Author demonstrates that Russell’s conception of space and time diverges from Kant’s transcendental aesthetics and leans towards logical and mathematical topology. Russell’s approach is grounded in analytical rather than synthetic judgments, contrasting with Kant’s perspective. The British philosopher develops a subjective-psychological model of space and time that complements the logical-mathematical model, serving as the foundation for human experience and cognition. This Russellian model considers the psychological aspects of perceptual and tactile space and (...) time, highlighting their intersection in human perception, which facilitates the experience. It represents a form of «return» to Kant’s subjective theory, albeit on psychological rather than transcendental principles. It is argued that Russell incorporates physical topology into subjective-psychological space and time because he views things as physical objects rather than a complex of sensory associations. This incorporation is indicative of Russell's commitment to neorealism. (shrink)

In this paper, I focus upon two aspects of Adolf Grünbaum's discussion of space and time. First, I consider Grünbaum's rejection of intrinsic metrics in favor of extrinsic metrics, both in the case of space, and also in the case of time. Here I argue for the following three claims: (1) The idea of an extrinsic metric is open to very strong objections, both in the case of space, and in the case of (...) class='Hi'>time; (2) By contrast, there is no serious objection to the idea of an intrinsic metric, either in the case of space, or in the case of time; (3) There are good reasons for postulating an intrinsic metric, both in the case of space, and in the case of time. Secondly, I also consider Grünbaum's account of the nature of time, and here I argue for the following theses: (1) The argument that Grünbaum offers against accounts of the nature of time that postulate mind-independent tensed facts does not show that such accounts are unsound; (2) Grünbaum's claim that all tensed facts are mind-dependent is open to a serious objection; (3) Grünbaum's proposal that conceptualized awareness is an essential constituent of mind-dependent tensed facts is also very problematic. (shrink)

How have figures of speech configured new concepts of time, space, and mind throughout history? Brian J. McVeigh answers this question in A Psychohistory of Metaphors: Envisioning Time, Space, and Self through the Centuries by exploring “meta-framing:” our ever-increasing capability to “step back” from the environment, search out its familiar features to explain the unfamiliar, and generate “as if” forms of knowledge and metaphors of location and vision. This book demonstrates how analogizing and abstracting have altered (...) spatio-visual perceptions, expanding our introspective capabilities and allowing us to adapt to changing social circumstances. (shrink)

The “origins” of (geometric) space is examined from the perspective of the so-called “conceptual space” or “semantic space”. Semantic space is characterized by its fundamental “locality” that generates an “implicit” mode of geometrizing. This view is examined from within three perspectives. First, the role that various diagrammatic entities play in the everyday life and pragmatic activities of selected ethnic groups is illustrated. Secondly, it is shown how conceptual spaces are fundamentally linked to the meaning effects of (...) particular natural languages and these are very different from the global and universal aspects of Euclidean spaces. Thirdly, it is contended that these modes of creating body and culture-based spatial frameworks and related cosmogonies and cosmologies can be described as forms of “latent geometry” that initially appear unexplainable in any rational way. Nonetheless, and thanks to the deep mathematical reflections provided by René Thom, it is illustrated how the various ways of generating space can be further analyzed as distortions of mainstream spatialization furnished by Euclidean geometry that established the dominant universality of the ideas of space (and time). (shrink)

This collection of essays explores different perceptions of space, taking the reader on a journey from the inner space of the mind to the vacuum beyond Earth. Eight leading researchers span a broad range of fields, from the arts and humanities to the natural sciences. They consider topics ranging from human consciousness to virtual reality, architecture and politics. The essays are written in an accessible style for a general audience.

This innovative work takes a new approach to a fundamental dilemma of physiology, psychology, and philosophy: the subjectively perceived split between body and mind. Examining the subjective and objective aspects of movement and their relationship to our perception of mind-body separation, the author takes issue with conventional philosophical views on human duality and develops an integrative theory of interaction that suggests a basis for genuine mind-body harmony.

Carl Jung's work played an important role in shaping modern psychology. Through a thorough exploration of Jung's psychological ideas and the ancient beliefs of shamanistic cultures, this unique investigation unveils startling parallels between the two. As different as they may seem at first glance, these two branches of human paradigm and belief have amazing similarities in structure and function. Interspersed with the writings of Jung, this fascinating account traces the forces and patterns of symbolism common to shamanism and depth (...) psychology. By studying these parallels, it is possible to get a glimpse into major aspects of the human psyche and understand the universality of psychic events in time and space. (shrink)

The genesis of space and time is investigated within the rotational-monadic paradigm. It is established that the essence of the phenomenon of space is revealed through the dialectical synthesis of its two aspects — ideal and material, where the material aspect is represented by the metaphysical construct of protomonad. It is shown that basic physical distinctions such as motion, mass, gravitation find a meaningful hermeneutic through the material aspect of space, which has a purely discrete (...) structure, while the contradiction about finitude — infinity is resolved by juxtaposing metaphysical and ontic spaces, where the Universe is represented as an “egg”. The analysis of temporality is preceded by remarks on the relational and substantive concepts of time, consideration of the discreteness-continuity dilemma, and criticism of the absolutization of discreteness in the temporality representation. It is argued that discreteness and continuity are combined dialectical oppositions through which the temporal reality is actualized, where continuity is hidden from observation in the metaphysical world and discreteness is manifested explicitly in the physical world. Three dimensions of time — Present, Past and Future — are discussed, as a result of which it is stated that in the primary way time is found as an attribute of consciousness and only in the secondary way it correlates with phenomenological reality. New differentiations of time are revealed: interval Present, embracing as a universum other moduses of the Present, and two- component time in the form of cyclic and linear components which allow us to make a justified positive conclusion about the existence of transcendental subjectivity, being the basis of absolute temporality. (shrink)

What is the relationship between space and time in the human mind? Studies in adults show an asymmetric relationship between mental representations of these basic dimensions of experience: Representations of time depend on space more than representations of space depend on time. Here we investigated the relationship between space and time in the developing mind. Native Greek‐speaking children watched movies of two animals traveling along parallel paths for different distances or durations and (...) judged the spatial and temporal aspects of these events (e.g., Which animal went for a longer distance, or a longer time?). Results showed a reliable cross‐dimensional asymmetry. For the same stimuli, spatial information influenced temporal judgments more than temporal information influenced spatial judgments. This pattern was robust to variations in the age of the participants and the type of linguistic framing used to elicit responses. This finding demonstrates a continuity between space‐time representations in children and adults, and informs theories of analog magnitude representation. (shrink)

This work celebrates the investigative power of phenomenology to explore the phenomenological sense of space and time in conjunction with the phenomenology of intentionality, the invisible, the sacred, and the mystical. It examines the course of life through its ontopoietic genesis, opening the cosmic sphere to logos. The work also explores, on the one hand, the intellectual drive to locate our cosmic position in the universe and, on the other, the pull toward the infinite. It intertwines science and (...) its grounding principles with imagination in order to make sense of the infinite. This book is the second of a two-part work that contains papers presented at the 62nd International Congress of Phenomenology, The Forces of the Cosmos and the Ontopoietic Genesis of Life, held in Paris, France, August 2012. It features the work of scholars in such diverse disciplines as biology, anthropology, pedagogy, and psychology who philosophically investigate the cosmic origins of beingness. Coverage in this second part includes: Communicative Virtues of A-T. Tymieniecka’s Phenomenology of Life, Intentionality of Time and Quantum – Phenomenological Sense of Space, Consciousness of the Cosmos: A Thought Experiment Through Philosophy and Science Fiction, The Cosmos and Bodily Life on Earth Elucidated within the Historicity of Human Existence, Novel as Path - Mamardashvili's Lectures on Proust, and Comments on Max Scheler's Thought and Philosophical Counseling. (shrink)

The present work aims at developing a scale for the assessment of a construct that we called “physical–digital integration”, which refers to the tendency of some individuals not to perceive a clear differentiation between feelings and perceptions that pertain to the physical or digital environment. The construct is articulated in four facets: identity, social relationships, time–space perception, and sensory perception. Data from a sample of 369 participants were collected to evaluate factor structure (unidimensional model, bifactor model, correlated four-factor (...) model), internal consistency (Cronbach’s _α_, McDonald’s _ω_), and correlations of the physical–digital integration scale with other measures. Results showed that the scale is valid and internally consistent, and that both the total score and the scores at its four subscales are worthy of consideration. The physical–digital integration scores were found to be differently associated with digital and non-digital behaviors, individuals’ ability to read emotions in the facial expressions of others, and indicators of psychosocial functioning (anxiety, depression, and satisfaction with social relationships). The paper proposes a new measure whose scores are associated with several variables that may have relevant consequences at both individual and social levels. (shrink)

This concise book introduces nonphysicists to the core philosophical issues surrounding the nature and structure of space and time, and is also an ideal resource for physicists interested in the conceptual foundations of space-time theory. Tim Maudlin's broad historical overview examines Aristotelian and Newtonian accounts of space and time, and traces how Galileo's conceptions of relativity and space-time led to Einstein's special and general theories of relativity. Maudlin explains special relativity using a (...) geometrical approach, emphasizing intrinsic space-time structure rather than coordinate systems or reference frames. He gives readers enough detail about special relativity to solve concrete physical problems while presenting general relativity in a more qualitative way, with an informative discussion of the geometrization of gravity, the bending of light, and black holes. Additional topics include the Twins Paradox, the physical aspects of the Lorentz-FitzGerald contraction, the constancy of the speed of light, time travel, the direction of time, and more.Introduces nonphysicists to the philosophical foundations of space-time theory Provides a broad historical overview, from Aristotle to Einstein Explains special relativity geometrically, emphasizing the intrinsic structure of space-time Covers the Twins Paradox, Galilean relativity, time travel, and more Requires only basic algebra and no formal knowledge of physics. (shrink)

The virtue of this book is that it brings together in one volume discussions related to our ordinary conception of space and time on the one hand and discussions related to the conception of space and time in contemporary physical theory on the other. Thus we have discussion of the topology, metrical geometry, and tri-dimensionality of space; absolute vs. relative space; the order and direction of time in physical theory; the size and physical (...) limits of the universe; and the beginning and end of the universe in contemporary cosmological theory. But in addition there is discussion of the problems of identifying objects in space and time, including problems of personal identity, the notion of place and its relation to matter, the ordinary conception of past and future, and other topics. The author works through this maze by making use of a distinction between the necessary and contingent properties of space and time. His manner of drawing the line between the necessary and contingent is surely the most controversial aspect of his book. Certain cosmological theories, for example, are ruled out on logical grounds despite the fact that they may be compatible with general relativity. But the author's arguments are challenging and are backed up by an extensive knowledge of contemporary physical theory as well as of recent philosophical discussion of space and time in the English speaking world.--R. H. K. (shrink)

Sociologists have spent a great deal of time considering the cultural import of time schedules, the periodicity of interactions, life-course and age-related trajectories, the use of public and private spaces, and the traversal of space enabled by transportation technology and electronic media. What they have not done, however, is consider spatiotemporal perception, per se, and how this perception is influenced by social structure. Doing so is important because spatiotemporal perception implicates important aspects of behavior, such as (...) impulse control. In this paper, I describe the neurophysiology of spatiotemporal perception, link it to behavioral regulation/impulse control, and derive 12 propositions admitting of 52 testable hypotheses which might plausibly extend or modify some of our most important sociological theories. (shrink)

Machine generated contents note: 1. Introducing persons and the psychology of personhood Jack Martin and Mark H. Bickhard; Part I. Philosophical, Conceptual Perspectives: 2. The person concept and the ontology of persons Michael A. Tissaw; 3. Achieving personhood: the perspective of hermeneutic phenomenology Charles Guignon; Part II. Historical Perspectives: 4. Historical psychology of persons: categories and practice Kurt Danziger; 5. Persons and historical ontology Jeff Sugarman; 6. Critical personalism: on its tenets, its historical obscurity, and its future prospects James T. (...) Lamiell; Part III. Social-Developmental Perspectives: 7. Conceiving of self and others as persons: evolution and development John Barresi, Chris Moore and Raymond Martin; 8. Position exchange theory and personhood: moving between positions and perspectives within physical, sociocultural and psychological space and time Jack Martin and Alex Gillespie; 9. The emergent ontology of persons Mark H. Bickhard; 10. Theorising personhood for the world in transition and change: reflections from a transformative activist stance on human development Anna Stetsenko; Part IV. Narrative Perspectives: 11. Identity and narrative as root metaphors of personhood Amia Lieblich and Ruthellen Josselson; 12. Storied persons: the double triad of narrative identity Mark Freeman. (shrink)

This is an interdisciplinary volume that focuses on the central topic of the representation of events, namely cross-cultural differences in representing time and space, as well as various aspects of the conceptualisation of space and time.

This paper investigates a famous argument, first introduced by Richard Taylor, that attempts to establish a radical similarity in the concepts of space and time. The argument contends that the spatial and temporal aspects of material bodies are much more alike, or analogous, than has been hitherto acknowledged. As will be demonstrated, most of the previous investigations of Taylor and company have failed to pinpoint the weakest link in their complex of analogies. By concentrating on their most (...) fundamental cases, however, a substantial difference, or disanalogy, can be brought to light that undermines this purported equivalence of space and time. (shrink)

What altered states of consciousness—the dissolution of feelings of time and self—can tell us about the mystery of consciousness. During extraordinary moments of consciousness—shock, meditative states and sudden mystical revelations, out-of-body experiences, or drug intoxication—our senses of time and self are altered; we may even feel time and self dissolving. These experiences have long been ignored by mainstream science, or considered crazy fantasies. Recent research, however, has located the neural underpinnings of these altered states of mind. In (...) this book, neuropsychologist Marc Wittmann shows how experiences that disturb or widen our everyday understanding of the self can help solve the mystery of consciousness. Wittmann explains that the relationship between consciousness of time and consciousness of self is close; in extreme circumstances, the experiences of space and self intensify and weaken together. He considers the emergence of the self in waking life and dreams; how our sense of time is distorted by extreme situations ranging from terror to mystical enlightenment; the experience of the moment; and the loss of time and self in such disorders as depression, schizophrenia, and epilepsy. Dostoyevsky reported godly bliss during epileptic seizures; neurologists are now investigating the phenomenon of the epileptic aura. Wittmann describes new studies of psychedelics that show how the brain builds consciousness of self and time, and discusses pilot programs that use hallucinogens to treat severe depression, anxiety, and addiction. If we want to understand our consciousness, our subjectivity, Wittmann argues, we must not be afraid to break new ground. Studying altered states of consciousness leads us directly to the heart of the matter: time and self, the foundations of consciousness. (shrink)

Recent developments in quantum theory have focused attention on fundamental questions, in particular on whether it might be necessary to modify quantum mechanics to reconcile quantum gravity and general relativity. This book is based on a conference held in Oxford in the spring of 1984 to discuss quantum gravity. It brings together contributors who examine different aspects of the problem, including the experimental support for quantum mechanics, its strange and apparently paradoxical features, its underlying philosophy, and possible modifications to (...) the theory. (shrink)

The contemplation of the heavenly vault suggests to any generalizing intelligence the idea of the world suspended within this concavity. During rude barbaric times such as the High Middle Ages – the records of which are precious in this respect – it was thought that this vault rested on the surface of the Earth like a glass bell. And when experience gained firstly by terrestrial travels and afterwards by circumnavigation showed that this was a delusory phenomenon and, at the same (...) time, that the Earth was an autonomous sphere floating within space, the [heavenly] vault became in turn a hollow and translucent sphere containing the concentric world, like the white of an egg surrounding the yolk. Cosmological experience then revealed that the stars were situated at different heights in the supposed vault, which compelled imagining new concentric spheres. Finally, it was discovered that there are neither such spheres nor such a vault; that the amplification and multiplicity of the latter were illusions – as was the concave aspect of the sky – and that the space enclosing the universe is an abyss. (shrink)

The target paper of Schoeller, Perlovsky, and Arseniev is an essential and timely contribution to a current shift of focus in neuroscience aiming to merge neurophysiological, psychological and physical principles in order to build the foundation for the physics of mind. Extending on previous work of Perlovsky et al. and Badre, the authors of the target paper present interesting mathematical models of several basic principles of the physics of mind, such as perception and cognition, concepts and emotions, instincts and (...) learning. Their conceptualization helps to clarify the distinction between conscious and unconscious aspects of mind that is often neglected and further provide a clear description of the mental hierarchy, which extends from physical objects in the physical world to abstract ideas in the mental/subjective realm. While we agree that identification of a few fundamental principles is a first step toward developing the physics of the mind, and we concur with the selection of those principles in the target review paper, we think that the theory of the physics of mind would much benefit from considering also the most basic principles that are common for the physics/matter/brain and the mind/subjectivity/cognition. In this respect, such basic principles as time and space, as well as criticality, self-organization, and emergence seem to be the most interesting. (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)

The idea that the form of a word reflects information about its meaning has its roots in Platonic philosophy, and has been experimentally investigated for concrete, sensory-based properties since the early 20th century. Here, we provide evidence for an abstract property of ‘boundedness’ that introduces a systematic, iconic bias on the phonological expectations of a novel lexicon. We show that this abstract property is general across events and objects. In Experiment 1, we show that subjects are systematically more likely to (...) associate sign language signs that end with a gestural boundary with telic verbs (denoting events with temporal boundaries, e.g., die, arrive) and with count nouns (denoting objects with spatial boundaries, e.g., ball, coin). In Experiments 2–3, we show that this iconic mapping acts on conceptual representations, not on grammatical features. Specifically, the mapping does not carry over to psychological nouns (e.g. people are not more likely to associate a gestural boundary with idea than with knowledge). Although these psychological nouns are still syntactically encoded as either count or mass, they do not denote objects that are conceived of as having spatial boundaries. The mapping bias thus breaks down. Experiments 4–5 replicate these findings with a new set of stimuli. Finally, in Experiments 6–11, we explore possible extensions to a similar bias for spoken language stimuli, with mixed results. Generally, the results here suggest that ‘boundedness’ of words' referents (in space or time) has a powerful effect on intuitions regarding the form that the words should take. (shrink)

The article is devoted to the genesis of Hegel’s philosophy of nature. It shows us that the formation of the natural philosophical views of the German philosopher took place not only in a speculative way, in the critical reception of Schelling’s works, but, first of all and for the most part, was predetermined by Hegel’s own interest in natural science and acquaintance with some prominent scientists of that time. The focus of the paper is on the evolution of the (...) first part of Hegel’s natural philosophy: the doctrine of space and time as it presented in some excerpts from two revised lecture notes on the philosophy of nature, read by Hegel in the winter semester of 1821/1822 at the University of Berlin and published as an appendix to the article by Bonzipen. In his article, Bonzipen provides historical information on the fate of these texts, raises the question of their authorship, gives a general outline of Hegel’s thought, and also compares both texts with the second edition of the Encyclopedia of Philosophical Sciences. From his point of view, the revised notes allow partly to illustrate, partly to fill in some gaps in the dialectic of two forms of abstract appearance known on the basis of the Encyclopedia. Bonzipen notes that Hegel’s speculative consideration of space and time is complemented by a discussion with the history of philosophy and the history of mathematics. While reproaching traditional mathematics for being fixed on the quantitative aspect of reality, which does not allow to fully resolve the contradiction between space and time, Hegel at the same time refuses to attempt to build philosophical mathematics that focuses on the consideration of the qualitative certainty of the moments of space and time, declaring that although it is solvable, it is an extremely time-consuming task. This refusal becomes a turning point in the further development of the dialectical doctrine of space and time. (shrink)

To advance a successful reading of Kant's theory of motivation, his interpreter must have a carefully developed position on the relation between our rational and sensible capacities of mind. Unfortunately, many of Kant's commentators hold an untenably dualistic conception, understanding reason and sensibility to be necessarily conflicting aspects of human nature that saddle Kant with a rigoristic and fundamentally divided moral psychology. Against these interpreters, I argue for a reading that maintains a unified conception, claiming that we must think (...) of reason and sensibility as interdependent capacities, which stand to one another as form to matter. Our sensible nature thus does not stand opposed to reason; its fundamental character is determined by reason's activity. I take Kant's account of moral motivation and the feeling of respect to represent the lynchpin of this unified account. Against interpreters who would emphasize either the intellectual or affective nature of respect, I claim that it should be understood as the formal element of moral sensibility, the result of practical reason determining the capacity to feel and fundamentally transforming its character. To make this argument, I draw on Kant's account of sensibility in the Critique of Pure Reason, claiming that space, time, and respect for the moral law are analogous formal elements of sensibility. (shrink)

In this book Almaas brings together concepts and experiences drawn from contemporary object relations theory, Freudian-based ego psychology, case studies from his own spiritual practice, and teaching from the highest levels of Buddhist and other Eastern practices. He challenges us to look not only at the personality and the content of the mind, but also at the underlying nature of the mind itself.

Beginning outside the boarded-up windows of Columbine High School and ending almost twelve years later on the fields of Shiloh National Military Park, Hallow This Ground revolves around monuments and memorials--physical structures that mark the intersection of time and place. In the ways they invite us to interact with them, these sites teach us how to negotiate shared histories. Colin Rafferty explores places as familiar as his hometown of Kansas City and as alien as the concentration camps of Poland (...) in an attempt to understand not only our common histories, but also his own past, present, and future. Rafferty blends the travel essay with the lyric, the memoir with the analytic, in this meditation on the ways personal histories intersect with history, and how those intersections affect the way we understand and interact with place"--Provided by publisher. (shrink)

Time, space and matter are the most pervasive and inescapable aspects of the physical universe. And yet, notwithstanding the fact that they represent the most fundamental and ubiquitous characteristics of reality, they have always presented elements of mystery to the human mind. Thus on the level of common thought we ponder how the withering hand of time reaches from out the past into the future to bring decay and destruction to all things; and on the more (...) sophisticated level, after the fashion of Immanuel Kant, we are puzzled by certain antinomies of thought concerning the necessity for an origin, and an end, of the universe in time and space, in the face of the equally necessary reasons for regarding the universe as being unlimited in its space and time dimensions. In either case, however, we are paying tribute to the tantalizing nature of these problems concerning the cosmic framework of space-time-matter in which we live, and move, and have our being. Indeed, it is not too much to say that genuine philosophy took its origin in Zeno's paradoxes of motion, and will have its final consummation when it solves Kant's antinomies. (shrink)

_Time, Space, and Phantasy_ examines the connections between time, space, phantasy and sexuality in clinical practice. It explores the subtleties of the encounter between patient and analyst, addressing how aspects of the patient’s unconscious past are actualised in the present, producing new meanings that can be re-translated to the past. Perelberg’s analysis of Freud’s Multi-dimensional model of temporality suggests that he always viewed the constitution of the individual as non-linear. In Freud’s formulations, the individual is decentred (...) and ruled by different temporalities, most of which escape their consciousness. Perelberg identifies the similarities between this and Einstein’s theory of relativity which states that rather than being absolute, time depends on the relative position and speed of the observing individual suggesting that rather than being a reality, time is an abstraction, connecting objects and events. Throughout this text, Perelberg draws together connections between time, mental space, and phantasy showing how time is constantly reshaped in the light of new events and experiences. This book will be of interest to psychoanalysts, psychotherapists, psychologists, and social workers. (shrink)

The clearest instances of Time experience in music can be observed when the melodic and harmonic structure of a work announces the approach to a climax, for example, the finale. A goal is established in the awareness of the listener and acts as an independent system toward which music is striving. Most other examples that come to mind are extra-musical, that is, they refer to music in relation to something outside of it. A listener who instead of moving with (...) the flow of the musical happening remains outside of it and watches the arriving and passing of phrase after phrase as though he were watching a parade from a viewing stand places himself in a separate temporal system whose relation to that of the music itself is governed by Time. Compare also the radio performance scheduled to finish on the hour or the state of mind of a concertgoer anxious to make the 11:20 suburban train home. A literary narrative, like music, tends to be perceived as an ongoing flow. No reference to time is relevant for a description of the sequential action. The work sprouts and grows. But whenever the continuity is broken , the appearances may form separate systems. The only medium that can bridge the gap may be Time, in which both are embedded. This is generally considered a compositional flaw. A skillful narrator avoids such a break by providing a filament that connects past and present appearances "amodally," as psychologists call it, that is, the way a train's progress is seen as remaining uninterrupted even when it is hidden for a moment by a tunnel. But when Time is embodied as an authentic literary character, such as the "devouring Time" of Shakespeare's nineteenth sonnet, which blunts the lion's paws and plucks the tiger's teeth, it becomes an active system of its own and thus deserves the capitalization. Rudolf Arnheim is the author of Art and Visual Perception: A Psychology of the Creative Eye, Toward a Psychology of Art, and The Dynamics of Architectural Form. His contributions to Critical Inquiry are "On the Nature of Photography" and "A Plea for Visual Thinking". (shrink)

Moving Spaces and Places is a cross-disciplinary collection about movement as a transformative experience, showing how movement changes affect and percept of spaces and place and solidifies space into meaningful places.

We propose an ontological theory that is powerful enough to describe both complex spatio-temporal processes (occurrents) and the enduring entities (continuants) that participate in such processes. For this purpose we distinguish between meta-ontology and token ontologies. Token ontologies fall into two major categories: ontologies of type SPAN and ontologies of type SNAP. These represent two complementary perspectives on reality and result in distinct though compatible systems of categories. The meta-ontological level then describes the relationships between the different token ontologies. In (...) a SNAP (snapshot) ontology we have enduring entities such as substances, qualities, roles, functions as these exist to be inventoried at a given moment of time. In a SPAN ontology we have perduring entities such as processes and their parts and aggregates. We argue that both kinds of ontological theory are required, together with the metaontology which joins them together, in order to give a non-reductionistic account of both static and dynamic aspects of the geospatial world. (shrink)

The article is devoted to the genesis of Hegel’s philosophy of nature. It shows us that the formation of the natural philosophical views of the German philosopher took place not only in a speculative way, in the critical reception of Schelling’s works, but, first of all and for the most part, was predetermined by Hegel’s own interest in natural science and acquaintance with some prominent scientists of that time. The focus of the paper is on the evolution of the (...) first part of Hegel’s natural philosophy: the doctrine of space and time as it presented in some excerpts from two revised lecture notes on the philosophy of nature, read by Hegel in the winter semester of 1821/1822 at the University of Berlin and published as an appendix to the article by Bonzipen. In his article, Bonzipen provides historical information on the fate of these texts, raises the question of their authorship, gives a general outline of Hegel’s thought, and also compares both texts with the second edition of the Encyclopedia of Philosophical Sciences. From his point of view, the revised notes allow partly to illustrate, partly to fill in some gaps in the dialectic of two forms of abstract appearance known on the basis of the Encyclopedia. Bonzipen notes that Hegel’s speculative consideration of space and time is complemented by a discussion with the history of philosophy and the history of mathematics. While reproaching traditional mathematics for being fixed on the quantitative aspect of reality, which does not allow to fully resolve the contradiction between space and time, Hegel at the same time refuses to attempt to build philosophical mathematics that focuses on the consideration of the qualitative certainty of the moments of space and time, declaring that although it is solvable, it is an extremely time-consuming task. This refusal becomes a turning point in the further development of the dialectical doctrine of space and time. (shrink)

The foremost aim of this paper is to realize the fourth part of the Aufbau. This part, which provides an actual phenomenalistic constitution system, is interpretable from a Kantian perspective (§§1-4). But Carnap plotted to overcome Kant’s old style of philosophy as well. We review this aspect of his constitution, focusing on space (§§7-13) and time (§§5-6), especially.

Research in quantum gravity strongly suggests that our world in not fundamentally spatiotemporal, but that spacetime may only emerge in some sense from a non-spatiotemporal structure, as this paper illustrates in the case of causal set theory and loop quantum gravity. This would raise philosophical concerns regarding the empirical coherence and general adequacy of theories in quantum gravity. If it can be established, however, that spacetime emerges in the appropriate circumstances and how all its relevant aspects are explained in (...) fundamental non-spatiotemporal terms, then the challenge is fully met. It is argued that a form of spacetime functionalism offers the most promising template for this project. (shrink)

Since Doob rules out philosophical puzzles as to the nature of time, its absolute or relative character, or its universality and direction, etc., this masterful work will be of only limited interest to philosophers, even those who specialize in problems of space and time. Patterning of Time is, however, a fascinating study from the perspective of a psychologist or anthropologist. Doob, whose overwhelming knowledge has been gained as much from the library as from laboratory and field (...) research, ranges over a vast area, both in terms of literature surveyed and in terms of the variety of aspects of time perception studied. He spells out his principal thesis this way: "My principal thesis now emerges, it is hoped: we experience in the psychological present, even as we recollect the past and anticipate the future; and at any given moment, and sometimes over long periods, we renounce one of these activities as a result of one or both of the other two orientations. Temporal judgments which perforce occur in the psychological present are patterned by beliefs and attitudes which are recollected from the past and which affect future anticipations. We are always—or almost always—confronted with choices in time, and to choose we must renounce.". (shrink)

Although the “Transcendental Aesthetic” is the briefest part of the first Critique, it has garnered a lion's share of discussion. This fact reflects the important implications that Kant drew from his arguments there. He used the arguments concerning space and time to display examples of synthetic a priori cognition, to secure his division between intuitions and concepts, and to support transcendental idealism. Earlier, in the years around 1770, Kant's investigations into space and time had facilitated his (...) turn toward “critical” philosophy. Prior to that time, Kant's main interests in space and time pertained to physics and metaphysics. As he entered the critical period, he delved into the cognitive basis of our experience of space (and time), and drew his conclusions about their ideality. Kant's doctrines of space and time provoked extensive response in his own time and throughout the nineteenth century. These responses variously concerned the metaphysics, physics, epistemology, psychology, and geometry of space. Throughout the nineteenth century, philosophers, physiologists, and psychologists sought to extend or to refute Kant's theories of space. By the last decades of the nineteenth century, many had rightly concluded that the existence of non-Euclidean geometry as a candidate description of physical space refuted Kant's full doctrine of space - though some have hoped that his position might be saved by restricting it to “visual space.”. (shrink)

Most research on metaphors that construe time as motion (motion metaphors of time) has focused on the question of whether it is the times or the person experiencing them (ego) that moves. This paper focuses on the equally important distinction between metaphors that locate times relative to ego (the ego-based metaphors Moving Ego and Moving Time) and a metaphor that locates times relative to other times (sequence is relative position on a path). Rather than a single abstract (...) target domain TIME, these two kinds of temporal metaphor metaphorize different kinds of temporal concept—perspective-specific vs. perspective-neutral temporal concepts. Recognition of this distinction enhances the explanatory potential of conceptual metaphor theory (Lakoff and Johnson 1980). An example involves the interaction of deixis and the temporal reference crosslinguistically of vocabulary with the spatial meanings in-front and behind. More generally, this approach refines our ability to describe the temporal concepts involved in motion metaphors of time. Such temporal concepts are present not only in the target domains, but also in the source domains of motion metaphors of time, where we find space-to-time metonymy, which may play a role in motivating the metaphors. In order to distinguish such metonymy from metaphor, we need to characterize metaphor as a mapping across frames rather than domains. (shrink)

Understanding the motivations behind those who partake in extreme sports can be difficult for some. If the popular conception holds that the incentive behind extreme sports participation is entirely to do with risking one's life, then this confusion will continue to exist. However, an in-depth examination of the phenomenology of the extreme sport experience yields a much more complex picture. This book revisits the definition of extreme sports as those activities where a mismanaged mistake or accident would most likely result (...) in death. Extreme sports are not necessarily synonymous with risk and participation may not be about risk-taking. Participants report deep inner transformations that influence world views and meaningfulness, feelings of coming home and authentic integration as well as a freedom beyond the everyday. Phenomenologically, these experiences have been interpreted as transcendent of time, other, space and body. Extreme sport participation therefore points to a more potent, life-enhancing endeavour worthy of further investigation. This book adopts a broad hermeneutic phenomenological approach to critique the assumed relationship to risk-taking, the death wish and the concept of "No Fear" in extreme sports, and repositions the experience in a previously unexplored manner. This is valuable reading for students and academics interested in Sports Psychology, Social Psychology, Health Psychology, Tourism, Leisure Studies and the practical applications of phenomenology. (shrink)

The passage of time seems to be a fundamental aspect of experience. However, most descriptions of the passage of time itself are incompatible with the four-dimensional block universe model of space and time, in which time is extended like space, and all states of affairs exist equally and eternally in this varied tapestry of space and time. The tension between temporal passage and the block universe seems to leave one with the option (...) of either abandoning the block universe in favor of a metaphysics that can accommodate our experience, or holding that this experience of passage is illusory. I argue for a third option: that we have certain dynamic experiences, which lend themselves to the view that time passes, those dynamic experiences can be accounted for within the block universe model without any additional mechanism, and those dynamic experiences are not illusory, but veridical. (shrink)

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)