Thursday, April 16, 2009
Thursday, April 2, 2009
the idea
With this project, I would like to slightly depart from the deep questioning involved with the previous object, and built upon the simple premise that, when inquiring with a clock, one is only concerned with a single time : now. Only the present time is relevant. This is clearly evident in a traditional digital clock, but I would like to build upon the notion by recognizing the existence of other times while portraying them as impertinent. I would also like to pay homage to the traditional standards of telling time (numbers, analog form, etc.) and maintain utility, while producing an evocative timepiece.
To an ordinary person (a non-physicist), time is in motion, in progression, as opposed static, with the individual navigating throughout it. Thus, ideally, the dial should be the principle moving component of this timepiece.
This idea is a "traditional" analog timepiece. The moving dial is large enough to accommodate useful numerical indications of time (i.e. 1, 1:15, 1:30, 1:45, 2). These numbers, however, are too small to be useful (in correlation with the scale of the timepiece); they require passage underneath a fixed magnifying glass to be legible.
This idea is similar to the previous one... but rather than using a magnifying glass to give numbers visibility, it uses contrast. The numbers are printed on a translucent moving dial using the same color as the backplate (likely a dark color to prevent the exposing effect of shadow). A highly contrasting spot on the backplate reveals the current time when the numbers pass over it.
Tuesday, March 17, 2009
mind change
I've come to a number of realizations.
While time is given relevance by association with something, it exists regardless of such association. It, according to our perception (as a result of an increasingly rational world), is a progressive phenomenon structured by numbers.
Thus, time should be represented without the existence of event or circumstance. Thus, it should be structured. Thus, it should have numerical attributes.
What remains is producing a representation of time that may stand competently alone, yet convey a desire for association (in this case, abstract emotion).
Thursday, February 19, 2009
some sketches
These faces cover the floor of parts of Liebskind's Holocaust Museum in Berlin. They are an extremely powerful representation of the pain and suffering endured by the victims of that time. The room is dead silent, and as you walk, you hear only the hallowing clinks of the iron faces echoing about the space.
Thursday, February 12, 2009
Towards Intelligibility
I first point out that I aim not to produce another novel approach to the traditional mode of timekeeping - that is, the conveyance of numbers; the clock has mastered this. The calendar, the stopwatch, the timer, the alarm have mastered this. I intend to approach time in a different manner, in a purer manner. Ideally, I attempt not to design anything without first sufficiently applying my mind to the problem; I wish not to have a end before having a beginning.
The focus of my design approach is a strong consideration of the human aspect of time, of embracing how we truly see and use it as individuals, as people... and cultivating this in a commonly, ‘inexclusively’ meaningful and utilitarian object. I would like to avoid anything that requires a particular type of understanding, that is evocative only to the few capable of evocation. I would like to avoid anything dependent on commodity. And I would like to avoid anything detached from human life.
How is time truly meaningful to us?
My presentation of these thoughts is structured into two segments, beginning with ponderings about marking time, accumulating into an idea for a project, followed by ponderings about keeping time, accumulating into numerous other, less distinct ideas for a project. It is important to note that, while it is efficient to segment these ideas for the sake of presentation, as well as remembrance, they are, in essence, of the same origins, and should not be considered in absence of one another.
Marking Time
Time is meaningless without context. It is meaningless without event or circumstance to associate with. What does 12:00PM mean to you? It likely means lunch. It might also mean a break, relief, a chance. It might mean the end of the world for someone. But it doesn’t mean 12:00PM. Thus, time gives, and is given meaning, from context. An empty calendar is irrelevant.
I will further argue that time, in and of itself, has no influence on the human condition, on us. It is other things - the body, the environment, other people, which affect us. They simply do so within the medium of time. Thus, time may be considered as an enabling, yet restrictive palette upon which our lives may occur. It is, once again, irrelevant without context.
So, time is essentially affiliated with circumstance and event... or, delving a little further, with the emotional stimulus associated with circumstance and event. You can’t help but smile when you think about that time you first met the love of your life. You can’t help but cringe when you think about that time you lost your job.
Thus, the crowning idea of my object is one which marks time through the association with an emotional stimulus. Rather than just conveying a meaningless numerical assignment of time, or just evoking an emotional response - via a picture, music, etc. - independent of time, I wish to combine the two; there is so much richness to be tapped from this dialogue.*
Thinking further...
Numerous emotional markings of time must be able to exist concurrently, to allow for relational value.
Chronology, that is - order, must exist, for there is necessity and meaning in arrangement. Time is all about this.
Relativity must exist; the degree to which these markings relate in space must be variable, for there is meaning in proximity.
Scale must exist - whether it be duration or intensity.
Simultaneity must exist; the same point in time must be able to accommodate many associations.
Potential must exist - for additional time and for additional markers.
The manifestation of these ideas are as follows:
Time is represented as space, as a growing palette, which chronological relevance, which you may mark with representations of your emotional state (caused either by event or circumstance) at particular instances in time. This independent of numerical structure.
Imagine a wall or table mounted representation of time - perhaps a line of yarn, variably segmented with adhesive magnets. Passed and existing time is represented linearly, in a manner (straight, wavy, jagged, high, low etc. - or a combination of many) expressive of the user. Future time is represented as unmounted, hanging yarn... dangling to the floor, perhaps collecting in a pile. At any time, it may be added to the existing palette to accommodate one’s progression through time, or to express a different “chapter” in time.
On this, you place a series of varied smileys along the line of magnets to represent that mark in time with an emotion. Perhaps a small clip at the end of a modest chain hanging from each smiley allows for the attachment of pictures, notes, and objects if one wishes for greater remembrance and or evocation. These smileys, of varied representations and scales, are placed in order of their occurrence (likely left to right), distanced from one another according to their perceived distance in time. Exactness is unnecessary; it is only the user’s conception of time that is relevant.
The unused smileys sit in a pile on the floor, on a table, in a drawer, or in a container - representing future emotional states waiting to be used. Ideally, you should be able to see them, to be eager or reluctant to place them.
After the process of recording past and present is completed begins the beautiful process of recording time as it occurs, of adding time and emotion simultaneously. There is no need to exclusively mark significant events; scales exist within the project to represent scales in reality. You can simply be in a foul mood one day and stick a little angry face at the end of the string. A year later, lengths of string down, you may not remember why the little guy is there, just that it was - and that’s okay.
Just imagine sitting down one day and looking at this object, observing the rich and varied emotional occurrences of your life - of your stint in time. Imagine looking at that little smiling face and thinking about that particular moment. Imagine looking at the dangling string, the pile of unused faces, and realizing the undetermined future.
This is truly what time is to us - a means to comprehend, apply, and perhaps appreciate the conditions of our lives.
On Materiality
I would like to keep this simple. I might consider yarn to represent time - due to its role as a constitutive material, its linearity, and its malleability. As a means to adhere this to the a wall or mount, as well as a means to adhere other objects to it, I am considering the use of magnets , due to their simplicity, their ease of use, and their reapplicability. Further, they represent a certain force attracting time and human condition towards each other. The smileys might be made of wood - directly from an organism with a parallel stake in time (I could use the grain in a contributory way), or metal - a representation of resistance.
On Precedence
I turn directly to the traditional means of expressing time and marking occurrences within it as precedents. I turn to the clock, the calendar, the picture album, the journal, memorabilia. These things are often more pure, more pragmatic than their provocative derivatives. As describe in my second post, most of these derivatives innovate to the extent of novel presentation or added meaning (or heaven forbid, reduced utility), but not reevaluation. Popping bubbles, going around in circles, shredding paper, filling water, throwing darts, and eroding sand are all of the same prevailing mindset. I do not imply anything wrong with this, just that it is in a direction different than that which I mean to pursue.
Most importantly, I turn to people as precedents. I turn to myself, to the inquiry into the way I (and presumably, most others) naturally consider time and event.
The focus of my design approach is a strong consideration of the human aspect of time, of embracing how we truly see and use it as individuals, as people... and cultivating this in a commonly, ‘inexclusively’ meaningful and utilitarian object. I would like to avoid anything that requires a particular type of understanding, that is evocative only to the few capable of evocation. I would like to avoid anything dependent on commodity. And I would like to avoid anything detached from human life.
How is time truly meaningful to us?
My presentation of these thoughts is structured into two segments, beginning with ponderings about marking time, accumulating into an idea for a project, followed by ponderings about keeping time, accumulating into numerous other, less distinct ideas for a project. It is important to note that, while it is efficient to segment these ideas for the sake of presentation, as well as remembrance, they are, in essence, of the same origins, and should not be considered in absence of one another.
Marking Time
Time is meaningless without context. It is meaningless without event or circumstance to associate with. What does 12:00PM mean to you? It likely means lunch. It might also mean a break, relief, a chance. It might mean the end of the world for someone. But it doesn’t mean 12:00PM. Thus, time gives, and is given meaning, from context. An empty calendar is irrelevant.
I will further argue that time, in and of itself, has no influence on the human condition, on us. It is other things - the body, the environment, other people, which affect us. They simply do so within the medium of time. Thus, time may be considered as an enabling, yet restrictive palette upon which our lives may occur. It is, once again, irrelevant without context.
So, time is essentially affiliated with circumstance and event... or, delving a little further, with the emotional stimulus associated with circumstance and event. You can’t help but smile when you think about that time you first met the love of your life. You can’t help but cringe when you think about that time you lost your job.
Thus, the crowning idea of my object is one which marks time through the association with an emotional stimulus. Rather than just conveying a meaningless numerical assignment of time, or just evoking an emotional response - via a picture, music, etc. - independent of time, I wish to combine the two; there is so much richness to be tapped from this dialogue.*
Thinking further...
Numerous emotional markings of time must be able to exist concurrently, to allow for relational value.
Chronology, that is - order, must exist, for there is necessity and meaning in arrangement. Time is all about this.
Relativity must exist; the degree to which these markings relate in space must be variable, for there is meaning in proximity.
Scale must exist - whether it be duration or intensity.
Simultaneity must exist; the same point in time must be able to accommodate many associations.
Potential must exist - for additional time and for additional markers.
The manifestation of these ideas are as follows:
Time is represented as space, as a growing palette, which chronological relevance, which you may mark with representations of your emotional state (caused either by event or circumstance) at particular instances in time. This independent of numerical structure.
Imagine a wall or table mounted representation of time - perhaps a line of yarn, variably segmented with adhesive magnets. Passed and existing time is represented linearly, in a manner (straight, wavy, jagged, high, low etc. - or a combination of many) expressive of the user. Future time is represented as unmounted, hanging yarn... dangling to the floor, perhaps collecting in a pile. At any time, it may be added to the existing palette to accommodate one’s progression through time, or to express a different “chapter” in time.
On this, you place a series of varied smileys along the line of magnets to represent that mark in time with an emotion. Perhaps a small clip at the end of a modest chain hanging from each smiley allows for the attachment of pictures, notes, and objects if one wishes for greater remembrance and or evocation. These smileys, of varied representations and scales, are placed in order of their occurrence (likely left to right), distanced from one another according to their perceived distance in time. Exactness is unnecessary; it is only the user’s conception of time that is relevant.
The unused smileys sit in a pile on the floor, on a table, in a drawer, or in a container - representing future emotional states waiting to be used. Ideally, you should be able to see them, to be eager or reluctant to place them.
After the process of recording past and present is completed begins the beautiful process of recording time as it occurs, of adding time and emotion simultaneously. There is no need to exclusively mark significant events; scales exist within the project to represent scales in reality. You can simply be in a foul mood one day and stick a little angry face at the end of the string. A year later, lengths of string down, you may not remember why the little guy is there, just that it was - and that’s okay.
Just imagine sitting down one day and looking at this object, observing the rich and varied emotional occurrences of your life - of your stint in time. Imagine looking at that little smiling face and thinking about that particular moment. Imagine looking at the dangling string, the pile of unused faces, and realizing the undetermined future.
On Materiality
I would like to keep this simple. I might consider yarn to represent time - due to its role as a constitutive material, its linearity, and its malleability. As a means to adhere this to the a wall or mount, as well as a means to adhere other objects to it, I am considering the use of magnets , due to their simplicity, their ease of use, and their reapplicability. Further, they represent a certain force attracting time and human condition towards each other. The smileys might be made of wood - directly from an organism with a parallel stake in time (I could use the grain in a contributory way), or metal - a representation of resistance.
On Precedence
I turn directly to the traditional means of expressing time and marking occurrences within it as precedents. I turn to the clock, the calendar, the picture album, the journal, memorabilia. These things are often more pure, more pragmatic than their provocative derivatives. As describe in my second post, most of these derivatives innovate to the extent of novel presentation or added meaning (or heaven forbid, reduced utility), but not reevaluation. Popping bubbles, going around in circles, shredding paper, filling water, throwing darts, and eroding sand are all of the same prevailing mindset. I do not imply anything wrong with this, just that it is in a direction different than that which I mean to pursue.
Most importantly, I turn to people as precedents. I turn to myself, to the inquiry into the way I (and presumably, most others) naturally consider time and event.
Wednesday, February 11, 2009
Ramblings of a Beggar
Here I am posting the my ramblings, with (very) modest organization. These are the fruits of my cognitive labors. I'll be following this up with a far more comprehensible post with greater detail, media (and, of course, a pretty presentation). Warning: a test of tolerance.
“Ramblings of a beggar”
THE FOCUS OF MY PROJECT IS A STRINGENT CONSIDERATION OF THE HUMAN ASPECT OF TIME, of embracing how we see and use it as individuals, and cultivating that to produce a meaningful, and perhaps pragmatic piece. Forget the artsy stuff that takes a certain degree of insight to understand, detached from ourselves. I want to address the soul.
I do not wish to produce a novel approach to the traditional mode of timekeeping - conveying numbers; the clock has mastered this. The calendar has mastered this. I need to think about time in a different way.
Ideally, I do not wish to design anything without first applying my mind to the problem. I don’t want to have an end before having a beginning.
I’ll structure this presentation into two segments, beginning with ponderings about marking time, accumulating into an idea for a project, and then ponderings about keeping time, accumulating into a project. Keep note that, while it is efficient to segment these ideas, they are, in essence, interrelated and should not be considered in absence or independently of one another.
The question I pose is: how does one truly consider time?
Marking Time
1. time does nothing, it is other influences within the medium of time which affect us
It has always been a limited palette upon which our lives may occur.
Time itself does nothing to us. Our bodies do something to us. Other people, the environment do things to us. But not time itself.
Time is irrelevant without context
You never consider time in and of itself. You consider other things within the context of time. In other words,
We mark time with event and circumstance - lets go a little further than this... with the emotional stimulus associated with that event
HAMMER HOME THAT TIME IS IRRELEVANT WITHOUT CONTEXT.
Thus, time as a medium in which one may record the emotional events of their lives.
2. Chronology is essential
Regardless of physical theories
Is the point of time chronology (order)? Is it essential that things happened in order, or simply that they happened? Well, their position in time is relevant. Time, regardless of its physical nature, is, and always has been, linear to us.
The use of chronology also allows the use of scale, and the establishment of relationship.
So... for marking time, you have a palette of time, with chronological relevance, but a disconnect from the unnecessary and unused numerical structure, on which you may record your emotional state - caused by event and circumstance. it can grow, as you markers grow.
My current idea for this is some wavy thing on a wall that uses magnets to attach smileys(?) in different increments, relationships, that you can attach additional memorabilia to (perhaps via a dangling little chain with a clip at the end hanging off each smiley). The unused smileys are just sitting in a pile on a table or on the floor, or in a buck or drawer, whatever - representing future markings waiting to be used. Ideally you should be able to see them, to be eager or reluctant to place one.
We NEVER say “year and time” when we remember events - like a picture, a video. You appreciate it for what it is. What I’m doing here is introducing the aspect of time, and thus the relationship between these events, into the remembrance. There is more meaning this way (As opposed to a picture sitting on the table, another on the wall, with no relation).
So. The focus here is less on time in and of itself, because truly, it’s nothing without what occurs on it.
Keeping Time
1. gradual - increment
The numerical nature of time - that is, accuracy and congruency - is an invention and perpetuator of our lifestyle. We view time in terms of numbers now... most specifically, in terms of increments, i.e. 12 oclock, 1 oclock. But time is not incremental - it is infinitely gradual. This is the only way we can think about it. Do we embrace this or recognize and deviate? What do these increments really mean? 12 oclock is meaningless without a context. 12 oclock really means “lunch break.” Lunch break is a larger increment in an unspoken, unrecognized series of increments. Let us consider these “true,” “meaningful” increments (of routine)
Perhaps a clock that goes straight to the point. Focus on routine. Life is routine. But with the occasional deviance. How might we address this?
2. Relativity
More ideas.
Time is entirely relative. Physically, it depends on how fast you move. Some even say that all time exists at the same time - its static, and you simply travel along it. Truly a palette.
To us, it depends on what you’re doing - does a chunk of time if your life simply disappear? You have no idea what happened then (unless something significant anchors it... thus, is this time truly insignificant?). Does some time seem sooooooO slow? Does time go by faster when you’re having a good time? It doesn’t but it seems so. How we see it is relevant (as inconstant). And how we see it is all that counts. Perhaps we can do a piece which changes is rate. At least address this.
Do we consider it linearly? In terms of progression or in terms of movement? Is it the building up of sand/water or is it moving randomly along a labyrinth board?
Do we consider time as accumulation?? Does it grow? Perhaps only in terms of reaching a limit (death). It’s less accumulation, than it is progression, repetition.
THOUGH TIME IS INDEED INFINITELY GRADUAL - WE. DON’T. CONSIDER. IT. THAT. WAY. We break it into pieces associated with event.
3. scale
OKAY, LETS MAKE SOMETHING THAT PUTS INTO PERSPECTIVE THE DIFFERENT SCALES OF TIME TOGETHER IN ONE. A WHOLE AND ENLIGHTENING VIEW OF TIME.
You DO think about time in lieu of seconds, minutes, day, months, years, decades. You can even place this in the context of human history (though this becomes removed from my mission to keep this meaningful to the person looking at it). Is there something that can be gained from seeing all these in perspective??
4. dimensions
What about something that, as you look at it, not only informs you of the present, but of the past and future? Perhaps a ring board that goes around and around that you can write on? In the context of a week?
So we have view and emotion. What about sound? Time has no sound. Timepieces have sound. We have grown to associate this sound with time itself, in meaningless increments. Is there a way to impose this sound to meaningful increments? Might it get louder at times? Or does it remain silent, and just announce times (with your own voice) when their increments come.
Remember to hammer home that the number of time is meaningless without something to associate it with!!!! TIME AS ASSOCIATED WITH EMOTION
CONSIDER CARRYING THE THEME OVER TO TIMEKEEPING
That's all, if you're reading this, props on your patience!
THE FOCUS OF MY PROJECT IS A STRINGENT CONSIDERATION OF THE HUMAN ASPECT OF TIME, of embracing how we see and use it as individuals, and cultivating that to produce a meaningful, and perhaps pragmatic piece. Forget the artsy stuff that takes a certain degree of insight to understand, detached from ourselves. I want to address the soul.
I do not wish to produce a novel approach to the traditional mode of timekeeping - conveying numbers; the clock has mastered this. The calendar has mastered this. I need to think about time in a different way.
Ideally, I do not wish to design anything without first applying my mind to the problem. I don’t want to have an end before having a beginning.
I’ll structure this presentation into two segments, beginning with ponderings about marking time, accumulating into an idea for a project, and then ponderings about keeping time, accumulating into a project. Keep note that, while it is efficient to segment these ideas, they are, in essence, interrelated and should not be considered in absence or independently of one another.
The question I pose is: how does one truly consider time?
Marking Time
1. time does nothing, it is other influences within the medium of time which affect us
It has always been a limited palette upon which our lives may occur.
Time itself does nothing to us. Our bodies do something to us. Other people, the environment do things to us. But not time itself.
Time is irrelevant without context
You never consider time in and of itself. You consider other things within the context of time. In other words,
We mark time with event and circumstance - lets go a little further than this... with the emotional stimulus associated with that event
HAMMER HOME THAT TIME IS IRRELEVANT WITHOUT CONTEXT.
Thus, time as a medium in which one may record the emotional events of their lives.
2. Chronology is essential
Regardless of physical theories
Is the point of time chronology (order)? Is it essential that things happened in order, or simply that they happened? Well, their position in time is relevant. Time, regardless of its physical nature, is, and always has been, linear to us.
The use of chronology also allows the use of scale, and the establishment of relationship.
So... for marking time, you have a palette of time, with chronological relevance, but a disconnect from the unnecessary and unused numerical structure, on which you may record your emotional state - caused by event and circumstance. it can grow, as you markers grow.
My current idea for this is some wavy thing on a wall that uses magnets to attach smileys(?) in different increments, relationships, that you can attach additional memorabilia to (perhaps via a dangling little chain with a clip at the end hanging off each smiley). The unused smileys are just sitting in a pile on a table or on the floor, or in a buck or drawer, whatever - representing future markings waiting to be used. Ideally you should be able to see them, to be eager or reluctant to place one.
We NEVER say “year and time” when we remember events - like a picture, a video. You appreciate it for what it is. What I’m doing here is introducing the aspect of time, and thus the relationship between these events, into the remembrance. There is more meaning this way (As opposed to a picture sitting on the table, another on the wall, with no relation).
So. The focus here is less on time in and of itself, because truly, it’s nothing without what occurs on it.
Keeping Time
1. gradual - increment
The numerical nature of time - that is, accuracy and congruency - is an invention and perpetuator of our lifestyle. We view time in terms of numbers now... most specifically, in terms of increments, i.e. 12 oclock, 1 oclock. But time is not incremental - it is infinitely gradual. This is the only way we can think about it. Do we embrace this or recognize and deviate? What do these increments really mean? 12 oclock is meaningless without a context. 12 oclock really means “lunch break.” Lunch break is a larger increment in an unspoken, unrecognized series of increments. Let us consider these “true,” “meaningful” increments (of routine)
Perhaps a clock that goes straight to the point. Focus on routine. Life is routine. But with the occasional deviance. How might we address this?
2. Relativity
More ideas.
Time is entirely relative. Physically, it depends on how fast you move. Some even say that all time exists at the same time - its static, and you simply travel along it. Truly a palette.
To us, it depends on what you’re doing - does a chunk of time if your life simply disappear? You have no idea what happened then (unless something significant anchors it... thus, is this time truly insignificant?). Does some time seem sooooooO slow? Does time go by faster when you’re having a good time? It doesn’t but it seems so. How we see it is relevant (as inconstant). And how we see it is all that counts. Perhaps we can do a piece which changes is rate. At least address this.
Do we consider it linearly? In terms of progression or in terms of movement? Is it the building up of sand/water or is it moving randomly along a labyrinth board?
Do we consider time as accumulation?? Does it grow? Perhaps only in terms of reaching a limit (death). It’s less accumulation, than it is progression, repetition.
THOUGH TIME IS INDEED INFINITELY GRADUAL - WE. DON’T. CONSIDER. IT. THAT. WAY. We break it into pieces associated with event.
3. scale
OKAY, LETS MAKE SOMETHING THAT PUTS INTO PERSPECTIVE THE DIFFERENT SCALES OF TIME TOGETHER IN ONE. A WHOLE AND ENLIGHTENING VIEW OF TIME.
You DO think about time in lieu of seconds, minutes, day, months, years, decades. You can even place this in the context of human history (though this becomes removed from my mission to keep this meaningful to the person looking at it). Is there something that can be gained from seeing all these in perspective??
4. dimensions
What about something that, as you look at it, not only informs you of the present, but of the past and future? Perhaps a ring board that goes around and around that you can write on? In the context of a week?
So we have view and emotion. What about sound? Time has no sound. Timepieces have sound. We have grown to associate this sound with time itself, in meaningless increments. Is there a way to impose this sound to meaningful increments? Might it get louder at times? Or does it remain silent, and just announce times (with your own voice) when their increments come.
Remember to hammer home that the number of time is meaningless without something to associate it with!!!! TIME AS ASSOCIATED WITH EMOTION
CONSIDER CARRYING THE THEME OVER TO TIMEKEEPING
That's all, if you're reading this, props on your patience!
Friday, February 6, 2009
TIME DESIGN
It appears as if most all industrial design, when concerned with time, is enamored with the traditional mode of time-keeping... that is, the conveyance of numbers.
It is mostly concerned with producing an aesthetically pleasing, intellectually or emotionally compelling item with which to adorn one's body or space... oftentimes superseding function with fashion. While is it evident that a great deal of thought and creativity is utilized in this exercise, it seems shallow; failing to apply such ability beyond the traditional norms of considering time. The application of the mind has not been allowed free reign.
Here we begin to see modest derivations from the theme; this wall clock introduces the average time span of one's life into its duties, whilst the table clock below conveys time in light of the "category of day."
It is still not enough.
To elucidate, there numerous traditional means of addressing time - clocks, calendars, timers, stopwatches.
Let us consider time in different ways... in perhaps, more meaningful ways. Let us consider how we associate time with memory, with emotion. Let us consider how we associate time with event. Let us consider chronology. Let us consider the relativity of time, through human perception or even physics. Let us consider time in terms of routine and disruption. Let us consider time in terms of growth. Let us consider time in terms of time.
