The time of your life – 2007 (part of Time, the Comedy Villain & Convergent Temporalities series)
The human journey does not return, and ‘the future is but a quack at the court of Chronos.’ 
We are synthesising machines, turning the future into the past – like worms – tunnelling through time, and excreting anxiety. We consume the future and leave it as spent-time, emptied of its capacity to change. We feed on Time, we are its parasite; removing, reducing, extinguishing………….But Time knows this game, and has provided a small area for us to feast on; we are under control. And so, we continue to tunnel through time, curiosity consuming and fuelling our appetites, leaving memories in our wake. We cannot live with this condition – it has no substance: we cannot consume Time for too long.
 Nabokov V Ada or Ardor Part Four
I have always felt an anxiety over time. At least I think I have. I cannot remember another time – but how far back can I really remember? If time manifests itself at the horizon of our being (Heidegger), then we have certainly complicated matters through our insistence on producing a multiplicity of temporal registers. Our bodily metronomes must be consciously acknowledged, in order for us to successfully navigate the world we inhabit. They act as sounding boards, resonating with the pulse of our times, and reveals the frustrations of a world saturated with a multiplicity of temporal registers. And yet we make this world, and everything in it, including most of the time we experience. We need to acknowledge these shifting (and sometimes illusive) registers of time, and recognise the distinction between the human and in-human times. We are in time, but not in terms of timing time. Time is everywhere, but no two times are ever the same. The condition of the loop therefore resides outside of our lived experience of time, because present-ness is in effect revisited. Expectation becomes a memory, repeatedly. When expectation is also a memory of that expectation, a constant shifting of positions with respect to a work is made possible; it therefore becomes an experimental space outside of everydayness. In short, it becomes a truly fantastic space.
Sub 2007, Trinity Buoy Wharf, London