Introduction
1. Helen Molesworth, response to Questionnaire on “The Contemporary,” October 130 (Fall 2009), 112.
2. Richard Meyer, What Was Contemporary Art? (Cambridge, MA: MIT Press, 2013), 11.
3. Pamela Lee, New Games: Postmodernism After Contemporary Art (New York: Routledge, 2012), xxviii.
4. Keith Moxey, Visual Time: The Image in History (Durham, NC: Duke University Press, 2013), 37.
5. Harry Harootunian, “Remembering the Historical Present,” Critical Inquiry 3 (Spring 2007), 480.
6. Stephen Kern, The Culture of Time and Space 1880–1918 (Cambridge, MA: Harvard University Press, 1983), 88.
7. David Harvey, The Condition of Post-Modernity (Oxford: Basil Blackwell, 1989), 240.
8. Fredric Jameson, “The End of Temporality,” Critical Inquiry 29 (2003): 708.
9. Paul Virilio, The Futurism of the Instant: Stop-Eject, tr. Julie Rose (Cambridge, UK: Polity Press, 2010), 71.
10. Bernard Stiegler, Technics and Time: Cinematic Time and the Question of Malaise, tr. Stephen Barker (Stanford, CA: Stanford University Press, 2011), 75.
11. Virilio, Futurism of the Instant, 59.
12. François Hartog, Regimes of Historicity: Presentism and Experiences of Time, tr. Saskia Brown (New York: Columbia University Press, 2015), 114.
13. See the discussion in David Couzens Hoy, The Time of Our Lives (Cambridge, MA: MIT Press, 2009), 57.
14. For a discussion with many examples, see Leo Charney, “In a Moment: Film and the Philosophy of Modernity,” in Cinema and the Invention of Modern Life (Berkeley: University of California Press, 1995), 279–95. See also Karl Heinz Bohrer, Suddenness: On the Moment of Aesthetic Appearance (New York: Columbia University Press, 1994).
15. John Locke, An Essay Concerning Human Understanding, ed. Peter H. Nidditch (Oxford: Clarendon Press, 1975), 190.
16. G. W. Leibniz, New Essays on Human Understanding, tr. and ed. Peter Remnant and Jonathan Bennett (Cambridge, UK: Cambridge University Press, 1996), 153.
17. See, for example Ben Singer, Melodrama and Modernity (New York: Columbia University Press, 2001).
18. This is the argument of Jonathan Crary, Techniques of the Observer (Cambridge, MA: MIT Press, 1990).
19. David Bordwell, On the History of Film Style (Cambridge, MA: Harvard University Press, 1997), 141–46.
20. Meyer, What Was Contemporary Art?, 31; Marc Augé, The Future, tr. John Howe (London: Verso, 2014).
21. Peter Osborne, Anywhere or Not at All: Philosophy of Contemporary Art (London: Verso, 2013), 175, 24.
22. Marcus Aurelius, Meditations, Books 1–6, tr. Christopher Gill (Oxford: Oxford University Press, 2013), 18. See Pierre Hadot, Philosophy as a Way of Life (Malden, MA: Blackwell, 1995), 227.
23. Quoted in Hadot, Philosophy, 228.
24. Goethe, “The Book of the Cup-Bearer,” quoted in ibid., 220. Note that Hartog does cite Hadot’s discussion, Regimes, 228, n26.
25. Osborne, Anywhere or Not at All, 176.
26. Paul Ricoeur, Time and Narrative, tr. Kathleen Blamey and David Pellauer (Chicago: University of Chicago Press, 1988), 3:253.
27. Saint Augustine, Confessions, tr. R. S. Pine-Coffin (New York: Penguin, 1961), 264.
28. Henri Poincaré, “The Measure of Time,” in Time & the Instant, ed. Robin Durie (Manchester, UK: Clinamen Press, 2000), 30.
29. “Carnap’s Intellectual Biography,” in The Philosophy of Rudolf Carnap, ed., P. A. Schilpp (La Salle, IL: Open Court, 1963), 37–38.
30. John G. Cramer, “The Plane of the Present and the New Transactional Paradigm of Time,” in Durie, ed., Time & the Instant, 187.
31. Aristotle, Complete Works, ed. Jonathan Barnes (Princeton, NJ: Princeton University Press, 1984), 678–79, 710–12; Daniel Heller-Roazen, The Inner Touch: Archaeology of a Sensation (New York: Zone Books, 2009), 51–52.
32. Alex O. Holcombe, “Are There Cracks in the Façade of Continuous Visual Experience?” in Subjective Time: The Philosophy, Psychology, and Neuroscience of Temporality, ed. Valtteri Arstila and Dan Lloyd (Cambridge, MA: MIT Press, 2014), 193.
33. Arstila and Lloyd, untitled chapter introduction in ibid., 200.
34. Ian Phillips, “The Temporal Structure of Experience,” in ibid., 139.
35. Immanuel Kant, Critique of Pure Reason, tr. Norman Kemp Smith (New York: Palgrave Macmillan, 2007), 76–77.
36. David Cockburn, Other Times: Philosophical Perspectives on Past, Present and Future (Cambridge, UK: Cambridge University Press, 1997), 11.
37. Edmund Husserl, On the Phenomenology of the Consciousness of Internal Time, tr. John Barnett Brough (Dordrecht, Netherlands: Kluwer, 1991), 37.
38. William James, Principles of Psychology (1890; rpt., New York: Dover, 1950), 1:613.
39. Ibid., 1:406.
40. Augustine, Confessions, 276.
41. Hollis Frampton, On the Camera Arts and Consecutive Matters, ed. Bruce Jenkins (Cambridge, MA: MIT Press, 2009), 26, 45.
42. Augustine, Confessions, 220.
43. For a detailed example of the latter, see Tyler Burge, “Memory and Persons,” Philosophical Review 112 (2003): 289–337. For a statement of the same case from a phenomenological point of view, see Paul Ricoeur, Memory, History, Forgetting (Chicago: University of Chicago Press, 2007), 101.
44. Maurice Merleau-Ponty, Phenomenology of Perception, ed. Donald A. Landes (Abingdon, Oxon./New York: Routledge, 2012), 360.
45. Jacques Derrida, Voice and Phenomenon, tr. Leonard Lawlor (Evanston, IL: Northwestern University Press, 2011), 53.
46. Robin Le Poidevin, The Images of Time: An Essay on Temporal Representation (New York: Oxford University Press, 2009), 46.
47. Emmanuel Levinas, Time and the Other, tr. Richard A. Cohen (Pittsburgh, PA: Duquesne University Press, 1987), 52.
48. Ibid., 39.
49. E. H. Gombrich, “Moment and Movement in Art,” Journal of the Warburg and Courtauld Institutes 27 (1964): 297.
50. Ibid.
51. Michel Foucault, “Kant on Enlightenment and Revolution,” tr. Colin Gordon, Economy and Society 15: 88. See also “What Is Enlightenment?” in The Foucault Reader, ed. Paul Rabinow (New York: Vintage, 2010), 32–50.
52. Foucault, “Kant on Enlightenment,” 90.
53. Ibid., 96.
54. Vincent Descombes, The Barometer of Modern Reason: On the Philosophies of Current Events, tr. Stephen Adam Schwartz (New York: Oxford University Press, 1993), 18.
55. Joel Burges and Amy J. Elias, eds., Time: A Vocabulary of the Present (New York: New York University Press, 2016).
Chapter 1: This Point in Time
1. Immanuel Kant, Critique of Pure Reason, tr. Norman Kemp Smith (New York: Palgrave Macmillan, 2007), 77.
2. Aristotle, Complete Works, ed. Jonathan Barnes (Princeton, NJ: Princeton University Press, 1984), 440–41 (VIII.8.263b 10, 264a 1, 264b 8, etc.).
3. Eric Schliesser, “Newton’s Philosophy of Time,” in A Companion to the Philosophy of Time, ed. Heather Dyke and Adrian Bardon (New York: Wiley, 2013), 94.
4. Lorne Falkenstein, “Classical Empiricism,” in Companion to the Philosophy of Time, 104.
5. Ibid., 106.
6. Ibid., 109–11.
7. Gaston Bachelard, Intuition of the Instant, tr. Eileen Rizo-Patron (Evanston: University of Illinois Press, 2013), 11.
8. Aristotle, Complete Works, 395 (Physics VI.3 234a 17).
9. Saint Augustine, Confessions, tr. R. S. Pine-Coffin (London/New York: Penguin, 1961), 266.
10. Immanuel Kant, Kant’s Inaugural Dissertation and Early Writings on Space, tr. John Handyside (La Salle, IL: Open Court, 1929), as reprinted in Charles Sherover, ed., The Human Experience of Time (Evanston, IL: Northwestern University Press, 2001), 146. According to Kant, moments are not parts of time, but divisions within it.
11. Aristotle, Complete Works, 711 (Sense and Sensibilia, 7 448a 25–27).
12. Ibid., 317 (Physics, I.2 185b 10).
13. Ibid., 395 (Physics, VI.3). For discussions, see Richard Sorabji, Time, Creation and the Continuum (Chicago: University of Chicago Press, 1983), 10–11; Tony Roark, Aristotle on Time (Cambridge, UK: Cambridge University Press, 2011), 98; Andrea Falcon, “Aristotle on Time and Change,” in Companion to the Philosophy of Time, 49.
14. Aristotle, Complete Works, 404 (Physics, VI.9 239b 8–9).
15. Sarah Waterlow remarks that Aristotle seems to place the now “outside any temporal order.” “Aristotle’s Now,” Philosophical Quarterly 34 (1984): 125.
16. See Sorabji, 49.
17. Aristotle, Complete Works, 400 (Physics VI.6 237a 15).
18. Ibid., 375. (Physics IV.13 222a 14).
19. Ibid (Physics IV.13 222a 15).
20. W. von Leyden, “Time, Number, and Eternity in Plato and Aristotle,” Philosophical Quarterly 14 (1964): 49.
21. Sorabji, 49. See also Roark, 199.
22. Aristotle, Complete Works, 372 (Physics IV.11 219a 1).
23. Waterlow, 127; von Leyden, 52; Roark, 213.
24. Waterlow, 112.
25. Paul Ricoeur, Time and Narrative, tr. Katherine Blamey and David Pellauer (Chicago: University of Chicago Press, 1988), III.19.
26. J. E. McTaggart, “The Unreality of Time,” Mind 17 (1908): 457–74.
27. This is particularly true of Ricoeur, who uses the terms “cosmological instant” and “lived present.” See, for example, Time and Narrative, III.19.
28. Aristotle, Complete Works, 377 (Physics 4.14 223a 23); Sorabji, 90; Roark, 116, 217.
29. Aristotle, 711 (Sense and Sensibilia, 7 448a 25–27). Roark argues from an analysis of De Anima and Parva Naturalia that Aristotle affirms the possibility of instantaneous perception. See 106–9.
30. Plato, Complete Works, ed. John M. Cooper (Indianapolis, IN: Hackett, 1997), 328.
31. Von Leyden, 41–42.
32. John R. Wilson, “Kairos as ‘Due Measure,’” Glotta 58 (1980); 200–201.
33. Hans Ruin, Enigmatic Origins: Tracing the Theme of Historicity through Heidegger’s Works (Stockholm: Almquist & Wiksell International, 1994), 180–81.
34. Barbara Cassin, ed., Dictionary of Untranslatables: A Philosophical Lexicon, tr. Steven Rendall et al. (Princeton, NJ: Princeton University Press, 2014), 685; Wilson, 180.
35. Wilson, 186.
36. Koral Ward, Augenblick: The Concept of the ‘Decisive Moment’ in 19th- and 20th-Century Western Philosophy (Burlington, VT: Ashgate, 2008), 144.
37. Wilson, 193, 197.
38. Ibid., 191.
39. Von Leyden, 42.
40. James Barr, Biblical Words for Time (Napervile, IL: Allenson Inc., 1969), 50–51.
41. Cassin, Dictionary, 24.
42. Frank Kermode, The Sense of an Ending, 1966, rpt., (Oxford: Oxford University Press, 2000), 46–49.
43. Ibid., 47–49; see Barr, pp. 21–49. For another discussion of the distinction between these two terms in classical literature, see Giorgio Agamben, The Time That Remains, tr. Patricia Dailey (Stanford, CA: Stanford University Press, 2005), 68–69.
44. Cassin, Dictionary, 685.
45. Barr, 129.
46. Acts 9:3–4, 17–18. King James Version.
47. As quoted in Geoffrey Bennington, “Is It Time?” in The Moment: Time and Rupture in Modern Thought, ed. Heidrun Friese (Liverpool: Liverpool University Press, 2001), 20. According to Agamben, the ho nyn kairos, the time of the now, is the time between the birth of Christ and the return of the Messiah (63–64).
48. Søren Kierkegaard, The Concept of Anxiety, tr. Alastair Hannay (New York: Liveright, 2014), 102.
49. Ibid., 103.
50. Ibid., 128.
51. Karl Marx, The Poverty of Philosophy (New York: International Publishers, 1973), 54.
52. Georg Lukács, History and Class Consciousness, tr. Rodney Livingstone (Cambridge, MA: MIT Press, 1971), 89–90.
53. Kierkegaard, 107.
54. Ibid., 106. See Ward, 8.
55. Thomas Wägenbauer, The Moment: A History, Typology and Theory of the Moment in Philosophy and Literature (Frankfurt: Peter Lang, 1993), 110. See also Cassin, 688.
56. Kierkegaard, 184, 113. See Ward, 22–23.
57. Martin Heidegger, The Basic Problems of Phenomenology, tr. Albert Hofstadter (Bloomington: Indiana University Press, 1982), 257.
58. Heidegger, Basic Problems, 271.
59. Martin Heidegger, Being and Time, tr. Joan Stambaugh (Albany: State University of New York Press, 2010), 405–6.
60. Heidegger, Basic Problems, 288. Heidegger also quarrels with Kierkegaard in this passage, though his reasoning seems particularly close to that of his predecessor.
61. Ward, 112–13.
62. Ibid., 99. See also Peter Poellner, “Existential Moments,” in The Moment: Time and Rupture in Modern Thought, ed. Heidrun Friese (Liverpool: Liverpool University Press, 2001), 53–72.
63. Walter Benjamin, Selected Writings, tr. Edmund Jephcott et al. (Cambridge, MA: Belknap Press of Harvard University Press, 2003), 4: 395. See Cassin Dictionary, 529. Agamben points out that Jetztzeit had previously been used in German philosophy in a negative sense to mean ordinary, everyday time (143).
64. See, for example, Karl Heinz Bohrer, Suddenness: On the Moment of Aesthetic Appearance, tr. Ruth Crowley (New York: Columbia University Press, 1994), 196–99.
65. M. H. Abrams, Natural Supernaturalism (New York: Norton, 1971), 386. For Abrams, the relevant background to these moments is provided not by Plato or even Paul but Augustine, and there is nothing in his analysis about the normative content of such moments.
66. Ibid., 387–88.
67. Ibid., 424–25.
68. Walter Pater, The Renaissance: Studies in Art and Poetry, ed. Donald L. Hill (Berkeley: University of California Press, 1980), 188. See Abrams, 419; Bohrer, 53–54; and Sue Zemka, Time and the Moment in Victorian Literature and Society (Cambridge, UK: Cambridge University Press, 2012), 222.
69. Isaiah Berlin, The Roots of Romanticism, ed. Henry Hardy (Princeton, NJ: Princeton University Press, 1999), 56.
70. Virginia Woolf, The Moment and Other Essays (San Diego, CA: Harcourt Brace Jovanovich, 1948), 3.
71. Ibid., 8.
72. Virginia Woolf, Moments of Being: Unpublished Autobiographical Writings, ed. Jeanne Schulkind (New York: Harcourt Brace Jovanovich, 1976), 71–73.
73. Kierkegaard, 108.
74. Karl Jaspers, Psychologie der Weltanschauungen, as quoted in Cassin, 689.
75. See Adorno’s extensive complaint against the mere juxtaposition of time and eternity in Kierkegaard in Theodor Adorno, Kierkegaard: Construction of the Aesthetic, tr. Robert Hullot-Kentor (Minneapolis: University of Minnesota Press, 1989), 97–103. Note that he also charges that “the point serves as the model of every Kierkegaardian paradox” (114). See also 117.
76. Kierkegaard, 75; see Wagenbauer, 106. For a critique of the leap in Kierkegaard, see Adorno, 89–90.
77. Ward, 83; Poellner in Friese, 65.
78. Benjamin, 395.
79. Woolf, Moments of Being, 71.
80. Bachelard, 21.
81. Poellner in Friese, 59; Bohrer, 200–201.
82. Friese, 2.
83. Ward, 3; Zemka, 46.
84. Ward, 76.
85. Benjamin, 395, 396.
86. Ibid., 40. See also Wägenbauer, 104.
87. Kierkegaard, 106. See Friese, 5.
88. Heidegger, Fundamental Concepts of Metaphysics, 148, as quoted in Ward, 115.
89. Kierkegaard, 106. See Wägenbauer, 14, for a discussion and a slightly different translation.
90. Ward, 94.
91. Quoted in Agamben, 145.
92. See the discussion of Aristotle in Éric Alliez, Capital Times: Tales from the Conquest of Time, tr. Georges Van Den Abbeele (Minneapolis: University of Minnesota Press, 1996), especially 22–23.
93. Quoted in Bohrer, 50.
94. Quoted in Adorno, 52.
95. Fredric Jameson, A Singular Modernity (London: Verso, 2002), 195. See Zemka, 12.
96. Benjamin, 391.
Chapter 2: The Search for the Experiential Present
1. Aristotle, Complete Works, ed. Jonathan Barnes (Princeton, NJ: Princeton University Press, 1984), 376 (Physics, 222b 9).
2. Ibid., 712 (Sense and Sensibilia, 448b 17).
3. Ibid., 711 (Sense and Sensibilia, 448a 26).
4. Ibid. (Sense and Sensibilia, 448b 13).
5. Plutarch, paraphrasing Poseidonius, quoted in Richard Sorabji, Time, Creation and the Continuum (Chicago: University of Chicago Press, 1983), 22.
6. Quoted in ibid., 275.
7. Saint Augustine, Confessions, tr. R. S. Pine-Coffin (London/New York: Penguin, 1961), 265. Andrea Nightingale points out that he makes the same point in a sermon. Once Out of Nature: Augustine on Time and the Body (Chicago: University of Chicago Press, 2011), 53.
8. Augustine, 268. See Nightingale, 99.
9. Augustine, 277–78.
10. These impressions have come in for a good deal of criticism. For example, see Paul Ricoeur, Time and Narrative, tr. Kathleen Blamey and David Pellauer (Chicago: University of Chicago Press, 1988), III:14, and Shaun Gallagher, The Inordinance of Time (Evanston, IL: Northwestern University Press, 1998), 7.
11. Augustine, 277.
12. Ibid.
13. John Locke, An Essay Concerning Human Understanding, ed. Peter H. Nidditch (Oxford: Clarendon Press, 1975), 203.
14. Ibid., 147.
15. Ibid.
16. Ibid., 185.
17. Ibid., 184.
18. For a discussion of the relation of “time itself” to experiential time in Locke, see Lorne Falkenstein, “Classical Empiricism,” in A Companion to the Philosophy of Time, ed. Heather Dyke and Adrian Bardon (Malden, MA: Wiley, 2013), 105–7.
19. Dugald Stewart, Elements of the Philosophy of the Human Mind (London, 1792): I:116. See Holly Andersen, “The Development of the ‘Specious Present’ and James’s Views on Temporal Experience,” in Subjective Time, ed. Valtteri Arstila and Dan Lloyd (Cambridge: MIT Press, 2014), 32.
20. Stewart, I:116.
21. Ibid.
22. Karl M. Figlio, “Theories of Perception and the Physiology of Mind in the Late 18th Century,” History of Science 13 (1975): 192–93. For a discussion of Locke, see 193–95.
23. René Descartes, Meditations on First Philosophy, tr. John Cottingham (Cambridge, UK: Cambridge University Press, 2013), 121. In the Passions of the Soul, Descartes describes the animal spirits that power the nerves as moving “very quickly.” Descartes: Selected Philosophical Writings, tr. John Cottingham et al. (Cambridge, UK: Cambridge University Press, 1988), 222.
24. Aristotle, 710–11 (Sense and Sensibilia, 447b, 10–448a, 31).
25. See Daniel Heller-Roazen, The Inner Touch: Archaeology of a Sensation (New York: Zone Books, 2009), 52.
26. Descartes, Meditations, 121.
27. Thomas Reid, Essays on the Intellectual Powers of Man (Edinburgh: John Bell, 1785), 106. See also Theo C. Meyering, Historical Roots of Cognitive Science (Dordrecht, Netherlands: Kluwer, 1989), 86–87, and Edwin G. Boring, Sensation and Perception in the History of Experimental Psychology (New York: Appleton-Century, 1942), 13–14.
28. Reid, 304.
29. Ibid., 326.
30. Ibid.
31. Holly K. Andersen and Rick Grush, “A Brief History of Time-Consciousness: Historical Precursors to James and Husserl,” Journal of the History of Philosophy 47 (2009): 277–307. See also Andersen, “Development of the ‘Specious Present,’” in Subjective Time.
32. Herbert Nichols, “The Psychology of Time,” American Journal of Psychology 3 (1891): 502.
33. G. E. Müller, “On the Psychophysical Axioms,” in A Source Book in the History of Psychology, ed. Richard J. Herrnstein and Edwin G. Boring (Cambridge, UK: Harvard University Press, 1966), 257–59. See also Boring, Sensation and Perception, 89.
34. Michael Heidelberger, Nature from Within: Gustav Theodor Fechner and His Psychophysical Worldview, tr. Cynthia Klohr (Pittsburgh, PA: University of Pittsburgh Press, 2004), 6–7, 168–69.
35. Arthur L. Blumenthal, “A Wundt Primer: The Operating Characteristics of Consciousness,” in Wilhelm Wundt in History: The Making of a Scientific Psychology, ed. Robert W. Rieber and David K. Robinson (New York: Kluwer, 2001), 128. See also Heidelberger, Nature from Within, 162–64, 175–77.
36. David K. Robinson, “Reaction-Time Experiments in Wundt’s Institute and Beyond,” in Rieber and Robinson, eds., Wundt in History, 169. For a history of the term apperception, as a synonym for consciousness, see Heller-Roazen, 201–9.
37. Alan Kim, “Wilhelm Wundt,” Stanford Encyclopedia of Philosophy, 22, http://plato.stanford.edu/archives/spr2009/entries/wilhelm-wundt/.
38. Edwin G. Boring, A History of Experimental Psychology, 2nd ed. (Englewood Cliffs, NJ: Prentice-Hall, 1950), 41.
39. Kathryn M. Olesko and Frederic L. Holmes, “Experiment, Quantification, and Discovery,” in Hermann von Helmholtz and the Foundations of 19th-century Science, ed. David Cahan (Berkeley: University of California Press, 1993), 79; Henning Schmidgen, “Of Frogs and Men: The Origins of Psychophysiological Time Experiments, 1850–1865,” Endeavour 26 (2002): 142–44.
40. Henning Schmidgen, “The Donders Machine: Matter, Signs, and Time in a Physiological Experiment, ca. 1865,” Configurations 13 (2005): 232–33.
41. F. C. Donders, “On the Speed of Mental Processes,” Acta Psychologica 30 (1969): 416.
42. Edward J. Haupt, “Laboratories for Experimental Psychology,” in Rieber and Robinson, eds., Wundt in History, 230.
43. David K. Robinson, “Reaction-Time Experiments in Wundt’s Institute and Beyond,” in Rieber and Robinson, eds., Wundt in History, 163.
44. Ibid., 164.
45. Ibid., 169.
46. Ibid.; Ruth Benschop and Douwe Draaisma, “In Pursuit of Precision: The Calibration of Minds and Machines in Late-19th-century Psychology,” Annals of Science 57 (2000): 5–6.
47. Donders, “On the Speed of Mental Processes,” 418–19; Schmidgen, “The Donders Machine,” 219.
48. Donders, “On the Speed of Mental Processes,” 414.
49. Donders, “On the Speed of Mental Processes,” 414; Schmidgen, “The Donders Machine,” 224.
50. Robinson, “Reaction-Time Experiments,” 174.
51. Donders, “On the Speed of Mental Processes,” 413.
52. Benschop and Draaisma, “In Pursuit of Precision,” 22.
53. Ruth Benschop, Unassuming Instruments: Tracing the Tachistoscope in Experimental Psychology (Groningen, Netherlands: ADNP, 2001), 51.
54. Quoted in Olesko and Holmes, “Experiment, Quantification, and Discovery,” 84.
55. Francesca Bordogna, William James at the Boundaries: Philosophy, Science, and the Geography of Knowledge (Chicago: University of Chicago Press, 2008), 96.
56. Ibid., 46–47.
57. Claude Debru, “Helmholtz and the Psychophysiology of Time,” Science in Context 14 (2001): 478.
58. Bordogna, William James, 97.
59. William Boring, “Human Nature vs. Sensation: William James and the Psychology of the Present,” American Journal of Psychology 55 (1942): 310.
60. Bordogna, William James, 254; Stephanie L. Hawkins, “William James, Gustav Fechner, and Early Psychophysics,” Frontiers in Physiology 2 (2011): 1–10.
61. Andersen and Grush, “Brief History of Time Consciousness,” 290.
62. Ibid., 294–95.
63. Ibid., 295–96.
64. Quoted in Barry Dainton, Stream of Consciousness: Unity and Continuity in Conscious Experience (London: Routledge, 2006), 120.
65. Charles Sherover, ed., The Human Experience of Time (Evanston, IL: Northwestern University Press, 2001), 349.
66. Quoted in Andersen and Grush, “Brief History of Time Consciousness,” 292.
67. Boring, Sensation and Perception, 86.
68. William James, Principles of Psychology (1890; rpt., New York: Dover, 1950), 1:687.
69. That is to say, he renounced the idea that consciousness is some sort of entity, like the common sense of Aristotle, to which all experience is submitted. See the essay “Does Consciousness Exist?” William James, Writings: 1902–1910, ed. Bruce Kuklick (New York: Library of America, 1987), 1141–58.
70. James, Principles of Psychology 2:453.
71. See the account of James as an interactionist in Owen Flanagan, “Consciousness as a Pragmatist Views It,” in The Cambridge Companion to William James, ed. Ruth Anna Putnam (Cambridge, UK: Cambridge University Press, 1997), 25–48.
72. James, Principles of Psychology 1:242.
73. Ibid., 2:104.
74. Ibid., 1:405.
75. Ibid.
76. Ibid., 1:407.
77. Ibid., 1:430.
78. Ibid., 1:406.
79. Ibid., 1:407.
80. Ibid., 1:606.
81. Ibid., 1:613.
82. Ibid.
83. Ibid., 1:635.
84. For a critical account of the bases of the specious present, see Richard M. Gale, “From the Specious to the Suspicious Present: The Jack Horner Phenomenology of William James,” Journal of Speculative Philosophy 11 (1997): 163–87.
85. James, Principles of Psychology 1:420.
86. Ibid., 1:421. Quoting from Volkmann, whose account James says is admirable.
87. Ibid., 2:633.
88. J. E. McTaggart, “The Unreality of Time,” Mind 17 (1908): 472.
89. C.W.K. Mundle, “How Specious Is the ‘Specious Present’?” Mind 63 (1954): 26.
90. For a recent discussion, see Barry Dainton, “Temporal Consciousness,” Stanford Encyclopedia of Philosophy, 147–52, http://plato.stanford.edu/archives/fall2010/entries/consciousness-temporal.
91. Jacques Derrida, Voice and Phenomenon: Introduction to the Problem of the Sign in Husserl’s Phenomenology, tr. Leonard Lawlor (Evanston, IL: Northwestern University Press, 2011), 85.
92. See Holly Andersen, “The Development of the ‘Specious Present’ and James’s Views on Temporal Experience,” in Subjective Time, 36.
93. John Barnett Brough, “Translator’s Introduction,” On the Phenomenology of the Consciousness of Internal Time, by Edmund Husserl (Dordrecht, Netherlands: Kluwer, 1991), xxxvi–xxxvii.
94. Husserl, Consciousness of Internal Time, 42.
95. Ibid., 37.
96. Ibid., 30.
97. Ibid., 28.
98. Brough, “Translator’s Introduction,” xxxix.
99. Husserl, Consciousness of Internal Time, 41.
100. Tim van Gelder, “Wooden Iron? Husserlian Phenomenology Meets Cognitive Science,” in Naturalizing Phenomenology: Issues in Contemporary Phenomenology and Cognitive Science, ed. Jean Petitot (Stanford, CA: Stanford University Press, 1999), 249–50.
101. Derrida, Voice and Phenomenon, 55–56.
102. Gallagher, Inordinance of Time, 7.
103. David Couzens Hoy, The Time of Our Lives (Cambridge, MA: MIT Press, 2012), 52.
104. Husserl, Consciousness of Internal Time, 61. See Susan Pockett, “How Long Is ‘Now’?: Phenomenology and the Specious Present,” Phenomenology and the Cognitive Sciences 2 (2003): 56.
105. An objection registered some time ago by Wilfrid Sellars. See Andersen, Subjective Time, 26.
106. Jean-Paul Sartre, Being and Nothingness: A Phenomenological Essay on Ontology, tr. Hazel E. Barnes (New York: Washington Square Press, 1956), 152. See also 599.
107. See the references to Stern’s critique of Brentano in Barry Dainton, “The Perception of Time,” in Dyke and Bardon, Companion to the Philosophy of Time, 395.
108. Dainton, “The Perception of Time,” 402.
109. A question posed about the retentional model in general by Barry Dainton, “The Phenomenal Continuum,” in Subjective Time, 104. For a critique of this kind more directly aimed at Husserl, see Marc Wittmann, “Embodied Time: The Experience of Time, the Body, and the Self,” in Subjective Time, 517.
110. Eric R. Kandel, James H. Schwartz, and Thomas M. Jessell, Principles of Neural Science (New York: McGraw-Hill, 2000), 313.
111. R. Epstein, “The Neuro-Cognitive Basis of the Jamesian Stream of Thought,” Consciousness and Cognition (2000); S. Pockett, “How Long Is ‘Now’?”
112. Alex O. Holcombe, “Are There Cracks in the Façade of Continuous Visual Experience?” in Subjective Time, 179–98.
113. Wittmann, 513.
114. Valtteri Arstila and Dan Lloyd, “Subjective Time: From Past to Future,” in Subjective Time, 309–22.
115. Bruno Mölder, “Constructing Time: Dennett and Grush on Temporal Representation,” in Subjective Time, 217.
116. Konstantin Moutoussis, “Perceptual Asynchrony in Vision,” in Subjective Time, 203–5.
117. Mölder, 222–23.
118. Holcombe, 193.
119. Dean V. Buonomano, “The Neural Mechanisms of Timing on Short Timescales,” in Subjective Time, 335.
120. Ibid., 330.
121. Arstila and Lloyd, Subjective Time, 199.
122. Moutoussis, 205.
123. Wittmann, 513.
124. Locke,163.
125. Phillip Prodger, Time Stands Still: Muybridge and the Instantaneous Photography Movement (New York: Oxford University Press, 2003), 55.
126. E. H. Gombrich, “Standards of Truth: The Arrested Image and the Moving Eye,” Critical Inquiry 7 (1980): 244, 260.
127. James, Principles of Psychology, 1:421.
128. William James, A Pluralistic Universe (London: Longmans, Green, 1909), 235.
129. Quoted in Ian Phillips, “The Temporal Structure of Experience,” in Subjective Time, 141.
130. Niko A. Busch and Rufin van Rullen, “Is Visual Perception like a Continuous Flow or a Series of Snapshots?” in Subjective Time, 165.
Chapter 3: The Longest Now
1. Norbert Elias, An Essay on Time (Dublin: University College Press, 1992), 63.
2. Peter Osborne, Anywhere or Not at All (London: Verso, 2013), 17.
3. See, for example, Peter Fritzsche, Stranded in the Present: Modern Time and the Melancholy of History (Cambridge, MA: Harvard University Press, 2004).
4. François Hartog, Regimes of Historicity: Presentism and Experiences of Time, tr. Saskia Brown (New York: Columbia University Press, 2015), 203.
5. Reinhart Koselleck, Futures Past: On the Semantics of Historical Time, tr. Keith Tribe (New York: Columbia University Press, 2004), 149. The influence of Koselleck is clear, for example, in Hartog, who quotes from his work dozens of times.
6. Ibid., 39.
7. Ibid., 259.
8. Ibid., 310, n 4.
9. Ibid. Augustine does claim that what is true of the action of singing a psalm is “true of a man’s whole life, of which all his actions are parts. It is true of the whole history of mankind, of which each man’s life is a part.” Saint Augustine, Confessions, tr. R. S. Pine-Coffin (London: Penguin, 1961), 277.
10. Harry Harootunian, “Remembering the Historical Present,” Critical Inquiry 33 (2007): 471–94. Harootunian engages Koselleck critically and at length.
11. Osborne, 176.
12. Ibid., 175.
13. Helga Nowotny, Time: The Modern and Postmodern Experience, tr. Neville Plaice (New York: Polity, 1994), 41.
14. Paul Ricoeur, Time and Narrative, tr. Kathleen Blamey and David Pellauer (Chicago: University of Chicago Press, 1988), III. 253.
15. Hartog, 106.
16. Hartog, 33.
17. Elias, 34, 40.
18. Ibid., 75.
19. For a discussion in a modern context, see Roland Boer, “Revolution in the Event: The Problem of Kairos,” Theory, Culture & Society 30 (2013): 116–34.
20. Georges Gurvitch, The Spectrum of Social Time, tr. Myrtle Korenbaum (Dordrecht, Netherlands: Reidel, 1964), 106.
21. Jack Goody, “The Time of Telling and the Telling of Time in Written and Oral Cultures,” in Chronotypes: The Construction of Time, ed. John Bender and David E. Wellbery (Stanford, CA: Stanford University Press, 1991), 94.
22. Gerhard Dohrn-van Rossum, History of the Hour: Clocks and Modern Temporal Orders, tr. Thomas Dunlap (Chicago: University of Chicago Press, 1996), 18–19.
23. Ibid., 42.
24. Ibid., 282.
25. Ibid., 350. For evidence about earlier periods, see 220, 224.
26. Ibid., 37, 56.
27. David Landes, Revolution in Time, rev. ed. (Cambridge, MA: Belknap Press, 2000), 22.
28. Elias, 64.
29. Ibid.
30. J. E. McTaggart, “The Unreality of Time,” Mind 17 (1908): 457–74.
31. Hartog, 34.
32. Ibid., 42.
33. Ibid., 45.
34. Gurvitch, 115.
35. Ibid., 116.
36. Ibid., 15.
37. Ibid., 20–21. Or, as Nowotny puts it, simultaneity is always a normative aspiration and an illusion (42).
38. Denis Feeney, Caesar’s Calendar: Ancient Time and the Beginnings of History (Berkeley: University of California Press, 2007), 3.
39. Ibid., 9, 17.
40. Ibid., 15–16. See also John Burrow, A History of Histories (New York: Knopf, 2008), 7–8.
41. Ibid., 18.
42. Ibid., 48.
43. Polybius, III.1, quoted in Burrow, 66. See also Feeney, 54.
44. Paul Ricoeur, Time and Narrative, tr. Kathleen McLaughlin and David Pellauer (Chicago: University of Chicago Press, 1984), I.38.
45. Feeney, 48.
46. Ibid., 146–48.
47. Ibid., 188.
48. Ibid., 192–93.
49. See, for example, Nowotny, 94.
50. Dohrn-van Rossum, 37, 56.
51. Ibid., 79. This was also the dogma, if not the practice, of the early Reformation. See 212.
52. Feeney, 2–3.
53. Hannah Arendt, Between Past and Future (New York: Penguin, 2006), 65–67.
54. Giorgio Agamben, The Time That Remains, tr. Patricia Dailey (Stanford, CA: Stanford University Press, 2005), 67–78.
55. Philippians, 3:13; Agamben, 78.
56. Gurvitch, 120. See also Dictionary of Untranslatables: A Philosophical Lexicon, ed. Barbara Cassin, tr. Emily Apter, Jacques Lezra, and Michael Wood (Princeton, NJ: Princeton University Press, 2014), 26–27.
57. Daniel Rosenberg and Anthony Grafton, Cartographies of Time (New York: Princeton Architectural Press, 2010), 26–27.
58. Ibid., 28.
59. Ibid., 36, 42, 69.
60. John Locke, An Essay Concerning Human Understanding, ed. Peter H. Nidditch (Oxford: Clarendon Press, 1975), 203.
61. Immanuel Kant, Political Writings, ed. H. S. Reiss (Cambridge, UK: Cambridge University Press, 1991), 51.
62. Ibid.
63. Koselleck, 195. See also 104 for comments on Kant.
64. Rosenberg and Grafton, 126.
65. Ibid., 20, 140.
66. Ibid., 134–35.
67. Peter Sloterdijk, In the World Interior of Capital, tr. Wieland Hoban (Cambridge, UK: Polity Press, 2013), 141.
68. Walter Benjamin, The Arcades Project, tr. Howard Eiland and Kevin McLaughlin (Cambridge, MA: Belknap Press, 1999), 394.
69. In addition to the discussion provided above, see Arendt, 64–66.
70. Koselleck, 266.
71. Ibid., 164.
72. Gurvitch, 73.
73. Ibid., 96.
74. Ibid., 140–41.
75. Nowotny, 9.
76. Fredric Jameson, A Singular Modernity: Essay on the Ontology of the Present (London: Verso, 2002), 17.
77. Rosenberg and Grafton, 222.
78. Ibid., 100.
79. For a discussion of modernist proclamations on the present, see Sascha Bru, “Avant-Garde Nows: Presentist Reconfigurations of Public Time,” Modernist Cultures 8.2 (2013): 272–87.
Chapter 4: The Present in Pictures
1. Henri Bergson, “Memory of the Present and False Recognition,” in Time & the Instant, ed. Robin Durie (Manchester, UK: Clinamen Press, 2000), 38.
2. Immanuel Kant, Critique of Pure Reason, tr. Norman Kemp Smith (New York: Palgrave Macmillan, 2007), 77.
3. Ibid., 131.
4. Ibid., 132.
5. See the explanation in the translator’s introduction to Kant’s Critique of Judgment, tr. Werner S. Pluhar (Indianapolis, IN: Hackett, 1987), xxvi.
6. Kant, Critique of Pure Reason, 185. For a discussion of the relationship between the image and the schema, see Dictionary of Untranslatables: A Philosophical Lexicon, ed. Barbara Cassin, tr. Emily Apter, Jacques Lezra, and Michael Wood (Princeton, NJ: Princeton University Press, 2014), 108–9.
7. Craig Callender, “The Common Now,” Philosophical Issues 18 (2008): 341, 342, 345.
8. Ibid., 357–58. For more of such evidence, see chapter 2.
9. Kant, Critique of Pure Reason, 77.
10. Richard Sorabji, Time, Creation and the Continuum (Chicago: University of Chicago Press, 1983), 67–83.
11. Working from the standpoint of linguistics rather than phenomenology or physiology, Louis Marin also decides that the present is unrepresentable. See On Representation, tr. Catherine Porter (Stanford, CA: Stanford University Press, 2001), 133.
12. Jacques Aumont, The Image, tr. Claire Pajackowska (London: British Film Institute, 1997), 123.
13. Quoted in James Heffernan, “Space and Time in Literature and the Visual Arts,” Soundings 70 (1987): 105–6.
14. E. H. Gombrich, “Moment and Movement in Art,” Journal of the Warburg and Courtauld Institutes 27 (1964): 248.
15. Ibid., 293.
16. Ibid., 294.
17. Gotthold Ephraim Lessing, Laocoön: An Essay on the Limits of Painting and Poetry, tr. Edward Allen McCormick (Indianapolis, IN: Bobbs-Merrill, 1962), 19. See also Peter Geimer, “Picturing the Black Box: On Blanks in 19th-Century Paintings and Photography,” Science in Context 17 (2004): 472–73.
18. Lessing, Laocoön, 20.
19. Ibid., 78.
20. Ibid., 92.
21. Robin Le Poidevin, The Images of Time: An Essay on Temporal Representation (Oxford: Oxford University Press, 2007), 131.
22. Jean-Paul Sartre, The Imaginary (New York: Routledge, 2004), 75.
23. William Cowper, “The Task” (1785), quoted in Geoffrey Batchen, Burning with Desire: The Conception of Photography (Cambridge, MA: MIT Press, 1997), 84.
24. William Henry Fox Talbot, “A Brief Historical Sketch of the Invention of the Art” (1844), in Classic Essays on Photography, ed. Alan Trachtenberg (New Haven: Leete’s Island Books, 1980), 29.
25. Quoted in Batchen, 33.
26. Quoted in ibid., 39.
27. See, for example, ibid., 44.
28. Quoted in ibid., 44.
29. Lady Elizabeth Eastlake, “Photography” (1857), in Trachtenberg, 44.
30. Fox Talbot, in Trachtenberg, 29.
31. Quoted in Jennifer Green-Lewis, “Not Fading Away: Photography in the Age of Oblivion,” 19th Century Contexts 22 (2001): 562.
32. Gombrich, “Moment,” 295.
33. Eastlake, “Photography,” 52.
34. Quoted in Geimer, 478.
35. Batchen, 93.
36. Le Poidevin, 70.
37. William Henry Fox Talbot, “Some Account of the Art of Photographic Drawing,” London and Edinburgh Philosophical Magazine and Journal of Science 14 (March 1839): 41.
38. H. F. Talbot, “On the Production of Instantaneous Photographic Images,” Journal of the Franklin Institute 53 (1852): 137–40.
39. Phillip Prodger, Time Stands Still: Muybridge and the Instantaneous Photography Movement (New York: Oxford University Press, 2003), 78, 87.
40. Tom Gunning, “New Thresholds of Vision: Instantaneous Photography and the Early Cinema of Lumiére,” in Impossible Presence: Surface and Screen in the Photogenic Era, ed. Terry Smith (Chicago: University of Chicago Press, 2001), 95.
41. Prodger, 135.
42. Ibid., 35.
43. Ibid., 41.
44. Ibid., 34.
45. Geimer, 482.
46. Prodger, 50.
47. Rudolf Arnheim, “On the Nature of Photography,” Critical Inquiry 1 (1974): 150.
48. For discussions, see Thierry de Duve, “Time Exposure and Snapshot: The Photograph as Paradox,” October 5 (1978): 113–25, and Mary Ann Doane, “Real Time: Instantaneity and the Photographic Imaginary,” in Stillness and Time: Photography and the Moving Image (Brighton, UK: Photoworks, 2006), 23–28.
49. Prodger, 36.
50. Quoted in François Dagognet, Etienne-Jules Marey: A Passion for the Trace, tr. Robert Galeta (New York: Zone Books, 1992), 141.
51. Marta Braun, Picturing Time: The Work of Etienne-Jules Marey (Chicago: University of Chicago Press, 1992), 268.
52. Braun, 62, 66, 78, 83.
53. Gombrich, 44.
54. Aumont, 174–75. See also James E. Cutting, “Representing Motion in a Static Image: Constraints and Parallels in Art, Science, and Popular Culture,” Perception 31 (2002): 1165–93.
55. Plato, Complete Works, ed. John M. Cooper (Indianapolis, IN: Hackett, 1997), 419. Quoted in Jay Lampert, Simultaneity and Delay: A Dialectical Theory of Staggered Time (London: Continuum, 2012), 58.
56. Aristotle, Complete Works, 1856. See Pierre Hadot, Philosophy as a Way of Life (Malden, MA: Blackwell, 1995), 224.
57. James I. Porter, The Origins of Aesthetic Thought in Ancient Greece: Matter, Sensation, and Experience (Cambridge, UK: Cambridge University Press, 2010), 45–46.
58. Ibid., 64. See also 55 and 246.
59. Aristotle, Complete Works, 2322.
60. Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, ed. Adam Phillips (New York: Oxford University Press, 1990), 124.
61. Kant, Critique of Judgment, 116–17.
62. Marin, 298.
63. Goethe, “The Book of the Cup-Bearer,” quoted in Hadot, 220.
64. Marin, 295.
65. Ibid., 303.
66. Quoted in Jean-Francois Lyotard, The Inhuman: Reflections on Time, tr. Geoffrey Bennington and Rachel Bowlby (Cambridge, UK: Polity Press, 1991), 86.
67. Ibid.
68. Ibid., 90.
69. Hans Belting, An Anthropology of Images, tr. Thomas Dunlap (Princeton, NJ: Princeton University Press, 2011), 118–19.
70. Ibid., 10. Note also the similar definition offered by W.J.T. Mitchell in Picture Theory (Chicago: University of Chicago Press, 1994), 11.
71. Jacques Rancière, The Future of the Image, tr. Gregory Elliott (London: Verso, 2007), 15.
72. George Kubler, The Shape of Time: Remarks on the History of Things (New Haven, CT: Yale University Press, 1962), 84.
73. Dictionary of Untranslatables, 247.
74. Belting, Anthropology of Images, 116–17.
75. Alexander Nagel and Christopher S. Wood, Anachronic Renaissance (New York: Zone Books, 2010), 30, 32.
76. Georges Didi-Huberman, Confronting Images, tr. John Goodman (University Park: Pennsylvania State University Press, 2005), 189.
77. Georges Didi-Huberman, Fra Angelico: Dissemblance & Figuration, tr. Jane Marie Todd (Chicago: University of Chicago Press, 1995), 115. See also Confronting Images, 22.
78. Jean-Luc Nancy, The Ground of the Image, tr. Jeff Fort (New York: Fordham University Press, 2005), 113.
79. Didi-Huberman, Fra Angelico, 26.
80. Ibid., 124. See also Confronting Images, 185.
81. Rancière, Future, 89.
82. Didi-Huberman, Fra Angelico, 113.
83. Marin, 288.
84. Ibid.
85. Ibid., 321. See also 352.
86. Ibid., 265–66.
87. Ibid., 139. See also 357–58.
88. Ibid., 369.
89. Alexander Nagel, Medieval Modern: Art out of Time (New York: Thames & Hudson, 2012), 18–19.
90. Ibid., 19.
91. Ibid., 20–21.
92. Lutz Koepnick, On Slowness: Toward an Aesthetic of the Contemporary (New York: Columbia University Press, 2014), 64.
93. Ibid., 96.
94. Ibid., 261.
95. Laura Hoptman, “The Forever Now: Contemporary Painting in an Atemporal World,” in The Forever Now: Contemporary Painting in an Atemporal World, ed. Laura Hoptman (New York: Museum of Modern Art, 2014), 16.
96. Kubler, 17.
Chapter 5: Narration and the “Unexplained Instant”
1. Elizabeth Bowen, The Heat of the Day (1948; rpt., New York: Penguin, 1976), 15.
2. Dorrit Cohn, Transparent Minds: Narrative Method for Presenting Consciousness in Fiction (Princeton, NJ: Princeton University Press, 1978), 209.
3. Willa Cather, The Professor’s House (New York: Vintage, 2011), 248.
4. Paul Ricoeur, Time and Narrative, tr. Kathleen McLaughlin and David Pellauer (Chicago: University of Chicago Press, 1985), 2:98. See also Peter Brooks, Reading for the Plot (Cambridge, MA: Harvard University Press, 1992), 23.
5. Käte Hamburger, The Logic of Literature, 2nd ed., tr. Marilynn Rose (Bloomington: Indiana University Press, 1973), 81.
6. Robin Le Poidevin, The Images of Time: An Essay in Temporal Representation (Oxford: Oxford University Press, 2007), 147. See also Mark Currie, About Time: Narrative, Fiction and the Philosophy of Time (Edinburgh: Edinburgh University Press, 2010), 5.
7. For an influential account in sociology, see Andrew Abbott, Time Matters: On Theory and Method (Chicago: University of Chicago Press, 2001). For psychology, see Jerome Bruner, Actual Minds, Possible Worlds (Cambridge, MA: Harvard University Press, 1986), and Making Stories: Law, Literature, Life (New York: Farrar, Straus and Giroux, 2002).
8. Arthur Danto, Narration and Knowledge (New York: Columbia University Press, 1985), 355.
9. Ibid., xiii.
10. Ibid., 343.
11. Brooks, 23.
12. Plato, Complete Works, ed. John M. Cooper (Indianapolis, IN: Hackett, 1997), 1030.
13. Aristotle, Complete Works, ed. Jonathan Barnes (Princeton, NJ: Princeton University Press, 1984), 2321–22.
14. Ricoeur, Time and Narrative, 1:38–42.
15. Correspondence between Goethe and Schiller, tr. L. Dora Schmitz (London: George Bell, 1877), 451.
16. Ibid., 453.
17. Ibid., 455.
18. Ibid.
19. George Lukács, Theory of the Novel, tr. Anna Bostock (Cambridge, MA: MIT Press, 1971), 122.
20. Ibid.
21. Ibid., 126.
22. Mikhail Bakhtin, The Dialogic Imagination, tr. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981), 18.
23. Ibid., 107.
24. Ibid., 38.
25. Ricoeur, Time and Narrative, 1:60.
26. Ibid., 2:108.
27. Ibid., 1:56.
28. Frank Kermode, The Sense of an Ending (Oxford: Oxford University Press, 2000), 46.
29. Ricoeur, Time and Narrative, 2:98.
30. Ibid., 3:253.
31. Ibid., 3:243.
32. Fredric Jameson, The Antinomies of Realism (London: Verso, 2013), 8.
33. Ibid., 46.
34. Ibid., 21.
35. Jean-Paul Sartre, Being and Nothingness, tr. Hazel E. Barnes (New York: Washington Square Press, 1956), 600–601.
36. Jameson, Antinomies of Realism, 25, 27. Jameson also uses the term “eternal present” in the more recent treatment of these issues included in The Ancients and the Postmoderns (London: Verso, 2015), 20.
37. Jameson, Antinomies, 31.
38. Jameson, Antinomies, 81. For the notion that affects in general are nameless, see Ancients and Postmoderns, 38.
39. Jameson, Antinomies, 10.
40. Alexander Kluge, “The Assault of the Present on the Rest of Time,” tr. Tamara Evans and Stuart Liebman, New German Critique 49 (1990): 18.
41. Sartre, Being and Nothingness, 503. See also 429.
42. Brooks, xiv.
43. Jameson also takes up these issues in “The End of Temporality,” Critical Inquiry 29 (2003): 712.
44. Georg Lukács, The Historical Novel, tr. Hannah and Stanley Mitchell (Lincoln: University of Nebraska Press, 1983), 229, 198.
45. Ibid., 183, 235.
46. James Phelan, “Editor’s Column: Who’s Here? Thoughts on Narrative Identity and Narrative Imperialism,” Narrative 13 (2005): 206.
47. Bakhtin, 41.
48. The New Science of Giambattista Vico, tr. Thomas Goddard Bergin and Max Harold Fisch (Ithaca, NY: Cornell University Press, 1968), 238.
49. G.W.F. Hegel, Philosophy of History, tr. J. Sibree (1899; rpt., New York: Dover, 1956), 72.
50. Jack Goody, “From Oral to Written: An Anthropological Breakthrough in Storytelling,” in The Novel, ed. Franco Moretti (Princeton, NJ: Princeton University Press, 2006), 1:3.
51. Ibid., 1:31.
52. Brooks, xii.
53. Cheryl Nixon, ed., Novel Definitions: An Anthology of Commentary on the Novel: 1688–1815 (Peterborough, Ont.: Broadview Press, 2009), 87.
54. Quoted in ibid., 94.
55. For a recent example, see Anthony Rudd, “In Defence of Narrative,” European Journal of Philosophy 17 (2009): 60–75.
56. Alasdair MacIntyre, After Virtue, 3rd ed., (Notre Dame, IN: University of Notre Dame Press, 2007), 205.
57. Ibid., 211. Hardy’s evidence for the prevalence of narrative is entirely drawn from British novels. See Barbara Hardy, “Towards a Poetics of Fiction,” Novel 2 (1968): 2–14.
58. MacIntyre, 129.
59. Ibid., 147.
60. Ibid., 178.
61. Ibid., 226.
62. Charles Taylor, Sources of the Self: The Making of the Modern Identity (Cambridge, UK: Cambridge University Press, 1989), 47.
63. Ibid., 49.
64. Ibid., 173.
65. Ibid., 52.
66. Louis O. Mink, “History and Fiction as Modes of Comprehension,” New Literary History 1 (1970): 547.
67. David Carr, Time, Narrative, and History (Bloomington: Indiana University Press, 1991).
68. Galen Strawson, Selves: An Essay in Revisionary Metaphysics (Oxford: Clarendon Press, 2009), 223.
69. Galen Strawson, “Against Narrativity,” Ratio 17 (2004): 433.
70. Owen Flanagan, “My Non-narrative, Non-forensic Dasein: The First and Second Self,” in Consciousness and the Self: New Essays, ed. Jeeloo Liu and John Perry (Cambridge, UK: Cambridge University Press, 2012), 215.
71. Ibid., 219.
72. Ibid., 238.
73. Armen Avanessian and Anke Hennig, Present Tense: A Poetics, tr. Nils F. Schott with Daniel Hendrickson (London: Bloomsbury Academic, 2015), 44, 141–42.
74. Ibid., 3. For another searching investigation of this truism, see Dorrit Cohn, The Distinction of Fiction (Baltimore, MD: Johns Hopkins University Press, 1999), 96–108.
75. Avanessian and Hennig, 19. For another discussion, see Cohn, Distinction, 109–31.
76. Avanessian and Hennig, 4. For the classic version of the post-structuralist notion that story is an effect of the discourse, see Jonathan Culler, “Fabula and Sjuzhet in the Analysis of Narrative: Some American Discussions,” Poetics Today 1 (1980): 27–37. For a rejoinder, see Dan Shen, “Defense and Challenge: Reflections on the Relation between Story and Discourse,” Narrative 10 (2002): 222–43.
77. Avanessian and Hennig, 2.
78. Ibid., 7, 20.
79. Ibid., 197.
80. Ibid., 49.
81. Ibid., 185.
82. Ibid., 7.
83. Currie, 138–39. Currie cites the linguist David Crystal in support.
84. Craig Callender, “The Common Now,” Philosophical Issues 2008: 358.
85. Bastian Van Fraassen, “Time in Physical and Narrative Structure,” in Chronotypes: The Construction of Time, ed. John Bender and David E. Wellbery (Stanford, CA: Stanford University Press, 1991), 29.
86. Ibid., 26.
87. Avanessian and Hennig, 205.
88. Philip Pullman, “Philip Pullman Calls Time on the Present Tense,” Guardian, September 17, 2010.
89. Ibid.
90. Charles Dickens, A Christmas Carol (1843; rpt., London: Penguin, 1984), 42.
91. Pullman.
92. Richard Lea, “Make It Now: The Rise of the Present Tense in Fiction,” Guardian, November 21, 2015.
93. Ibid.
94. David Mitchell, Cloud Atlas (New York: Random House, 2004), 393.
95. Jameson, Antinomies of Realism, 305.
96. Mitchell, Cloud Atlas, 224.
97. Ibid., 211.
98. Ibid., 503.
99. Ibid., 272.
100. Ibid., 309.
Chapter 6: The Cinematic Present from Intolerance to Interstellar
1. D. W. Griffith, “Five Dollar ‘Movies’ Prophesied,” in Focus on D. W. Griffith, ed. Harry M. Geduld (Englewood Cliffs, NJ: Prentice-Hall, 1971), 34.
2. Ibid.
3. Hugo Münsterberg, The Photoplay: A Psychological Study and Other Writings, ed. Allan Langdale (New York: Routledge, 2002), 133.
4. Terry Ramsaye, A Million and One Nights: A History of the Motion Picture (New York: Simon and Schuster, 1926), 157.
5. Seymour Chatman, Story and Discourse: Narrative Structure in Fiction and Film (Ithaca, NY: Cornell University Press, 1978), 84.
6. Stanley Cavell, Cavell on Film, ed. William Rothman (Albany: State University of New York Press, 2005), 4.
7. Gilles Deleuze, Cinema 2: The Time-Image, tr. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), 39.
8. Stanley Cavell, The World Viewed, enlarged ed. (Cambridge, MA: Harvard University Press, 1979), 42.
9. Ibid., 23.
10. Ibid., 79.
11. Andrey Tarkovsky, Sculpting in Time: Reflections on the Cinema, tr. Kitty Hunter-Blair (Austin: University of Texas Press, 1987), 68.
12. Münsterberg, The Photoplay, 95.
13. Deleuze, Cinema 2, xii.
14. Ibid., 104.
15. Tarkovksy, Sculpting in Time, 194.
16. Deleuze, Cinema 2, 101.
17. Raymond Bellour, Between-the-Images, tr. Allyn Hardyck (Zurich; Dijon: JRP/Ringier Kunstverlag AG; Les presses du réel, 2012), 130.
18. Ibid., 131.
19. Ibid., 136.
20. Joseph Anderson and Barbara Anderson, “The Myth of Persistence of Vision Revisited,” Journal of Film and Video 45 (1993): 3–4; Yves Galifret, “Visual Persistence and Cinema?” C. R. Biologies 329 (2006): 370.
21. Münsterberg, The Photoplay, 75.
22. Ibid., 77.
23. Galifret, “Visual Persistence,” 371.
24. Anderson and Anderson, “Myth of Persistence,” 9–10.
25. Münsterberg, The Photoplay, 98.
26. Rosalind Krauss, Under Blue Cup (Cambridge, MA: MIT Press, 2011), 86.
27. See Tom Gunning, “The Play between Still and Moving Images: Nineteenth-Century ‘Philosophical Toys’ and Their Discourse,” in Between Stillness and Motion: Film, Photography, Algorithms, ed. Eivind Røssaak (Amsterdam: Amsterdam University Press, 2011), 27–43 for a somewhat different explanation of the influence of persistence of vision.
28. Plato, Complete Works, ed. John M. Cooper (Indianapolis, IN: Hackett, 1997), 212. For one of many discussions, see Kurt Danziger, Marking the Mind: A History of Memory (Cambridge, UK: Cambridge University Press, 2008), 31–34.
29. Douewa Draaisma, Metaphors of Memory (Cambridge, UK: Cambridge University Press, 2000), 35.
30. Ibid., 92.
31. Giorgio Agamben, “Nymphs,” tr. Amanda Minervini, in Releasing the Image: From Literature to New Media, ed. James Khalip and Robert Mitchell (Stanford, CA: Stanford University Press, 2011), 67.
32. Münsterberg, The Photoplay, 91.
33. Annette Michelson, “Toward Snow,” in The Avant-Garde Film: A Reader of Theory and Criticism, ed. P. Adams Sitney (New York: New York University Press, 1978), 172.
34. Deleuze, Cinema 2, 38.
35. Münsterberg, The Photoplay, 98.
36. Rudolf Arnheim, Film as Art (Berkeley: University of California Press, 1971), 100.
37. David Carr, Time, Narrative, and History (Cambridge, UK: Cambridge University Press, 1986).
38. Roland Barthes, Camera Lucida, tr. Richard Howard (New York: Hill and Wang, 1982), 89–90. He is quoting from Husserl here.
39. Ibid., 92.
40. Laurent Guido, “Between Deadly Trace and Memorial Scansion,” in Laurent Guido and Olivier Lugon, eds., Between Still and Moving Images (London: John Libbey, 2012), 227; Christian Metz, “Photography and Fetish,” in David Campany, ed., The Cinematic (Cambridge: MIT Press, 2007), 126–27.
41. Metz, “Photography and Fetish,” 128.
42. André Bazin, What Is Cinema?, tr. Hugh Gray (Berkeley: University of California Press, 1967), 14–15.
43. Laurent Guido, “The Paradoxical Fits and Starts of the New ‘Optical Unconscious,’” Between Still and Moving Images, 11–12; Metz, “Photography and Fetish,” 128.
44. Garrett Stewart, Between Film and Screen: Modernism’s Photo Synthesis (Chicago: University of Chicago Press, 1999).
45. Bazin, What Is Cinema?, 14.
46. David Campany, Photography and Cinema (London: Reaktion, 2008), 11.
47. Olivier Lugon, “Cinema Flipped Through: Film in the Press and in Illustrated Books,” Between Still and Moving Images, 137–46.
48. Peter Wollen, “Fire and Ice,” in Campany, The Cinematic, 109.
49. Bellour, Between-the-Images, 33; Thomas Elsaesser, “Stop/Motion,” Between Stillness and Motion, 118.
50. Lugon, Between Still and Moving Images, 145–46.
51. Roland Barthes, Image-Music-Text, tr. Stephen Heath (New York: Hill and Wang, 1977), 67.
52. Pier Paolo Pasolini, “Observations on the Long Take,” in Campany, The Cinematic, 84, 86.
53. A very useful essay that argues something like this is Mark B. N. Hansen’s “Digital Technics Beyond the ‘Last Machine’: Thinking Digital Media with Hollis Frampton,” in Between Stillness and Motion, 45–72.
54. Gunning, “The ‘Arrested’ Instant,” in Between Still and Moving Images, 25.
55. Olivier Lugon, Laurent Guido, “Sequence, Looping,” in Between Still and Moving Images, 324.
56. Bellour, Between-the-Images, 103.
57. See Sean Cubitt, The Cinema Effect (Cambridge: MIT Press, 2004), 32–33.
58. Tom Gunning, “‘Now You See it, Now You Don’t’: The Temporality of the Cinema of Attractions,” in Silent Film, ed. Richard Abel (New Brunswick, NJ: Rutgers University Press, 1996), 77.
59. Ibid., 73–74.
60. See, for example, Charles Musser, “Rethinking Early Cinema: Cinema of Attractions and Narrativity,” in The Cinema of Attractions Reloaded (Amsterdam: Amsterdam University Press, 2006), 389–416.
61. David Forgacs, “Photography and the Denarrativization of Cinematic Practice in Italy, 1935–55,” in Guido and Lugon, Between Still and Moving Images, 245–60. See also Bellour, Between-the-Images, 136–42.
62. D. W. Griffith, “Working for the Biograph Company,” in Geduld, Focus, 36.
63. Jacques Aumont, The Image, tr. Claire Pajackowska (London: British Film Institute, 1997), 105.
64. Ibid., 179–81.
65. David Bordwell, Janet Staiger, and Kristen Thompson, The Classical Hollywood Cinema (London: Routledge, 1985), 220.
66. Arnheim, Film as Art, 22.
67. Christian Metz, quoted in André Gaudreault and Philippe Gauthier, “Crosscutting: A Programmed Language,” in The Griffith Project, vol. 12, ed. Paolo Cherchi Usai (London: British Film Institute, 2008), 31.
68. Gunning, D. W. Griffith and the Origins of American Narrative Film (Urbana and Chicago: University of Illinois Press, 1993), 99.
69. Ibid., 103.
70. Gaudreault and Gauthier, in fact, reserve the term “parallel editing” for this situation, in which the temporal relation of the motifs to each other is not pertinent (Gaudreault and Gauthier, “Crosscutting,” 31).
71. Gunning, D. W. Griffith, 134.
72. See Richard J. Meyer, “The Films of David Wark Griffith: The Development of Themes and Techniques in Forty-two of His Films,” in Geduld, Focus, 111.
73. Max Jammer, Concepts of Simultaneity: From Antiquity to Einstein and Beyond (Baltimore, MD: Johns Hopkins University Press, 2006), 7.
74. Tom Gunning, The Griffith Project, vol. 9, ed. Paolo Cherchi Usai and Eileen Bowser (London: British Film Institute, 2005), 99.
75. Miriam Hansen, Babel to Babylon: Spectatorship in American Silent Film (Cambridge, MA: Harvard University Press, 1991), 132. For a comparison to Pound’s anxieties about the coherence of The Cantos, see 136.
76. William M. Drew, D. W. Griffith’s Intolerance: Its Genesis and Its Vision (Jefferson, NC: McFarland, 1986), 34.
77. The case for this part of the film is made best by Drew (ibid., 20–22). His suggestion is that the lack of explicit causal connection between the beginning and the end of this storyline shows the power of distant forces over the working class.
78. Hansen, Babel, 223.
79. Ibid., 211.
80. Ibid., 148. This is her way of putting what is probably the oldest and most consistent objection to Intolerance, that the four stories are not really integrated. See, for example, Sergei Eisenstein, Film and Form: Essays in Film Theory, tr. Jay Leyda (San Diego, CA: Harcourt, 1977), 243. Interestingly, Deleuze feels that the four achieve an “organic unity.” See Gilles Deleuze, Cinema 1: The Movement Image, tr. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986), 31.
81. Joyce Jeseniowski, “Style and Technique,” Griffith Project, vol. 9, 60.
82. Claire Dupré de la Tour, “Intertitles,” Griffith Project, vol. 9, 81.
83. Theodore Huff, Intolerance: The Film by David Wark Griffith, Shot-by-Shot Analysis (New York: Museum of Modern Art, 1966), 9. It should be noted that Huff’s “analysis” is actually a shot-by-shot description and that the print on which he relies is not universally considered the most authoritative. See Russell Merritt, “D. W. Griffith’s Intolerance: Reconstructing an Unattainable Text,” Film History 4 (1990); 337–75.
84. Huff, Intolerance, 18.
85. Ibid., 28.
86. Ibid., 20.
87. Ibid., 2.
88. Hansen, Babel, 211.
89. Drew, Griffith’s Intolerance, 20.
90. Ramsaye, A Million and One Nights, 157.
91. Deleuze, Cinema I, 32.
92. David Bordwell with Kristin Thompson, Christopher Nolan: A Labyrinth of Linkages (Madison, WI: Irvington Way Institute Press, 2013), 48.
93. Ibid., 51.
94. Christopher Nolan, Inception: The Shooting Script (San Rafael, CA: Insight, 2010), 200.
95. Todd McGowan, Out of Time: Desire in Atemporal Cinema (Minneapolis: University of Minnesota Press, 2011), 31; David Bordwell, The Way Hollywood Tells It (Berkeley: University of California Press, 2006), 73.
96. McGowan, Out of Time, 33.
97. Christopher Nolan, Memento & Following (London: Faber and Faber, 2001), 98.
98. For a useful diagram and discussion, see Andrew Kania, “Introduction,” in Memento, ed. Andrew Kania (London: Routledge, 2009), 1–21.
99. See Nolan’s statement to this effect in Memento & Following.
100. Ibid., 147.
101. See Natalie’s taunts in ibid., 186. See also John Sutton, “The Feel of the World: Exograms, Habits, and the Confusion of Types of Memory,” in Kania, Memento, 79.
102. Bordwell, Christopher Nolan, 31.
103. Sutton, “Feel of the World,” 80; Jacqueline Furby, “About Time Too: From Interstellar to Following, Christopher Nolan’s Continuing Preoccupation with Time-Travel,” in The Cinema of Christopher Nolan: Imagining the Impossible, ed. Jacqueline Furby and Stuart Joy (London: Wallflower Press, 2015), 262.
104. Nolan, Memento, 97–98.
105. Nolan, Inception, 103.
106. Andrew Kania, “Inception’s Singular Lack of Unity among Christopher Nolan’s Puzzle Films,” in Furby and Joy, Cinema of Christopher Nolan, 179.
107. Bordwell, Christopher Nolan, 43.
108. Nolan, Inception, 179.
109. Nolan, Inception, 180, 184.
110. Note the early scene in which this actually happens. Ibid., 26.
111. Ibid., 192.
112. Jonathan R. Olson, “Nolan’s Immersive Allegories of Filmmaking in Inception and The Prestige,” in Furby and Joy, eds., Cinema of Christopher Nolan, 54.
113. Jonathan Nolan and Christopher Nolan, Interstellar: The Complete Screenplay (New York: Opus, 2014), 59.
114. Nolan and Nolan, Interstellar, 89.
115. Kip Thorne, The Science of Interstellar (New York: Norton, 2014), 252–75.
116. Nolan and Nolan, Interstellar, 144.
117. David Wittenberg, Time Travel: The Popular Philosophy of Narrative (New York: Fordham University Press, 2013).
118. Nolan and Nolan, Interstellar, 39.
119. Ibid., 142–43.
120. Ibid., xvi.
Conclusion: Here and Now
1. Harry Dodge, The River of the Mother of God (Los Angeles: Hammer Museum, 2014), 26.
2. See David Wittenberg, Time Travel: The Popular Philosophy of Narrative (New York: Fordham University Press, 2013).
3. Paolo Virno, Déjà Vu and the End of History, tr. David Broder (London: Verso, 2015), 111.
4. Ibid., 75.
5. Ibid., 135.
6. See also Paolo Virno, When the Word Becomes Flesh: Language and Human Nature, tr. Giuseppina Mecchia (South Pasadena, CA: Semiotext(e), 2015).
7. Virno, Déjà Vu, 110.
8. Ibid., 93.
9. Ibid., 87.
10. Henri Bergson, Key Writings, ed. Keith Ansell Pearson and John Mullarkey (London: Bloomsbury, 2002), 223.
11. Virno, Déjà Vu, 24.
12. Ibid.
13. Steven Heller, “The One-Room Time Machine,” Atlantic, September 25, 2014.
14. Joel Smith, “Richard McGuire Makes a Book,” Five Dials 35 (2014): 55.
15. Will Eisner, Comics and Sequential Art (Tamarac, FL: Poorhouse Press, 1985), 8–10.
16. Eisner, Comics, 38.
17. See the mockups displayed at the New York Public Library, some of which were published in Five Dials 35 (2014).
18. Richard McGuire, Here (New York: Pantheon, 2014), 129. Specific references to Here are made difficult by the absence of page numbers. Page numbers included parenthetically in the text were arrived at by counting.
19. Quoted in Heller, “One-Room Time Machine.”