The Time Paradox is not a single paradox but a series of paradoxes that shape our lives and our destinies. For example:
Paradox 1 Time is one of the most powerful influences on our thoughts, feelings, and actions, yet we are usually totally unaware of the effect of time in our lives.
Paradox 2 Each specific attitude toward time—or time perspective—is associated with numerous benefits, yet in excess each is associated with even greater costs.
Paradox 3 Individual attitudes toward time are learned through personal experience, yet collectively attitudes toward time influence national destinies.
NASA’s Deep Space Atomic Clock is a critical step toward enabling spacecraft to safely, independently navigate in deep space rather than rely on the time-consuming process of receiving directions from Earth. Developed at NASA’s Jet Propulsion Laboratory in Pasadena, California, the clock is the first timekeeper stable enough to map a spacecraft’s trajectory in deep space and small enough to be housed onboard. The technology demonstration is validating a miniaturized, ultra-precise mercury-ion atomic clock orders of magnitude more stable than what’s used on spacecraft today.
Concept of the systemTom Cwik, the head of JPL’s Space Technology Program (left) and Allen Farrington, JPL Deep Space Atomic Clock Project Manager, view the integrated Atomic Clock Payload on General Atomics Electromagnetic Systems US’s Orbital Test Bed Spacecraft. Credit: NASA/JPL-CaltechOne of three free posters celebrating NASA’s Deep Space Atomic Clock. The mission will demonstrate technology that would allow a spacecraft to calculate its own trajectory rather than waiting for that information to come from Earth. Credit: NASA/JPL-Caltech
The philosophers and astronomers who came before us probed the stars and studied their light to understand the universe and observe the passage of time. They learned to measure time in intervals of years, months, days, hours, often as a period or cycle. Nowadays, we are also using light in the same quest for precision and knowledge, but can we proclaim having found universal time?
Bill Hammack shows the world’s smallest atomic clock and then describes how the first one made in the 1950s worked. He describes in detail the use of cesium vapor to create a feedback or control loop to control a quartz oscillator. He highlights the importance of atomic team by describing briefly how a GPS receiver uses four satellites to find its position.
We take lots of things for granted in this world; GPS, the internet and of course particle accelerators. However, none of these things would be possible without atomic clocks.
How Long Is One Second, Really? Do we really know how long a second is? The science behind how time is actually measured may prove you wrong.
Inside The Most Precise Atomic Clock in the World From his basement lab in Boulder, Colorado, physicist Jun Ye and his team have built the world’s most precise atomic clock. The clock is so powerful it can measure otherwise imperceptible changes in the physical world. “Have you ever seen the movie called Interstellar? You’ll see some of that in our lab, it’s not science fiction. You can actually see clocks slow down,” explains Ye. In episode seven of The Most Unknown, geobiologist Victoria Orphan travels to JILA—a physics institute jointly operated by the University of Colorado Boulder and NIST—to untangle questions of space and time with Ye and his otherworldly atomic clock.
What did the museum look like in the 19th century? The Time Machine Web Special and the associated virtual reality app offer fascinating insights into the museum’s historical art presentation modes – online and on site at the Städel. With a pair of virtual reality glasses, you can travel back to the year 1878 and discover the Städel and its former collection rooms.
The Time Machine on site
Travel to the past – with the aid of VR technology The Städel Museum invites you to come along on a journey to the past. In our collection rooms, you’ll be welcomed by specially trained staff, who will give you background information on the “Time Machine” and acquaint you with how to use the VR glasses you’ll have at your disposal. Following brief instructions, you can take off for the fascinating world of virtual reality and experience the past.
Research project Thanks to 3D technology, a research team of the Städel Museum, over a period of several years, was able to create a highly detailed reconstruction of the historical presentation of its collection. With the Time Machine, you can explore the Städel Museum’s historical locations of the years 1816, 1833 and 1878, the respective collection presentations and the works on exhibit at the time –online. You can also embark on your journey back in time by downloading the research results from the Oculus Store with an app developed especially for the virtual reality glasses “Samsung Gear VR”.
Modern Times is a 1936 American silent comedy film written and directed by Charlie Chaplin in which his iconic Little Tramp character struggles to survive in the modern, industrialized world. The film is a comment on the desperate employment and financial conditions many people faced during the Great Depression — conditions created, in Chaplin’s view, by the efficiencies of modern industrialization.
What is literary and/or artistic time? What is time in literature and the arts? Or what is time for a writer, a painter, a photographer, a director? The first difficulty encountered by those who wonder about time as it is practised and as literature and the arts represent it is that of formulating the question that occupies them: how, in what terms, does the problem of time in literature and the arts arise? Is time, in the literary and artistic context, a concept, a notion, a percept? Is time, for writers and artists, a theme, a motif, a tool, a medium? Perhaps the most relevant and effective method is to consider the answer given by the artists before formulating the question(s) we would like to ask them. In any case, this is the choice made by the researchers who met for the symposium L’art, machine à voyager dans le temps (University of Haute-Alsace, Mulhouse, 22-25 March 2017). Rather than a concept or a notion, it is consequently a singular posture, that of the time traveller, and the creative and lectoral uses that it engenders that are at the heart of the studies gathered here.
Everybody’s Time is a work by Arman installed on the square in front of the Gare Saint Lazare in Paris since 1985. Meeting points, landmarks, this monumental sculpture, in keeping with the architecture, responds to the principle of accumulation dear to the artist in the lineage of the duchampian ready-made. The visual artist Arman, taking up the theme of travel in a metaphorical form, chose to treat the representation of daily life in an allegorical and grandiose way, following the example of the heroic lives of characters from mythology. Apart from the obvious beauty of the elements, Everybody’s Time refers by its form and treatment to the idea of classical statuary.
How, from contemporary art to cinema to photography, artists immortalize the passing of time. Article on Slate.fr
Chrono Shredder (2007) by Susanna Hertrich. She has imagined a device, both calendar and clock, which undergoes an impulse every 3 minutes, gradually destroying the present day to display the new one, condemned to the same treatment. The destroyed days pile up at the bottom of the structure, symbolizing the passage of time and the impossibility of going back (the irrecoverable aspect of shredded paper).
“Paul Virilio : Thinking Speed” a film by Stéphane Paoli (documentary 90 min / 2008 / La Générale de Production / ARTE France) In an unprecedented way, this dazzling story of Paul Virilio’s thought confronts the reflections of philosophers, political actors and journalists such as Rifkin, Yunus, Bender, Klein, Jean Nouvel.
Progress and catastrophe are the obverse and reverse sides of the same coin (…) To invent the train is to invent the derailment, to invent the plane is to invent the crash (…) there is no pessimism in this, no despair, it is a rational phenomenon (…), masked by the propaganda of progress.
