TODAY [fr. aujourd’hui]

In an Emergency Room are presented only works and pieces produced today, exhibited today and viewed today.
The works and pieces are today’s works and pieces, like a newspaper or broadcasted news presents today’s news, not yesterday’s.
If you are interested in yesterday’s news, you go to a library or an archive.
if you are interested in yesterday’s art, you go to a museum or a Delay Museum.
Today is a concept which relates to time.
And, as we are painfully well aware off, time flees.
Time is never fixed.
Time is in a state of flux.
Time is, but can never be observed when it is, only when it was, or when it will be.
If time stood still it would imply a pre-Genesis or post-Apocalyptic era.
The present “now” in this flux is the perpetually evading point between a “before” and a “to-late” and an “after”.
Time, as such, has no form.
Time cannot be observed other than in the retrospective.
As an ever diminishing vanishing point.
Or in the prognostic, as a projection of a form not yet realized.
But it is not time that produce movements, transformations, and changes of subjects, objects or state of things.
It is the movements, transformations and changes that produces time.
Time itself is nothing else than the effect of events.
Time is a derivate of causation.
Unlike now, today is.
Today has a form.
The form of today is the cluster of events which constitute phrases of the form:
“What are you doing today? “
“How are you?”
“What’s the weather?”
And others of the same kind.
But also of phrases like:
“I wonder how the weather will be today.”
“How was work today?”
Today is the temporal form through which the subject and the world communicates.
The agents of today are characterized as reporters — or journalists — hunting and listing events in the form of news.
The journalist is the draughtsman of today.
The draughtsman of today is observing and representing the form of time with the figures and events of actuality.