The Music Can Be Found At:
“Those Were the Days”
“Does Anyone Really Know What Time It Is”
Chicago Transit Authority
“Time Is on My Side”
The Rolling Stones
“I Didn’t Know What Time It Was”
“Time Has Come Today”
Joseph Chambers and Willie Chambers
The Chambers Brothers
Symphony No. 101 in D Major, Hob. I:101, “The Clock”: II. Andante
Franz Joseph Hyden
Johannes Wildner & Camerata Cassovia
“Who Knows Where the Time Goes
“Making time” is one of those expressions that can be something of a self-contradiction. On the one hand, especially when we are trying to arrive at a destination (either a physical destination like New York or a metaphorical destination like the understanding of a concept), when we speak of “making time” we are speaking of how quickly we are getting to where it is we want to go. In this sense “making time” is about speed, which is not always the same thing as efficiency, which is taking no more time than is necessary, but also taking all the time that is necessary. It is just quickness. I may get to New York very quickly, but on the journey miss the Grand Canyon, which, as a visit, would be an efficient use of time, but it would slow me down and so in the interest of speed the visit is not taken.
But there is another sense in which we “make time” and that is when we set aside blocks of time so that we can slow down and think, reflect, and contemplate; so that we can study more deeply or work more slowly and deliberately. This is about lingering, which also may not be efficient, we may be spending more time than is precisely necessary drawing out our investigations; luxuriating in what we have or in the process of discovering. For the astronomer in the painting time seems to have stopped as his hour glass is on its side and the sands are no longer measuring time’s passing. Much of life is spent navigating our way through these two approaches towards making time. Taking things quickly or slowly as the moment demands.
A Cotton Office in New Orleans
The gentlemen in this painting are making time in a different way, many in the painting look like they are “killing time.” Idly waiting for time to pass, waiting for something they expect will happen, to happen. They are not making time in an effort to arrive quickly at a destination, nor are they making time so that a task can be completed deliberately and effectively; they are doing little or nothing with time. In a sense they are killing time while waiting for time to kill them, which, considering the painting was painted well over a hundred years ago, time has had its way with them. I suppose these are three choices we face when it comes to time, we can work quickly toward a goal, work slowly towards understanding and self awareness, or we can do nothing at all with our time, we can bury our talent in the mundane activities that occupy our days.
Saint Paul at His Writing Desk
Rembrandt van Rijn
In music there is the importance of “keeping time” and how each musician must do the different things they do within the same “measure” of time. I think it is interesting that The Chambers Brothers use a percussion instrument in “Time Has Come to Stay” to suggest the ticking of the clock and the passing of time in much the same way Haydn uses the orchestra at the beginning of his “Clock Symphony” to make a similar evocation. But in order to appreciate how the different musical forms use sound and the instruments that make those sounds we must make time to listen to it carefully and reflectively without loosing the joy and pleasure the music was intended to provide. The arts when appreciated fully often make this demand upon us and this demand illustrates that taking things slowly brings its own exhilaration, but in order to experience this exhilaration we must live contrary to the times and move slowly; resist the urge for speed and fight the compulsion to make time on our journey through life.
Jester with a Lute
Ryan Szpiech in “The Dagger of Faith in the Digital Age” contemplates this relationship between time and reading. He looks at the nature of reading; the books we read and how we read them. He is contemplating his investigations of an old and obscure medieval manuscript that has an empty third column that can only be appreciated or even seen when looking at the physical manuscript. The blank space does not appear in a digital representation of the book, the white space on a digital screen, even when the empty column is present, is often interpreted differently from a white space on the printed page. He suggests the rise of the digital book is making us into different kinds of readers, readers who read for information, not to get lost in the world the book creates:
Just as Google Books does not simply strive to augment the reading of a book but to actually replace the reader’s book with the searcher’s book, so the ultimate goal of digital editions and digital facsimiles, I believe, is not only to reflect the “original,” to “capture” or “recapture” it, but to effectively replace it with a better image of itself. Whereas philology, the study of language history through texts, creates (like fetishism) a “desire for presence,” digital philology creates a simulacrum or iconic replacement for this presence. The injunction from Kings against graven images rings in my ears, and I choose a fetishism of the frail human object over an idolatry of the power of the machine.
It is no surprise that the missing third column has been universally overlooked in the Coimbra codex of the Dagger of Faith, because even as it speaks on so many levels of its circumstance and intended meaning and unrepeatable history, it is, in its digital avatar, obscured by the overwhelming presence of its simulacrum. In viewing it from the comfort of a local café, on my own time, at my preferred screen resolution, I am grateful for its accessibility and convenience and I can work more effectively because of it. I am, however, also wary of the dangers it brings, above all the danger of my own complacency before it. I am wary lest I forget that the gleaming digital image of the Coimbra manuscript’s missing third column is a sort of enchanted mirror that ironically reflects back the impossibility of reproduction, of reflection, of control, of total understanding—ironically some of the very things that Ramon Martí (the author of The dagger of Faith) seems to have been coveting in his polemical attacks on Judaism like the Dagger. Yet if we can keep the eyes to see it, the manuscript’s lack leaps out as a stark reminder that reading is an imperfect and imperfectable activity whose final lesson is its own inscrutability, for it bespeaks the inscrutability of all that is time-bound—of history, of fate, of loss—should I say it?—of death. Umberto Eco has stated, “With a book…you are obliged to accept the laws of Fate, and to realize that you cannot change Destiny…In order to be free persons we also need to learn this lesson about Life and Death.” In the age of book searching, however, in which books are now the fodder of a few key strokes and the flitting caprice of an impatient mind, it may now be the inviolate manuscript that can, as never before, best teach us this law of Necessity.
Reading in the sense that Szpiech speaks of is being captured by the book and drawn into the world it creates. We have to leave behind what we want from the book and accept what it has to offer. If the book does not win us to its world, we will not be captured by it and will not set aside our expectations. But if the book does capture us we enter its world and leave our world and our expectations behind. As Henry James said of the novel (quoted in “Henry James and the Great Y.A. Debate”), “We must grant the artist his subject, his idea, what the French call his donnée; our criticism is applied only to what he makes of it. Naturally I do not mean that we are bound to like it or find it interesting: in case we do not our course is perfectly simple—to let it alone.” We can always let the book alone, but if we read it we ought to read it on its own terms and to do that we need to give the book the time it needs to be properly experienced.
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