Determining the compositional properties of surfaces in the environment is an important visual capacity. One such property is specular reflectance, which encompasses the range from matte to shiny surfaces. Visual estimation of specular reflectance can be informed by characteristic motion profiles; a surface with a specular reflectance that is difficult to determine while static can be confidently disambiguated when set in motion. Here, we used fMRI to trace the sensitivity of human visual cortex to such motion cues, (...) both with and without photometric cues to specular reflectance. Participants viewed rotating blob-like objects that were rendered as images (photometric) or dots (kinematic) with either matte-consistent or shiny-consistent specular reflectance profiles. We were unable to identify any areas in low and mid-level human visual cortex that responded preferentially to surface specular reflectance from motion. However, univariate and multivariate analyses identified several visual areas; V1, V2, V3, V3A/B, and hMT+, capable of differentiating shiny from matte surface flows. These results indicate that the machinery for extracting kinematic cues is present in human visual cortex, but the areas involved in integrating such information with the photometric cues necessary for surface specular reflectance remain unclear. (shrink)

The doctrine of motion elaborated by Albert the Great has often been interpreted in the light of the debate, which developed in the 14th century, on the alternative between motion as a forma fluens, according to the Avicennian approach, or as a fluxus formae, more in line with Averroes’ position. Projecting this alternative onto Albert retrospectively, however, does not seem to be very productive for at least two reasons: (i) there is not a sufficient textual basis to affirm (...) that he understood the syntagmas forma fluens / fluxus formae as indices of two different and opposing ways of interpreting physical motion; (ii) Albert actually proposes his own interpretation of motion that does not really coincide with either Avicenna’s or Averroes’. In this article, I intend to show how Albert understands motion – particularly in his Physics – as a forma fluens, but in a determinate sense, i.e. as changing according to its being and not according to its essence (secundum suum esse et non secundum suam essentiam). This qualification means that Albert’s position does not coincide in a strict sense with either Avicenna’s or Averroes’, and must instead be understood in close connection with Albert’s doctrine of incohatio formae and the presence, in matter, of a kind of ‘intellectual appetite’. My aim is thus to show how Albert found a way to inscribe the doctrine of the flow of form and the inchoative presence of forms in matter in a Neoplatonic emanationist system (mainly influenced by the Liber de causis) and to rethink the nature and function of the ‘giver of forms’ with respect to the Avicenna model. (shrink)

Fibre suspension has garnered considerable attention in turbulent flows that are used in many industries. Solid particles, such as dust particles, notably affect the turbulent flow field in a rotational frame. In assessing their impacts, the dusty turbulent flow for fibre suspensions needs to be studied in a frame of rotation that can be substantially applied in many industries. This study, therefore, aims to build a theoretical model for the energy motion of dusty turbulent flow of (...) fibre suspensions in a rotational frame. The turbulence momentum equation was considered to formulate the model in presence of dusty fluid rotating flow of fibre suspensions. The newly derived equation was derived in second-order correlation tensors Fi,j, Wi,j, Gi,j, Si,j, Xi,j, Yi,j, Qi,j, and Ri,j at any two points in the flow domain, where the tensors were expressed as space, time, and distance functions. The developed model is a considerable improvement because it takes into account all of the potential influential parameters that could affect the motion of turbulent energy, such as dust particles, suspending particles, and rotating frame. However, the impact of these parameters on turbulence energy motion must be evaluated in order to assess the performance of turbulence systems utilized in a variety of industries, such as paper manufacturing. The present theoretical development will contribute to open up experimental and numerical research opportunities for the advancement of the industry, science, and technology. (shrink)

Self-motion through space generates a visual pattern called optic flow. It can be used to determine one’s direction of self-motion (heading). Previous studies have already shown thatthis perceptual ability, which is of critical importance during everyday life, changes with age. In most of these studies subjects were asked to judge whether they appeared to be heading to the left or right of a target. Thresholds were found to increase continuously with age. In our current study, we were (...) interested in absolute rather than relative heading judgements and in the question about a potential neural correlate of an age-related deterioration of heading perception. Two groups, older test subjects and younger controls, were shown optic flow stimuli in a virtual-reality setup. Visual stimuli simulated self-motion through a 3-D cloud of dots and subjects had to indicate their perceived heading direction after each trial. In different subsets of experiments we varied individuallyrelevant stimulus parameters: presentation time, number of dots in the display, stereoscopic vs. non-stereoscopic stimulation, and motion coherence. We found decrements in heading performance with agefor each stimulus parameter. In a final step we aimed to determine a putative neural basis of this behavioural decline. To this end we modified a neural network model which previously has proven to be capable of reproduce and predict certain aspects of heading perception. We show that the observed data can be modeled by implementing an age related neuronal cell loss in this neural network. We conclude that a continuous decline of certain aspects of motion perception, among them heading, might directly be based on anage-related progressive loss of groups of neurons being activated by visual motion. (shrink)

According to the traditional inferential theory of perception, percepts of object motion or stationarity stem from an evaluation of afferent retinal signals (which encode image motion) with the help of extraretinal signals (which encode eye movements). According to direct perception theory, on the other hand, the percepts derive from retinally conveyed information only. Neither view is compatible with a perceptual phenomenon that occurs during visually induced sensations of ego motion (vection). A modified version of inferential theory yields (...) a model in which the concept of extraretinal signals is replaced by that of reference signals, which do not encode how the eyes move in their orbits but how they move in space. Hence reference signals are produced not only during eye movements but also during ego motion (i.e., in response to vestibular stimulation and to retinal image flow, which may induce vection). The present theory describes the interface between self-motion and object-motion percepts. An experimental paradigm that allows quantitative measurement of the magnitude and gain of reference signals and the size of the just noticeable difference (JND) between retinal and reference signals reveals that the distinction between direct and inferential theories largely depends on: (1) a mistaken belief that perceptual veridicality is evidence that extraretinal information is not involved, and (2) a failure to distinguish between (the perception of) absolute object motion in space and relative motion of objects with respect to each other. The model corrects these errors, and provides a new, unified framework for interpreting many phenomena in the field of motion perception. (shrink)

Three physical theories explaining the flow of time are examined. One theory suggests that “flow” is associated with the manner of information transfer between registers within the brain. Different robotic systems are predicted to experience different types of flow. Here, human examples are found to support the theory and the model is modified suggesting that flow is a cognitive illusion. A second theory suggests that time is non-existent, that the universe is a complex quantum state which, (...) upon observation, the brain acquires “stills” and converts them to an illusion of motion and flow. Accordingly the brain should be able to generate a physiological illusion of temporality from stills. Experimental evidence is given that the temporality illusion so generated is not physiological; it is cognitive, lending no support to that theory. A third theory suggesting that the flow of time is really a myth is briefly reviewed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Motion and Mercutio in Romeo and JulietDaryl W. PalmerThere is nothing permanent that is not true, what can be true that is uncertaine? How can that be certaine, that stands upon uncertain grounds? 1It is by now a commonplace in modern scholarship that drama, particularly Tudor drama, poses questions, rehearses familiar debates, and even speculates about mere possibilities. 2 In 1954, Madeleine Doran spelled out some of the (...) ways in which debate "affected the structure of Elizabethan drama." 3 In turn, Joel B. Altman, having eloquently extended Doran's examination, concludes that "the plays functioned as media of intellectual and emotional exploration for minds that were accustomed to examine the many sides of a given theme, to entertain opposing ideals, and by so exercising the understanding, to move toward some fuller apprehension of truth that could be discerned only through the total action of the drama." 4 Altman points to Henry Medwall's Fulgens and Lucres (c. 1490) as an exemplar of this practice. Although the interlude instructs and entertains, "the center of interest has shifted from demonstration to inquiry. The action develops not from an abstract assertion, but from a specific question: who is the nobler man, Cornelius or Gaius?" 5 By the time William Shakespeare began to write his plays, inquiry was an essential part of dramatic construction. So Juliet asks, "What's in a name?" 6 Hamlet opens with the question: "Who's [End Page 540] there?" (1.1.1), and achieves a kind of apotheosis in the figure of its hero: "To be, or not to be, that is the question..." (3.1.55). Everyone recognizes these familiar questions, and we know (or think we know) how to describe the most viable answers. I want to suggest, however, that this familiarity has dulled our appreciation of the drama's interrogative range. As a way of resisting this tendency, I want to argue that Shakespeare's Romeo and Juliet takes up an ancient conversation about motion, a dialog that originates with the pre-Socratics. This is not to say that the play is ultimately about motion. It obviously engages a panoply of thematic materials. I have simply chosen, in this limited space, to concentrate on the way the playwright stages his questioning as a kind of fencing lesson. My goal is to produce neither a "reading" of the play nor an allegory of philosophy, but rather to recollect the ways in which Shakespeare's drama qualifies and extends an ancient interrogative tradition. In so doing, I follow Stanley Cavell who maintains "that Shakespeare could not be who he is—the burden of the name of the greatest writer in the language, the creature of the greatest ordering of English—unless his writing is engaging the depth of the philosophical preoccupations of his culture." 7Some of the most venerable documents of Western philosophy fix on the problem of motion. If we go back more than 2,300 years, we come upon Plato's Theaetetus, in which Socrates explains a "first principle" to the title character, namely that "the universe really is motion and nothing else." 8 A kind of history lesson in ontology and epistemology, this tentative explanation has its origins in Heraclitus or Empedocles or Protagoras or some combination of the aforementioned. Perhaps the most famous expression of this ideal comes from Heraclitus: "You cannot step twice into the same river, for other waters and yet others go ever flowing on." 9 More to the point is the following declaration from the same philosopher: "Everything flows and nothing abides; everything gives way and nothing stays fixed." 10 In this spirit, Protagoras declares, "All matter is in a state of flux." 11 Such precedents provide the backdrop for Socrates in the Theaetetus as he summarizes: "The point is that all these things are, as we were saying, in motion, but there is a quickness or slowness in their motion" (Thea, 156c). In this historical spirit, he identifies "a tradition from the ancients, who hid their meaning from the common herd in poetical figures, that Oceanus and Tethys, the source of all things, are flowing streams and nothing is at rest" (Thea, 180d–e).To... (shrink)

Typically developing 3-day-old newborns take significantly more forward steps on a moving treadmill belt than on a static belt. The current experiment examined whether projecting optic flows that specified forward motion onto the moving treadmill surface would further enhance forward stepping. Twenty newborns were supported on a moving treadmill without optic flow, with optic flow matching the treadmill’s direction and speed, with optic flow in the same direction but at a faster speed, and in a control (...) condition with an incoherent optic flow moving at the same speed as in the Congruent condition but in random directions. The results revealed no significant differences in the number or coordination of forward treadmill steps taken in each condition. However, the Faster condition generated significantly fewer leg pumping movements than the Random control condition. When highly aroused, newborns made significantly fewer single steps and significantly more parallel steps and pumping movements. We speculate the null findings may be a function of the high friction material that covered the treadmill surface. (shrink)

An attempt is made to clarify a thought experiment introduced by P. T. Landsberg concerning the relativistic heat flow between bodies in relative motion. It is shown that if the problem is analyzed within the covariant thermodynamics developed by R. Balescu, supplemented by the second law of thermodynamics as proposed here, then such heat flow considerations do not fix the transformation of temperature as Landsberg contends. Instead, the transformation of temperature is left as being purely a matter (...) of definition. (shrink)

In this paper, we simulate the estimation of motion through an interframe difference detection function model and investigate the spatial-temporal context information correlation filtering target tracking algorithm, which is complex and computationally intensive. The basic theory of spatiotemporal context information and correlation filtering is studied to construct a fast target tracking method. The different computational schemes are designed for the flow of multiframe target detection from background removal to noise reduction, to single-frame detection, and finally to multiframe detection, (...) respectively. This enables the ground-based telescope to effectively detect spatial targets in dense stellar backgrounds in both modes. The method is validated by simulations and experiments and can meet the requirements of real projects. The interframe bit attitude estimation is optimized by using the beam-parity method to reduce the interframe estimation noise; a global optimization strategy based on the bit attitude map is used in the back end to reduce the system computation amount and make the global bit attitude estimation more accurate; a loop detection based on the word pocket model is added to the system to reduce the cumulative error. (shrink)

Aiming at the problem that it is difficult to balance the speed and accuracy of human behaviour recognition, this paper proposes a method of motion recognition based on random projection. Firstly, the optical flow picture and Red, Green, Blue picture obtained by the Lucas-Kanade algorithm are used. Secondly, the data of optical flow pictures and RGB pictures are compressed based on a random projection matrix of compressed sensing, which effectively reduces power consumption. At the same time, based (...) on random projection compression data, it can effectively find the optimal linear representation to reconstruct training samples and test samples. Thirdly, a multichannel 3D convolutional neural network is proposed, and the multiple information extracted by the network is fused to form an output recognizer. Experimental results show that the algorithm in this paper significantly improves the recognition rate of multicategory actions and effectively reduces the computational complexity and running time of the recognition algorithm. (shrink)

The visual system is a source of sensory information that perceives environmental stimuli and interacts with other sensory systems to generate visual and postural responses to maintain postural stability. Although the three sensory systems; the visual, vestibular, and somatosensory systems work concurrently to maintain postural control, the visual and vestibular system interaction is vital to differentiate self-motion from external motion to maintain postural stability. The visual system influences postural control playing a key role in perceiving information required for (...) this differentiation. The visual system’s main afferent information consists of optic flow and retinal slip that lead to the generation of visual and postural responses. Visual fixations generated by the visual system interact with the afferent information and the vestibular system to maintain visual and postural stability. This review synthesizes the roles of the visual system and their interaction with the vestibular system, to maintain postural stability. (shrink)

This paper examines a doctrine which David Lewis has called 'Humean Supervenience' (hereafter 'HS'), and a problem which certain imaginary cases seem to generate for HS. They include rotating perfect spheres or discs, and flowing rivers, imagined as composed of matter which is perfectly homogeneous right down to the individual points. Before considering these examples, I shall introduce the doctrine they seem to challenge.

The so-called no-rate argument argues that time cannot flow or pass in the literal sense of that term, because its motion can be assigned no meaningful rate. This paper examines a yet unexplored objection to the no-rate argument, which consists in showing that the argument itself is based on an extended conception of motion, according to which it is meaningful and consistent to say that time flows at no well-defined rate.

In this bold new study, Andrew J. Mason seeks both to shed light on the key issue of flux in Plato s work, and to show that there is also in Plato a notion of "flow" that needs to be distinguished from flux. Mason brings out the importance of this hitherto neglected distinction, and proposes on its basis a new way of understanding the development of Plato s thought. The opposition between the being of Forms and the becoming or (...) flux of sensibles has been fundamental to the understanding of Plato from Aristotle to the present day. One key concern of this volume is to clarify which kinds or levels of flux Plato accepts in sensibles. In addition, Mason argues that this traditional approach is unsatisfactory, as it leaves out the important notion of flow. Unlike flux, flow is a kind of motion that does not entail intrinsic change. It is also not restricted to the sensible, but covers motions of soul as well, including the circular motion of "nous" that is crucial in Plato s later thought, particularly his cosmology. In short, flow is not incompatible with being, and in this study Plato s development is presented, largely, as his arrival at this view, in correction of his earlier conflation of flux and flow in establishing the dichotomy between being and becoming. Mason s study offers fresh insights into many dialogues and difficult passages in Plato s oeuvre, and situates Plato s conception and usage of flow and flux in relation to earlier usage in the Greek poetic tradition and the Presocratic thinkers, particularly Heraclitus. The first study of its kind, "Flow and Flux" uncovers dimensions of Plato s thinking that may reshape the way his philosophy is understood.". (shrink)

During the last hundred years the notion of time flow has been held in low esteem by philosophers of science. Since the metaphor depends heavily on the analogy with motion, criticisms of time flow have either attacked the analogy as poorly founded, or else argued by analogy from a “static” conception of motion. Thus (1) Bertrand Russell argued that just as motion can be conceived as existence at successive places at successive times without commitment to (...) a state of motion at an instant, so duration can be conceived as existence at each of the times at which a thing exists without any commitment to a becoming or flow from one instant to another. I call this the “at-at” objection to time flow. A second objection (2) is that the sufficiency of the “B-theoretic” conception of time for physics makes the concept of time flow otiose. On this rendering the existence of a thing through time is just the “tenseless existence” of the thing at each instant of the duration (or at each spacetime point), without any flow from one instant or point to another. A third objection (3) is that in relativity theory, owing to the relativity of simultaneity, there is no unique invariant ‘now’, or hyperplane of simultaneously occurring events. If time flow is conceived in terms of the flow of such a ‘now’, then the non-existence of a worldwide instant of occurrence appears to be refuted. Lastly, (4) a capstone to these criticisms is the objection famously raised by Jack Smart: if rate of flow of any quantity can only be reckoned with respect to time, then with respect to what does time flow? If it does not even make sense to ask how fast time flows, then surely the metaphor should be abandoned as confused. (shrink)

Motion-sound synesthesia is characterized by illusory auditory sensations linked to the pattern and rhythms of motion of visually experienced but soundless object, like an optical flow array, a ball bouncing or a horse galloping. In an MRI study with a group of three synesthetes and a group of eighteen control participants, we found structural changes in the brains of synesthetes in the subcortical multisensory areas of the superior and inferior colliculi. In addition, functional magnetic resonance imaging data (...) showed activity in motion-sensitive regions, as well as temporal and occipital areas, and the cerebellum. However, the synesthetes had a higher activation within the left and right cuneus, with stronger activations when viewing optical flow stimuli. There was also a general difference in connectivity of the colliculi with the above mentioned regions between the two groups. These findings implicate low-level mechanisms within the human neuroaxis as a substrate for local connectivity and cross activity between perceptual processes that are “distant” in terms of cortical topography. The present findings underline the importance of considering the role of subcortical systems and their connectivity to multimodal regions of the cortex and they strengthen a parsimonious account of synesthesia, at the least of the visual-auditory type. (shrink)

The proposed article is devoted to the description of an intelligent urban passenger transport system based on unmanned electric vehicles, sequentially moving along a separate line. This system is a passenger transport system of a new urban mobility, formed under the influence of social conditions generated by high population density in cities, that suppose the development of pedestrian zones and ecological modes of transport, "transport as a service", etc. In this historical context, public transport systems acquire special relevance. The described (...) transport system belongs to intelligent systems, since it is capable of functioning in autonomous mode without human intervention, adaptively responding to changes in the dynamics of the flow of passengers during the day. Passengers are transported by electric cars, which can be combined into cassettes according to the principle of road trains based on the transportation plan drawn up by the intelligent center of the transport system according to the matrix of correspondences, filled in taking into account the incoming requests for service from passengers. When drawing up a transportation plan, the algorithms of the transport system give preference to transportation according to the "source-destination" principle, that is, when the passenger goes to the destination with a minimum number of intermediate stops, and ideally without them. The paper formulates also a criterion of arising of a conflict in the movement of vehicles, which allows to identify situations when an electric vehicle driving in front can detain vehicles following after. The work has relevance because the criterion will allow to make adjustments in the schedule of movement of vehicles and exclude the loss of time and energy that carries the transport system during braking and acceleration of electric cars, as well as to reduce waiting time and travel of passengers. (shrink)

The 3D Prandtl fluid flow through a bidirectional extending surface is analytically investigated. Cattaneo–Christov fluid model is employed to govern the heat and mass flux during fluid motion. The Prandtl fluid motion is mathematically modeled using the law of conservations of mass, momentum, and energy. The set of coupled nonlinear PDEs is converted to ODEs by employing appropriate similarity relations. The system of coupled ODEs is analytically solved using the well-established mathematical technique of HAM. The impacts of (...) various physical parameters over the fluid state variables are investigated by displaying their corresponding plots. The augmenting Prandtl parameter enhances the fluid velocity and reduces the temperature and concentration of the fluid. The momentum boundary layer boosts while the thermal boundary layer mitigates with the rising elastic parameter strength. Furthermore, the enhancing thermal relaxation parameter ) reduces the temperature distribution, whereas the augmenting concentration parameter drops the strength of the concentration profile. The increasing Prandtl parameter declines the fluid temperature while the augmenting Schmidt number drops the fluid concentration. The comparison of the HAM technique with the numerical solution shows an excellent agreement and hence ascertains the accuracy of the applied analytical technique. This work finds applications in numerous fields involving the flow of non-Newtonian fluids. (shrink)

The eastern Islamic concept of the imaginal realm, which explains how supra-sensory realities present themselves to imaginative perception, can enrich the imagination of film-philosophy. The imaginal realm, in Arabic ‘alam al-mithal, world of images, or ‘alam al-khayal, imaginative world, is part of a triadic ontology of sensible, imaginal, and intelligible realms. Diverging from roots shared with Western thought in the concept of the imaginative faculty, the Islamic imaginal realm is supra-individual and more real than matter. The imaginal realm is a (...) radically pro-image concept, affirming the importance of poetry, art, and images in motion. As developed by the Persian philosopher Sadr al-Dîn Muhammad al-Shîrâzî, known as Mullâ Sadrâ (1571–1640), the imaginal realm flows and intensifies, in a process philosophy we may fruitfully compare with Spinoza, Leibniz, and Whitehead. I sketch the genealogy of the imaginal realm and compare it to contemporary Western film-philosophy. I suggest how this transcendental concept can be made immanent. Finally, I draw from contemporary Muslim thinkers, such as Mohammed Arkoun, who ground a visionary collective politics in the imaginal realm. My central example, the documentary The Lebanese Rocket Society (2012) by Joana Hadjithomas and Khalil Joriege, exemplifies film's imaginal powers. (shrink)

Computer vision is widely used in manufacturing, sports, medical diagnosis, and other fields. In this article, a multifeature fusion error action expression method based on silhouette and optical flow information is proposed to overcome the shortcomings in the effectiveness of a single error action expression method based on the fusion of features for human body error action recognition. We analyse and discuss the human error action recognition method based on the idea of template matching to analyse the key issues (...) that affect the overall expression of the error action sequences, and then, we propose a motion energy model based on the direct motion energy decomposition of the video clips of human error actions in the 3 Deron action sequence space through the filter group. The method can avoid preprocessing operations such as target localization and segmentation; then, we use MET features and combine with SVM to test the human body error database and compare the experimental results obtained by using different feature reduction and classification methods, and the results show that the method has the obvious comparative advantage in the recognition rate and is suitable for other dynamic scenes. (shrink)

The General Theory of Relativity (GR) and the Dynamic Universe (DU) are evaluated in how they explain frequencies of atomic clocks. DU and GR predict the frequencies with equal accuracy, but their explanations, the postulates they apply in the explanations and the word-views that come along with them are entirely different. The central argument is that if unified and under- standable physics is appreciated, then DU deserves to be taken as a viable alternative to GR. In GR different frequencies of (...) identical atomic clocks are explained by letting rates of the flow of time in their frames of reference vary as functions of the clocks’ states of motion and gravitation. The GR- based world-view is nonunderstandable because GR violates absolute simultaneity, and disunified because quantum mechanics is built on different postulates than GR. In DU different frequencies of identical atomic clocks are explained by letting their frequencies vary as functions of their states of motion and gravitation. As DU commits to absolute simultaneity and as the postulates of DU suffice as the ontological ground of quantum mechanics at least partially, DU provides an under- standable and unified scientific world-view. -/- Résumé: La théorie de la relativité générale (RG) et de l’univers dynamique (UD) sont évalués sur la fac ̧on dont ils expliquent les fréquences des horloges atomiques. La RG et l’UD prédisent les fréquences avec une précision égale, mais leurs explications, les postulats qu’ils appliquent aux explications et les visions du monde qui les accompagnent sont entie`rement différents. L’argument central est que si l’on reconnaˆıt la physique unifiée et compréhensible, alors l’UD mérite d’ être considéré comme une alternative viable à la RG. En RG, différentes fréquences d’horloges atomiques identiques sont expliquées en faisant varier les vitesses de l’écoulement du temps dans leurs cadres de référence en fonction des états de mouvement et de la gravitation des horloges. La vue du monde basée sur la RG est incompréhensible parce que la RG viole la simultanéité absolue, et est désunifiée parce que la mécanique quantique est construite sur des postulats différents de ceux de la RG. Dans l’UD, différentes fréquences d’horloges atomiques identiques sont expliquées en laissant leurs fréquences varier en fonction de leurs états de mouvement et de gravitation. Comme l’UD s’engage à la simultanéité absolue et que les postulats de l’UD suffisent, au moins en partie, comme fondements ontologiques de la mécanique quantique, l’UD fournit une vision du monde scientifique compréhensible et unifiée. (shrink)

Abnormal behaviour detection algorithm needs to conduct behaviour analysis on the basis of continuous video inclination tracking, and the robustness of the algorithm is reduced for the occlusion of moving targets, the occlusion of the environment, and the movement of targets with the same colour. For this reason, the optical flow information between RGB images and video frames is used as the input of the network in view of group behaviour. Then, the direction, velocity, acceleration, and energy of the (...) crowd were weighted and fused into a global optical flow descriptor. At the same time, the crowd trajectory map is extracted from the original image of a single frame. Following, in order to realize the detection of large displacement moving target and solve the problem that the traditional optical flow algorithm is only suitable for the detection of displacement moving target, a video abnormal behaviour detection algorithm based on the double-flow convolutional neural network is proposed. The network uses two network branches to learn spatial dimension information and temporal dimension information, respectively, and uses short- and long-time neural network to model the dependency relationship between long-time video frames, so as to obtain the final behaviour classification results. Simulation test results show that the proposed method can achieve good recognition effect on multiple datasets, and the performance of abnormal behaviour detection can be significantly improved by using interframe motion information. (shrink)

Current neuroimaging techniques with high spatial resolution constrain participant motion so that many natural tasks cannot be carried out. The aim of this paper is to show how a time-locked correlation-analysis of cerebral blood flow velocity (CBFV) lateralization data, obtained with functional TransCranial Doppler (fTCD) ultrasound, can be used to infer cerebral activation patterns across tasks. In a first experiment we demonstrate that the proposed analysis method results in data that are comparable with the standard Lateralization Index (LI) (...) for within-task comparisons of CBFV patterns, recorded during cued word generation (CWG) at two difficulty levels. In the main experiment we demonstrate that the proposed analysis method shows correlated blood-flow patterns for two different cognitive tasks that are known to draw on common brain areas, CWG, and Music Synthesis. We show that CBFV patterns for Music and CWG are correlated only for participants with prior musical training. CBFV patterns for tasks that draw on distinct brain areas, the Tower of London and CWG, are not correlated. The proposed methodology extends conventional fTCD analysis by including temporal information in the analysis of cerebral blood-flow patterns to provide a robust, non-invasive method to infer whether common brain areas are used in different cognitive tasks. It complements conventional high resolution imaging techniques. (shrink)

The forma fluens/fluxus formae debate concerns the question as to whether motion is something distinct from the body in motion, the flow of a distinct form identified with motion , or nothing more than the successive states of the body in motion, the flow of some form found in one of Aristotle's ten categories . Although Albertus Magnus introduced this debate to the Latin West he drew his inspiration from Avicenna. This study argues that (...) Albertus misclassified Avicenna's position, since Albertus could not conceptualize motion at an instant, whereas it is claimed here this was the very position Avicenna adopted. The paper includes an overview of Albertus's discussion and a brief survey of the Avicennan sources upon which Albertus drew. The heart of the paper treats Avicenna's analysis of motion at an instant. Avicenna's general argument was that since spatial points have no extremities, nothing in principle prevents a moving object from being at a spatial point for more than an instant, understood as a limit. It is then argued that Avicenna had the philosophical machinery to make sense of a limit, albeit not in mathematical terms, but in terms of an Aristotelian potential infinite. (shrink)

Over the past several decades, research in the cognitive sciences has foregrounded the importance of active bodies and their continuous dependence on the changing environment, strengthening the relevance of dynamical models. These models have been steadily developed within the ecological psychology approach to cognition, which arguably contributes to the “ecological turn” we are witnessing today. The embodied and situated nature of cognition, regarded by some as a passing trend, is presently becoming a largely accepted assumption. In this paper, I claim (...) that in light of these developments, ecological psychology, in alliance with related approaches, such as enactivism and interactivism, has the potential to deeply transform our perspectives on cognition and action, restoring their pertinence to humans as persons. However, an important challenge to the realization of this potential has to be noted: neither the mainstream information-processing approach nor the dynamics-oriented perspective on cognition provides an account of how the capacity of humans to use language and think “symbolically” can be derived from the continuous flow of agent−environment interaction. I will attempt to show that posing the “dynamical” and “computational” hypotheses about the nature of cognition as mutually exclusive approaches to cognition results in undesirable reductionism, which makes it difficult to meet this challenge. There are good reasons, advanced over half a century ago by, for example, Michael Polanyi or Howard Pattee, to think that we need complementary descriptions to understand cognizing systems, in order to grasp the fact that they are governed both by physical laws and by emergent historical constraints. Details of such a complementarity-based approach still await elucidation, but some proposed solutions have the potential to ease the tension between the information-processing and dynamical approaches to cognition and to lead to a better understanding of their interrelation. (shrink)

An explanation of the nature of space-time, and how it is incompatible with temporal flow and any dynamical change, including simple motion.

Nurettin Topçu (1909-1975) built religious philosophy on the philosophy of willpower and motion. For him, willpower is the existence of a conscious balance between driving and braking forces that are innate and flowing from the inside out of us. Willpower is constantly rising towards God and infinity with a historical motion. The aim of willpower is to help human reach eternity. This historical motion occurs in accordance with certain steps. Willpower is affected not only by individual habits (...) and passions but also by the social structure. The function of willpower for humans, who are longing for eternity, is to make them recognize the consciousness and anguish of God. With this awareness, the human moves on to the motion. The willpower, which realizes the direction and aim of the motion, emerges in social structures such as State and nation, and takes up the role of establishing and sustaining these structures. Willpower lastly shows itself in art. The artist, who longs for eternity and can’t find a way to reach it, feels the lack in his willpower, acts to complete the lack and gets engaged in an existence or a thing. This engagement is a savior illusion and love that means sheltering someone other than himself with his total willpower is born. Upon the completion of this lacking, faith (love) emerges. The spirit falls in love with motion. Faith has two dimensions. When the artist turns to ‘the only” and “the internal”, this is called religious faith. If he leans to/relies on/believes in plurality and the external, this is called aesthetical faith. When, in time, the body that leans to the external and the spirit that turns to the internal surrenders to the eternity, the transcendent, God as a whole, mystic faith occurs. ‘Truth’ rises from this mystic union and surrender to love and thereby renaissance initiates. Because the driving power that starts renaissance is art. The understanding of religious experience of Topçu is nested with art. As art generates religious experience, renaissance emerges as a result of religious experience and the human reaches salvation in every sense. (shrink)

Experiences of motion and change are widely taken to have a ‘flow-like’ quality. Call this ‘temporal qualia’. Temporal qualia are commonly thought to be central to the question of whether time objectively passes: (1) passage realists take temporal passage to be necessary in order for us to have the temporal qualia we do; (2) passage antirealists typically concede that time appears to pass, as though our temporal qualia falsely represent time as passing. I reject both claims and make (...) the case that passage-talk plays no useful explanatory role with respect to temporal qualia, but rather obfuscates what the philosophical problem of temporal qualia is. I offer a ‘reductionist’ account of temporal qualia that makes no reference to the concept of passage and argue that it is well motivated by empirical studies in motion perception. (shrink)

In this chapter the author examines the idea of time's motion, or flow, more carefully, by comparing it to the motion of ordinary objects. Ordinary objects move with respect to time. So if time itself moves, it must move with respect to some other sort of time. But what would that other time be? Most motion takes place with respect to the familiar timeline, but time itself moves with respect to another timeline, hypertime. Hypertime is supposed (...) to be a sort of time. Hypertime must move with respect to yet another sort of time, hyper‐hyper time. Space‐time diagrams can be used to represent all of history; everything that has ever happened or ever will happen can be fit into a space‐ time diagram somewhere. According to the space‐time theory, time and space are analogous in many ways. Finally the author argues against the space‐time theory. (shrink)

A common approach to explaining the perception of form is through the use of static features. The weakness of this approach points naturally to dynamic definitions of form. Considering dynamical form, however, leads inevitably to the need to explain how events are perceived as time-extended—a problem with primacy over that even of qualia. Optic flow models, energy models, models reliant on a rigidity constraint are examined. The reliance of these models on the instantaneous specification of form at an instant, (...) t, or across a series of such instants forces the consideration of the primary memory supporting both the perception of time-extended events and the time-extension of consciousness. This cannot be reduced to an integration over space and time. The difficulty of defining the basis for this memory is highlighted in considerations of dynamic form in relation to scales of time. Ultimately, the possibility is raised that psychology must follow physics in a more profound approach to time and motion. (shrink)

What’s presented in our normal waking perceptual visual experiences feels present to us, while what we “see” in pictures and imagine does not. What about dreams? Does what we “see” in a dream feel present? Jennifer Windt has argued for an affirmative answer, for all dreams. But the dreams which flow from the brain’s registration of myoclonic twitches present a challenge to this answer. During these dreams motion-guiding vision is shut off, and, as Mohan Matthen has argued, (...) class='Hi'>motion-guiding vision seems to be a key mechanism underlying the feeling of presence. I propose that the feeling of presence in fact involves two components: the feeling of immersion, and the feeling of availability for action. I suggest that only the feeling of availability for action derives from motion-guiding vision, and, hence, hypothesize that body-driven dreams lack this component to the feeling of presence. Finally, the distinction between these two varieties of presence has implications for measures of presence in virtual environments, as these measures can diverge over which of the two varieties they track. (shrink)

Understanding of time, construed as movement, change and becoming, is explained taking examples from natural sciences. Durational and metrical aspects of time are elaborated. General assumptions about passage of time are listed. Indian, Chinese and later insights of path of passage of time are figured. Physical and psychological times are differentiated and explained using Energy-Presence (Being) and Energy-Transformation (Becoming) concepts. Concepts of Time at rest and Time in motion are proposed. -/- . The meanings of time-space, time-flow, different (...) phases of time-conscious and time-transcendent mind and thought processes are interpreted from basic physics principles and Upanishadic awareness -/- An attempt is made to present a comprehensive insight of nature of time, thought process and conscious states (phases) of mind. (shrink)

Analytical models describing the motion of colloidal particles in given force fields are presented. In addition to local approaches, leading to well known master equations such as the Langevin and the Fokker–Planck equations, a global description based on path integration is reviewed. A new result is presented, showing that under very broad conditions, during its evolution a dissipative system tends to minimize its energy dissipation in such a way to keep constant the Hamiltonian time rate, equal to the difference (...) between the flux-based and the force-based Rayleigh dissipation functions. In fact, the Fokker–Planck equation can be interpreted as the Hamilton–Jacobi equation resulting from such minumum principle. At steady state, the Hamiltonian time rate is maximized, leading to a minimum resistance principle. In the unsteady case, we consider the relaxation to equilibrium of harmonic oscillators and the motion of a Brownian particle in shear flow, obtaining results that coincide with the solution of the Fokker–Planck and the Langevin equations. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * "… to sleep perchance to dream " 1 To dream: to be not quite asleep, yet not particularly awake. Or, rather: to be awake but not quite know it. For, it is only when we dream, when we are dreaming, that we know that we are not in that final sleep. But we can only know that we are dreaming, that we have dreamt, when we are awake, when we have awoken; after it is too late. When all we know is that the sleep beyond finitude, the sleep that is the step beyond, is not yet upon us, is only to come. To die to sleep … To dream: a sleep that refuses sleep. Perchance to dream: to drift—between sleep and sleep. Aye there's the rub For, can we even know if we have been sleeping? Or, if death has claimed us?—even if a little death. α Ω α Ω α Ω To drift: but from, to, what? For, to drift implies a certain direction that one was headed from, heading to, headed for; without these indications, markers, points in relation with each other, one would just be moving. Can one know—intend—one's drift? Certainly a stunt driver would say so. But even as (s)he is starting her slide, all that (s)he can know is that she is setting the car, herself, the car with herself in it, in motion: after which the drift itself takes over. After which, all (s)he can do is attend to it. At the point of the drift: both (s)he and the car are drifting—here, one might not even be able to separate the movement from those involved in it. Without either of them, there would not be a drift; there is no drifting without the drifter. Both the drifter and the drifting are in a relationality; in which, all that they can know is that they are in relation with each other. Hence, the drift itself is a relationality. A non-essence. But, it is not as if we cannot speak of it. Perhaps though: we can only speak of it as if we can speak of it. Always already an imaginary gesture; where what is being imagined is the relationality between the drift and the ones drifting. Thus, we have a situation where the drifter and drifting are in a relationality; where relationality itself is what is being imagined. Perhaps then, what are we drifting from, to? , is a moot question. As is, what is drifting? Perhaps then, all we can say is drift? To speak of drift is an attempt to speak of the unspeakable. Not that what is speakable and what is unspeakable are antonyms: if that were so, speaking the unspeakable would make no sense, be a contradiction. But that in every act of speaking, something unspeakable is potentially said: something that opens, ruptures, wounds even. And not just that—at the point where it punctures, speaking itself moves out of the way for the unspeakable; speaking itself disappears. "… the whole art is to know how to disappear before dying, and instead of dying. " 2 To disappear; or, to drift out of sight. Where the words themselves slip away. After all: "in the Beginning was the Word. It was only afterwards that Silence came." Perhaps the wish, the hope, is that "the end itself has disappeared …" (Baudrillard, 70) Remaining hidden from us. Perhaps only glimpsed when we dream. Secret. α Ω α Ω α Ω " Bury all your secrets in my skin " (Corey Taylor) Which is the problem: words cling. And they remain. Perhaps not ontologically; but they certainly remain to haunt us. And here, we should not forget Lucretius' lesson that communication occurs in the skin between the parties in communion with each other. Which is not to say that the encounter is determined by atoms—and more precisely atoms that move in straight lines until they collide with each other—that communication is pre-determined. For, one must not forget that will is found, discovered, enacted even, at the moment the atoms swerve. Clinamen . Drift. But even in their movement—drifting—they trace themselves into the skin between; a tangential touching. Perhaps only briefly. But even then, enough … "… there's always texture that betrays the place." (May Ee Wong) Here though, one must not forget that betrayal cannot happen in the absence of love. In fact, betrayal is the very excess of love: where one loves the other so much that one can no longer bear to see the other drift from what (s)he could have been. Whether that idealised other exists or is only in one's head is another question altogether. Perhaps, a fetishised other: keeping in mind that "fetishes are hinged around simulation." After all, "when one is supposed to show up as an oil rig diver no one is expecting actual crude oil" (Amanda Sordes); in fact, actualisation is the perfect way to destroy the fantasy. Perhaps then, the only way to maintain love for another is to maintain a proper distance, as it were, from love: allow the love to constantly alter, change. And here, one must not forget that if love is a relationality between one and another who remains wholly other (otherwise just a mere manifestation of the self), love is a relationality that knows nothing except for the fact that it is in a relation. For, to love one has to attend to—without subsuming another, some other, under oneself. Which means that to love, one has to be willing to risk, to open oneself, to allow oneself to be wounded, torn apart. In new ways, ways that we have yet to understand, come across, ways we do not yet have a name for. Thus, this movement in love is one that occurs in utter blindness; to not only the other, but to what love is. This is love as pure drifting. Perhaps always searching for love itself, without ever knowing what it is that it is looking for. Love: only at the very moment when the word love itself disappears. Perhaps all we can do is sit, and attend: watching the tides flowing away—as if they were having their "last swim of the summer." (Hendrik Speck) Like a butterfly. α Ω α Ω α Ω Isn't it quite amazing how the appearance of a butterfly can inject a stutter or pause into any conversation? Words and words pour out of the animals in assembly, before they are all of a sudden arrested by the passing flight. Heads turn to trace a lilting poetics, attempting to close the distance with this seemingly awkward beauty. There are no straight lines here, only a relative arrival and departure to bracket a brilliant and bewildering trajectory, surging and lurching in a vibrating and nomadic line avant la lettre. (Sean Smith, 'I Seek You: Countdown to Stereoscopic Tear') Before the letter. Before the possibility of naming. Before being sayable. Quite possibly also before language. And yet, a "surging and lurching," a movement with an effect—"vibrating and nomadic"—tracing itself before there is even anything to trace. Leaving something, even if that thing remains unknowable, for us to attend to. Drifting into us. I had some dreams they were clouds in my coffee, clouds in my coffee..." (Carly Simon) NOTES William Shakespeare, Hamlet , Act 3 Scene 1. Jean Baudrillard, Why hasn't everything already disappeared? , 25.  . (shrink)

Analogue Gravity Phenomenology is a collection of contributions that cover a vast range of areas in physics, ranging from surface wave propagation in fluids to nonlinear optics. The underlying common aspect of all these topics, and hence the main focus and perspective from which they are explained here, is the attempt to develop analogue models for gravitational systems. The original and main motivation of the field is the verification and study of Hawking radiation from a horizon: the enabling feature is (...) the possibility to generate horizons in the laboratory with a wide range of physical systems that involve a flow of one kind or another. The years around 2010 and onwards witnessed a sudden surge of experimental activity in this expanding field of research. However, building an expertise in analogue gravity requires the researcher to be equipped with a rather broad range of knowledge and interests. The aim of this book is to bring the reader up to date with the latest developments and provide the basic background required in order to appreciate the goals, difficulties and success stories in the field of analogue gravity. Each chapter of the book treats a different topic explained in detail by the major experts for each specific discipline. The first chapters give an overview of black hole spacetimes and Hawking radiation before moving on to describe the large variety of analogue spacetimes that have been proposed and are currently under investigation. This introductory part is then followed by an in-depth description of what are currently the three most promising analogue spacetime settings, namely surface waves in flowing fluids, acoustic oscillations in Bose-Einstein condensates and electromagnetic waves in nonlinear optics. Both theory and experimental endeavours are explained in detail. The final chapters refer to other aspects of analogue gravity beyond the study of Hawking radiation, such as Lorentz invariance violations and Brownian motion in curved spacetimes, before concluding with a return to the origins of the field and a description of the available observational evidence for horizons in astrophysical black holes. (shrink)

The plane of the present is a concept that is useful for discussing the various paradigms of time. Here by ‘plane of the present’ we mean the temporal interface that represents the present instant and that forms the boundary between the past and the future. We use the geometrical term ‘plane’ to indicate an extended surface in the space-time continuum, as opposed to a ‘point’ on some time axis. This point/plane dichotomy is intended to raise issues of extension and simultaneity (...) and to examine the degree to which these are meaningful concepts from various physical viewpoints. We will show by example in the present work that the plane of the present is a pivotal concept that offers considerable power in differentiating between various views of the nature of time. The concept of time within the main stream of physics thinking has followed a rather convoluted path over the past three millennia. Anticipating the modern motion picture, Zeno of Elea (c.490-c.430 B.C) questioned whether time should appropriately be viewed as a continuously flowing river, or should more properly be considered as a rapid sequence of stop-motion ‘freeze-frames’, in effect rendering geometrical each instant as a separate infinitesimal point on the line of time. Adopting this view, he asked how physical motion could occur. He argued paradoxically that motion is not possible, since it appears to happen only between the frozen frames of time instants.1 From the viewpoint of Zeno, the plane of the present would be simply the last and most recent in this sequence of freeze-frames. It would be that frozen instant, spanning the universe, which changes progressively as the instant we call ‘now’ becomes the frozen past and future possibility freezes into the ‘now’ of present reality. We note that the plane of the present as a concept does not resolve the arrow paradox that Zeno raised. It only provides a way of thinking about it. (shrink)

The most common approach in writings on music and Jugendstil has been to isolate several aspects of the visual art, either of technique or of subject matter, and to seek parallels in music of the fin de siècle. Historians of art and design seem to agree on at least three basic elements of Jugendstil: the primacy of the dynamic, flowing line; flatness or two dimensionality ; and the profuseness of ornament. All these features are neatly embodied in a 1900 drawing (...) by Theodor Heine , in which the ostensible subject matter, the dancing lady, is dissolved in the undulating linearity of her dress and the swirling smoke or incense. In this example, as in the celebrated "Cyclamen" tapestry by the Munich artist Hermann Obrist , line and ornament are largely liberated from their representational obligations and are manipulated in an almost abstract fashion. As Robert Schmutzler has remarked, the tapestry is "on the borderline dividing the symbol and the ornament, between abstract dynamism and the representation of a distinctive organism."4This aspect of Obrist's tapestry was realized as early as 1895 by the critic Georg Fuchs, who wrote in the journal Pan, "'These embroideries do not intend to "mean" anything, to say anything.'" Fuchs went on to describe the dynamic motion of the image in terms that have nothing to do with cyclamens per se: "'This racing movement seems like the abrupt, powerful convolution of the lash of a whip. One moment it appears as the image of a forceful outburst of natural elements; it is a lightning bolt. Another moment it resembles the defiant signature of a great man, a conqueror, an intellect who decrees new laws through new documents.''"5 Fuchs's metaphor of the whiplash or Peitschenhieb, has stuck; Obrist's tapestry is today known principally by that name.4. Robert Schmutzler, Art Nouveau , p. 193.5. Georg Fuchs, quoted in Peg Weiss, Kandinsky in Munich: The Formative Jugendstil Years , p. 33; hereafter abbreviated KM; translation modified. Walter Frisch is associate professor of music at Columbia University and author of Brahms and the Principle of Developing Variation . He is presently completing a book on the early tonal works of Arnold Schoenberg. (shrink)

It is widely agreed that many causal relations can be regarded as dependent upon causal relations that are in some way more basic. For example, knocking down the first domino in a row of one hundred dominoes will be the cause of the hundredth domino falling. But this causal relation exists in virtue of the knocking of the first domino causing the falling of the second domino, and so forth. In such a case, A causes B in virtue of there (...) being intermediate events I1 . . . In such that A causes I1, I1 causes I2, . . . , In−1 causes In, and In causes B. Cases of this sort include my putting my foot on the brake causing the car to slow, the smoke from a fire causing the fire brigade to be alerted, and so forth. In other cases the more basic causal relations may not be intermediate (or at least it is controversial that they are). My seeing that it is raining may cause me to want to stay inside, and this causal relation depends upon more basic causal relations among various components of my brain. But it does not seem possible to analyze this in terms of my perception causing certain brain events, which cause other brain events, which eventually cause my desire. Rather it seems as if the principle causal relation, between perception and desire, is constituted, rather than mediated, by the more basic causal relations in the brain. The same is true of the operation of the dynamo causing the current to flow. Again there are not intermediate events, but rather the causal relation between them is constituted by the motion of the charged particles in the wires moving though a magnetic field, which causes an electric field, which causes the charges to move in the wire. There are thus at least two kinds of complex causal relation: the chain kind and the constitution kind. If we wish to understand causation, we need to understand the basic causal relations, at least as found in the chain kind. That is, to understand what it is for A to cause B when the latter is a causal relation of the chain kind, requires understanding what it is for the intermediate, basic causal relations to hold. In the case of a complex causal relation of the constitution kind, it is may be that understanding what it is for A and B to be causally related does not require understanding what it is for the constituting causal relations to hold.. (shrink)

Hartmut Rosa advances an account of the temporal structure of society from the perspective of critical theory. He identifies three categories of change in the tempo of modern social life: technological acceleration, evident in transportation, communication, and production; the acceleration of social change, reflected in cultural knowledge, social institutions, and personal relationships; and acceleration in the pace of life, which happens despite the expectation that technological change should increase an individual's free time. According to Rosa, both the structural and cultural (...) aspects of our institutions and practices are marked by the "shrinking of the present," a decreasing time period during which expectations based on past experience reliably match the future. When this phenomenon combines with technological acceleration and the increasing pace of life, time seems to flow ever faster, making our relationships to each other and the world fluid and problematic. It is as if we are standing on "slipping slopes," a steep social terrain that is itself in motion and in turn demands faster lives and technology. As Rosa deftly shows, this self-reinforcing feedback loop fundamentally determines the character of modern life. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

Ontologies that privilege being over becoming fragment what is real by privileging completeness, finality, and stability over motion, change, flow, and flux. This, in turn, results in a conception of truth that tends toward dogmatism and absolutism. This essay sketches an alternative ontology rooted in the rheomodic character of all that is real. Such an ontology underwrites an alternative to the ego-centered form of reasoning. This essay compares and contrasts ego-centred reasoning and doing with a de-centred form of (...) reasoning and doing. This alternative “de-centered” or rheomodic form of reasoning and doing allows us to retain the virtues and values of humanity, sociality, and universality without reducing all questions of humanity, sociality, or universality to dogmatic discourses and thereby promises to be a better alternative to the quest for human relations that promote equality, peace, and justice than the prevailing ego-centered reasoningand doing. (shrink)

The paper analyses Aleksei F. Losev’s position in respect to the notion of time, which he considers in a dialectical perspective. The Russian philosopher proceeds from the Platonic interpretation of the relationship between the one and the many, according to which each plurality carries in itself a unifying principle, as its ontological grounding. This anti-modern perspective represents a rejection of the positivist “objectification” of the world, which introduced the “metaphysical” notions of absolute space and time. According to Losev, time as (...) an indefinite continued progress of events that occur in an apparently irreversible succession does not exist as such and cannot be considered other than within the framework of the overall unity of temporal fragments, so that they acquire a common background. By placing the interpretation of time on the ontological plan, in its dialectical connection with its opposite, Losev manages to overcome the problem of the measurability of time, raised in Aristotle’s definition of time as a “measure of motion.” Losev also rejects modern subjectivist ideas about time as an experience of the present or as pure duration, both conceptions inevitably leading to the problem of identifying in the continuous flow of time a stable ground that serves as the basis for any temporal change. Besides that, Losev’s approach to the interpretation of time leads to criticism of the modern idea of progress, understood as an endless striving for the future, which always remains unattainable. The main task then is to find “mobile rest,” a unifying principle that can give meaning to human existence through the combination of past, present and future. (shrink)

Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy's production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and (...) bespoke silo - not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of "roiling" within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings - writing shored up by the very mechanisms that threaten its disappearance. Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte. Alan Sondheim is a new media artist, theorist, and writer concerned with the phenomenology of the virtual. He has collaborated with motion capture and virtual environment labs. His work is concerned with the inhabitation of the body in the virtual; with the textuality of the body; with the problematic of mixed reality and codework. His writing is known for its "somatic grit" and skeletal codes that partially appear within and determine the surface. This style embeds interferences among syntax, semantics, and formal systems. The textual body, body of text and writer, are deeply entangled. His current work is based on the psychogeography of real and virtual worlds and their modeling. Most recently he has focused on "semantic ghosting" - the body behind the virtual/symbolic body - and modes of viral dispersion in a series of videos and texts. Sondheim was born in Wilkes-Barre, Pennsylvania, attended Brown University, and has exhibited, taught, and lectured at a number of venues in the United States and abroad. (shrink)

Mellor’s theory of time includes the doctrines that (a) objectively, time does not embody tense or temporal properties other than those contained in the B-series, (b) particular objects are endurers, and (c) objectively, time does not flow. I show that these theses cannot all be true together, and that one must be rejected. Since (a) is basic to Mellor’s approach, then assuming that he would not adopt a perdurantist ontology, it follows that he should give up (c). Denying (c), (...) however, is compatible with the essentials of his position. The falsity of (c) does not imply any version of the A-theory, and the B-theory can allow for the motion of diachronically identical entities through the dates over which their careers extend. (shrink)

I examine two strands in Locke's thought which seem to conflict with his corpuscularian sympathies: his repeated suggestion that natural philosophy is incapable of being made a science, and his claim that some of the properties of bodies--secondary qualities, powers of gravitation, cohesion and maybe even thought--are arbitrarily "superadded" by God. ;Locke often says that a body's properties flow from its real essence as the properties of a triangle flow from its definition. He is widely read as having (...) thought that if we had ideas of a body's real essence, we would be able to perceive a priori a necessary connection between that body's real essence and its observable properties. I argue that this leaves Locke's skepticism without any rationale, making it depend entirely upon our ignorance of corpuscular structures when in fact he never rules out the possibility of our acquiring ideas of corpuscular structures through improvements in microscopy. I argue that Locke's geometrical analogy is better understood as an endorsement of deductivism about scientific explanation. He thinks that knowledge of corpuscular structures is a necessary, but not a sufficient, condition for scientific knowledge of bodies. The deeper source of his skepticism is his view that we cannot have universal and certain knowledge of the laws of nature because they are contingent. ;I approach the subject of Locke's attitude toward mechanism by examining his superaddition doctrine. In contrast with M. R. Ayers, I attribute to Locke what I call strong voluntarism: the view that a body's powers to interact with other bodies are not fully determined by the essence of matter, and that they are at least partly determined by the will of God. I argue that Descartes and Boyle are also strong voluntarists, but that Locke's voluntarism differs in that he maintains that bodies have some powers which are not even partly explicable in terms of the motions of matter. Locke's position is thus incompatible with the mechanism of Descartes and Boyle. (shrink)