Expression and TIME

EXPRESSION AND TIME

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DECEMBER 2, 2008. Despite all the challenges leveled at Time by modern physics and science fiction, people encase themselves by believing that tick-tock serial time marches to its own tune and thereby attains a godlike position. Unassailable. Independent.

Then they naively believe that expression moves along the same tracks, and if they are going to participate, they must ride on the train.

However, expression, which is to say, art, isn’t on the train.

This is an enormous fact.

Ordinary time is a long trough in which people assume treasures are hidden. A great deal of propaganda is floated to create that impression. The result, of course, is that people cling to the trough because they want the unspecified treasures. In the same way, onlookers are glued to the operator of a shell-game, because they believe there is a pea and it will be found under one of the shells. When people look at art, they search for the pea---which is the most comforting thing they are already familiar with. If they find it, they will put up with a lot of strangeness.

The theory of Relativity was a compromise. Ten people around a table looking at a turkey would see different angles and parts. Ten people situated in different locales throughout the universe would view a moving train with different experiences of time. But still, time was an It. It might become shorter or longer, it might be faster or slower, but it was still the granddaddy. The king. The central happening.

Through expression, which is to say, art, time vanishes. Another kind of time is being invented. Old tick-tock time becomes the voyage that wasn’t taken, because another voyage was made instead. Tick-tock time is the cut-rate vacation with the cheap seats and the motel on a busy street and a short pool and a rusty metal umbrella over a wobbly table.

The viewpoint of time isn’t important any longer. Who cares how you see the rusty umbrella versus how I see it?

When you are a child, you spend a few minutes lying under the dining room table in the dark on a Friday afternoon, and you hatch a million sparks. Compare that with ten years of sitting in church. Duration is meaningless. It’s a prize given to the loser.

Populations teach themselves to worship those notions that rule out art and all it implies.

At the core of all archetypes is the destruction of old time.

If you go back and read between the lines of the ancient Greek myths, you find that the gods were able to manipulate human space and time. Therefore, they were on the outside looking in. Humans were encased. However, all these stories were arranged around the notion of dominance. Politics. Power over. Bosses. Slaves. In the transmission of history down to us, something was lost. Something else. A vision that went beyond fate and beyond who was in charge and who submitted. What is missing is: humans beyond time. Humans who escape from their own illusion. The Greeks alluded to this in certain stories. Prometheus. Hermes. The messenger. The go-between. Half-animal humans. In other words, the Greeks used the idea of hybrids to convey the image of worlds without old time. But scholars deem it unimportant and vague.

Utilitarian language that is hammered out as a treaty between humans and old time is merely one device. Expression, which is to say, art, is another trillion kinds of languages. Xenophobia, the fear of strangers, is also a fear of new languages, and the apprehension that, if one were able to speak and express himself fluently in a new tongue, one would experience a different relation to TIME.

JON RAPPOPORT www.nomorefakenews.com
www.themagicera.com