I explore by way of a thought experiment the temporality of waterways in the context of restorative art interventions. As a substance that moves and gives form, and as a medium that retains and discharges, connects and divides, water that flows can make tangible the experiential flow of return and anticipation. Arguably, this bi-directional structuring of time is pivotal to transformative and reparative action. If restoration means ‘going back’ to memories of ecologies and places, it does so with a generative thrust forward. This is the life-enabling orientation of recuperation that I discern connects diverse phenomenological concepts: Deborah Bird Rose's ‘multispecies knots of ethical time’, the idea of ‘afterness’ as developed by Gerhard Richter, Gaston Bachelard's ‘rhythmic time’, and Gerald Vizenor's ‘survivance’. I bring these concepts to: (a) artistic water restoration projects that make imaginable, palpable, and real sustainable human-water relationships, with a focus on the public works in Sydney by Turpin + Crawford Studio; (b) perspectives on water and time that Australian Indigenous thinkers have shared during my ethnographic research; and (c) the re-naturalization of a river in Germany's postindustrial Ruhr region. I propose that thinking with water ethically and recognizing its temporal diversity opens up perspectives on the deindustrialisation of rivers and other bodies of water.

中文翻译：

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水的伦理时间：人水关系去工业化的艺术

我通过思想实验探索恢复性艺术干预背景下水道的暂时性。作为一种移动和赋予形式的物质，作为一种保留和排出、连接和分割的媒介，流动的水可以使回归和期待的体验流变得有形。可以说，这种双向的时间结构对于变革和修复行动至关重要。如果恢复意味着“回到”生态和地点的记忆，那么它就是通过一种生成性的推进来实现的。我认为这是生命赋能的康复方向，它连接了不同的现象学概念：黛博拉·伯德·罗斯的“道德时间的多物种结”、格哈德·里希特提出的“事后”概念、加斯顿·巴什拉德的“节奏时间”和杰拉尔德·维泽诺的“节奏时间”。 ‘生存’。我将这些概念应用到：(a) 艺术水修复项目，建立可想象的、可感知的、真正可持续的人水关系，重点关注由 Turpin + Crawford Studio 设计的悉尼公共工程；(b) 澳大利亚原住民思想家在我的民族志研究中分享的关于水和时间的观点；(c) 德国后工业化鲁尔地区一条河流的重新自然化。我建议从道德角度思考水并认识到其时间多样性，为河流和其他水体的去工业化开辟了视角。