By Clément Lacroûte, metrology researcher, at TimeWorld 2019, the International congress on Time.
Can we really travel to the future?
By Roland Lehoucq, astrophysician, at TimeWorld 2019, the International congress on Time.
Are we wasting our time?
By Jacques Arnould, ethics expert, at TimeWorld 2019, the International congress on Time.
Can the astronaut defy time?
At TimeWorld 2019, with Jean-François Clervoy, Koichi Wakata, Kay Hire, Terry Virts, Michel Tognini, Gennady Padalka, Jean-Pierre Haigneré – Hosted by Gilles Dawidowicz.
Is there a time or time?
By Gérard Berry, writer and professor, at TimeWorld 2019, the International congress on Time.
What does Proust mean by time found?
By Antoine Compagnon, writer and literary critic, at TimeWorld 2019, the International congress on Time.
History of Astronomy, the sky in the Middle Ages
Immersive experience at the planetarium of the “Cité des sciences et de l’industrie”, Paris
Seasons, comets, supernovæ… how were the phenomena of the cosmos described in the Middle Ages?
From Rome to Hastings, from Baghdad to Palos de la Frontera, 1000 years of astronomical history and history are told in this highly immersive film.
From ancient astronomical models to our current knowledge, discover how the evolution and transmission of knowledge has made it possible to understand our place in the Universe… A journey through time to experience History in a different way.
Is the ticking of atomic clocks really regular?
By Christophe Salomon, physics researcher, at TimeWorld 2019, the International congress on Time.
Ryoji Ikeda, Kunstmuseum Wolfsburg
The Japanese artist Ryoji Ikeda presents his works on huge screens. He is inspired by data collected from all areas of life and science.
Ryoji Ikeda | Link article and movie | Kunstmuseum Wolfsburg
Ryoji Ikeda (b. in Gifu, Japan in 1966; lives and works in Paris and
Kyōto) is one of the world’s leading sound and media artists. His often
large-format light and sound installations have caused numerous
international sensations (e.g. 2018 Centre Pompidou, Paris; 2018 Eye
Filmmuseum, Amsterdam; 2015 ZKM Karlsruhe; 2014/15 Minsheng Art Museum,
Shanghai).
Ikeda’s works reflect the progressive digitalization of
our society and allow viewers to visually and acoustically experience
digital universes. With the exhibition, the Kunstmuseum Wolfsburg is
presenting—for the first time together—two new large-scale projections,
which will be installed site-specifically in the museum space: data-verse 1 and data-verse 2.
With his works, Ryoji Ikeda strives to “capture the world down to the smallest detail” (R. I. 2008). His light and sound installations thus have their origins in mathematics, physics, and biology, as well as in musicology and philosophy. Ikeda succeeds in making the abstract volumes of data and computing power we deal with every day comprehensible. He lets viewers immerse themselves in digital universes, which oscillate between the smallest measurable units, i.e. bits and bytes, and cosmic dimensions—they give the impression as if, with the data streams, one were on a journey through space.
Alongside installation works, Ikeda has been working on projects through live performances, books and CD’s such as +/- (1996), 0°C (1998), matrix (2000), dataplex (2005), test pattern (2008), supercodex (2013), and music for percussion (2018) which pioneered a new minimal world of electronic music through his razor-sharp techniques and aesthetics.
On the one hand, the surrounding architecture is decisive for his installations and is taken into account in the set-up of the works. On the other hand, visitors to the exhibition are invited to move about in the space in order to reevaluate their own perception and sound out the relationship between space and time. The pulsating sounds underlying the installations range in their spectrum from barely audible sine tones to dull, physically perceptible bass sounds. The latest 4K projection technology contributes to transforming the exhibition into a fascinating total synesthetic experience.
The production of data-verse 1 and data-verse 2 was commissioned by Audemars Piguet. Curator: Andreas Beitin
How do japanese people perceive time?
Hidehiro Tachibana, linguist (Specialist in French language and culture and Creole languages of the Caribbean), at TimeWorld 2019, the International congress on Time.
EN / In Japan, the daily perception of time that passes is often linked by metaphor or metonymy to the observation of the time it makes, as also reflected in traditional poetry. This particular Japanese sensitivity to cyclical time, punctuated by seasonal elements, goes back to the mythical and Shinto world described in the Kojiki (Chronicle of Ancient Events). However, the Japanese also have another perception of time, that of duration or precariousness, introduced by Buddhism. It is a philosophy of time that is opposed to Western Hegelian history. This Buddhist conception evokes in literary works an epic time that makes us aware that everything on Earth is ephemeral. One then wonders why the Japanese have succeeded in building a so-called “modern” society despite these traditional perceptions of time that seem unfavourable to modern times. We will also ask ourselves how digital time for youth is articulated today. These questions will lead us to question the importance of latent Shinto time in contemporary life in Japan.
FR / Au Japon, la perception quotidienne du temps qui passe est souvent liée par métaphore ou métonymie à l’observation du temps qu’il fait, comme en témoigne aussi la poésie traditionnelle. Cette sensibilité japonaise particulière au temps cyclique, rythmé par les éléments saisonniers, remonte à ce monde mythique et shintoïste décrit dans le Kojiki (Chronique des faits anciens). Les Japonais ont toutefois aussi une autre perception du temps, celle de la durée ou de la précarité, introduite par le bouddhisme. Il s’agit d’une philosophie du temps s’opposant à l’histoire occidentale hégélienne. Cette conception bouddhique évoque dans des Suvres littéraires un temps épique qui nous fait prendre conscience que tout est éphémère sur la Terre. On se demande alors pourquoi les Japonais ont réussi à construire une société dite “moderne” en dépit de ces perceptions traditionnelles du temps qui semblent peu propices aux temps modernes. On se demandera également comment s’articule aujourd’hui le temps numérique pour la jeunesse. Ces questions nous amènerons à questionner l’importance du temps shintoïste latent dans la vie contemporaine au Japon.