TIME
The Perception of Time
Time is closely intertwined with space. Without time, perception itself would be impossible. We need different layers of time to perceive the world around us. Time was the first mysterious concept I could not fully grasp about reality. This curiosity led me, starting in the late 1970s, to build time-measuring devices—sculptures or objects with temporal processes. These works extend beyond the form of traditional sculpture; they exist through the combination of form with past, present, and future.
Clocks and rolling-ball tracks have always fascinated me for this reason. They are tangible representations of the flow of time, making an abstract concept physically tangible. Interestingly, there is scientific consensus that the present moment lasts approximately three seconds. This seems to be the timeframe in which human consciousness can still perceive future and past as a unified experience.
In physics, however, the present only ends at Planck time, approximately 5.5 × 10⁻⁴⁴ seconds—a value with 44 zeros after the decimal point. It is the smallest measurable unit of time, beyond which the concept of time loses meaning. This limitation also applies to other fundamental physical quantities such as length, mass, electric charge, and temperature. Contrary to intuition, these units are not infinitely divisible.
For me, this boundary holds a profound secret about the nature of our reality. Many scientists argue that these minimal units support the theory that we live in a holographic universe. In this model, the smallest measurable quantities could be understood as the “constructive pixels” of existence, forming the fabric of our perceived world.
The exploration of time has always been a central element of my artistic practice. I have always wanted to live in the present—not three seconds after it. Through building kinetic sculptures and time-based installations, I aim to make visible how temporal processes shape our perception and influence our perspective on reality.
The Timekeepers
Most of the clocks I built were connected to specific themes. One example is the “Schilling Clock,” symbolizing the relationship between time and money. My very first work, which unfortunately no longer exists, was a clock made from dripping used oil flowing from one container to another, metaphorically representing the continuous flow of time. This symbolic use of materials often reflected the passage of time and its inevitable transience.
There were many other clocks dealing with various materials and concepts, especially the idea of the end of time—a recurring theme in my work. This included kinetic objects with moving fluids that did not mix and slowly traveled from top to bottom, symbolizing processes governed by nature and gravity.
One of my more advanced ideas was to use nature itself as the driving force behind a timepiece. I envisioned a concept where the growth of a tree could power a pocket watch. This notion of an organic clock connects nature’s cyclical processes with the human need to measure and control time.
By combining mechanical and natural processes in my timekeepers, I sought to expand and challenge the perception of time. In my works, time was never just a mechanical unit but a complex concept made tangible through materials, movement, and organic processes.
The 1980s
The ability to execute actions simultaneously in different locations or to connect distant places through telematic live concerts shaped the artistic creation of this era. The illusion of controlling time through technology led to a new aesthetic and an unprecedented spirit of experimentation in media art. This was particularly evident in the acoustic collaboration of performers in various parts of the world, performing a piece together. Analog technology played a crucial role in making this possible, as it could transmit signals over long distances without noticeable delays.
When computers were recognized as artistic instruments in the mid-1980s, everything changed. These devices enabled entirely new ways of manipulating time. Sampling became a cultural catalyst, driving the development of art with new media. For the first time, it seemed possible to have at least partial control over time. Terms like “timeshifting” and “real-time installations” became central themes of this era.
However, the introduction of digital technology also brought challenges. Computers always require a certain amount of processing time, leading to delays in real-time installations. The direct, delay-free interaction that had been possible with analog systems was now subject to digital processing times. Nevertheless, digital technology opened up entirely new artistic possibilities, leading to a profound transformation of artistic creation—from audio processing and video installations to interactive artworks that would have been unimaginable without digital computers.
My Evaluation of Time in Recent Years
Over the past 10 to 20 years, I have intensely explored the mystery of information and its technology—a central theme as discussed in the chapter on information. In doing so, my understanding of time has fundamentally shifted. I increasingly wonder whether time, as we commonly understand it, exists at all. Perhaps time is merely a tool we use to comprehend space. Without movement and a measurable delta t, space would be nonexistent for us.
As an artist, I am fascinated by the idea of replacing time with information—represented by Delta i. What if the sequence of moments is not defined by time but by an endless projection of information changes onto different spaces? These spaces have emerged since the beginning of existence and continue to form repeatedly in the same locations—defined solely by Delta i, the change in information.
Time is essential for describing movement and space. The moment is crucial for the individual, enabling free will and the creation of new ideas. Delta t describes the moment following the present, a transition into the next possible reality. Time begins at 5 × 10⁻⁴⁴ seconds, the Planck time, and ends at the speed of light and the expanding boundary of our universe. Within these limits, those temporal sculptures exist that define our experience.
Perhaps it is precisely this change in information that creates space—not time itself. In this perspective, reality is shaped by constant transformations that exist independently of an absolute flow of time. The present becomes a sequence of changes, a continuous re-creation of spaces through Delta i—the persistent redefinition of the “now” through flows of information.
Time is important to describe a movement and space. The moment is for individuals very important to have a free will and a new idea. Delta t describes the moment after present. Time starts with 5*10 -44 sec ends the speed of light and the border of our universe. Between this area you can find this time sculptures.
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