３.TIME AND INDEX (3.Time lag)

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2025/09/14 09:29

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３.TIME AND INDEX (3.Time lag)

3. Time lag

I realised now, interpretation was to read the meaning of index and to imagine the past fact. There is a big time lag. It is like a criminal investigation. They have done murder already. Victim is dead now. The system of perceiving art work except for performance is that we perceive the body as a past. It means we can read the index that is a trace of past action and experience of artist.

However, in case of performance art, we viewers can perceive real artist’s body at real time. Both artist and viewers can share one experience at the same time. It is time present. We can communicate each other, because viewers look artist and artist looks viewers. But in here there is still little time lag exists. Artists always send the message first and viewers perceive it little later and send back his reaction. Good drama makes us feel as if we are experiencing the same time with actor, and feel it as real. We feel pain, feel sad, cry, feel fear,delight and feel happy even though we know it is a fiction = illusion.

I noticed that in this present experience, what we are trying to do is purchasing the experience of actor = subject to correspond to him. In another word, we are trying to complete this time lag. But we can never complete it. This is our desire to get a perfect satisfaction to correspond to our “Mothers”; as Freud says, our very origin. This is a perfect comfort that we lost long time ago. Art work can exist as fetish = substitution. They can supply us and we can get from them only meanings = substitution.

Now it became clear about the structure of Holzer’s rexts. For example of the “Lustmord”, there are four tenses I can point out by index.

1. Past: when the tragedy happened in Bosnia.
2. Present perfect: Holzer has written this text inspired by this fact.
3. Present continuous: when we experience her work.
4. Future: we imagine we may experience such a tragedy in the future.

This is a time lag in context around her texts. There is also a time lag in her text, subject “I” who travel between past, present and future.

I am trying to find the subject of Holzer’ s text. The first question is Who is “I”?

In case of “Laments”(1989)…….12, the texts seem like dreams. There is no judgement. The scene changes without relations. Everything is ambiguous. Vision starts from death and then travels to body, skin, sex, hole, fire, water and the space. There are 10 chapters: voices of adults, two chapters: voices of children and one chapter: voice of an infant, and the subjects are always “I”, except for chapter 5; it is “You”there.

The first chapter “I” causes present action such as “I GO”, “I DO”, “I PUT”, “I SPIT”, “I THINK”, “I WANT”. The second chapter, “I” is future tense and shows intention; “I WILL”. The third and forth chapters, they are present actions and thought; “I LEARN”, “I HAVE”, “I COUGH”, “I CONSIDER”, “I DO”, “I NEED”, “I LOVE”, “I WANT”. The 6th chapter, “I” travels past to present such as ; “I WAS”, “I WATCHED”, “I CLOSED”, “I FORMED”, then, “I AM”, “I STOP”, “I GIVE”, “I WANT”. In the 7 th chapter, the subject “I” travels from present to past and come back to present.

By Syu Kishida, Japanese psychologist, time is a human’s invention. When human cannot satisfy his desire (present), he invented “past” as when he was suppressed his completed desire and “future” as when he may complete his desire again and “present”, now he is never satisfied.₃₂

This notion clarifies that in above 4 tenses around “Lustmord”, past and future are invented by viewers in present. Future is obvious, but also past. Because nobody knows that what happened in Bosnia. We only imagine from the indexes. History is a viewpoint of someone in present. There are many different aspects possible.

However this is a touch between language and real world through the sign, index. Besides, the subject of her texts “I” is shifter as well, (changeable by a viewer). All of these are changeable. The only basic point is a viewer’s present experience.

I think these “I”s are different, but are mixing in the text. The subject travels among present and future freely and also travel between “you” and “I”, adults and children. This is a vision of dream. It seems to have a body, but it does not make sound, does not speak. It does not scream when it must have a strong pain such as a knife cut its body. In the 5 th chapter subject “You” do not speak, do not have intention, do not think. Somebody is looking at “You”. “You” is written as an actor and also as a viewer. Two subjects are mixing in one subject. This double meaning implies our unconscious.₃₃

There is a full of silence all around her texts. Only God’s voice keeps same calm tone. It emphasises the seeing and keeps same speed of ongoing vision of dream. Another subject (“second subject”) is dreaming and looking at the subject “I” (“first subject”). The “second subject” may have a body, but it does not work, it is sleeping. And the “first subject” seems not to have real body. It does not feel pain, it never speaks, it never dies in the dream. Because it is an imagination of the “second subject”.

It is more obvious in her least series; “Lustmord”. This text is written (spoken) by 3 different subjects (viewpoint) “I” (victim, perpetrator, observer), but these 3 “I”s also cross each other.

Common points of these 3 are body-less (no pain) and no judgement. Only “perpetrator” is moving (has action). In here both “victim” and “observer” are looking at the “perpetrator”. “Perpetrator” is doing his action feeling two gazes.

However, text does not describe why he does so. It is no reason and no restriction. Here is also another subject who is looking these 3 people in her (?) dream and sometimes get into them. In the last two sentences of the last text “OBSERVER”; “I WALK OUTSIDE”, “I ATAND WHEN THEY LIFT HER” symbolises that the “first subject” goes out from his/her dream and the “second subject” wakes up from the nightmare because these are the only actions of “I” in this text. This is just the moment that the “first subject” and the “second subject” cross each other, and this also symbolises that dream = surreal and real world can touch just at this moment.

Notes

₃₂ Syu Kishida / Origin of Time and Space: Lazy Phychoanalysis / Chuo koron sya (Japan) 1982 pp173-181#

₃₃ Refer to Freud and Lacan: We are separating in two, conscious and unconscious.

There is a gap that we never be able to fill up between “I”whom I think in my mind and “I”whom I find in others’ view. Unconscious is what we never see in our minds.

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３.TIME AND INDEX (3.Time lag)

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