Chronference: 0201409230442+(unresolved)
Poetry and Charm
1. The ‘Thin Red Line’ and ‘Garlands of Time’.
2. Two metaphors to illustrate two traditions of temporality.
3. Our meanings are expressions of our unique temporal signatures, and our performances are expressions of our temporal repertoires.
4. In their Conversations on Science, Culture and Time, Serres and Latour refer to a “dazzling shortcut between poetic and scientific temporality”.
5. This is a reference to two traditions of temporality.
6. One the one hand a tradition of the time of your life.
7. And on the other a tradition of the time of the universe.
8. On the one hand
the
poetry
of
the
map.
On
the
other,
the
charm
of
the
territory.
9. They
meet
as
garlands
of
time.
10. As
Bruno
Latour
wrote,
referring
to
Michael
Serres
description
of
a
hammer:
11. “When
I
grab
the
handle
[of
the
hammer,
itself
containing
many
folded
temporalities],
I
insert
my
gesture
in
a
‘garland
of
time’
...
[I]
insert
myself
in
a
variety
of
temporalities
or
time
differentials
...
”
12. The
object
‘folds
time’
and
the
object
and
I
engage
in
an
unfolding
ontological
drama.
Unresolved Drama
13. Attempts
at
resolution
of
the
drama
typically
proceed
in
two
ways.
Neither
completely
satisfactory.
14. Let’s
label
them
as
the
undermining
and
overmining
traditions.
15. Undermining
involves
the
reduction
of
time
to
one
or
more
of
its
temporal
modalities.
16. It
breaks
time
into
pieces,
some
of
which
are
said
to
be
real
and
others
illusory.
17. The
overmining
approach
dissolves
time
upwards
into
the
eternal
or
simply
to
a
relation
between
things.
18. Undermining
approaches
generally
have
two
components.
19. A
structure
and
an
experience.
20. We
can
see
the
drama
unfold
in
the
distinctions
between
phenomenology
and
post‐structuralism.
21. For
example,
Husserl’s
phenomenological
model
of
time
consciousness
wraps
a
“retentional
and
protentional
halo”
around
every
perception.
22. Deleuze’s
three
syntheses
of
time
involve
passive
and
active
syntheses.
23. Passive
syntheses
are
structures
beneath
the
threshold
of
consciousness,
while
the
active
syntheses
are
experiences
within
the
mind.
24. The
same
for
Heidegger’s
three
ecstaces
of
time.
25. Bergson’s
notion
of
duration
emphasises
the
multiplicity
of
conscious
states
“made
up
of
moments
inside
one
another”
26. Merleau-Ponty
reduces
time
to
one
single
time
that
he
calls
a
field
of
presence.
27. In
presentism,
time
is
reduced
to
only
the
present.
28. In
growing
block
models
the
present
sits
at
the
leading
edge
of
an
ever‐
increasing
past.
29. But
where
is
the
future?
30. And
there
are
more.
31. Morton’s
hyperobject
is
an
unresolved
pervasive
object
massively
distributed
in
time.
Climate
change
is
an
exemplar
hyperobject.
32. Garcia’s
approach
is
a
middle
ground
approach
that
considers
time
as
an
intensity.
33. The
present
is
that
which
has
maximal
presence,
while
the
future
has
maximal
absence.
34. Within
this
temporal
gradience,
every
past
event
is
a
composition
(or
texture)
of
presence
and
absence
sitting
somewhere
between
maximal
presence
(the
pure
present)
and
maximal
absence
(the
pure
future).
35. It
resists
undermining
and
is
not
exhausted
by
the
temporal
modalities
of
the
mind.
36. It
resists
overmining
and
is
not
eliminated
by
dissolution
to
eternity,
or
an
abstract
‘t’
within
the
equations
of
physics.
37. So
today
listen
for
the
gestures,
structures
and
experiences,
as
well
as
the
signatures
and
the
repertoires.
38. Consider
how
temporalities
infuse
into
chronopathologies
or
chronopolitics.
Beyond the Denizen
39. Listen
for
the
temporalities
of
denizen
futures
characterised
by
patterns
of
repetition.
40. This
genre
of
futures
typically
focuses
on
similarity
and
resemblance.
41. It
emphasises
familiarization
and
officially
sanctioned
futures.
42. The
genre
of
denizen
futures
involves
a
‘Thin
Red
Line’
perspective.
43. A
thin
red
line
is
a
trace
(or
echo)
of
the
past.
44. It
is
also
a
line
that
connects
the
dots
as
futures
become
real
as
time
unfolds.
45. Thin
red
lines
establish
time
binds.
46. They
are
like
Zerubavel’s
‘hidden
rhythms’
48. They
are
like
Orlikowski
and
Yates’
‘temporal
structuring’
that
‘shape
the
temporal
rhythyms
and
the
form
of
ongoing
practices’
within
an
organization.
49. In
contrast
a
temporality
of
difference
unhinges
time.
50. Like
Shakespeare
who
had
Hamlet
declare
“The
time
is
out
of
joint”.
Unhinged
and
unresolved.
51. Just
as
the
core
of
queer
theory
is
a
critique
of
hetero‐normativity,
the
core
of
speculative,
alien
and
deviant
futures
is
a
critique
of
chrono‐
normativity.
52. Chrono‐normativity
is
an
expression
of
dominant
temporal
panoramas
and
their
signatures
and
repertoires.
53. A
response
to
re‐claim
the
future
from
attempts
to
deal
it
a
death‐blow.
54. We
see
this
for
example,
with
Franco
Berardi
in
2011
in
his
Manifesto
of
Post‐Futurism.
55. In
the
final
sentence
of
the
book,
we
writes
“We
will
sing
to
the
infinity
of
the
present
and
abandon
the
illusion
of
a
future”
56. Well
then,
it
seems
we
need
alternative
chronotopes.
57. We
can
see
some
of
these
in
the
theoretical
frameworks
of
alien
futures,
speculative
futures
and
deviant
futures.
58. New
chronotopes
and
their
temporal
repertoires
that
enable
us
to
release
our
time
binds
and
unhinge
time.
59. Alien
inquiry,
speculative
inquiry
and
queer
inquiry,
all
of
which
involve
“a
desire
for
another
way
of
being
in
both
the
world
and
time”.
60. They
embrace
repertoires
of
defamiliarization.
61. Just
as
the
temporal
turn
in
queer
theory
brings
a
critical
attitude
to
challenge
the
status
of
binaries.
62. In
a
temporal
sense,
this
same
attitude
seeks
to
defamiliarize
dominant
temporalities.
To
make
(more)
familiar
the
unfamiliar.
Time as a Zeno Object
63. Time
sits
within
the
liminal
space
between
the
poetry
of
the
map
and
the
charm
of
the
territory,
64. Our
temporal
thoughts
and
experiences
arise
as
a
blend
of
the
poetry
of
the
map
and
the
charm
of
the
territory.
65. The
poetry
of
inner
games
involves
the
times
of
our
life,
and
the
charm
of
outer
games
involves
the
time
of
the
universe.
66. Hiding
and
hard
to
grasp.
67. Yet
its
poetic‐charm
is
alluring.
68. Time
is
illusory.
69. Time
is
elusive.
70. Time
is
alluring.
71. Time
is
a
zeno
object.
72. If
you
want
to
see
a
zeno
object
look
at
the
chronference
logo!
73. Temporal
objects
are
dopplegangers.
74. One
moment
seems
to
resemble
another.
75. There
is
a
strange
verisimilitude.
76. A
series
of
nows
appear.
77. Yet
each
now
is
a
paradoxical
moment
in
a
temporal
sorites
sequence.
78. It
seems
as
if
time
errupts.
79. Garlands
of
time
are
temporal
panoramas.
80. Similar
to
Lewis’
theory
of
possible
worlds.
81. Some
real,
some
possible,
some
plausible,
some
necessary,
some
contingent,
some
actual,
some
the
ways
things
could
have
been,
some
the
way
things
may
actually
be,
some
denizen,
some
speculative,
some
alien,
some
deviant.
Temporal Panorama
82. The
literature
on
time
and
temporality
is
vast
and
it
spans
the
fields
of
physics,
anthropology,
sociology,
psychology,
philosophy, phenomenology,
consciousness
and
cosmology,
to
name
just
a
few.
83. Deleuze
uses
the
phrase
“temporal
panorama”
to
describe
a
collection
of
complex
time‐images
and
I
think
this
is
a
nice
metaphor
for
the
different
textures
of
time
in
these
disciplines.
84. These
textures
are
combinations
and
configurations
of
temporal
signatures
and
temporal
repertoires.
85. Victoria
Koehler‐Jones
described
temporal
signature
as
a
person’s
“unique
temporal
identity”.
86. Churchland,
for
example,
refers
to
prototypes
as
neurological
patterns
or
signatures
that
can
be
activated
in
specific
contexts.
They
act
as
windows
to
time.
87. Koehler‐Jones’
model
of
temporal
signature
includes
three
primary
dimensions
‐
temporal
progression,
temporal
patterns
and
temporal
perspective.
88. Progression
includes
tempo
and
rhythm.
These
reflect
the
experience
of
the
flow
of
time.
Rhythm
is
the
pattern
of
tempo
change.
89. Pattern
includes
structure
and
orientation.
Structure
refers
to
the
shape
or
typology
of
time.
Orientation
is
the
relative
importance
of
the
temporal
modes
(past,
present
and
future)
within
these
typologies.
90. Perspective
includes
depth
and
texture.
Depth
refers
to
an
individual’s
temporal
horizon,
and
texture
reflects
the
intensity,
richness
and
coherence.
91. Temporal
repertoires
are
shaped
by
temporal
signatures.
They
enable
different
modes
of
practice.
Repertoires and Awe
92. So
what?
93. How
do
we
manage
the
inherent
uncertainty
of
the
future?
94. Our
temporal
repertoires
influence
our
practice.
95. Time
and
temporality
are
fundamental
shapers
of
our
sense
of
reality
and
how
we
understand
different
categories
of
the
future.
96. Understanding
temporality
will
inform
how
change
occurs
in
individuals,
and
how
such
change
infuses
into
organizations
and
into
professional
practice.
97. This
is
important
to
enhance
our
collective
capability
to
address
complex,
wicked
and
feral
problems.
98. So
as
you
listen
to
the
talks
and
engage
in
converations
notice
the
topographies
of
thoughts,
and
temporal
panoramas
they
entail.
99. Be
curious
about
how
time
unhinges.
100. Enter
the
unresolved
world
of
surprise,
wonder
and
awe.