In Lewis Carroll’s Through the Looking-Glass, the White Queen tells Alice that she remembers best “the things that happened the week after next” [1]. Alice is both confused and fascinated, as the White Queen challenges, even turns around, her taken-for-granted notion of time. In linear time, which develops from the past through the present to the future, one can only have memory of what has already happened in the past. The notion of memory of a future moment seems to imply a time that unfolds in the opposite direction, from the future to the past. Fantastical as this notion may be, it keeps appearing in various contexts, as dozens of books and films on time travel bear witness. In the article abstracted here, I draw attention to the theory of “reverse time” in the visual arts of Russian philosopher, mathematician and priest Pavel Florensky (1882–1937). I suggest that Florensky’s theory of the temporal dimension of the art of the icon drew on ideas common in psychology and the theory of dreams as well as developments in physics associated with Albert Einstein and Hermann Minkowski. By borrowing scientific ideas and applying them to the field of visuality, Florensky ultimately problematized a worldview that was profoundly Platonic and Christian [2].

中文翻译：

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记住“后一周发生的事情”：梦想、艺术和时间旅行中的时间倒转

在刘易斯卡罗尔的《透过镜子》中，白皇后告诉爱丽丝，她记得最清楚“下周发生的事情”[1]。爱丽丝既困惑又着迷，因为白皇后挑战，甚至转身，她认为理所当然的时间观念。在从过去到现在再到未来发展的线性时间中，人们只能记住过去已经发生的事情。对未来时刻的记忆的概念似乎意味着从未来到过去向相反方向展开的时间。尽管这个概念可能很神奇，但它不断出现在各种环境中，数十本关于时间旅行的书籍和电影都证明了这一点。在此处摘要的文章中，我提请注意俄罗斯哲学家、数学家和牧师帕维尔·弗洛伦斯基 (Pavel Florensky，1882-1937) 视觉艺术中的“逆时”理论。我认为弗洛伦斯基关于图标艺术时间维度的理论借鉴了心理学和梦理论中的常见观点，以及与阿尔伯特·爱因斯坦和赫尔曼·闵可夫斯基相关的物理学发展。通过借用科学思想并将其应用于视觉领域，弗洛伦斯基最终对具有深刻柏拉图和基督教色彩的世界观进行了问题化 [2]。