Time Obstructor – A Milestones Observatory
John David (U.S) and Sergio Patricio (Austria/Chile)*
*University of Applied Arts Vienna
Received: 10 January 2023; Accepted: 27 January 2023; Published: 25 February 2023
Abstract: – This article presents several ideas about Time as a perception of reality and how once added to a model of perception in action art, it could be obstructed by some factors called time obstructors, thus making it possible for new observations about the process, mechanisms of creation of the “here and now” and their structures in “real-time”. The problem observed is that Time is a constant, and the plan becomes a problem when it is part of the creation of time-based media art. Specifically, this article poses the idea of an obstructor of time, basically by doing a link-bridge between the development and then when the current action happened. The use of -anticipation- and -selective router- makes the concept of observation possible. The novel temporality obstructor makes it useful to modify behaviors, change goals, and complete tasks related to the actions planned as well as connect with the model of analysis of action art based on the factors: context, sense-making, efficiency, effect, attractors, sensitizer, activators and now the temporality obstructor.
Keywords: Time obstructor, real-time, performance, obstructor analysis model.
I. Introduction
In the ecology of time, practices such as actions, performance, video, film, music, and media art, time are used to develop and stream content into the ecology or biosphere of Time – based media arts, but those contents are a different thing. This article observes the problem that appeared when the cultural background of people is related to what is understood as a constant measure and control of something called “tempo” or temporality. Therefore, time becomes a sort of past, present, and future line observation more than a material to work, adapt, and be molded.
If everything about the perception of time is accepted as a possible control tool for useful social activities, the utility of defining time in terms of time-based media arts could twist the analysis of their practices. As we proposed in this article Time can give access to and facilitate culture in other levels of comprehension and embodiment by media art practices.
The observation of the time-based art biosphere engages a multi-layer of variables that become part of the model analysis Effect/ Affect [1] published before. The addition of one more layer related to efficiency and context related to resources and failure specifically, in terms of how resources are wasted and how efficiently they are placed in the environment.
Within the observation of time as a matter of this biosphere, the ecology of practices forces the practitioners to understand their own art practice as becoming their own media, in terms that time as constant is stretched, smashed, and re-streamed as contextualized content. Somehow the possibility of rebuilding or reconnecting structures of time is mostly impossible in real-time. Still, it could be useful as an observatory that could change the overcoming actions and in the end the projectile effect.
The article proposes as well a milestone observation as a selective router and anticipation as an alternative possibility of how to think about time as an event tree that impacts the trajectory with a different effect, somehow the impact of the action released will be part of a tree of events that could be read as router and be traced as a milestones observatory in their art practice.
II. Cultural facilitation context
Cultural practices, however, result from an interaction of the many factors involved, in the ecology of practices there exists a biosphere of layers that make it possible to connect practices and gravitational practitioners as the result of the streamed context and as the art evolved history defined by periods, eras, vanguards and modern, postmodern narratives that are all part of the biosphere of arts.
The observation cannot avoid how physically humans perceive time spent and how it affects daily life activities such as eating, sleeping, and living. Maybe time affects activities differently to assume goals, and chapters of life or is simply discarded differently. In terms of what art is using as a nutrient in the narrativity of time, as a succession of acts that co-relate in the production of knowledge and contextualizing by streamed contents of practicing, mistaking, and failing over and over.
On the other hand, time-media observers such as philosophers or artists as examples don’t consider the reduction or redundancy of flexibility in terms of perception as does John Cage among others. But culture bridges the media and practitioners are the facilitators of mediation of the media in the biosphere of the ecology of practices. The possibility of observation of the co-relation between