Dóra Maurer: Proportions & Timing

This paper aims at re-evaluating two of Hungarian artist Dóra Mauer’s films, the video work Proportions (1979) and the 16mm film Timing (1973/80). Both films follow a rigid structure. In Proportions, Maurer uses a paper roll to compare her own body measures repeatedly; in Timing, she repeatedly folds a white linen to compare the rhythm of her arm movements. Through her use of paper and the gesture of folding, the two films can be read as references to the very origin of the term format, as coined in early letterpress printing. When the notion of format is understood as a determination of a ratio and, as such, as an indexical reference to given social relationships (Summers, 2003), these films unfold sociocultural and political meanings. The present paper traces this spectrum of meaning through the pointed inclusion of historical discourses surrounding early motion studies, the art scene in socialist Hungary in the 1970s, and early time experiments before the advent of precision clocks.

Prior’s Turn to Medieval Logic

The peculiar aspect of medieval logic, that the truth-value of propositions changes with time, gradually disappeared as Europe exited the Renaissance. In modern logic, it was assumed by W.V.O. Quine that one cannot appreciate modern symbolic logic if one does not take it to be tenseless. A.N. Prior’s invention of tense-logic challenged Quine’s view and can be seen as a turn to medieval logic. However, Prior’s discussion of the philosophical problems related to quantified tense-logic led him to reject essential aspects of medieval logic. This invites an evaluation of Prior’s formalisation of tense-logic as, in part, an argument in favour of the medieval view of propositions. This article argues that Prior’s turn to medieval logic is hampered by his unwillingness to accept essential medieval assumptions regarding facts about objects that do not exist. Furthermore, it is argued that presentists should learn an important lesson from Prior’s struggle with accepting the implications of quantified tense-logic and reject theories that purport to be presentism as unorthodox if they also affirm Quine’s view on ontic commitment. In the widest sense: philosophers who, like Prior, turn to the medieval view of propositions must accept a worldview with facts about individuals that, in principle, do not supervene (present tense) on being, for they do not yet exist.

Thinking across Frames – Temporally Extended Consciousness and the Animation Timeline

This article explores ways in which animation production technologies (including pre-cinema, film, and digital tools) have evolved as a system that abstracts time, primarily through its spatialization. This abstraction necessitates certain assumptions about the nature of time, including its linearity and directionality. Animation technologies have evolved so as to support various modes of temporally extended consciousness; an animator’s craft thinks and works through time. Embedded within digital production technologies, the animator is faced with a new philosophical instrument: the animation timeline. The main timeline utility in most animation software adopts a linear, mechanical model of time with the individual frame as the base unit. However, digital animation timeline can also complicate the spatialized temporal dimension, as the timeline is also embedded within animated objects in motion paths and other interface elements . As animated objects always exist through time, not merely within individual frames, the animation software tools for working with time both confine and unlock opportunities for working with time.