follow with their eyes on the face of a clock hand movement ... not I measure a time, as you seem to believe, I will only mention of simultaneity, which is very different"
With this quote, Bergson, wants us to understand that the astronomical time clock is in fact at one of the positions of the hands and different times.
Canceling the physical representation of the clock, in seconds, minutes and hours and instead caratterizzado duration, dynamic flow and simultaneity.
The clock is then, convictions scientific and rationalistic, as existing function.
The clock now days is the emblem of the consistency and accuracy, which inevitably leads to a conception of time characterized by a regular scan. So every second, minute and hour is always the same, with the same value and same weight. What matters in this thinking is the quantitative and qualitative, which instead is from our idea of time perception. This example highlights a critical Bergson positivists and mathematical physicists, who think they can regulate and govern all the time dimensions of human life.
With other metaphors Bergson, such as:
"We do not perceive that the past practically since the pure present is the elusive progress of the past that is taken on the future"
Bergson tells us that the time of science and time are actually lived
diametrically opposed.
Science gives us the abstract interpretation of the time, that only responds to practical needs, giving order and stability, defining the duration the concrete time.
In abstract time however there is no difference between past, present and future by defining a regular and continuous progression.
In life instead, there is this distinction and so there is a regular progression, allowing distortion and dilation of time, so that a minute can last an hour, days or years.
According to the thoughts of Bergson, the concept of life is characterized by four qualities characteristic:
1) The duration is always absolute novelty at each instant with a continuous flow of the creative process.
2) Keep all the past entirely, abstaining separation between the present state and the front.
3) It 'a variation pure within which there are distinct qualities.
4) In contrast with what was said traditional science, life is a continuous flow.
Are not separable and not follow one another, is an ever-changing moments of mutually interpenetrating.
So the time is one of many forms created by man to establish an order to reality, to life, taking it away from the chaos. Giving timetables and organization, habits and often monotonous, however, this form is inconsistent and false. Vera, however, is the concept of the term of subjective time, clocked by the conscience of each individual person.
But life knows no distinction between past-present-future, does not proceed one-way, admits jumps, expansion, acceleration and deceleration; shows us how the artist Paul Chan with his video installation "7 Light" (Figure 6), which keeps us suspended in time, dilatadolo.
Everyone is, therefore, a movement of its own, which can interact with others, but that can not infuse his personality, as it lacks a common term of reference.
Conscience and your inner time can not exist without memory, consequently could say that consciousness is memory. However it is not a memory, but only a selection unconscious unconscious between past experience; the memory, however, is the result of the whole history of the individual.
In the exhibition "the sky split" hosted by the Neue Nationalgalerie in Berlin 2011-2013, dedicated to the two decades of the history of Berlin after the war to the Sixty-eight, the work of On Kawara "4 Jun, 68" (Figure 7) shows us just one example esperieze of past and memory connected to time. The work of the Japanese artist who is part of the "Today Series" we concluded the path as laconic and powerful proof of a day that there was and his witness.
Another testimony of the artist, dedicated to 365 days a year is the one left by the film-makers Jonas Mekas in his 365 Day Project; a diary consists of 365 short films, one for each day of 2007, accessible interface in the form calendar directly from your website5.
Writes about Bergson, in "The Creative Evolution":
"We are, what our character if not the summary of the history we have lived since birth? Certainly we think only a small part of our past, but with all our past that we want, we want and act "
The French philosopher says so that our actions meet the range of our feelings and our thoughts; the role of the past in the conscious life is much more active and important part of conscious life itself. There is only what is perceived in the present, once died out this perception, his image fades quickly in memory.
We have not taken on the future, without an equal and corresponding perspective on the past.
At this point we have to ask ourselves what is the present moment.
Bergson writes in "Matter and Memory" 6:
"The characteristic of the time is to flow, the elapsed time is the past, and we call this the instant in which it flows. But here it is not about instant mathematician, what I call my present borders simultaneously on my past and my future, "" should, therefore, be a perception of the immediate past and a determination of the immediate future. "
In conclusion, therefore, this is an abstract fiction and can be reflected in another quote Bergson:
"Nothing less than the present moment, so if you intend this limit indivisible that separates the past from the future. When we think of this in mind as dovente be not yet, and when we think of as existing has already passed "
Nothing is less than the present moment, because when we perceive it has already passed. Consequently, continues Bergson:
"We do not perceive that the past practically since the pure present is the elusive progress of the past that is taken on the future"
The analysis of Bergson on time this leads philosophers like Deleuze to conceive themselves in terms of their timing, creating the term image crystal.
From the book "The image-time Cinema 2" 7 written by Gilles Deleuze we find the definition of crystal image:
What constitutes the image-crystal is the fundamental operation of the time: given that the past is not formed after that it was, but at the same time, the time must at all times doubling in the past and present, different by nature one or the other, and is the same, must split the present heterogeneous in two directions, one of which is thrown towards the future and the other falls in the past. The time must break down while arises and takes place:
splits into two asymmetric jets one of which passes all the present and
the other preserves all the past. Time consists of this split, it is,
it is seen in the crystal.
Deleuze conceives studies on the philosophy of time and movement in film, with the same criterion of temporality of Bergson.
The purpose of Deleuze on the philosophy of Bergson about time we find in "Cinema 2 image time" 8:
"The major thesis of Bergson on time is like this: the past coexists with the present that was; the past is preserved in itself, as the past in general (non-chronological): time splits at every moment in the present and the past, present, and that goes past that is preserved. Often Bergsonism was reduced to the idea that life would be subjective and constitute our inner life. And perhaps, at least in the beginning, Bergson had to express themselves in this way. But, gradually, he will say something quite different: the only subjectivity is time, time-chronological caught in its foundation, and we are to be internal to the time, not vice versa. To say we are in time has the air of being a cliché, it is the ultimate paradox iveco. Time is not the inside of us, it is the opposite prorprio, interiority in which we are, we move, we live and we change. "
"The image crystal was not the time, but you see the time in the crystal. In the crystal we see the internal foundation of time, time is not chronological ... Crystal never ceases to swap the two separate images that make it up, the current image of this passing and the virtual image of the past that is preserved : distinct and yet indiscernible, the more indiscernible as distinct, because you never know what is one and what is the other. And unequal exchange, or the point of indiscernability, the image of each other. Crystal lives to the limit, it is itself elusive boundary between the immediate past that is not already over and the immediate future is not yet, mirror reflecting incessantly perception in memory "9
The picture is crystal represented exactly in video installations by Eija-Liisa Ahtila, with its dense and complex images on the temporal plane.
I his videos are a kind of memory that are preparing for a future without return. Past, present and future in a single moment.
Bergson is very close to Kant (Fig.8) more than you think: Kant defined the time as a form of interiority, in the sense that we are within the time (although Bergson conceives this thought unlike Kant).
For Kant time has only one dimension. It is the form of our inner intuition and, as such, lacks contours visually distinct. Creating us a picture of our time through a number of similarities, since you do not have an obvious form.
As Bergson, Edmund Husserl (Fig.9), philosopher Austro Hungarian Empire, has developed an approach to the problems of time consciousness.
According to Husserl temporality, as is the fundamental level of subjectivity.
He creates a distinction between different types of time spent and the different ability to relate to it on the part of a subject.
The recent past (moments spent in short periods) that is still given in the immediate vicinity of the continuous flow of perception of man, and the past (moments passed long ago) that has already slipped into oblivion, that the need for action special memory for return to be remembered.
The first part, the "recent past" is defined by Husserl "retention", the later the "past" is defined as "memory".
Husserl says that in our conscious life we are continually divided between different conceptions of awareness: we live in the presence of perception, constructed from impressions, retentions and expectations, as well as in the remembered past.
Making even more complex the mechanism with the addition of empathy and imagination.
Husserl's famous diagram (Figure 10) shows an example of how to behave a number of points-now that lie in the past.
Each point-hours is followed by new points-now represented in the diagram by AE. The experience was born in the point P, which is the origins of the impression and immediately starts to sink in the past in the line PP ', when it perceives And, as present, P is transformed into P'. The diagram of Husserl wants us to understand that the steps are not spent absent from the scene of consciousness but retained in the past. Husserl attempts to extend the concept of presentation, in addition to what is given in the present time. To better understand the notion of presentation of Husserl's important to understand the distinction between the representational and presentational consciousness.
Thus Husserl cites:
"Perception is, here, the act that presents us with something as if it were" self ", the act which constitutes the object originally. Its opposite is the representation that is an act that does not appear before our eyes, but merely to represent him. "10
The sinking of the past, shown in the diagram, is all part of the presentation; What we learn is not the time pattern in itself (past, present and future) but rather the conscience of this mode. It is nothing but the anticipation continues consciousness stretched and sink in the impression of retention. Husserl insists that the flow not only makes possible the appearance of the object in time, but it also appears to itself (self-consciousness).
What we learn is not the time pattern in itself (past, present and future) but rather the conscience of this mode. It is nothing but the anticipation continues consciousness stretched and sink in the impression of retention. Husserl insists that the flow not only makes possible the appearance of the object in time, but it also appears to itself (self-consciousness).
Henri Bergson and Edmund Husserl.
Henri Bergson (Figure 3) was a French philosopher of the first half of the '900. His in-depth study on time is considered today by scientists and philosophers. This consideration is given by the novelty of Bergson, in being able to identify the time lived with the "duration", which states that in his studies, is not perceived by the intelligence and knowledge but through memory and consciousness.
He in his three theses on the move, quoted and analyzed in "The Movement-Image" (Gilles Deleuze), studies the relationship between the movement and the time.
According to his theory, the movement is not confused with the distance traveled, by dividing the distance traveled and the present movement. Consequently space ritch is divisible inifinitamente in space and time making the movement indivisible.
Thus confirming that the time does not exist a single instant, but their continuous flow, which can not be broken down but lived in their real life in the consciousness of each of us, where psychic states do not succeed but coexist. So the time of science is different from the real one that each of us lives in his own conscience. Famous is the example of the sugar cube (third thesis on Bergson movement) 2 that dissolves in a glass of water: physics calculate the time it will take to melt the sugar according to an analytical procedure is extended from the initial the final one of liquefaction. This time thus calculated will be defined symbolically equal for all the times that will be measured in the same conditions. Very different is instead the time lived in my consciousness, that does not take into account the time spatialized and objectified physics but rather from my psychological conditions of impatience or calm.
This conception of time Bergson bases its interpretation of memory in his work "Matter and Memory". The philosopher, however, noted as the second science medical-psychological relationship between perception and memory is not found, then there is a different relationship between them.
He believes that the perception is a partial crop an image of perceived reality that lasts for the moment of perception; then this is exceeded by other perceptions, ie clippings, of reality.
Memory is rather the accumulation, the stratification of memories permanent and ever present. The memory is independent of the consciousness that you have and the time dimension which is not the moment, as to the perceptions, but the actual length.
He in "the creative evolution" 3 quotes:
"All this could be a real continuity indivisible, relationships do not belong to objects but to everything."
The whole is then, according to Bergson, represented as an inverted cone (Fig.4); base (perception) and points (memory) of the cone form a whole. So the relationship between the perception of reality (matter-tip of the cone) and memory (spirit-base of the cone): the alleged differentiation of spirit and matter now becomes one.
In 1931 the surrealist painter Salvador Dali, seems to capture the philosophy of Bergson concerning the flow of time, and the painting is "The Persistence of Memory" (Figure 5).
Bergson's influence is present in the deformity of the watches, remembering that the duration of an event can be expanded in the memory as claimed Bergosn own. The three watches loose, represent the appearance of the time, to spend, in the subjectivity perceived by man, takes on speed and carrateristiche different, following the mood of remembrance.
The fourth clock, the one held by the ants, which devour, indicating the cancellation of chronological time and the instrument that best characterizes it.
So how does Bergson through a quote, in the "sage on the immediate data in the consciousness" 4:
"When I follow with their eyes on the face of a clock hand movement ... not I measure a time, as you seem to believe, I will only mention of simultaneity, which is very different"
With this quote, Bergson, wants us to understand that the astronomical time clock is in fact at one of the positions of the hands and different times.
Canceling the physical representation of the clock, in seconds, minutes and hours and instead caratterizzado duration, dynamic flow and simultaneity.
The clock is then, convictions scientific and rationalistic, as existing function.
The clock now days is the emblem of the consistency and accuracy, which inevitably leads to a conception of time characterized by a regular scan. So every second, minute and hour is always the same, with the same value and same weight. What matters in this thinking is the quantitative and qualitative, which instead is from our idea of time perception. This example highlights a critical Bergson positivists and mathematical physicists, who think they can regulate and govern all the time dimensions of human life.
With other metaphors Bergson, such as:
"We do not perceive that the past practically since the pure present is the elusive progress of the past that is taken on the future"
Bergson tells us that the time of science and time are actually lived
diametrically opposed.
Science gives us the abstract interpretation of the time, that only responds to practical needs, giving order and stability, defining the duration the concrete time.
In abstract time however there is no difference between past, present and future by defining a regular and continuous progression.
In life instead, there is this distinction and so there is a regular progression, allowing distortion and dilation of time, so that a minute can last an hour, days or years.
According to the thoughts of Bergson, the concept of life is characterized by four qualities characteristic:
1) The duration is always absolute novelty at each instant with a continuous flow of the creative process.
2) Keep all the past entirely, abstaining separation between the present state and the front.
3) It 'a variation pure within which there are distinct qualities.
4) In contrast with what was said traditional science, life is a continuous flow.
Are not separable and not follow one another, is an ever-changing moments of mutually interpenetrating.
So the time is one of many forms created by man to establish an order to reality, to life, taking it away from the chaos. Giving timetables and organization, habits and often monotonous, however, this form is inconsistent and false. Vera, however, is the concept of the term of subjective time, clocked by the conscience of each individual person.
But life knows no distinction between past-present-future, does not proceed one-way, admits jumps, expansion, acceleration and deceleration; shows us how the artist Paul Chan with his video installation "7 Light" (Figure 6), which keeps us suspended in time, dilatadolo.
Everyone is, therefore, a movement of its own, which can interact with others, but that can not infuse his personality, as it lacks a common term of reference.
Conscience and your inner time can not exist without memory, consequently could say that consciousness is memory. However it is not a memory, but only a selection unconscious unconscious between past experience; the memory, however, is the result of the whole history of the individual.
In the exhibition "the sky split" hosted by the Neue Nationalgalerie in Berlin 2011-2013, dedicated to the two decades of the history of Berlin after the war to the Sixty-eight, the work of On Kawara "4 Jun, 68" (Figure 7) shows us just one example esperieze of past and memory connected to time. The work of the Japanese artist who is part of the "Today Series" we concluded the path as laconic and powerful proof of a day that there was and his witness.
Another testimony of the artist, dedicated to 365 days a year is the one left by the film-makers Jonas Mekas in his 365 Day Project; a diary consists of 365 short films, one for each day of 2007, accessible interface in the form calendar directly from your website5.
Writes about Bergson, in "The Creative Evolution":
"We are, what our character if not the summary of the history we have lived since birth? Certainly we think only a small part of our past, but with all our past that we want, we want and act "
The French philosopher says so that our actions meet the range of our feelings and our thoughts; the role of the past in the conscious life is much more active and important part of conscious life itself. There is only what is perceived in the present, once died out this perception, his image fades quickly in memory.
We have not taken on the future, without an equal and corresponding perspective on the past.
At this point we have to ask ourselves what is the present moment.
Bergson writes in "Matter and Memory" 6:
"The characteristic of the time is to flow, the elapsed time is the past, and we call this the instant in which it flows. But here it is not about instant mathematician, what I call my present borders simultaneously on my past and my future, "" should, therefore, be a perception of the immediate past and a determination of the immediate future. "
In conclusion, therefore, this is an abstract fiction and can be reflected in another quote Bergson:
"Nothing less than the present moment, so if you intend this limit indivisible that separates the past from the future. When we think of this in mind as dovente be not yet, and when we think of as existing has already passed "
Nothing is less than the present moment, because when we perceive it has already passed. Consequently, continues Bergson:
"We do not perceive that the past practically since the pure present is the elusive progress of the past that is taken on the future"
The analysis of Bergson on time this leads philosophers like Deleuze to conceive themselves in terms of their timing, creating the term image crystal.
From the book "The image-time Cinema 2" 7 written by Gilles Deleuze we find the definition of crystal image:
What constitutes the image-crystal is the fundamental operation of the time: given that the past is not formed after that it was, but at the same time, the time must at all times doubling in the past and present, different by nature one or the other, and is the same, must split the present heterogeneous in two directions, one of which is thrown towards the future and the other falls in the past. The time must break down while arises and takes place:
splits into two asymmetric jets one of which passes all the present and
the other preserves all the past. Time consists of this split, it is,
it is seen in the crystal.
Deleuze conceives studies on the philosophy of time and movement in film, with the same criterion of temporality of Bergson.
The purpose of Deleuze on the philosophy of Bergson about time we find in "Cinema 2 image time" 8:
"The major thesis of Bergson on time is like this: the past coexists with the present that was; the past is preserved in itself, as the past in general (non-chronological): time splits at every moment in the present and the past, present, and that goes past that is preserved. Often Bergsonism was reduced to the idea that life would be subjective and constitute our inner life. And perhaps, at least in the beginning, Bergson had to express themselves in this way. But, gradually, he will say something quite different: the only subjectivity is time, time-chronological caught in its foundation, and we are to be internal to the time, not vice versa. To say we are in time has the air of being a cliché, it is the ultimate paradox iveco. Time is not the inside of us, it is the opposite prorprio, interiority in which we are, we move, we live and we change. "
"The image crystal was not the time, but you see the time in the crystal. In the crystal we see the internal foundation of time, time is not chronological ... Crystal never ceases to swap the two separate images that make it up, the current image of this passing and the virtual image of the past that is preserved : distinct and yet indiscernible, the more indiscernible as distinct, because you never know what is one and what is the other. And unequal exchange, or the point of indiscernability, the image of each other. Crystal lives to the limit, it is itself elusive boundary between the immediate past that is not already over and the immediate future is not yet, mirror reflecting incessantly perception in memory "9
The picture is crystal represented exactly in video installations by Eija-Liisa Ahtila, with its dense and complex images on the temporal plane.
I his videos are a kind of memory that are preparing for a future without return. Past, present and future in a single moment.
Bergson is very close to Kant (Fig.8) more than you think: Kant defined the time as a form of interiority, in the sense that we are within the time (although Bergson conceives this thought unlike Kant).
For Kant time has only one dimension. It is the form of our inner intuition and, as such, lacks contours visually distinct. Creating us a picture of our time through a number of similarities, since you do not have an obvious form.
As Bergson, Edmund Husserl (Fig.9), philosopher Austro Hungarian Empire, has developed an approach to the problems of time consciousness.
According to Husserl temporality, as is the fundamental level of subjectivity.
He creates a distinction between different types of time spent and the different ability to relate to it on the part of a subject.
The recent past (moments spent in short periods) that is still given in the immediate vicinity of the continuous flow of perception of man, and the past (moments passed long ago) that has already slipped into oblivion, that the need for action special memory for return to be remembered.
The first part, the "recent past" is defined by Husserl "retention", the later the "past" is defined as "memory".
Husserl says that in our conscious life we are continually divided between different conceptions of awareness: we live in the presence of perception, constructed from impressions, retentions and expectations, as well as in the remembered past.
Making even more complex the mechanism with the addition of empathy and imagination.
Husserl's famous diagram (Figure 10) shows an example of how to behave a number of points-now that lie in the past.
Each point-hours is followed by new points-now represented in the diagram by AE. The experience was born in the point P, which is the origins of the impression and immediately starts to sink in the past in the line PP ', when it perceives And, as present, P is transformed into P'. The diagram of Husserl wants us to understand that the steps are not spent absent from the scene of consciousness but retained in the past. Husserl attempts to extend the concept of presentation, in addition to what is given in the present time. To better understand the notion of presentation of Husserl's important to understand the distinction between the representational and presentational consciousness.
Thus Husserl cites:
"Perception is, here, the act that presents us with something as if it were" self ", the act which constitutes the object originally. Its opposite is the representation that is an act that does not appear before our eyes, but merely to represent him. "10
The sinking of the past, shown in the diagram, is all part of the presentation; What we learn is not the time pattern in itself (past, present and future) but rather the conscience of this mode. It is nothing but the anticipation continues consciousness stretched and sink in the impression of retention. Husserl insists that the flow not only makes possible the appearance of the object in time, but it also appears to itself (self-consciousness).
What we learn is not the time pattern in itself (past, present and future) but rather the conscience of this mode. It is nothing but the anticipation continues consciousness stretched and sink in the impression of retention. Husserl insists that the flow not only makes possible the appearance of the object in time, but it also appears to itself (self-consciousness).
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