Tiffany Sia, Yuri Pattison
The Clearing: Music, Dysfluency, Blackness, and Time
This essay—originally published in the Journal of Interdisciplinary Voice Studies—is a part of musician and writer JJJJJerome Ellis’s multi-faceted project The Clearing. Conceiving of the forest and its clearings as “sites of resistant black oralities for centuries,” Ellis explores how stuttering, blackness, and music can figure within practices of refusal against the hegemonic governance of time, speech, and encounter.
Together in Time
Elizabeth Freeman, Amelia Groom
Temporal drag, erotohistoriography, chronomornativity, horniness under capitalism, rhythm, dancing, and crip time. These are some of the topics addressed in this interview with queer theorist Elizabeth Freeman conducted by Amelia Groom, co-editor of the “No Linear Fucking Time” focus on Prospections. Freeman and Groom also discuss recent video installations by the artist duo Pauline Boudry and Renate Lorenz, including (No) Time (2020), which is part of the No Linear Fucking Time exhibition at BAK, basis voor actuele kunst, Utrecht.
Nina Valerie Kolowratnik
When Indigenous communities are asked to provide proof of their connection to ancestral lands, what Western legal forums accept as documentation does not truly represent or respect tribal culture and traditional formats of knowledge transfer. Responding to the experiences of evidence production by Jemez Pueblo members in New Mexico, Nina Valerie Kolowratnik’s research challenges the conditions under which Indigenous rights to protect and regain traditional land are negotiated in United States legal frameworks.
SEA – SHIPPING – SUN
Tiffany Sia, Yuri Pattison
A meditation on maritime trade routes, SEA – SHIPPING – SUN (2021) is a short film directed by Tiffany Sia and Yuri Pattison. It was shot over the span of 2 years but edited to simulate a single day, from dawn until dusk. The film is set against a soundtrack of shipping forecasts from archival BBC Radio 4 broadcasts. Created with the intention of inducing sleep or relaxation, SEA – SHIPPING – SUN gathers a vision of entanglement. We are left with history’s residue: a gentle, rocking waltz over the sea.
Iridescent Ammunitions: Time Travel as Survival
Grappling with the imposed linearity of timespace as a fundamental feature of colonial violence, this essay by Promona Sengupta (also known as Captian Pro of the interspecies intergalactic FLINTAQ+ crew of the Spaceship Beben) proposes a mode of time travel that is “untethered from colonial imaginations of the traversability of time and space.” While coloniality has enforced an externalization of time and space as things outside the body, Sengupta affirms practices of relational care and survival that restore time and space as embodied realities.
What a way to make a living
In this essay, Amelia Groom responds to Tehching Hsieh’s One Year Performance 1980–1981: Time Clock Piece (1980–1981), one of the works on view as part of the No Linear Fucking Time exhibition at BAK, basis voor actuele kunst, Utrecht. Through a reading of Dolly Parton’s contemporaneous antiwork anthem 9 to 5 (1980), Groom reflects on historical shifts in the ways that workers have been and continue to be exploited through techniques and technologies of time.
In this short Afro-futurist story by Amiri Baraka from 1995, an unnamed inventor has found a way to travel back in time, through song. “I pushed the Anyscape into Rhythm Spectroscopic Transformation. And then I got it tuned to combine the Anywhereness and the Reappearance as music!” the inventor explains. “Now I added Rhythm Travel! You can disappear & reappear wherever and whenever that music played.”
Practical Futurism and the Local Otherwise
Black Quantum Futurism (Camae Ayewa and Rasheedah Phillips), Rachael Rakes, Jeanne van Heeswijk
Reclamations of time, geared toward community and temporally “local” orientations, animate this interview with artists and activists Black Quantum Futurism (Rasheedah Phillips and Camae Ayewa), who draw from Afrofuturism, quantum physics, and “Afrodiasporic traditions of space and time that are not locked into a calendar’s date or a clock’s time." As discussed in the interview (which first appeared in Toward the Not Yet: Art as Public Practice, published by BAK and MIT Press, 2021), BQF’s recent and forthcoming projects directly challenge imperial and colonial standardizations of time.
Tehching Hsieh, Amelia Groom, Adrian Heathfield, +1
An online conversation with performance artist Tehching Hsieh, writer Amelia Groom, and writer and curator Adrian Heathfield, moderated by BAK curator of public practice Rachael Rakes—on 20 January 2022. The conversation takes Hsieh’s work as a starting point in addressing performative time, labor time, gaps, and rhythms of endurance, among other things.
No Linear Fucking Time Bibliography
The “No Linear Fucking Time Bibliography” is an evolving resource which compiles selected scholarly and artistic texts relating to the various strands of study involved in this project. With hyperlinked key terms including “colonization of time,” “cyclical time,” “crip time,” “queer temporalities,” “carceral time,” and “time travel,” the constellation of sources is intended as a resource for research within the expansive and interrelated fields of critical time studies.