For centuries, the dispute over time has concerned mainly its objective and relative character. For the author, besides philosophy and science, the principal point of reference is man, the way he exists in time and space, and the way he observes, senses and organises those domains, as documented in the products of musical activity.

In lieu of an abstract, here is a brief excerpt of the content:In Search of a Reality-Based Community:Illusion and Tolerance in Music, Education, and SocietyPatrick K. SchmidtThe two questions that arise in this symposium are: What kind of world engagement is required of music education? and Should music educators participate in political understanding? While my immediate response was and is: How we can afford not to? that is, not to engage fully with the world and not to do so politically, (...) at the same time I also recognize the ways in which that has been problematic in the music education profession. Particularly, in how we continue to experience what I would call events without future: ersatz events made of illusions. Such a proposition is implicated in the following questions: How seriously are we committed to rethinking our practice and re-engaging with our ideals, traditions, visions, and discourses? Has our conception and practice of democracy disappeared (or remained unformed) in the insubstantiality of shadows? How do [End Page 160] we react to political understandings that dismiss the communities in which we live, as well as the singularities and differences that mark us? Who are those of us supposedly living in the/a "reality-based community?"1An aide of the current administration explains the White House stance by saying, "We are an empire now, and when we act, we create our own reality."2 The idea, of course, is that we not only can, but perhaps, must dissociate from such communities (particularly those that do not conform to such envisioned reality). An Empire, one might say, seeks power as well as expansion, confluence as well as stability, tradition as well as ideological certainty. It probably comes as no surprise then, that dictatorial regimes are often more stable, including economically, than new or recalcitrant democracies. (I myself grew up in such a regime in Brazil in the 1970s and early 80s.) The word "Empire" conjures up images that are localized, monocentric, confluent, and institutional. The reality today, however, seems much closer to what Antonio Negri and Richard Hardt portray:3 a reality modeled upon the production of subjects with increasingly similar desires and prone to a certain subservience to commodity and technology. But if this "we" is no longer "us" but an illusion, if this reality-based community no longer distinguishes, questions, problematizes, or engages with its own reality or realities, perhaps more than ever it is time that we began to think politically, that our assumptions and that of others be challenged, and that we seek understandings that, as Randall Allsup has proposed, "are rendered in a world that is contingent, political, and always in motion."Following the model adopted here I will address some of the concepts Estelle Jorgensen proposes, particularly those associated with the notion of supremacy and its propagation through "reductionistic and nationalistic forces." Such a vista will serve as a departing point for my own reflections on the shades, contradictions, complexities, and possibilities we might find when considering majority led silence and voicing, as well as the role of political and empathetic dialogue in our practices, be they professional and/or connected to citizenship.4A Search for the Ethical: Majority Rule?Today, music education as a society negotiates a reality that is more complex and multiple—one of a multitude of one5 —of separation through categories that, while preserving the impression of distinctiveness, allows for a larger invisible and uncontested majority to instill what Alexis de Toqueville called over a century ago the "tyranny of the majority."6 We need to consider here that, as Negri and Hardt propose, there is no one center to this Empire, "no tangible, nuclear element to be identified and/or resisted." This tyrannical majority is paradoxical, for while it dictates it is also silent.7 What is there, then, are spaces in and through which our disengagement allows for the strengthening of what is [End Page 161] perceived and experienced as inevitable, as a faceless majority that controls and decrees, that denies and structures.This tyranny of the majority, the underside of our democratic visions, can lead in politics, as in our professional practices, to a sense of the famous Foucaultian panopticon where total surveillance is... (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)

An obvious result of including time rules into specifications of world patterns is the rather persuasive representation of rhythm. Rhythm as a property of world patterns has received relatively little attention recently, although it has had a long and distinguished history in psychology. Nonetheless, its recent neglect means that all too often we have failed to consider the implications of time patterning of stimuli that we as psychologists routinely present to individuals in our attempts to study human performance (...) in many tasks, tasks which often do involve explicitly musical stimuli. Often in our psychological studies we present as stimuli words, lights, colored forms, or other items in a fashion that is regularly spaced in time. It's just common sense, and besides it's easier. And other current paradigms have not encouraged experimental questions about the temporal patterning of stimuli. But consider what this pacing means. We are rhythmically programming events. Is it possible that this temporal regularity forms attentional waves that buoy up our studies and so make it likely that we can study what we are most interested in? And, with our own attention as psychologists fixed steadily upon the topic of our immediate concern , is it possible that we overlook the fact that underlying our effects is a rhythmic regularity that is crucial to having the subject's attention on the task at hand? Mari Riess Jones is professor of psychology at Ohio State University and has written numerous articles on the human response to patterns in time. (shrink)

Musical improvisation is a natural case of human pattern formation, and Walton and colleagues investigate the way that different contextual constraints affect patterns of improvisation and their aesthetic quality. The authors find that coordination patterns are more diversified between two musicians when the musical space in which to improvise is relatively more constrained. They also find that listeners experience more diversified, complementary patterns between musicians as more enjoyable and harmonious.

Contemporary psychiatry faces serious challenges because it has failed to incorporate accumulated knowledge from basic neuroscience, neurophilosophy, and brain–mind relation studies. As a consequence, it has limited explanatory power, and effective treatment options are hard to come by. A new conceptual framework for understanding mental health based on underlying neurobiological spatial-temporal mechanisms of mental disorders (already gained by the experimental studies) is beginning to emerge.

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)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and revolutionary like (...) the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (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.

Kedrov has reminded us that the development of knowledge proceeds from appearance to essence. That was also true of the development of notions about space and time. Leibniz, for example, defined space as the order of things existing at the same time. However, that definition is rather superficial, and it is only the development of physics, specifically relativity theory, which made it possible to penetrate more deeply into the nature of space and time and (...) to ascribe a precise and mathematically expressible notion to the well-known judgment to the effect that space and time are forms of the existence of matter. (shrink)

“For a thousand years in Thy sight are but as yesterday when it is past, and as a watch in the night.”.

Textbooks present classical particle and field physics as theories of physical systems situated in Newtonian absolute space. This absolute space has an influence on the evolution of physical processes, and can therefore be seen as a physical system itself; it is substantival. It turns out to be possible, however, to interpret the classical theories in another way. According to this rival interpretation, spatiotemporal position is a property of physical systems, and there is no substantival spacetime. The traditional objection (...) that such a relationist view could not cope with the existence of inertial effects and other manifestations of the causal efficacy of spacetime can be answered successfully. According to the new point of view, the spacetime manifold of classical physics is a purely representational device. It represents possible locations of physical objects or events; but these locations are physical properties inherent in the physical objects or events themselves and having no existence independently of them. In relativistic quantum field theory the physical meaning of the spacetime manifold becomes even less tangible. Not only does the manifold lose its status as a substantival container, but also its function as a representation of spacetime properties possessed by physical systems becomes problematic. 'Space and time' become ordering parameters in the web of properties of physical systems. They seem to regain their traditional meaning only in the non-relativistic limit in which the classical particle concept becomes approximately applicable. (shrink)

This book presents an elementary but complete exposition of the relativistic theory of the measurement of intervals in space & time.

The main objective of this paper is to introduce the space-time concept of V. I. Vernadsky and to show the importance of this concept for understanding the biosphere theory of Vernadsky. A central issue is the principle of dissymmetry, which was proposed by Louis Pasteur and further developed by Pierre Curie and Vernadsky. The dissymmetry principle, applied both to the spatial and temporal properties of living matter, makes it possible to demonstrate the unified nature of space and (...) time. At the same time, this principle shows the difference between the spatial-temporal properties of living matter and those of the inert environment. Living matter as opposed to the inert environment is an important part of the Weltanschauung of Vernadsky and is connected with all basic statements of his theoretical system. (shrink)

Music education is a social act oriented around interactions between people in public spaces. These spaces provide opportunities for what Hannah Arendt calls natality, which we interpret as new and unexpected actions that arise in a shared space. Drawing from a range of ideas and experiences of Arendt, bell hooks, Joan Baez, Martha Nussbaum, and music education philosophers and practitioners, we argue that it is important for music educators to make room for this space by becoming more critically (...) aware of their emotions. Opening up to the unexpected in human interactions can at times be difficult and elicit fear. It also calls for a civic love. Cultivating this kind of love includes recognizing that our emotions and matters of the heart are instruments of power that can support or hinder others from becoming actors in their own right. As agents within music education, we can strive to realize this by developing a critical pedagogic consciousness and reflecting on the unexpected and emotional spaces of interaction. (shrink)

This thesis is directed towards a philosophy of music by attention to conceptions and perceptions of space. I focus on melody and harmony, and do not emphasise rhythm, which, as far as I can tell, concerns time rather than space. I seek a metaphysical account of Western Classical music in the diatonic tradition. More specifically, my interest is in wordless, untitled music, often called 'absolute' music. My aim is to elucidate a spatial approach to the world combined (...) with a curiosity about the nature of the Pythagorean intervals. Thus one question I seek to answer is: What do the Pythagorean intervals import to music? In their original formulation by Pythagoras, and further, by Plato, their import seemed mystical and analogous to a 'harmony of the spheres.' In this spatial approach, the Pythagorean intervals are indicative of infinite depth. The faculty of hearing alone does not ordinarily spatially locate sources. Hearing is ordinarily combined with sight in order to spatially locate a sound. Yet we talk about music as if it were spatially located, that is, as if it were a visible object with a surface and themes or 'objects'. I explore the faculty of vision and consider in what ways the processes of vision might be similar to and distinct from audition. My source for this approach is David Marr's book 'Vision' and his theory of the 2 1/2-dimensional sketch. In a medium in which there is no spatial location, it is important to situate the listener. Newton solved the problem of location by demonstrating the effects of gravity. P. F. Strawson claims that an analogy of distance is required in hearing to situate the listener, that is, a sense of nearer to and further from a source or object that permits a perception of distance. I claim that in music, the key signature and the scalar relations of musical themes provide this analogy of distance. The works of Plato, Aristotle, Descartes, Leibniz, and Newton are studied for their accounts of motion, bodies, and space. From these metaphysicians can be gleaned elements of music that include form, motion, timbre, dynamics, and attraction. By incorporating motion, I aim to show that although we may not know the true nature of space, we can learn from hearing music that space is perceptible in other than three dimensions. (shrink)

In this paper I challenge the common view that early in his career (1679-1695) Leibniz held that space and time are well-founded phenomena, entities on an ontological par with bodies and their properties. I argue that the evidence Leibniz ever held that space and time are well-founded phenomena is extremely weak and that there is a great deal of evidence for thinking that in the 1680s he held a position much like the one scholars rightly attribute (...) to him in his mature period, namely, that space and time are merely orders of existence and as such are purely abstract and occupy an ontological realm distinct from that of well-founded phenomena. In the course of arguing for this interpretation, I offer an account of the nature of Leibnizian phenomena which allows Leibniz to hold the view that space and time are phenomena, while at the same time thinking of them as abstract, ideal orders of existence. (shrink)

Quantum gravity is expected to require modifications of the notions of space and time. I discuss and clarify how this happens in Loop Quantum Gravity.

This book is a festschrift for Torsten Hagerstrand. "Through your work on migration, innovation diffusion, and time-geography you have helped demonstrate that geography's most profound insights are to be gained from the study of process rather than form.".

Property is a complex sign in semiotics. It is also the source of tension and conflict in law. This paper examines property in triadic terms consisting of what Charles S. Peirce would identify as the icon (firstness), the index (secondness), and the symbol (thirdness). From this perspective the paper explores the ideas of place, space, and time at the iconic level of the sign of property. Discussion addresses the way in which property serves as a coded system for (...) communicating information about a given community’s values and its cultural-interpretive hierarchy. Much like an aboriginal songline, property functions as a way of imprinting the land with impressions of social ordering related to place, space, and time. In the context of global trade we therefore observe property conflicts which are sometimes not so much about the technical language of property as they are about tensions among the embedded values in competing signs of property. (shrink)

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)

Combining ideas of perceptual psychologists J.J. Gibson and J.E. Cutting, moving on to answer the arguments of the "Naysayers" against autonomous and artistic meaning in photographs.

There is no question, of course, that music is a temporal art. Stravinsky, noting that it is inconceivable apart from the elements of sound and time, classifies it quite simply as "a certain organization in time, a chrononomy."1 His definition stands as part of a long and honored tradition that encompasses such diverse figures as Racine, Lessing, and Schopenhauer. Schopenhauer, putting the case in its strongest terms, remarks that music is "perceived solely in and through time, to (...) the complete exclusion of space," thus making explicit the opposition between time and space and ruling out the latter as a possible area for legitimate musical experience. Yet anyone familiar with the philosophical and theoretical literature dealing with music must be struck by the persistence with which spatial terminology and categories appear. Indeed, it would seem to be impossible to talk about music at all without invoking spatial notions of one kind or another. Thus in discussing even the most elementary aspects of pitch organization—and among the musical elements, only pitch, we should remember, is uniquely musical—one finds it necessary to rely upon such spatially oriented oppositions as "up and down," "high and low," "small and large" , and so on. Space, then, pace Schopenhauer, apparently forms an inseparable part of the musical experience. · 1. Igor Stravinsky, Poetics of Music in the Form of Six Lessons, trans, Arthur Knodel and Ingolf Dahl , p. 28. Robert P. Morgan is active as both a music composer and theorist. A professor of music at the University of Chicago, he is currently composing a concerto for flute, oboe, and string orchestra to be performed at Swarthmore College. His previous contribution to Critical Inquiry, "On the Analysis of Recent Music," appeared in the Autumn 1977 issue. Anthony Gilbert responds to the current essay in "Musical Space: A Composer's View". (shrink)

Although the name of Immanuel Kant has survived in the history of culture as the name of one of the greatest philosophers of modern times, Kant's role as a scientist is also very important. His work in the field of cosmology and physics is directly related to philosophy. Kant's development of the transcendental method was a direct result of thinking about the relationship between mathematics and experiment. Transcendentalism and Kant's theory of subjectivity continue the development of physics from Galileo to (...) Newton and Leibniz. This is especially true of his theory of space and time. All this should have turned transcendental aesthetics into a turning point in the development of mathematical natural science. However, in practice, the alienation of the natural sciences from philosophy has only intensified. An analysis of the scientific revolution at the beginning of the 20th century shows the enormous role of Kant's ideas in it in repulsing scientists from Kantianism. Weinert, a researcher of the relationship of 20th century physics to Kant's philosophy, shows that Einstein, being a Kantian as a philosopher, opposed Kantianism as a physicist. He enthusiastically accepted the Kantian idea of the autonomy of theoretical knowledge, but did not accept the concept a priori. An approach in which experience and theory do not precede each other, but are in constant interaction, is defined in the article as experimental transcendentalism. With the methodological difference between physics and philosophy, the concept of space and time in modern physics has a deep similarity with the transcendental doctrine. The definition of the qualitative structure of space (Analysis Situs), including the theoretical substantiation of its three dimensions, was the subject of reflections of scientists from Galileo, Leibniz and Kant to Einstein and Poincaré. (shrink)

Summary From the following discussion, we conclude that: (a) the homogeneity of space implies (in special relativity) the homogeneity of time, and vice versa; (b) the assumption of homogeneity of space (or time) implies that the transformation formulae must be linear (see Equations (10) and (17)).

THE AUTHOR DISCUSSES SIMULTANEITY, ABSOLUTE SPACE AND TIME, THE NUMBER OF POSSIBLE DIMENSIONS, CAUSALITY, RIVAL SCIENTIFIC THEORIES OF THE SPATIO-TEMPORAL PROPERTIES OF THE UNIVERSE AND THE MEANING OF SPATIO-TEMPORAL TERMS IN ORDINARY AND SCIENTIFIC LANGUAGE. (BP, EDITED).

Aimed at linguists and computer scientists working on natural language processing, this is the first book that shows, at a large scale, how to do semantics for spatio-temporal information based on annotation structures that conform to ISO international standards such as ISO-TimeML or ISO-Space.

Abstractabstract:This article examines the complexity of narratives of space and time which support the diagnosis of multiple sclerosis, and the consequences for patients disadvantaged by deficits in social cognition or socioeconomic status in areas relating to literacy. In the context of demonstrating the significance of narratives of space and time in the diagnostic process for multiple sclerosis, the article discusses new strategies for treatment that engage the arts and humanities and presents a brief history of the (...) disease and current diagnostic criteria, before discussing the MS Society of Great Britain and Ireland's awareness and fundraising campaign from the 1980s, and Tom Kempinski's play Duet for One, inspired by the life of cellist Jacqueline du Pré. The conclusion addresses the urgency of heightening patient and clinician awareness of how the presentation, interpretation, and sharing of narrative accounts of disease influence health outcomes and makes suggestions about how to adjust for these biases. (shrink)

Summary Colour and space are pervasive topics in both perception and art. This article investigates the role of colour and pattern in relation to space and time in the art works by two artists: Frank Stella, a well-known Post-War American abstract painter, and Pieter Vermeersch, an emerging Belgian abstract painter, representing a contemporary trend to break the barriers between artistic disciplines. While Stella adheres to the Modernist logic of non-illusionistic, non-spatial, non-referential art as object, perceived instantaneously, Vermeersch (...) explores ways to enhance the viewers’ spatial and temporal experiences through complex art installations with multiple objects and architectural elements interacting with each other and with the spaces in which they are embedded. We discuss these major themes in some representative art works, and in the way they are perceived and appreciated by contemporary viewers, investigated in four empirical studies: two laboratory experiments using well-controlled stimuli derived from at works, and two museum studies employing a variety of methods, including mobile eye-tracking and questionnaires. (shrink)

In this paper several arguments are discussed and evaluated concerning the possibility of discrete space and time.

We are accustomed to thinking of space and time as particulars or individuals—even if we should hesitate to describe them as things or objects or substances. We say ‘space has three dimensions’, ‘material things occupy space’, ‘the debris has disappeared into space’ and we talk in a comparable fashion about time. Not only do we think of space and time as individuals but, in many connections at any rate, we think of them (...) as unique individuals. When we talk about spaces and times in the plural, when we say ‘fill up the spaces on the form’, ‘it could go in the space between the lamp and the door’, ‘there were peaceful times in the early years of their marriage’ we think of these multiple spaces and times as parts of the unique allencompassing space and the unique all-encompassing time. Kant believed that we could not help thinking of them in this way. We do, at any rate, in fact think like this and it is this conviction that I want to examine. (shrink)