The notion of ‘just now’ has been lived out indeed in a century already divided into decades with names and nicknames, ranging from the dynastic to the dynamic, from Edwardian to Roaring. Most important, an instant-by-instant difference in the actual experience of historical time lives out—and in—the rhythms of an unprecedented and accelerating pace of change in the history of material cultures. Accordingly, the imaginative experience of temporality moves beyond one of crisis time to one of time itself in crisis: a formerly natural, apparently gradual time of diurnal days and seasonal rounds has been lined ever more finely and grandly by the developing mechanisms of chronometry, which have worked in ways little and large—from the division of the globe into twenty-four equal time zones to the parsing of micro-times within a supposedly seamless instantaneity—to unsettle temporal measurement itself.
♦ Vincent Sherry, “A History of ‘Modernism'”
But you know how shameless I am in the presence of anything that calls itself an idea. The idea is time. Living in the future. Look at those numbers running. Money makes time. It used to be the other way around. Clock time accelerated the rise of capitalism. People stopped thinking about eternity. They began to concentrate on hours, measurable hours, man hours, using labour more efficiently.
♦ Don DeLillo, Cosmopolis
“Shameless” is a good call. I think many of us lose our sense of propriety when it comes jumping at the chance to inhabit tomorrow; to exploit the concept; to make the best of the continuum purportedly so soon available to us. It is the fact of life that coaxes us forward. The merciless exigencies of capital force a certain speed: the spectre of falling behind is always haunting us, the fear of missing the boat. Harvesting every screed of the moment, spending it “efficiently,” becomes our conscience, a relentless task-master seeking to circumscribe our actions even as it drives us to comply. To make the best of our present, it sometimes feels like we must accept the judgement of an unremitting and disembodied third-person, one constituted by an inanimate mechanism that we use to interface with the shape of our lives. Unabashedly we focus on a prize that can never, definitively, materialize. We can only remain current by projecting into the future.