The inability of language to capture the essence of time is a crisis that has been expressed by philosophers starting from St. Augustine to Paul Ricoeur. Appearing on their seminal album, Dark Side of the Moon, Pink Floyd’s Time is a profound artistic attempt which transcends this language barrier by using music to bring the listeners to a more direct confrontation with time; doing so by juxtaposing time as calibrated and as experienced through the music and the lyrics, and by making the reader experience time-based affects such as impatience, expectation, monotony, and such. As a direct function of song, time is experienced as musical time in the song, thereby ensuring that the listener’s confrontation with time is immersive, with lyrics that describe the nature of experienced and calibrated time working synchronously with the music to complete the image. In the context of its release in 1974, the 6:52 minute song was in engagement with the concept of time as well, in that it was among the pioneering ones which redefined radio broadcast time beyond the standard 3 minutes afforded to popular music tracks, with the commercially preferred listener span in mind. The matter of time thus becomes a multi-layered formal engagement in the song, at the level of lyric, recording, music and listening, thereby making possible an image of time that is polished and rounded. These aural, lyrical and production-based concepts will be addressed and expanded upon to show how Pink Floyd’s Time functions as a metanarrative in how it uses and invokes the elements of time to talk about time.
The 3d $$ \mathcal{N} $$ = 6 bootstrap: from higher spins to strings to membranes