{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"d3ee5fbb-1124-4191-99e1-3139801e0da2","title":"Time The Modern and Postmodern Experience","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"d3ee5fbb-1124-4191-99e1-3139801e0da2","id":"d3ee5fbb-1124-4191-99e1-3139801e0da2","uuid":"d3ee5fbb-1124-4191-99e1-3139801e0da2","title":"Time The Modern and Postmodern Experience","normalized_title":"timethemodernandpostmodernexperience","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":178,"navigation_url":"https://workshop.closeclaw.top/ai/book/d3ee5fbb-1124-4191-99e1-3139801e0da2","title_url":"https://workshop.closeclaw.top/ai/title/Time%20The%20Modern%20and%20Postmodern%20Experience","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/d3ee5fbb-1124-4191-99e1-3139801e0da2/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/d3ee5fbb-1124-4191-99e1-3139801e0da2/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/d3ee5fbb-1124-4191-99e1-3139801e0da2","page_url":"https://workshop.closeclaw.top/api/ai/books/d3ee5fbb-1124-4191-99e1-3139801e0da2/page","search_url":"https://workshop.closeclaw.top/api/ai/books/d3ee5fbb-1124-4191-99e1-3139801e0da2/search"},"page":{"printed_page":85,"pdf_page":85,"physical_index":85,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"7afe753273e346c1f847ff5bf40ba34cf268a4983e01e2680cd5e42045656780"},"chapter":"An Embarrassment of Proper Times:","content":"These are pictures in which dying time is portrayed, truth as the daughter of time as well as time devouring its children. They are marked by irony and melancholy, but artists are also required to interpret them for us today and allow us to read them afresh. In his poetic and philosophical essay, Massimo Cacciari refers to a portrait of dying time from 1764 by the English satirist William Hogarth, and to two pictures by Goya which were produced as part of the Quinta del Sordo cycle. For Cacciari, time, portrayed as Cronos, reveals in its progress the truth of its own death. In Hogarth's picture, there is even the will, which bequeathes all and every Atom'not to God (these words are deleted) but to Chaos whom I appoint my sole Executor'. Beside the emaciated Cronos there lie the pipe which has slipped from his grasp and the blunt scythe; the hour-glass has run out; the world is already in ruins. Cupid's bow is smashed to pieces, and the bell has cracked. The world is going up in smoke. Time has condemned itself to the 'consummatus est'; in the end it feels itself to be void. In Goya's pictures, according to Cacciari, what is portrayed is the folly of time. Large black eyes stare at the void which is now looming. In order to be able to survive, time is voracious, and in its insatiable greed it no longer even spares its own children. In order to survive, it also destroys the sole guarantee of its continuance. The same principle which justifies its existence condemns it to death. Time which consumes and destroys, in order to be able to live, is characterized by folly': it crazily rushes to its own destruction. Its death wish manifests itself in a desperate and blind will to live. Cacciari exhorts the beholders of Goya's figure to 'liberating laughter', to laughter which reveals the folly of time and thereby exposes its self-destructive mechanism: 'Voracious time reveals the untruth of human claims to immortal and unchangeable values. The moment of that laughter which begins to liberate us is only attainable if we comprehend the antiidolatrous truth which portrays destroying time.'1o\n\nCronos's Fear of the New Age\n\n85","previous_page":84,"next_page":86}