Plural Timescapes
Plural Timescapes
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Our experience of time is dominated by clock time, a system originating from conquest and industrialisation. As creative practitioners, can we decolonise how we relate to each other and the world by designing decolonial and anti-capitalist senses of time?
To explore this, creative practitioners from South Asia were invited to a series of participatory speculative workshops. Four workshops were held as a part of EyeMyth Media Arts Festival, 2022. They served as research and discursive moments to explore alternate senses of time.
Insights generated from the workshops and secondary research informed a series of speculative timekeeping pieces. Rather than provide solutions, the fictional timekeeping pieces designed are invitations to open up discursive spaces, tune into plural temporalities and nudge behaviour towards plural cultures of time and leisure.
Role - concept, design research, workshop design & facilitation, artefacts and video outputs | 6 months
This work was presented at Primer 22: Experiences of Time
#1 The Time Collector
#1 The Time Collector
Phrases such as “running out of time” or ‘losing time” are common language in our current paradigm. By re-framing this anxiety-inducing relationship to time, the Time Collector plays with notions of abundance and ritual to ask ‘What if we received time, instead of lost time?’.
#2 The Memory Wheel
#2 The Memory Wheel
Language we use deeply influences how we perceive and experience time. Countries like India or most places in South and Southeast Asia, don’t always have a linear sense of time. The past and future is referred to simultaneously. For example, the word 'Kal' translates to ‘yesterday’ and also ‘tomorrow’. Inspired by this, the memory wheel unfolds 12 hours of past and present, simultaneously. The conception of the future is only as expansive as the past.
The workshops were conducted online in small groups to encourage intimate and in-depth discussions.
Eduardo Staszowski and Elliot Montgomery at Parsons School of Design advised the project.
This work drew inspiration from the work of Ted Hunt, Helga Schmid, Kathi Weeks, Tricia Hersey (Rest as Resistance) and Jenny O'Dell (How to do nothing), amongst others.
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