The project How would it be to speak in a timeless language? is inspired by the relative nature of time in modern physics, mainly Albert Einstein’s special and general theory of relativity and the concept of the block universe. Besides, the work is rooted in the achievements of the neuroscience of time, as well as in the various ways of thinking about time and expressing it in other languages.
The project aims to create an interactive tool for the audience to experience the art of timeless communication. It is an innovative approach to exploring the concept of time in art.
The artist constructs new proprietary grammars of timeless language, in order to bring the language closer to the description of time in the non-intuitive view of physicists. She is interested in whether it is possible to function without linear time. Can one express even their own thoughts in a timeless language, and what effect does this have on the perception of reality?
The key idea for her is the concept of the block universe. This fascinating notion defies our common sense, as it posits, following Einstein, that past, present, and future coexist as parts of an immutable space-time. All events are “stored” in a space-time block, and selected events can be perceived as simultaneous from the appropriate perspective. Moreover, for a particular observer who is sufficiently far away and moving at the right speed, the chronology of these events can even be swapped (at the cost of losing any cause-and-effect connection). A viewer watching a film in which each frame represents one moment in time experiences the action one frame at a time, but ultimately, the entire film already exists (simultaneously) on the film. The block universe, however, does not imply a lack of dynamics; rather, changes are perceived only from our local point of view.
The block universe, as a physical model in Einstein’s theory of relativity, depicts space-time as a fixed, four-dimensional structure and provides a physical justification for the philosophical concept of eternalism. In this view, the transition from one moment to the next may be an illusion; everything exists at once—nothing actually passes at a deeper level of reality. The nature of time here is not as assumed by the grammar of modern languages. We do not have a grammar that states an event “was” relative to me, but rather “is” relative to you.
As the illustrious Italian theoretical physicist Carlo Rovelli said, “We must not be fooled by an inadequate grammar.” Neuroscience research shows that consciousness does not create a continuous, linear narrative but operates in a discontinuous manner. The brain understands time through neuronal circuits that determine spatial distance, which is also supported by time metaphors. A review of various languages, including those spoken in South America, reveals particularly interesting inverted space-time mappings. For example, the language of the Andean Aymara tribe refers to the future as something behind the speaker’s back and the past as something in front of the speaker.
The project addresses a certain gap in the non-intuitive view of time in art. The artist has observed that time in art has predominantly been approached in traditional terms, often related to its transience. This initiative is implemented within the framework of the KPO for Culture grant and is described as a venture in the field of visual arts, aimed at creating opportunities for collaboration in both virtual and physical forms with specialists from other sectors, including science, technology, and business. The artist combines art with linguistics, physics, and technology, among others.
By inviting interaction with a tool that translates messages into a timeless language, the artist encourages us to think about time through language—not in a linear way. She aims to disrupt our intuitive, sequential perception. As noted in the research of Lera Boroditsky, a professor of cognitive science, language plays a fundamental role in shaping our understanding of reality.
The author aims to broaden the public’s awareness of the various concepts of time appearing in physics, which are relatively difficult to understand. On the other hand, they become attainable by design, possible to experience through art. Above all, they can be valuable in terms of the way time is managed in everyday life and broaden one’s perspective on life. It creates grammars of timeless language through independent research, without the use of artificial intelligence, and as a result of conversations with consultants. With these grammars, the tool suggests timelessness or a different meaning of time. Artificial intelligence is used to program applications based on the mentioned grammars and the created rules of the timeless language.
The timeless communication tool responds to the need for innovative forms of art presentation. It is part of a larger project in which the artist deals with different concepts of time using multiple means of expression. The artist is close to the experiential myth, so she is eager to conduct various experiments harnessing tools from other fields into the field of art.
The author aims to broaden the public’s awareness of the various concepts of time in physics, which can be relatively difficult to understand. However, these concepts become more accessible through art, allowing for experiential engagement. Above all, they can be valuable in terms of how time is managed in everyday life and can broaden one’s perspective on life. The author creates grammars of a timeless language through independent research and conversations with consultants, without the use of artificial intelligence. These grammars suggest timelessness or a different meaning of time. Artificial intelligence is employed to program applications based on these grammars and the rules of the timeless language that have been created.
The timeless communication tool addresses the need for innovative forms of art presentation. It is part of a larger project in which the artist explores different concepts of time using multiple means of expression. The artist is inspired by experiential myth, so she is eager to conduct various experiments that integrate tools from other fields into the realm of art.
Consultants invited to the project:
Tomasz Piekot, Professor of Linguistic, Department of Modern Polish Language at the Institute of Polish Philology (Faculty of Philology), University of Wroclaw
Maciej Mulak, Ph.D., physicist and educator from Wroclaw University of Technology, co-author of the podcast “Physics without Muddling” (together with Lucyna Róg)
Piotr Migdal, Ph. D., quantum physicist and expert in Ai and data visualization
Marcin Kilarski, Professor of Philology, Deparment of English Studies at Adam Mickiewicz University in Poznan
Artur Kawinski, MA, anthropologist and philologistBogna Bartosz, Ph. D., psychologista t the University of Lower Silesia DSW, Wroclaw
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Selected Bibliography:
Barbour J., The End of Time , Copernicus Center Press Sp. z o.o., Kraków 2023
Barbour J., New Theory of Time , Janus Point, Copernicus Center Press Sp. z o.o., Kraków 2021
Buonomano D., Your Brain is a Time Machine , Prószyński i S-ka, Warsaw 2019
Bodanis D., E=mc² , CiS Publishing, 2005
Hawking S., A Brief History of Time , Zysk i S-ka Publishing, 2024
Lakoff G., Johnson M., Metaphors We Live By , Aletheia Publishing, Warsaw 2020
Rovelli C., The Order of Time , Ferie Science Publishing, 2019
