Time and the Digital: Connecting Technology, Aesthetics, and a Process Philosophy of Time (Interfaces: Studies in Visual Culture)
Timothy Scott Barker
Format: PDF / Kindle (mobi) / ePub
Eschewing the traditional focus on object/viewer spatial relationships, Timothy Scott Barker’s Time and the Digital stresses the role of the temporal in digital art and media. The connectivity of contemporary digital interfaces has not only expanded the relationships between once separate spaces but has increased the complexity of the temporal in nearly unimagined ways. Invoking the process philosophy of Whitehead and Deleuze, Barker strives for nothing less than a new philosophy of time in digital encounters, aesthetics, and interactivity.
Of interest to scholars in the fields of art and media theory and philosophy of technology, as well as new media artists, this study contributes to an understanding of the new temporal experiences emergent in our interactions with digital technologies.
Whitehead terms an “actual entity.” For Whit ehead, t hings or sub stances ar e a bstractions, t hey ar e e xamples of what he c alls “misplaced concreteness.”5 “Misplaced” because concreteness can only be found in process, as the lowest nest in the nesting of occasions of process.6 As Whitehead points out, when we think of substances, we merely think of the limit point of a series of occasions that extend over one another; we merely think of the outcomes of process. For Whitehead, every material
discussed previously. In the extensive continuum, past actual entities achieve an objective immortality for ingression into the becoming of the present actual entities. This is how Whit ehead understands t he s haping of t he pr esent b ased on t he inf ormation of t he past, and f urther, the existence of t he p ast in t he present. Whitehead’s extensive continuum, as with Deleuze’s plane of immanenc e, is an em beddedness, a non-transcendental plane that provides the potential for the becoming
Serres, the measurement of time considers a linear passing time, known in terms of seconds, minutes, hours, days, and so on. In contrast, his concept of the nature of time holds that any present duration contains many other domains of temporality simultaneously. Within e ach p oint of present are ne sted, folded, or kneaded many ot her domains of t emporality. S o w ithin t he pr esent momen t of the Challenger disaster are nested the events of t he Carthaginian sacrifice. The point is that these
sensory object to or experience of the world, changing the way we think about our visual reality and also about movement and time. Another e xample of t echnology in terpenetrating and r eformulating human e xperience c an b e pr ovided by c ommunications t echnology, in a similar sense to Harvey’s argument for space-time compression mentioned earlier. In or der to demonstrate the agenc y of t echnology in e xperiences of time and sp ace, one ne ed only lo ok t o de velopments in communication,
meaning that comes from conflict, from the collision of one piece of information with another. However, in the archive, time is not presented as it is in the temporal montage; time is not presented as a sequence of occasions, however juxtaposed. For inst ance, in Marker’s work La Jetée, discussed in C hapter 4, time is signaled by the montage’s sequence of photographic images. Although this presentation is complex as the images move forward and backward in time, it still constitutes time as a