"'The Clock' is constructed out of moments in cinema when time is expressed or when a character interacts with a clock, watch or just a particular time of day. Marclay has excerpted thousands of these fragments and edited them so that they flow in real time. While 'The Clock' examines how time, plot and duration are depicted in cinema, the video is also a working timepiece that is synchronised to the local time zone. At any moment, the viewer can look at the work and use it to tell the time. Yet the audience watching 'The Clock' experiences a vast range of narratives, settings and moods within the space of a few minutes, making time unravel in countless directions at once. Even while 'The Clock' tells the time, it ruptures any sense of chronological coherence."
(White Cube, 2010)
"The crystal-image has these two aspects: internal limit of all the relative circuits, but also outer-most, variable and reshapable envelope, at the edges of the world, beyond even moments of world. The little crystalline seed and the vast crystallizable universe: everything is included in the capacity for expansion of the collection constituted by the seed and the universe. Memories, dreams, even worlds are only apparent relative circuits which depend on the variations of this Whole. They are degrees or modes of actualization which are spread out between these two extremes of the actual and the virtual: the actual and its virtual on the small circuit, expanding virtualities in the deep circuits. And it is from the inside that the small internal circuit makes contact with the deep ones, directly, through the merely relative circuits.What constitutes the crystal-image is the most fundamental operation of time: since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past, which differ from each other in nature, or, what amounts to the same thing, it has to split the present in two heterogeneous directions, one of which is launched towards the future while the other falls into the past." Time has to split at the same time as it sets itself out or unrolls itself: it splits in two dissymmetrical jets, one of which makes all the present pass on, while the other preserves all the past. Time consists of this split, and it is this, it is time, that we see in the crystal. The crystal-image was not time, but we see time in the crystal. We see in the crystal the perpetual foundation of time, non-chronological time, Cronos and not Chronos. This is the powerful, non-organic Life which grips the world."
(Gilles Deleuze p.80-81. 1989)
Gilles Deleuze, 1989.Cinema 2: The Time Image. University of Minnesota Press.
On the title page of Slaughterhouse Five Vonnegut invites the reader to see the book as 'a novel somewhat in the telegraphic schizophrenic manner of tales of the planet Tralfamadore.' With its short chapters and paragraphs, its short sets of sentences or paragraphs with spaces between them, the novel has a physical resemblance to the Tralfamadorian model. Many of the juxtaposed segments do not relate sequentially or thematically but together build a total impression like a montage. Events from two periods (1944-1945 and 1968) and from other points in the life of the protagonist, Billy Pilgrim, are intermixed. His life is not revealed chronologically, by beginning in medias res, or by flashback; rather, the reader knows its end from the start, and the parts are filled in, from all segments of his life, as the oval progresses. Pilgrim's life follows in a 'causal' rather than chronological manner.