Time
The glow of grime
Two hours closer
And thus the heart will break
From the head of Jove
The productions of time
Ise Shrines, Nagoya, 685–Present
To know the place for the first time
A time when time was not
A little dose of time travel
Parkinson's Law
This is how time is forgotten
Good design is timeless
From body to body
Time turned into shape
Eternity was in our lips and eyes
Reverse chronology bias
Because I could not stop for Death
I know all about entropy
Endurance
She was the universe
The lapse of many years
The dignity of age
Typography exists to honor content
Already memories
Unpossessed places
Dead branches
A coherence in things
Do I dare disturb the universe?
A little thing
Hours
We have turned our faces towards the future
A timeless space
HURRY UP PLEASE ITS TIME
Ever, Never
I can't remember
Deprived of all thickness
No place it hadn't already been
Primer
How Buildings Learn
Human kind cannot bear very much reality
Home Star
One Tenth of a Second
An Article by Venkatesh RaoThe details are fascinating, but the central argument — that the birth of modernity can be traced to a meta-crisis spawned by the 0.1s problem — is worth understanding and appreciating whether or not you’re a time nerd like me.
There is no convenient leitmotif, comparable to the 0.1s problem, for our contemporary version of the rhyming conditions, but something very similar to the “tenth of a second crisis” is going on today. I suspect our Great Weirding too involves some sort of limiting factor on human cognition that we haven’t yet properly wrapped our minds around. It isn’t reaction time, but something analogous.
The Shape of Time
A Book by George KublerThis place is a message
A FragmentThis place is a message... and part of a system of messages... pay attention to it!
Sending this message was important to us. We considered ourselves to be a powerful culture.
This place is not a place of honor... no highly esteemed deed is commemorated here... nothing valued is here.
What is here was dangerous and repulsive to us. This message is a warning about danger.
The danger is in a particular location... it increases towards a center... the center of danger is here... of a particular size and shape, and below us.
The danger is still present, in your time, as it was in ours.
The danger is to the body, and it can kill.
The form of the danger is an emanation of energy.
The danger is unleashed only if you substantially disturb this place physically. This place is best shunned and left uninhabited.
What will be has always been
A Quote by Louis KahnHofstadter's Law
An Idea by Douglas HofstadterIt always takes longer than you expect, even when you take into account Hofstadter's Law.
The Waiting Place
A Poem by Dr. SeussWaiting for a train to go or a bus to come,
or a plane to go or the mail to come,
or the rain to go or the phone to ring,
or the snow to snow or waiting around for a Yes or No
or waiting for their hair to grow.Everyone is just waiting.
The Microsoft Sound
A Quote by Brian EnoThe thing from the agency said, "We want a piece of music that is inspiring, universal, blah- blah, da-da-da, optimistic, futuristic, sentimental, emotional," this whole list of adjectives, and then at the bottom it said "and it must be 3 1/4 seconds long."
I thought this was so funny and an amazing thought to actually try to make a little piece of music. It's like making a tiny little jewel.
In fact, I made 84 pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I'd finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time.
Ideas of permanence
A Fragment by John PawsonOne of the interesting aspects of photography is the way it loosens our instinct to draw distinctions between the permanent and the temporary. In these enduringly fixed compositions, the detail of a mark scratched into the surface of a wall carries no greater weight of reality than the frozen swirl of light on plaster or the calligraphic-like shadows of chair backs cast across a floor.
- async
To supersede the span of individual life
A QuoteNothing gives man fuller satisfaction than participation in processes that supersede the span of individual life.
— Gotthard Booth
Navigation by shibboleth
An Article by Dorian TaylorThe inverse-chronological colly on the front page is exactly what I didn’t want to end up with. I have tried my damnedest to keep everything on this site as temporally neutral as I can make it. I even intentionally leave the dates off the documents. Temporality only matters if you’ve already read everything and you want to see what’s new or changed, like if you’ve subscribed to a feed. Which is exactly what that is on the front page.
Fragments of time
A Quote by Italo CalvinoLong novels written today are perhaps a contradiction: the dimension of time has been shattered, we cannot live or think except in fragments of time each of which goes off along its own trajectory and immediately disappears.
All in & with the flow
An Article by Buster BensonWhen decades happen
A Quote by Vladmir LeninThere are decades when nothing happens, and then there are weeks when decades happen.
Letters to the Future
The lapse of many years
At this point I wish to emphasize what I believe will ultimately prove to be the greatest purpose of our museum. This value will not, however, be realized until the lapse of many years, possibly a century, assuming that our material is safely preserved. And this is that the student of the future will have access to the original record of faunal conditions in California and the west, wherever we now work. He will know the proportional constituency of our faunae by species, the relative numbers of each species and the extent of the ranges of species as they exist today.
— Joseph Grinnell, 1910
The Grinnell System
The recording of field notes was common practice for biological surveyors and naturalists generations before Grinnell. His system continues this tradition but is distinguished by its distinctive standardized format. It consists of three sections:
- The journal contains a narrative account describing the study site and summarizing each day’s activities and observations, including a list of species encountered. This section is often peppered with sketches, photographs, or maps.
- The catalog is a sequential record of all voucher specimens collected, each with a unique field number and the information needed for the specimen’s museum tag, such as its sex, mass, breeding status, and standard body measurements.
- Species accounts are species-specific summaries of information and observations, gradually accumulated over multiple days at a site or across multiple sites, that eventually grow to detailed summaries of physical description, seasonal behaviors, microhabitat associations, and other characteristics.
Separating the notebook in this fashion allows each section to have its own context-specific structure and format.
Jim's system
From the earliest days of my fieldwork until now, throughout a given day I jotted notes, typically in pencil, into a small, spiral-bound pocket notebook, remembering the admonition not to trust one’s memory but to record observations as continually as possible. I then transcribes these notes into my handwritten journal in the evenings on the best of days or every few days when an intense field effort allowed.
From 2000 onward, I would still takes pencil notes in a small pocket notebook in the field, but I transcribes these into a word-processor document with margins set for the size of our field note pages. I combined this document with my field catalog for a particular trip and eventually both would be bound in the same manner as standard, handwritten field notes.
This approach had the advantage of producing both an archival paper copy as well as an electronic copy. It was also easy to intersperse specialized maps and digital photographs, which had become the norm by this time, throughout the journal text.
John's system
I have two field notebooks: a “raw" notebook and my formal Grinnellian notebook.
In the field, I take all my raw notes in a waterproof notebook using a fine-point permanent pen (or pencil when its raining). The entries have virtually no structure other than the date at the top of (almost) every page.
At the end of the day, I transcribe the notes into my Grinnellian journal as if I were writing a latter to a colleague.
Record them all
You can’t tell often in advance which observations will prove valuable. Do record them all!
— Joseph Grinnell, 1908
Recommendations for field notes
Being an end-user of someone else’s field notes certainly gives you insight into the benefits of good note-taking skills. Our experiences as end-users and creators of archival field notes lead us to a few specific recommendations:
(1) Don’t get bogged down in the details of format or style.
Rules are counterproductive if they prevent a researcher from taking field notes in the first place.
You will get more return by focusing on your content than by refining your formatting.
(2) Compose your notes as if you were writing a letter to someone a century in the future.
Writing for an external audience requires you to be more explicit in your descriptions and to take less knowledge for granted. Avoid the use of abbreviations, symbols, and other shortcuts that only you will understand.
Ask yourself: How would you describe this to someone over the phone?
(3) It is better to spend five minutes writing the important details than twenty minutes writing the trivial ones.
Field notes
Field notes example.
Camp's notes
Grinnell-era field notes example, Charles L. Camp.