Category: time

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Time simultaneously

The simultaneous experience of time forms part of the basic understanding of what society is about. However, the participants of a simultaneous game of chess might arrive at a different perspective on time. At the same time when time advances for say 20 chess players, the one person facing the 20 players is advancing on 20 processes simultaneously, but also on a single time measure shared by all. The different processes, or chess clocks, all run in the same timeframe. The experiences of time will be rather different as the simultaneous games usually stop at very different times. Each player has to live up to her own competence, only the one simultaneous player lives in multiple games or time simultaneously. The experience, even on a much smaller scale to handle just 3 parallel processes is a challenge for us. The fascination of juggling might convey a similar experience just on a more physical level.

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Time in Chess

The more you advance in playing chess, the more time and timing becomes an issue. Sooner or later you will want to have your very own chess clock to be in control of time when playing chess. It will be difficult to keep your mind hooked on the chessboard rather than the clock as each move is linked to a point in time as well as a duration.
It was common practice for advanced players to note, not only the moves they played, but also the time they needed to play the next move. This helped to analyse the quality of your game. In specific openings of a game of chess you even keep track of “time advantages” in bringing more of your pieces into powerful positions or a “developed” position on the chessboard.
You may choose to play a “Blitz” game, which allows only 5 minutes per player to think about the next move overall, which may turn into a fast hitting battle in an protracted endgame for each side. In anticipation of this you way your time very carefully right from the beginning of the game. In short, you will never consider time as a mere second by second running of time as time has a different weight depending of the progress of the game.
Come on, it is just a game of chess, isn’t it?

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Timely timeless

It is very timely to discuss timelessness. Some inventions or artwork appear to have a timeless value. The creation of books has this feature as we have known also a lot about the conservation and restoration of books across centuries. Timelessness is about an open-ended vision of time. In mathematics it is a usual part of the differential equations‘ calculus to handle infinity as an operationalisation or a form of a projection of time into timelessness. Humans have made considerable efforts to create material and, most of all, immaterial goods which try to exist independently from time. Geek or Roman philosophy are with us for more than 2000 years and we still benefit from returning to this original concepts. Egyptian culture and the wall paintings in caves still speak to us, thousands of years afterwards. Each clock suggests that time is advancing, but some treasures achieve the level of a timeless beauty, art or conceptual masterpiece. The more we talk about time, the more we shall cherish timelessness. (Image: Neue Nationalgalerie, Berlin 2026-1, The clock screening)

 

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Time and music

The trick about music is the sheer unlimited variety it allows to experience time. We all think primarily of rhythm as the direct link between time and music. Then there are the additional annotations of composers on their scores like “lento” or “presto”. In addition each note has a frequency as swinging per second, which serves as the basis for synchronization of an orchestra. The length of each note or a each phrase of music evokes specific emotions in listeners. Human embryos even register music as the frequencies and duration travel across boundaries. The relationship of time and music is such a vast subject matter that the scope of this deserves to be studied across centuries, music periods as well as across cultures. Certainly, we find a few books on the subject beyond the simple physics of waves lengths and frequencies.

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Time reference

Times serves as a point of reference. We often refer to precise points in time, like dates 1st of May Labour Day, or a specific hour as a reference point. If we talk about 5 minutes before 12 o’clock, we convey a kind of urgency – before it is, presumably – too late. In the arts, particularly poetry, prose or drama, and even beyond the romantic period, the reference to seasons as “emotionally loaded” terms is widely used. Subsequently, there are many compositions in music, which make use of such references as programmatic titles. Through the reference to a specific duration, the scene appears to be set and the reader or listener prepared for a less surprising experience. You might even go full circle like in Vivaldi’s composition of “The 4 seasons”.
The writer, poet and Shakespeare translator Thomas Brasch (Link to publications) has written the poem “Der schöne 27. September” (1980) with an exact reference to a point in time, but reporting in 10 lines, what he didn’t do on that date (own translation).
“I didn’t read a newspaper.
…
I didn’t write a single line of text.
I didn’t set something in motion.”
(Extract from Thomas Brasch poem see above;
image below, Global stones project)

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Time Concatenated

As a measure of the psychological and social pressure time may convey on people, it is useful to look into how time is concatenated. In a calendar we often make appointments in a form where time is concatenated in ever smaller time slots and condensed time sequences. The organisation of appointments into slots of 15 minutes, with or without a break in between, might be a dense schedule, but we have come to think in time as linked to dates, space and precise timing. We shall experience time as rushed or forcing us into concatenated sequences in our professional life more than in our private life. In IT we even integrate these separate columns into just a single column for computing efficiency. Our calendars allow to structure time in ever smaller sequences. We tend to organise our lives more and more according to these shorter concatenated time.

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Time as surprise

Sometimes, time comes as surprise. Time seems to run faster as we perceive it, or time might pass more slowly in actual terms than we perceive or think it does. What makes the difference? There is the objective measure of time with various types of clocks and watches versus the subjective or perceived lapse of time. The discrepancy between the two constitutes an interesting case for further study. Marketing strategies will try to make us believe that a specific kind of product will shorten or lengthen the difference between objective and subjective time. The entertainment industry works very hard on our perception of time relative to one or the other form of entertainment. The best result seems to be that objective time has been much longer than perceived time so that we “lost” our reference to time while being entertained. The so-called social media interaction is rather successful in this form of entertainment, infotainment or edutainment. The moments in life when time comes as a surprise might be great ones in our lives. Particular deviations between objective and subjective time make strong impressions on our memories, too. 

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Time and Emotions

In psychology, time and emotions are a matter of milli- or even nanoseconds. Showing emotions, intrinsic ones or controlled ones is passing rapidly through our brain and, for example, facial muscles. Hence, time plays a role in how we react emotionally to an image or any event. The author Rüdiger Safranski starts his history of the concept of time with the emotional experience that time appears lengthy or tedious. In his view the emotional understanding of the concept of time is key to a better grasp of the philosophical roots of the concept of time. Starting with Greek philosophers, the Stoic tradition, Augustinus, the history of ideas is full of reflections on time, what it does to us, and how we best deal with the effects time has on us. In famous literature from Marcel Proust or Samuel Becket, we were reminded of the creative power of lengthy periods of time and the importance or futility to ask fundamental questions about time and our destiny. Beyond the rational thinking about time, the emotional experience of time makes up much of the spice of life. 

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Time and money

In the English-speaking world, most people will be familiar with the expression “time is money”. In times of working for money as pay, rather than growing your own crops, we calculate hourly, monthly or yearly salaries. Time is a habitual point of reference in production systems and calculations of economic growth. Inflation and depreciation speak to value over time, just as investment and returns accrue over time. For comparisons of different investments the chosen horizon becomes a decisive factor. Of course, in the long run we are all dead, but in the meantime time matters a lot, doesn’t it? Take out a loan and you realize how much time will matter, suddenly. Now, let’s turn around the causality, Money is time or can be buy time with money? For many processes this seems to be the case. With money you can buy time off working, or pay somebody to do work instead of doing the work yourself. You can “win time” or gain more free time this way. However, towards the end of your life, money might no longer suffice to buy you time before death even with lots of disposable income or cash. From a philosophy of science perspective, we might even question the concept of time-linked causality altogether. The relationship between time and money gets even more interesting if. we take intergenerational considerations into account like inheritance and environmental heritage. … and “the times are a changing”.  

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Time measures

We are so used to measure time in discrete ways such as hours, minutes and seconds that we hardly think of time as an uninterrupted continuous process. We say, time is ticking away and use the metronome way of signaling a rhythm as a felt discrete approximation of the continuous progression of time. The count of days, weeks, months, decades and years heightens our presumable, countable grip of time. We measure our heart in terms of beats per minute and evaluate the heart rhythm according to time stamps. We measure waves of the oceans in terms of how many seconds elapse between each wave. Of course speed is measured against discrete time, if we drive at 100 miles per hour or kilometers per seconds for rockets. However, time is continuous. 

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Time – The Clock

Time keeps puzzling us. The 24 hours of concatenated clips from well-known cinema films are a bit overwhelming or even lengthy. However, this spurs lots of time to reflect on time, on a kind of meta level. We see the clock or clocks ticking in all sorts of situations and environments. Nearly all emotional states can be interpreted relative to a time stamp provided by a clock. Christian Marclay’s oeuvre is screened at the Neue Nationalgalerie in Berlin at a time when we feel multiple clocks ticking at the same time. For the sociologist, there is time on the macro-societal level, like overall socioeconomic development, but also individual time. A single person or a single moment in time may have very different macro-social implications. The possibility to live through the cineastic interpretations of ten to, as opposed to, ten past the hour, are interpreted by us with very different meanings. In a longer or historical sense, the timing of time does not matter that much. Point in time or time as duration, that is the question. Art in cinema can play with this like rock around The Clock. Don’t ask me how much time I spent watching, thinking and feeling through time in this movie exhibition, Should we always measure time with a clock.  Want it or not, we measured by our smartphones all the time and on multiple timelines.

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Vaim and the sea

Vaim is not a person, it is an imaginary place, somewhere next to the sea, rather small in size, and in conventional terms nothing much is happening there, aging persons go about their daily routines in their more or less splendid isolation, speaking to someone is a rare act of achievement, most of the talk is speaking to yourself not even really thinking aloud, just ruminating on and on for days, sometimes weeks or maybe years in a person’s life 

Okay, my exercise in “slow writing”, a wee bit attempting to copy Jon Fosse, kept me going for 10 lines before the end of my paragraph. Jon Fosse keeps going without the end of a sentence  punctuation for 66 pages in the German translation by Hinrich Schmidt-Henkel. Reading the three phrases of Vaim, each as an extended poem and an “homage” to life from three intertwined perspectives, resembles a cubist painting and, maybe, at least for me, each one like the novella “The old man and the sea” by Ernest Hemingway. It is also a triptych in the religious tradition of paintings, just as much as “Vaim” follows in the footsteps of “Waiting for Godot” by Samuel Beckett. For all those who don’t care about any previous literature just read Jon Fosse as an endless love story of platonic relationships, silence and romance,  next to the sea. Please, don’t pass on your copy of Vaim to school-aged children as they might become very creative about punctuation. The only allowed end of a sentence are occasional question marks, which is a nice philosophical twist in Jon Fosse‘s literal exploration of time and love. 

 

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Q Q Utopia

Projections into the future, the painting of a futuristic image or an utopian narrative can be based on a quantitative or a qualitative approach. A quantitative projection into the year 2100, for example, is form of creating an utopian vision of quantitative developments. Projecting the small reduction of working hours into a very distant future will eventually approach zero hours (tous sublime). Alternatively, utopian scenarios for qualitative characteristics of work and employment range from full health and safety or “cure yourself by work” (?really, “Arbeit macht frei”) to AI and robots designed to solve major laborious tasks and challenges for us. It is important to differentiate between the qualitative and quantitative forms of utopian visions. The time frames matter, too. In politics various combinations of utopian perspectives have frequently been combined. The human mind’s capability to project itself into the future explains our tendency to come up with utopian ideas or scenarios irrespective of our ability for rationality. We better acknowledge these human characteristics rather than insist on an either, or image of ourselves.  

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Good or bad

We have been taught by Shakespeare “to be or not to be, that is the question”. In political science we have pondered the question in a slightly augmented form. “to be good or bad, that is our question”. The basic image of women and men in society has been a subject throughout the history of ideas. For those who believe in the good nature of mankind, they tend to find reasons to believe that eventually mankind will find a way towards a peaceful cohabitation on our planet (there is no planet B yet for humans). On the other hand, each outbreak of violence and war are considered as a confirmation that mankind will always recur to some form of violence, even after extensive periods of peaceful cohabitation. According to the evidence presented by Meller, Michel, van Schaik, referring back to Kant, trade between people and nations is likely to prevent more violent relationships (p. 330). One of the major conclusions over the long term view of mankind is, that the periods of war have been far shorter and more rare than a focus on the last 3000 years seems to suggest. Maybe, “to be good or bad” is just a question of demographics of being too many at the same time in the same place.  Population growth and population density might be a powerful driver of “being good or bad”.  (Image: Delacroix, Last words of Marc Aurel)

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Reverse causality

Reverse causality is a beast, which empirically minded scientist fear almost like death. However, many processes we study are running not only in one direction. In most cases, causality is tested with, or assuming, a unidirectional model of causality in mind. But some processes have not only a set of multiple causes to take into consideration, but some processes might be reversible or run in a rather complex manner, which are difficult to quantify. Mind captioning is a technique in neuroscience, where easy language is used to describe an image perceived in a person’s mind. Such thinking aloud data is based on thousands of brain scans, where people watched videos or images (study link).
In my own journey into the working of my mind I play around with different directions of causality. Sometimes the text is the origin and the image follows in a selection of a telling illustrations, but occasionally the reverse causality is at work. The image is the starting point and gets the mental process going. It is a rather complex process which is not easy to approximate with the help of algorithmic thinking. Reverse causality has many surprises to offer. As scientists we have a hard time to come to grips with it. (Inspiration Link) 

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Typewriter history

The history of the typewriter and typewriter is comparatively short compared to the history of literature or other technologies as partners in the creative process. With the advent of AI (here as part of infografix, see image below) the skills of using and mastering a typewriter have become almost obsolete. The original design by Remington (timeline below) has dominated for almost 100 years the technology of typewriters. Then came the electronic IBM technique with an automated correction type, which was not only faster, but also more forgiving of “typos”, short for typing errors.
The craft of handwriting had suffered a tough blow, despite its almost intimate touch to it. Knowing the typewriter outline by heart allowed typing with closed eyes or a focus on another text or image as well as a parallel thought process. Scientists and writers (Claude Levi-Strauss) reported on their creative process as intrinsically being linked to their typewriter.
QWERTY outlines for English language typewriters still dominate the keyboard typing today. With the AI interaction on the rise, we might move away from typing as a “Kulturtechnik” a technology of our cultural era and focus more on human-machine interactions via our voice and microphones. The underlying question, however, remains the same: What is the best technology to enhance our thought process? This, in fact, tends to be a very personal human choice, where technology plays only a subsidiary role.

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Philosophy of Voyage

In an interview Claude Lévi-Strauss described himself as a philosopher of voyage. The excursions which lasted sometimes several months to live with indigenous people and study their languages, habits and culture became a scientific field of its own called social anthropology. He travelled with his wife and wrote down hundreds of notes and collected items. Only years later the concept of stuctural theory became evident to him. A voyage might go on after the end of traveling. It might start well before departure as well, not the least due to all the preparations. Colette, the French writer and polyartist, coined the phrase “ce qu’on sait faire, au fond, c’est de la route, ce  n‘est pas du voyage ” in the novel « La chatte ». In the pre- and immediate post 2WW years “taking to the roads” often had a gendered view of this with women being rare to hold a driver’s license. To “find meaning through voyages” or “the voyage is the meaning” fill whole libraries. For better or worse, travel books are still best selling books in a shrinking overall book market (less print books sold, but still higher value of sales).   

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Spring in Autumn

Can we have spring in autumn? Of course not, most people would answer. The definitions of spring and autumn are clearly defined as separate seasons. Depictions of the seasons in paintings in the Romantic or Impressionist periods are hard to imagine with somewhat blurred distinctions between seasons. And yet, climate change in the 21st century show surprising spring flowers in autumn across Europe. This leads to lots of confusion in nature’s time table.
From a life course perspective, we may ask, whether it is possible to experience a 2nd spring in the season’s view of the life course. More healthy years and spring feelings in the autumn of live have propelled a whole new industry around longevity and the mantra to “stay healthy for the wealthy”. The growing health inequality over the extended life course is a silent killer. The experience of spring in autumn remains a distant dream for most people with multi-morbidity.
Our experience of sequential or linear time, where one season follows the other, gets disturbed or at least blurred. The “Gleichzeitigkeit des Ungleichzeitigen” in English the “simultaneity of the non-simultaneous“ can be observed in the macro-world of everyday experience, albeit in a different way than Ernst Bloch defined the concept. On the other hand, it is no longer necessary to invoke Einstein’s theory of relativity or quantum physics to come up with apparently strange phenomena, but empirical facts allow us to question received wisdom, evidence based.

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Inclusive images

In the last 2 decades we can observe a strong concern among photographers to broaden the spectrum covered by images beyond well established imagery of non-binary gender. Diversity in imagery has taken a broader scope to extend, for example, the age range of people who are portrayed as central topic of exhibitions. The topic of mental diversity is more recent and needs a similar or even increased sensitivity to do justice to the whole spectrum of people. The photography of people with mental challenges necessitates a much more careful approach to the persons and complex personalities the photographer intends to portray. Trust and the development of trust of more vulnerable persons is a time sensitive process. The work by Charlotte Abramow “Maurice, Tristesse et rigolade” is a fine example of a photographer who portrayed over a long time of taking care of her father, previously a medical doctor, The years of the final stages of the life course of her father have been the subject over many years as the survivor of an extended medical coma had to struggle with the tough challenge of re-learning basic life skills again.
Abramow portrays her father as an actor of his “second life”, where the borders between reality, reconfigurations of his memories,   and “mise en scene” to co-produce the images. The images go far beyond the portrayal of aging and mental challenges as a deficit of persons. Yes, it is an integral part of these persons, but there is so much fun and positive emotions that derive from the intensive collaboration of actor, father and photographer that the images stick with us for a longer time. The presentation of props along with the photos creates an immersive installation, which strengthens the emotional bonding with the inclusive images of the later phase of the life course of Maurice.

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Sink / Rise

Nick Brandt presented his engaged photographic projects “The day may break” in Brussels at the Hangar Gallery space in Brussels (2025-9-21). The photographic work spans the globe to document and tell the story of a an endangered planet. The environmental and social fabric is at risk of an unprecented scale in the 21st century. Rather than producing hours of documentation, Nick Brandt focuses on images that stick. His “mise en scene” is meant to haunt us. And it succeeds in it. In the best sense of a tradition of a “photographe engagé” he intends to convey messages, even whole narratives to us about and from people in remote places, who are endangered through our inaction or paralysis in front of the challenges posed by global warming and climate change as well as the social and societal consequences.
We can save people from drowning in floods and rising sea levels. The chapter Sink / Rise of this project was produced with people from the Fiji islands who participated in the futuristic scenario of a sunk island. Without accusations, these people question us. Why? How? What for? Where to? – without speaking a word. They spend time in on a sunk island, surrounded, submerged by beautiful, but morbid, turquoise water and the graveyard-like remainders of a broken coral reef. These are photographs not of these people, but about them, about their likely fate, and (very important) produced with them as empowered actors. May they have a chance to rise like a phoenix from the ashes from these photos.
The documentation on the “Making of …” (image below) as part of the same exhibition allows transparency and additional insights into the artist’s work and proceedings.
(Image: Hangar Gallery, Brussels 2025-9-21, On the making of Sink / Rise by Nick Brandt)

 

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Marc Aurel AI

In the 21st century it is possible to chat with Marcus Aurelius. Part of the exhibition at the Simeonstift is a chatbot you may freely consult and questions with or about Marc Aurel. Based on your questions the animated screen image of Marc Aurel will reply based on his own writings like the Meditations and (probably) other secondary literature on Marc Aurel. Questions about feminism or slavery are answered based on the original texts. Some of these answers  appeared rather modern like the basic equality of all including women or slaves. The Meditations are an idealistic vision of mankind in the stoic tradition. In practice such ideals have proven very ambitious for the many and growing temptations in the day-to-day lives of ordinary people including their political, religious, business and military leaders. The AI is confronted with the issue to give answers to ethical questions which refer to the time of the author, but not all can apply to today’s ethical standards and basic human rights. Reading the original source, therefore, remains the preferred choice. 

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Age of maturity

The bronze statue by Camille Claudel „L‘âge mûr“ is her most famous works. It is part of the exhibition Claudel & Hoetger in the “Alte Nationalgalerie“ in Berlin. Usually the statue is part of the permanent exhibition in the „Musée d‘Orsay“. With the depiction of different stages of the life course and somehow revealing the emotional trajectories of the persons the scene of human joy and tragedy becomes tangible beyond her personal fate. The scenario and arrangement in the Alte Nationalgalerie allows to focus on this particular work with an emphasis on the trajectory and the evolutionary path. A unique arrangement does better justice to the particular message of the artist than being surrounded by too many other works of art. (Image: extract of Camille Claudel‘s „L‘âge mûr“ in showroom Alte Nationalgalerie, 2025-8)

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Fontainebleau time

In the Chateau Fontainebleau time seems to pass with a different speed compared to the busy times in Paris. Taking a stroll at the park, boating or horseback riding along the endless paths contributes to the perception of wide, open space and a different space-time experience. The measurement of time shown on a fine craftsmanship of a clock in the castle highlights the fact that there is more to time than just seconds and minutes. The hunch of the time that there is maybe a cosmic time beyond our calendar is a precursor of later scientific discoveries. Time in the early 19th century of Napoleon’s reign had just been restored from calendar of the French revolution. Whether time is counted as 2×12 hours or in 24 hours was also a matter of politics rather than rational decision making. The impressive clock in the Chateau Fontainebleau shows ambitious as much as awareness of defining and counting time, just like an absolute ruler might conceive it. 

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Fontainebleau library

The “Galerie de Diane” in Fontainebleau has been built during Napoleon’s reign. It hosts the library with a large collection of books. The function of the books seems to be more to intimidate the persons passing by rather than ready for inspection. The globe at the entrance reflects the ambition of the ruler. The fact that you have to walk some stairs upwards increases the impression to be little compared to this universe of knowledge. It is great that libraries have flipped this perspective and today we study the period of Napoleon’s reign with our democratic values in mind. The top-down approach was the incarnation of Napoleon’s style of government. Despite the revival of such governance styles in the 21st century across the globe, they are unlikely to last for more years than Napoleon’s fate. A simple reason for this may be the only representative or intimidating role of knowledge in such forms of governance rather than an open mind approach. 

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Paris Olympics history

The 2024 Paris Olympic Games will go down in history as the event that has achieved to put Olympic Games and Paralympic Games on an equal footing. At least this is the message the  museum of the history of Paris tries to transmit. In the “Musée Histoire de Paris Carnavalet” we find a vase from the Games from 1924 in Paris next to the 2 Olympic torches, one for the Paralympics and one for the Olympics 2024. Both torches are the same only a different logo on them, same message, same spirit. The impact of these games is likely to set an example for many years to come and other hosts of the Games will be measured against this benchmark. Making history is one thing, taking care of the posterior image another one. Paris has taken of this as well.

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Paris History

The “Musée Histoire de Paris Carnavalet” is the starting point for visitors of Paris and social scientists to better understand the making of this metropolitan city throughout centuries. The only common factor over the years is the astonishing determination to reinvent the city every 100 years whilst the best features of the previous periods are preserved. It is the concern for the very long-term time horizon that makes the city quite unique. Even a social revolution (1789) unlike most other countries managed to preserve most buildings, churches and royal palaces. Restorations are undertaken with a careful approach to shield its architectural and social heritage. Even the radical transformation by Haussmann over almost 20 years until 1870 to build large corridors in the city is subject to revision in modern visions of the future of Paris. The app of the museum is very helpful to learn more details about each chosen object of the permanent exhibition. The social fabric of the city can be studied further through app’s feature when representatives of local social organizations speak about their personal piece within the huge collection on display. The larger the “fundus”, the more the rationale for selecting pieces becomes an issue. (Image: Musée Histoire de Paris Carnavalet inner court 2025).

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Timeless Nature

The beauty of butterflies has fascinated thousands of generations. It is the boomers’ generation that has increased the risks that future generations will have difficulties to enjoy the simple beauty of nature in their gardens or parks. Preservation of biodiversity is a value that should be ranked much higher than previously. Monitoring of biodiversity needs a generation of people well aware what a rich ecosystem and biodiversity looks like and how to preserve or restore it. Much to do for teaching and learning professionals as well. Curriculum development for biodiversity and sustainability is in urgent need for updates. This has to include the socioeconomic dimension as well.

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Gentileschi Selfie

Today the production of „selfies“ is all around us. Selfies are shot almost instantaneously and several times a day by use of modern smartphones. About 400 years ago the first woman to produce a selfie was Artemisia Gentileschi. As (one of) the first female painter in art history to have created a painted image of herself (which is transmitted today) Artemisia Gentileschi made history. Her unique biography, style and craftsmanship of the early 17th century in Italy made herself a renowned painter. Her choice to depict herself rather than somebody nobel or rich was quite unusual for the time. The audacious choice of herself as her „sujet“ became even her trademark. Later paintings by her with biblical topics were also subject to her reinterpretation based on herself as the female character in the narrative and image. In this respect her work appears so much ahead of her time that her impressive work speaks to all generations today. (Image: extract of Jael and Sisera by Artemisia Gentileschi 1620, Musée Jaquemart André“ in Paris 2025-8)

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Work time reduction

One of the major elements of social progress in the 20th century consisted in the reduction of work time. Reductions from 48 hours per week in the first half of the century were largely reduced to 40 hours per week or less in some industries with strong trade union representation. State regulations also pushed in this direction with positive implications for physical and mental health as well as wellbeing. Advances in longevity of employees may be attributable to this social progress agenda of the 20th century. In the 21st century we witness a new thrust of enterprises and employees striving to implement a 4 day work schedule by at the same time organizing a further reduction of work hours. The scientific evidence which is based on pre- and post trial assessments of workers satisfaction shows rather positive results (Fan, Schor, Kelly, Gu 2025). More studies are due to accompany this potential of further health and wellbeing effects of reduced work time and the reorganization of work time in enterprises. 

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Climate Awareness

The Musée d’Orsay has prepared a wonderful walk through its permanent exhibition of late 19th and early 20th century installations to reflect upon climate and climate change. Raising awareness about the treasures lost and those we are about to lose in the next few years. Impressionist painters have depicted landscapes, cities and monuments covered in snow, which the next generations will no longer be able to enjoy the same way. The roofs of Paris covered with snow has become a feature of a distant past. Additionally, the impression of the massive steam trains crossing metal bridges appear as the daunting future of technical progress. Mixed feelings of fascination and risk associated with those machines were captured by those painters’ eyes. Nowadays we are aware of the consequences of this technical progress for our planet. The walk through museum with a focus on climate related paintings is eye opening indeed. (Image: Extract of Éduard Veuillard, Le jardin des Tuileries, Musée d’Orsay, Paris)