Similar to visual perception, auditory perception also has a clearly described “pop-out” effect, where an element with some extra feature is easier to detect among elements without an extra feature. This phenomenon is better known as auditory perceptual asymmetry. We investigated such asymmetry between shorter or longer duration, and level or falling of pitch of linguistic stimuli that carry a meaning in one language (Estonian), but not in another (Russian). For the mismatch negativity (MMN) experiment, we created four different (...) types of stimuli by modifying the duration of the first vowel [ɑ] (170, 290 ms) and pitch contour (level vs. falling pitch) of the stimuli words (‘SATA,’ ‘SAKI’). The stimuli were synthesized from Estonian words (‘SATA,’ ‘SAKI’) and follow the Estonian language three-way quantity system, which incorporates tonal features (falling pitch contour) together with temporal patterns. This made the meaning of the word dependent on the combination of both features and allows us to compare the relative contribution of duration and pitch contour in discrimination of language stimuli in the brain via MMN generation. The participants of the experiment were 12 Russian native speakers with little or no experience in Estonian and living in Estonia short-term, and 12 Estonian native speakers (age 18–27 years). We found that participants’ perception of the linguistic stimuli differed not only according to the physical features but also according to their native language, confirming that the meaning of the word interferes with the early automatic processing of phonological features. The GAMM and ANOVA analysis of the reversed design results showed that the deviant with longer duration among shorter standards elicited a MMN response with greater amplitude than the short deviant among long standards, while changes in pitch contour (falling vs. level pitch) produced neither strong MMN nor asymmetry. Thus, we demonstrate the effect of language background on asymmetric perception of linguistic stimuli that aligns with those of previous studies (Jaramillo et al., 2000), and contributes to the growing body of knowledge supporting auditory perceptual asymmetry. (shrink)

In tone languages, some case studies showed that the word-level tonal representation was closely related to the underlying metrical pattern. Based on different tonal patterns in prosodic units, the metrical structures could generally be divided into the left- and right-dominant types in Chinese dialects. Yet the cross-dialectal phonetic realizations (e.g., duration and pitch) between or within these two metrical structures were still unrevealed. The current study investigated the duration and pitch realizations of disyllabic prosodic words in (...) Changsha and Chengdu dialects (the left-dominant structure), and in Fuzhou and Xiamen dialects (the right-dominant structure). Results showed that not all the duration patterns across four Chinese dialects were sensitive to different metrical structures, indicating that the duration might not be the universal cue for metrical prominence in Chinese dialects. In terms of pitch realization across all the four Chinese dialects, level tones (sometimes falling tones) generally appeared in the metrically weak unit, while underlying pitch forms appeared in the metrically strong unit. Compared with duration, pitch might be more robust for prosodic realizations of metrical structures in Chinese dialects. Furthermore, there was an interaction between duration and pitch patterns in Chinese dialects, which could shed new light on the phenomenon of “metrical tone sandhi”. Meanwhile, this study also provides some references for the judgment of the metrical stress and prosodic realizations in other Chinese dialects. (shrink)

La dimensione teorica della musica occidentale, nella sua evoluzione storica, ha inevitabilmente fatto uso di concetti essenziali alla definizione di come il suono è musicalmente organizzato o organizzabile. Fra questi, risultano imprescindibili le nozioni di materia, forma e ordine, che implicano rispettivamente, nei pur diversi ambiti linguistici e contesti storico-filosofici di riferimento, ciò di cui è fatta la musica, ciò a cui la materia sonora tende, e come tale tensione è realizzata. Scopo di questo contributo è una valutazione d’insieme sulla (...) valenza filosofica e l’uso di tali concetti nel pensiero musicale occidentale altomedievale e in quello del Novecento, che nonostante la distanza cronologica presentano convergenze significative. Nel Medioevo, un lungo processo di elaborazione teorico-pratica permise la matematizzazione dello spazio musicale, attraverso l’adattamento di moduli melodici, trasmessi oralmente, alle strutture scalari desunte dalla teoria greco-boeziana. La forma e l’ordo musicali furono quindi riferiti ai criteri fisico-matematici atti a distinguere nella materia sonora, in sé disorganica e indefinita, ciò che è musicale da ciò che non lo è. Tale concezione sparisce con l’affermarsi del sistema tonale, ove il suono fisico è concepito come “pre-formato” e “pre-ordinato” nella gamma scalare e nei vincoli attrattivi “naturali” degli armonici. In conseguenza, i concetti di forma e ordine abbandonano il contesto acustico, andando a definire i criteri teorici della composizione artistica, in linea con l’idea filosofica del loro esprimere la coerenza logico-sintattica dell’“insieme organico” . Nell’ambito del pensiero musicale del Novecento, la crisi del sistema tonale e la messa a punto di nuove modalità e tecniche di produzione del suono hanno riorientato la valenza significante e l’uso di questi tre concetti, implicando il loro tornare a imporsi sugli elementi primari della fisica del suono, non solo l’altezza, ma soprattutto il timbro, il volume e la durata. Già Schönberg, nel 1911, affermava come “l’ordine che chiamiamo forma artistica” è “un necessario espediente” elaborato “a causa della nostra incapacità a comprendere l’indistinto e il non-ordinato”, che è la condizione propria della materia sonora. In its historical development, the Western theory of music has inevitably made use of specific concepts to define how the sound is musically organized or organizable. Among these notions, those of matter, form and order signify – in spite of the different linguistic areas and the various historical and philosophical backgrounds – that from which music is made, that to which it tends and how such tendency is realized. This paper aims to evaluate the philosophical implications and the use of these three concepts in the musical theories of the high Middle Ages and of the twentieth century, since, in spite of their chronological distance, they present significant similarities. A long process of theoretical and practical adjustments of the melodic structures of liturgical chants to the scale-systems of the Greek and Boethian theory contributed to developing what would become a familiar notion throughout the Middle Ages: that musical intervals can be expressed in mathematical terms. According to this view, the words forma and ordo signify the mathematical measures that are applied to the “matter” of sound, which is considered as inorganic and indefinite in itself. This conception gradually disappears when the tonal system begins to emerge, since this new modality of composition implies that the physical sound is “pre-formed” and “pre-ordered” within the musical scale, according to the “natural” links of the harmonics. Consequently, the concepts of “form” and “order” do not refer any more to the context of sound generation, but are now used to define the theoretical criteria of the artistic composition, so to accomplish the new philosophic idea of their expressing the logical-syntactic coherence of the “organic-whole” . In the early twentieth century, when the tonal system starts to be replaced by new methods of composition and when new modalities and techniques of sound production emerge, those three concepts are used, again, to express the basic elements of the physics of sound: not only its height, but also its timbre, volume, and duration. In 1911, Schönberg argued that the order that we call “artistic form” is a necessary device, elaborated “because of our incapacity to comprehend the indistinct and unordered thing”, that is the own condition of the matter of sound. (shrink)

It is interesting to explore the effects of second language acquisition on anatomical change in brain at different stages for the neural structural adaptations are dynamic. Short-term Chinese training effects on brain anatomical structures in alphabetic language speakers have been already studied. However, little is known about the adaptations of the gray matter induced by acquiring Chinese language for a relatively long learning period in adult alphabetic language speakers. To explore this issue, we recruited 38 Indian overseas students in China (...) as our subjects. The learned group included 17 participants who had learned Mandarin Chinese for an average of 3.24 years and achieved intermediate Chinese language proficiency. The control group included 21 subjects who had no knowledge about Chinese. None of the participants had any experience in learning logographic and tonal language before Chinese learning. We found that the learned group had significantly greater gray matter volume in the left lingual gyrus compared with the control group; the Chinese characters’ reading accuracy was significantly and positively correlated to the GMV in the left LG and fusiform gyrus across the two groups; and in the learned group, the duration of Chinese learning was significantly and positively correlated with the GMV in the left inferior frontal gyrus after correction for multiple comparisons with small volume corrections. Our structural imaging findings are in line with the functional imaging studies reporting increased brain activation induced by Chinese acquisition in alphabetic language speakers. The regional gray matter changes reflected the additional requirements imposed by the more difficult processing of Chinese characters and tones. The present study also show that the biological bases of the adaptations induced by a relatively long period of Chinese learning were limited in the common areas for first and foreign language processing. (shrink)

This study delves into how various musical factors influence the experience of auditory illusions, building on Diana Deutsch's scale illusion experiments and subsequent studies. Exploring the interaction between scale mode and timbre, this study assesses their influence on auditory misperceptions, while also considering the impact of an individual's musical training and ability to discern absolute pitch. Participants were divided into nonmusicians, musicians with absolute pitch, and musicians with relative pitch, and were exposed to stimuli modified across three scale modes ( (...) class='Hi'>tonal, dissonant, atonal) and two timbres (same, different). The findings suggest that scale illusions occur less frequently with different timbres and vary with scale mode. Crucially, the absolute pitch ability appears to have a more significant impact on the perception of illusions than the duration of musical training. This research contributes to understanding the complex interplay between various factors in auditory perception and the mechanisms behind the experience of auditory illusions. (shrink)

It has been claimed by Diana Raffman, that atonal (and in particular serial) music can have no aesthetic value, because it is in an important sense meaningless. This worthlessness is claimed to result from cognitive/psychological facts about human listeners that have been confirmed by empirical investigations such as those conducted by Lerdahl and Jackendoff. Similar assertions about the necessary inferiority of 12-tone music have been made by, among others, Taruskin, Cavell, and Goldman, some of whom echo Raffman’s suggestion that both (...) composers and performers of atonal music are committing a kind of fraud. This paper responds to all of those allegations. In particular, it points out that even if the empirical claim about human cognitive capacities with respect to the discernment of “local structure” in atonal works is assumed to be correct (which is actually quite doubtful), all the arguments brought by the “prosecution” against atonal music that rely on this claim are invalid. It is noted that such arguments by tonality advocates somewhat ironically rely on their own variety of what Taruskin has called “the poietic fallacy,” a gaff which he has frequently accused serialists (and perhaps alea supporters) of committing. Readers are reminded that the main basis for claims of aesthetic worth (or worthlessness) can never be primarily theoretical, but must be principally based on the experiences of beholders. (shrink)

I argue in this paper that Descartes's goal with his doctrine of the continuous recreation of the world is to offer a unified and ultimate causal explanation for the possibility of motion and duration in the world, the permanence of created things, and the continuation of their motion and duration. This unified explanation seems to be the only one which, according to Descartes, satisfies the two basic requirements any ultímate cause should meet: the cause must be active and (...) not being in motion itself. God's recreations of the world is Descartes's solution to this search. I also show in this article, on the one hand, that this doctrine successfully overcomes, in particular, the four major conflicts which threaten its consistency, and, on the other, the new meaning which the laws of nature acquire under the doctrine of the continuous recreation of the world. /// En este artículo defiendo que la pretensión principal de Descartes al proponer la doctrina de la recreación continua del mundo es encontrar una explicación unificada y última de la posibilidad de movimiento y duración en el mundo, de la permanencia de las cosas creadas y de la continuación del movimiento. Esta explicación unificada es la única que, según Descartes, satisface los dos requisitos que parece buscar en la explicación causal última del movimiento: la causa debe ser activa y no debe estar ella misma en movimiento. Las recreaciones del mundo constituyen esa causa. Por una parte, también muestro cómo esta solución supera, en concreto, los cuatro conflictos mayores que amenazan su consistencia, y, por otra, el nuevo significado que las leyes de la naturaleza adquieren en consonancia con esta doctrina de la recreación continua del mundo. (shrink)

Das Buch behandelt die Ästhetik der tonalen Musik. Analysiert werden Klangformen wie Konsonanz, Dissonanz, Tonalität, Takt, Kontrapunkt oder Motiv. Dabei zeigt sich: Alle harmonischen, rhythmischen und melodischen Klanggestalten sind ihrem Wesen nach Verhältnisse des klanglichen Zusammenpassens. Als solche sind sie systematisch aufeinander aufgebaut und bilden ein Ensemble aus acht ästhetischen Prinzipien, denen jeweils ein Kapitel dieses Buches gewidmet ist. In der logischen Abfolge dieser Kapitel wird der innere Zusammenhang von Harmonie, Rhythmus und Melodie offen gelegt. Die Suche nach einer "Bedeutung" (...) der musikalischen Formen ist nicht die Sache dieses Buches. Dann schon eher die schonungslose Kritik der theoretischen Absurditäten, die sich aus jener musikwissenschaftlichen Unsitte ergeben. (shrink)

Bergson's central contention is that time is not measurable by any objective standard; in Duration and Simultaneity, that position is tried out against the major movement in physics of the day - Relativity. Bergson argues that Relativity fails to live up to the promise of a truly relative physics, and counter to its own spirit retains some of the objectivist assumptions of previous world views. Duration and Simultaneity was conceived in the desire to make good the new paradigm (...) to which Relativity was bound to lay claim; in the desire to be more Einsteinian than Einstein. (shrink)

Gives an account of tonality, and why tonality is central to our musical tradition Shows that the attempt to replace tonality with atonal or serial forms of musical order threatens the foundations of musical perception, and explores the various ways in which music can depart from tonality while still maintaining its character as an object of aesthetic interest. Contains a critical account of Schoenberg's theories and of Adorno's associated socio‐cultural analysis.

This essay illustrates the main aspects of the discussion between Brentano and Stumpf about «tonal fusion». In his Tonpsychologie, Stumpf essentially moved from a Brentanian standpoint. Yet, he did not adopt Brentano’s subsequently developed new theory of «sensible qualities», so that a polemic eventually arouse between them. Far from representing a marginal issue, the episode is relevant to our understanding of their relationship. The discussion as to the mechanism of tonal fusion reveals a general divergence between Brentano and (...) Stumpf concerning the idea of human sensibility as a whole and of the method of psychology. (shrink)

Lerdahl and Jackendoff's Generative Theory of Tonal Music (GTTM) is an important contribution to cognitive science. Jackendoff claims it is a computationalist theory and that the mental representations it postulates are unconscious. Thus GTTM looks to be a kind of cognitive science remote from the folk-psychological. I argue that this picture of GTTM is mistaken: GTTM is at least as much music analysis as cognitive science. Jackendoff's metatheory fails to explain how a listener can tell that a structural description (...) corresponds to the way she hears, how analytically minded listeners can communicate about their hearing, and how a reader of their book can comprehend it. I suggest an alternative construal, on which GTTM's analytical vocabulary functions as a public language and its mental representations are perceptual beliefs. Interesting philosophical problems ensue about knowledge of musical structure and knowledge about what structures one hears. There is a paradox: one wants an analysis to be true to a hearing, yet to be illuminating. Though analysis and hearing coincide in content at an abstract level, they do not coincide in conceptual content. What sort of knowledge then underlies the inference from perceptual to music-analytical representation? I argue that such knowledge is a priori. (shrink)

Research into Bergson’s philosophy downplays a key development in his first work, Time and free will. It is there that Bergson explicitly opposes himself to Kant by arguing that succession is not a temporal concept, but a spatial one. This is the crucial point of departure for Bergson’s entire philosophy, one that allows him to radically dismiss Kant’s notion of freedom in favor of one based on duration and multiplicity. This text has two aims. Firstly to add to Bergson (...) scholarship by explicating the structure and force of Bergson’s initial argument against Kant, demonstrating that his engagement with Kant is much less incremental than has been suggested in secondary literature. Secondly, to reconstruct the consequences regarding freedom that Bergson immediately draws in departing from Kant, which illustrates the profundity and originality of his thought at the very inception of his oeuvre. (shrink)

Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, moreover, has (...) had its day. For many listeners, however, works within this tradition possess a distinctive ability to embody musical movement and expression. This paper examines Roger Scruton's defense of tonality as developed in the European common practice period. I examine his reasons for supposing that tonality is an ineliminable feature of sounds heard and understood as music. Those reasons, I conclude, are inconclusive; on their own they do not show that tonality either will or should persist as an authoritative musical order. Triadic tonality has, at best, an uncertain future. (shrink)

A central question in the Japanese high vowel devoicing literature concerns whether vowels are devoiced through a categorical process or via gradient reduction. Examining how vowel height and consonantal voicing condition phrase-internal CV duration in a corpus of spontaneous Tokyo Japanese, it was found that CVs containing high vowels are substantially shorter before voiceless consonants, whilst non-high vowels do not exhibit comparable shortening. This quantitative difference between CV durations suggests a controlled temporal compression of the CV, consistent with views (...) that Japanese vowel devoicing is produced through a categorical process targeting high vowels preceding voiceless consonants, and supports previous observations made of elicited productions. (shrink)

Perception of time is susceptible to distortions; among other factors, it has been suggested that the perceived duration of a stimulus is affected by the observer’s expectations. It has been hypothesized that the duration of an oddball stimulus is overestimated because it is unexpected, whereas repeated stimuli have a shorter perceived duration because they are expected. However, recent findings suggest instead that fulfilled expectations about a stimulus elicit an increase in perceived duration, and that the oddball (...) effect occurs because the oddball is a target stimulus, not because it is unexpected. Therefore, it has been suggested that top-down attention is sometimes sufficient to explain this effect, and sometimes only necessary, with an additional contribution from saliency. However, how the expectedness of a target stimulus and its salient features affect its perceived duration is still an open question. In the present study, participants’ expectations about and the saliency of target stimuli were orthogonally manipulated with stimuli presented on a short (Experiment 1) or long (Experiment 2) temporal scale. Four repetitive standard stimuli preceded each target stimulus in a task in which participants judged whether the target was longer or shorter in duration than the standards. Engagement of top-down attention to target stimuli increased their perceived duration to the same extent irrespective of their expectedness. A small but significant additional contribution to this effect from the saliency of target stimuli was dependent on the temporal scale of stimulus presentation. In Experiment 1, saliency only significantly increased perceived duration in the case of expected target stimuli. In contrast, in Experiment 2, saliency exerted a significant effect on the overestimation elicited by unexpected target stimuli, but the contribution of this variable was eliminated in the case of expected target stimuli. These findings point to top-down attention as the primary cognitive mechanism underlying the perceptual extraction and processing of task-relevant information, which may be strongly correlated with perceived duration. Furthermore, the scalar properties of timing were observed, favoring the pacemaker-accumulator model of timing as the underlying timing mechanism. (shrink)

In her essay examining how rhetoric attends to an “explicitly nonhermeneutic, ethical dimension” of the relationship between self and other, Diane Davis argues that the act of attunement is vital to the rhetorical challenge of “keep[ing] hermeneutic interpretation from absorbing the strictly rhetorical gesture of the [other’s] approach, which interrupts the movement of appropriation and busts any illusion of having understood” (2005, 208, original hers). This comment is part of a larger conversation about ethical action in the face of radical (...) alterity, those marks and gestures of the other that “communicate more than I can comprehend, a ‘surplus’ of alterity that I can neither appropriate nor abdicate” (2005 .. (shrink)

The encounter between Bergson and Einstein that took place at the 1922 meeting of the Philosophical Society at the Collège de France gave rise to a lively debate about the relative merits of Bergson’s contribution to the understanding of time in relativity. In this paper, I argue that despite some serious shortcomings, Bergson’s philosophical intervention in the interpretation of relativity makes a novel and valuable contribution to the understanding of time in relativity. With reference to the so-called ‘paradox’ of the (...) twins, I begin by arguing that Bergson offers a corrective for the fallacious view that temporal passage is illusory. In the second section, I explain what Bergson means by a single, universal time. Given the fact that in relativity there is a plurality of times, this idea seems inconsistent with relativity, but I argue that Bergson’s single time is just duration, a time that is dependent on the temporal passage in a particular inertial frame. In a third section, I show that despite his failure to see it, Bergsonian duration is actually consistent with proper time, a time that is invariant regardless of which frame is used to perform the calculation. Once we make this connection between duration and proper time, we can see what Bergson’s intervention is really meant to accomplish; namely, to attach a concrete sense of the passage of time to relativity, thus ‘completing’ the theory of relativity so that it can account for the duration that we all feel and know with inimitable intimacy. In the end, my position is that Bergson helps us to see that time lapse is what it is not because it is measured as such, but rather because it is the lived time of a particular process that is invariant to change of inertial frame. (shrink)

The purpose of this article is to show a structural relationship in Dutch between sentences with the main verb "duren" (last) and specifying complements such as een week (a week) or "drie kwartier" (three quarters of an hour) on the one hand, and sentences with Duration Measuring Adverbials such as "gedurende een week" (for a week), "gedurende die week" (lit: for that week) on the other.

The study of the meanings of temporal expressions in natural language can proceed in two ways. The first consists of borrowing an ontological theory concerning how time “really” is, and then showing how temporal expressions are interpreted in this model. Let us call this the physicalist approach. The other approach is to start off by studying the temporal presuppositions employed in the language, and defining a model as the structure which satisfies these conditions. This approach we shall call the analytist (...) approach. The two approaches share their goal, which is to provide a temporal model for natural language. However, they are driven by different motivations. The physicalist approach is ontology-driven. It views time as part of reality, and its structure as independent of linguistic considerations. It attempts to interpret the language in this model, possibly by adding assumptions about the language. The analytist approach, on the other hand, is language driven. It assumes that language “mirrors” reality to the extent in which it is describable in the language, and tries to define a temporal model based only on linguisticconsiderations. A theory is “complete”, in a sense, if it combines both approaches and its (analytist) language- driven model can be constructed in a (physicalist) ontology-driven structure. (shrink)

I try to indicate this special quality of classical intelligibility by linking it with the notion of "dual structure," a notion which should not be flattened to mean any sort of intelligibility to those listeners deemed "competent," especially if the term "competence" is used without qualification. Dual structure in music, as I construe it, is an intrastructural system of reference between pairs of discrete semiotic constructs both members of which are in some sense wholly embodied in a given musical structure. (...) These constructs include a general ground of meaning and more particularized semiotic configurations derived from that ground; and because both are present in the musical structure, the relationship between them—the meaning of the music—can be retrieved directly, wholly, and on a general scale. No extrastructural mediating explanation or specialized information or training is needed; the interpreter need merely use the musical equivalent of reason. The archetype of such a system in music seems to be the relation of implication or self-generation that obtains between premise and conclusion within a pure system of logic, which, as described by Kant in his account of theoretical reason, would be universally intelligible. Rose Rosengard Subotnik, assistant professor of music at the University of Chicago, is the author of articles on nineteenth-century music. Her essay which prompted this exchange, "The Cultural Message of Musical Semiology: Some Thoughts on Music, Language, and Criticism since the Enlightenment," appeared in the Summer 1978 issue of Critical Inquiry. (shrink)

I use Jonathan Bennett’s, Gilles Deleuze’s and Pierre Macherey’s interpretations of Spinoza to extract a theory of time and duration from Spinoza. I argue that although time can be considered a product of the imagination, duration is a real property of existing things and corresponds to their essence, taking essence (as Deleuze does) as a degree of power of existing. The article then explores the relations among time, duration, essence and eternity, arguing against the idea that Spinoza’s (...) essences or Spinoza’s eternity are atemporal. Essences and eternity both involve necessary references to time, but the time involved is not that of the “fortuitous sequence of events” apprehended through sensory experience. Rather, the “time” is that implicit in the necessity of God’s self-determination through God’s differentiation into natura naturans and natura naturata, which is involved in the production and differentiation of eternal essences. (shrink)

Variation in the durations of exclusive breastfeeding (exBF) and any breastfeeding (anyBF) is associated with socioecological factors. This plasticity in breastfeeding behavior appears adaptive, but the mechanisms involved are unclear. With this concept in mind, we investigated whether durations of exBF and anyBF in a rural Maya population covary with markers of a form of socioecological change—market integration—and whether individual factors (individual learning, physiological plasticity) and/or learning from others in the community (social learning, norm adherence) mediate these changes. Using data (...) from 419 mother-child pairs from two Guatemalan Maya villages, we fit a bivariate linear mixed model. The model compared exBF and anyBF among children from households of varying degrees of market integration whose mothers follow what we inferred to be local infant-feeding norms. It controlled for other factors expected to affect breastfeeding durations. We found evidence that exBF is associated with whether mothers follow their population’s infant feeding norms, but no evidence that exBF is associated with the household’s level of market integration. Conversely, anyBF is significantly associated with the household’s market integration, but not with the villages’ inferred norms. Because deviations from exBF norms are likely to result in infant mortality and reduced fitness, we hypothesize that the incentive to conform is relatively strong. Relatively greater individual plasticity in anyBF allows mother-child pairs to tailor it to socioecological conditions. Deviations from anyBF norms may be tolerated because they may provide later-life health/fitness payoffs, while posing few risks to infant survival. (shrink)

What is the nature of time? This new study engages with the philosophy of Henri Bergson on time and proposes a new way of thinking about the effects of future events on the past. According to Bergson, time is an integral feature of real things, just as much as their material or size. When a flower grows, it takes a period of real time for it to flourish, which cannot be quickened or slowed down, nor can it be eliminated from (...) the process of growth. Bergson named this real time 'duration' and argued that everything and everyone exist as duration, and that internal processes flow into one another, with no clear boundaries that separate one phase of duration from another. According to Bergson's philosophy, the past does not disappear but smoothly flows into the present, forming an indivisible dynamic unity. But what if the causal flow of temporal reality is not unidirectional? What if not only past events influence future ones, but future ones in their turn have retrospective effect on past occurrences? The author of this book analyses these key questions, asserts that the changeability of the past follows from Bergson's theory of time and proposes a theory of embodied time that involves the retrospective enrichment of reality. (shrink)

This article examines the temporal dimension of contemporary architecture, particularly in light of the climate crisis. Mikhail Bakhtin’s category of “adventure-time” is redeployed to describe the general chronotope of postmodernism, one in which contingency and spatiotemporal disjunctions are dominant. In contrast, this essay argues for a new emphasis on duration as a means of attending to temporal continuity. Potential paths for expanding architecture’s critical engagement with duration are explored.

The problem I shall discuss is specific, even minute. Yet, being philosophical, it arises and can be profitably discussed only in a context anything but minute, namely, that of a conception of philosophy and its proper method. I could not possibly unfold my conception once more for the sake of a minute problem. Nor do I believe that as things now stand this is necessary. I shall merely recall two propositions which are crucial in the context, and, in stating them, (...) shall freely use its vocabulary. The undefined descriptive terms of the ideal language all refer to phenomenal things wholly presented. These things all are either individuals or characters, and, if characters, either relational or nonrelational. These are the two propositions. It may throw light on another crucial point not always well understood if I imagine someone to ask: Wholly presented to whom? The answer is: To the person to whose world the philosopher, who, himself always speaks commonsensically, fits the ideal language. (shrink)