On Time

September 12th, 2017

Some thoughts about time for the Brooklyn Rail's Slow Art issue

A few months ago, Arden Reed, the critic and writer of a new book about James Turrell's symbolism called Slow Art. Arden was putting together an issue of The Brooklyn Rail about time and art, and, came to me for a perspective from the music world.

How can time manifest in performance, object, or environment? How, through the use of structure, can time be altered, shifted, transcended, and understood in our shared experience?

Of course, duration is not time.

Duration is relevant because I’m interested in glacial change that is beyond our perception, and that takes time.

It happened that I was in the midst of work on a talk for the Nief-Norf festival and conference about Minimalism to take place after a performance of The Four Pillars Appearing from The Equal D under Resonating Apparitions of The Eternal Process in The Midwinter Starfield, and I proposed adapting that talk for the issue.

The final text now appears in this month's issue, and it's called, simply, On Time.

You can read the full text here.

See Also:
Performances in Seattle and Hudson and a special cassette for Avant Media donors | news item | April, 2015
The World Premiere of a major new work for Piano | news item | October, 2014
Appearing in Tennessee | news item | June, 2017
A Single Note | Randy Gibson profiled in the New York Times | interview | 2017
Piano Piece | video |
Recording The Four Pillars | news item | August, 2016
NY Times Profile | news item | June, 2017