{"id":35419,"date":"2022-02-28T07:19:17","date_gmt":"2022-02-28T06:19:17","guid":{"rendered":"http:\/\/a-desk.org\/?p=35419"},"modified":"2023-07-09T14:44:51","modified_gmt":"2023-07-09T12:44:51","slug":"tiempo-al-tiempo","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/tiempo-al-tiempo\/","title":{"rendered":"Time to Time"},"content":{"rendered":"<p>The relationship between historical chronology and order is unavoidable. Where there is enumeration there is order, where there are great events there is chronology, succession and history.<\/p>\n<p>Anthropology, in its beginnings, enjoyed the scientific authority to be able to name time. Distinguishing between <em>real time<\/em>and <em>factual time<\/em>was its task. Well-meaning early anthropologists extended the idea of \u200b\u200bmultiple chronologies: dominant and subordinate. An <em>advanced\u00a0<\/em>culture coexisted in factual time with a <em>backward\u00a0<\/em>culture, but never in <em>real\u00a0<\/em>time. Pitt-Rivers, the creator of the famous Oxford Ethnographic Museum, stated that \u201cthe existing races, in their respective stages of progress, faithfully represent the races of antiquity.\u201d The study of a <em>fossilized<\/em>or primitive culture, one which had remained stuck in time, illuminated the past.<\/p>\n<p>&#8220;The location of time, the place where time mattered, was the West.&#8221;<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_35419_1('footnote_plugin_reference_35419_1_1');\" onkeypress=\"footnote_moveToReference_35419_1('footnote_plugin_reference_35419_1_1');\" ><sup id=\"footnote_plugin_tooltip_35419_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_35419_1_1\" class=\"footnote_tooltip\">Moxey, K. <em>El tiempo de lo visual. La imagen en la historia.\u00a0<\/em><span lang=\"EN-US\">(Visual Time. The Image in History). <\/span>Sans Soleil, Barcelona, 2015, p. 25.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_35419_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_35419_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p><img decoding=\"async\" width=\"800\" height=\"600\" class=\"alignnone size-full wp-image-35404\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-1-y-2.jpg\" alt=\"\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-1-y-2.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-1-y-2-533x400.jpg 533w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-1-y-2-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/p>\n<div><span lang=\"EN-US\">In the jargon of art history, it is common to endow images with a verbal capacity: walls speak, images dialogue and, as in Hogwarts Castle, paintings ask questions and talk amongst themselves<\/span><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_35419_1('footnote_plugin_reference_35419_1_2');\" onkeypress=\"footnote_moveToReference_35419_1('footnote_plugin_reference_35419_1_2');\" ><sup id=\"footnote_plugin_tooltip_35419_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_35419_1_2\" class=\"footnote_tooltip\"><span class=\"footnote_url_wrap\">https:\/\/elpais.com\/diario\/2002\/06\/29\/babelia\/1025305567_850215.html<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_35419_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_35419_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/div>\n<p style=\"text-align: center;\"><strong>**<\/strong><\/p>\n<p style=\"text-align: left;\">I was six years old when that famous novel by Dan Brown was published. With childlike innocence I lived through the rise of the new pictorial mysticism, which turned Mona Lisa\u2019s gaze into a strong market artifact. When I asked adults why that portrait was so important, they told me that it was the only painting that followed you with its eyes. They couldn\u2019t give me any more clues. When I traveled to Paris as an adult, I would see for myself. This is how the anachronistic gaze develops.<\/p>\n<p style=\"text-align: left;\">In 1620, Francisco Ribalta paints Saint Francis of Assisi embracing the recently-crucified Christ. In this pictorial exercise, devout figurative speculation, an anachronistic power modelled by the sensation of <em>unreality\u00a0<\/em>is revealed: over twelve centuries separate the birth of Saint Francis from the death of Christ.<\/p>\n<p><img decoding=\"async\" width=\"800\" height=\"1090\" class=\"alignnone size-full wp-image-35407\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-3.jpg\" alt=\"\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-3.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-3-294x400.jpg 294w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-3-768x1046.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/p>\n<p><span lang=\"EN-US\">For Jacques le Goff, the main pictorial mutation of the Middle Ages occurs when people become aware of time. According to his thesis, there comes a time when the portrait is emancipated from the desire for eternity and shows subjects in their ephemeral being<\/span><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_35419_1('footnote_plugin_reference_35419_1_3');\" onkeypress=\"footnote_moveToReference_35419_1('footnote_plugin_reference_35419_1_3');\" ><sup id=\"footnote_plugin_tooltip_35419_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_35419_1_3\" class=\"footnote_tooltip\">Le Goff, J. (2020) <em>Por otra Edad Media. Tiempo, trabajo y cultura en Occidente<\/em>. (Time, Work, &amp; Culture in the Middle Ages<i>,\u00a0<\/i>2020)<i>.\u00a0<\/i>Madrid: Taurus, p. 68.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_35419_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_35419_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. The <em>contemporary twist<\/em>, which Walid Raad represents so well, shows us temporality added to a work of art. It is no longer a question of conceiving it as a thing, but as an object.<\/p>\n<p><img decoding=\"async\" width=\"800\" height=\"982\" class=\"alignnone size-full wp-image-35410\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-4.jpg\" alt=\"\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-4.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-4-326x400.jpg 326w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/02\/foto-4-768x943.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/p>\n<p>If relating images is the impetus of curating, if in order to think about images one must <em>put them in relation<\/em>, then anachronism is not something exceptional, but rather the ground on which one works, something common and established. Why still talk about the meaning of time? It is not a question, in this special issue on heterodox temporalities, of justifying subordinate forms of constructing history(s), nor of insisting on how a work of art is capable of breaking temporal limits. It is about continuing to open the question, as <a href=\"https:\/\/a-desk.org\/magazine\/flamenco-meets-queer-theory\/\" target=\"_blank\" rel=\"noopener\">Patricia Lara Folch<\/a> does within dance, thinking of the temporary inscription of the gesture as something political, or like <a href=\"https:\/\/a-desk.org\/magazine\/el-tiempo-propio-de-los-objetos-de-arte\/\" target=\"_blank\" rel=\"noopener\">Juan Gallego Benot<\/a> does when reflecting on the object framework that Walid Raad builds within an institution that is supposed to be \u2018temporarily closed.\u2019 It is a matter of entering, like <a href=\"http:\/\/a-desk.org\/magazine\/el-jardin-por-encontrar\/\" target=\"_blank\" rel=\"noopener\">Manu Pad\u00edn<\/a>, into a territory where time is suspended, and to start thinking, in images, in terms of that place.<\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_35419_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_35419_1();\">[<a id=\"footnote_reference_container_collapse_button_35419_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_35419_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_35419_1('footnote_plugin_tooltip_35419_1_1');\"><a id=\"footnote_plugin_reference_35419_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">Moxey, K. <em>El tiempo de lo visual. La imagen en la historia.\u00a0<\/em><span lang=\"EN-US\">(Visual Time. The Image in History). <\/span>Sans Soleil, Barcelona, 2015, p. 25.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_35419_1('footnote_plugin_tooltip_35419_1_2');\"><a id=\"footnote_plugin_reference_35419_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\"><span class=\"footnote_url_wrap\">https:\/\/elpais.com\/diario\/2002\/06\/29\/babelia\/1025305567_850215.html<\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_35419_1('footnote_plugin_tooltip_35419_1_3');\"><a id=\"footnote_plugin_reference_35419_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Le Goff, J. (2020) <em>Por otra Edad Media. Tiempo, trabajo y cultura en Occidente<\/em>. (Time, Work, &amp; Culture in the Middle Ages<i>,\u00a0<\/i>2020)<i>.\u00a0<\/i>Madrid: Taurus, p. 68.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_35419_1() { jQuery('#footnote_references_container_35419_1').show(); jQuery('#footnote_reference_container_collapse_button_35419_1').text('\u2212'); } function footnote_collapse_reference_container_35419_1() { jQuery('#footnote_references_container_35419_1').hide(); jQuery('#footnote_reference_container_collapse_button_35419_1').text('+'); } function footnote_expand_collapse_reference_container_35419_1() { if (jQuery('#footnote_references_container_35419_1').is(':hidden')) { footnote_expand_reference_container_35419_1(); } else { footnote_collapse_reference_container_35419_1(); } } function footnote_moveToReference_35419_1(p_str_TargetID) { footnote_expand_reference_container_35419_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_35419_1(p_str_TargetID) { footnote_expand_reference_container_35419_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>The relationship between historical chronology and order is unavoidable. 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Anthropology, in its&#8230;<\/p>\n","protected":false},"author":2707,"featured_media":35415,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6150],"tags":[],"coauthors":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Time to Time &#8211; A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/en\/magazine\/tiempo-al-tiempo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Time to Time &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"The relationship between historical chronology and order is unavoidable. 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