1 With the analysis of the nature of attention, Davenport and Beck clarify that attention is a link between capital, labour, information and knowledge in a new economy and has become a currency. Davenport, T. H. & Beck, J. C (2001). “The Attention Economy”. In: Ubiquity, Vol. 2001. Issue May 2001.
2 Hayles differentiates attention based on the duration and calls the one shaped by digital technologies “hyper attention” and the one shaped by traditional media, such as books, writings and others, “deep attention”. Hayles, N. K. (2007). “Hyper and deep attention: The generational divide in cognitive modes”. In: Profession, 13, 187-199.
3 Stiegler, B. (2012) “Relational Ecology and the Digital Pharmakon”. In: Culture Machine. Vol. 13, 8.
4 Stiegler, B. (2017). “The Proletarianization of Sensibility”. In: Boundary 2. Vol. 44. no.1 February 2017. Durham: Duke University Press, 5-18. The issue is also discussed in: (2014). Symbolic Misery 1: The Hyperindustrial Epoch. Transl. B. Norman. Cambridge: Polity Press. In a more recent article, De Preester responds to Stiegler’s examination of attention and discusses that meditation, which is a traditional discipline of another attentional form, carries the second force of the counteraction against the proletarianization of sensibility. Since it functions as a repetitive practice on a more individual level than education, she sees it as an importance means. This overlaps substantially with the means of art practice as well. In: De Preester, H. (2021). “Life is what you fill your attention with – the war for attention and the role of digital technology in the work of Bernard Stiegler”. In: Phenomenology and Mind, 20, 2021. 102-116.
5 Levinas, E. (1987) Time and the Other. Pittsburgh: Duquesne University Press, 39. Levinas continues: “It is not a matter of saying how time is chopped up and parcelled out thanks to the notions we derive from society, how society allows us to make a representation of time. It is not a matter of our idea of time but of time, itself.”
6 Uchiyama states that time always needs another element to be encountered in order to exist as time. In this regard, he considers that time appears when we produce time. In other words, our existence is time. Uchiyama, T. (1993/1995). Twelve Chapters on Time. (title translated by Yoshida) Tokyo: Iwanami Shoten.
7 Unfortunately, I have lost the source of information, however, a Japanese data scientist made a cognitive experiment to test the sense of time by programming all photos of his life – the images from his birth until the present – to pop up regularly at the corner of his computer screen and observed any changes of perception. His empirical report says that he ends up feeling that all the photos are a present event, no matter how old the images are.
8 Stiegler, op.cit., 1. Stiegler looks into the notion of attention going back to its origin in Latin and writes a concise etymology of the notion of attention in European languages.
9 The exhibition, Listening to the Stone/ Den Steinen zuhören was held from 20.11.2021-6.3. 2022 at the Kunsthaus Dresden, Dresden, Germany. The project was curated by Miya Yoshida in collaboration with the Kunsthaus (Christiane Mennicke Schwarz and Kerstin Flasche). The subsequent publication, both the multi-media digital and printed version, was published in June 2023. The digital catalogue can be found at https://miyayoshida.com/research-topics/listening-to-the-stones/lts-ebook/
10 “Mental sketch” is a term used in the poetry book “Spring and Asura” (1924) by Miyazawa Keji. The poems expand the imagination on the perpetual self, “I”, to addresses various propositions attributed to our imagination in dynamic time-space, starting from an illuminating blue light, an electron on a micro scale, a dot in relation to historical time, data, and to geology in the future.
11 Niemi, M. (2008). “Stone” In: Astrotruckers. London: Harvil Press, 50.
12 Simondon, G. (1968/1989) psychique et collective, Paris: Aubier. (2020) Individuation in Light of Notions of Form and Information, Minnesota: University of Minnesota Press.
13 Durham, J. (2023). “The Inner Chamber/Die Inneren Kammern”. In: Listening to the Stones. Eds. Yoshida, M., Schwarz, C. M. et al., Dresden: Kunsthaus Dresden, 143-150 (German translation by Karl Hoffmann), 151-157 (English original). First published in Spanish in 2013: “las cámaras”. In: FLOUR, Revista de Cultura Contemporãnea, #7 (07/08/09), 2013, 54-77.
14 Gins, M. (1969). The full title is WORD RAIN or A DISCURSIVE INTRODUCTION TO THE INTIMATE PHILOSOPHICAL INVESTIGATIONS OF G,R,E,T,A, G,A,R,B,O IT SAYS. New York: Grossman Publishers.
15 Gamier, M.-D.(2014). “She_is_raining”: a Reading of WORD RAIN (Madeline GINS 1941-2014), 1.
16 Lecercle, J.J. (2010) “Gins and Arakawa, or The Passage to Materialism”. In: Architecture and Philosophy: New Perspectives on the Work of Arakawa & Madeline Gins, Vol. 6 of the Architecture, Technology, Culture series. Eds. Lecercle, J.J. and Kral, F., Leiden: Brill Academic Publishers, 2010, 17-35. The basic principle of visionary cybernetics was continuously explored and developed in the long-term research project The Mechanism of Meanings (1963-1996) in collaboration with Arakawa Shusaku, the Japanese conceptual artist. The project dealt with the theme of onto-epistemology using the means of visual art and architecture.