Cross-cultural conflict is often rooted in variation between values from different cultures, for example, differences in time orientation. Usually, individuals are monochronic or polychronic regarding time orientation. In South Africa, the term African time represents a nuanced polychronic time orientation. As this term is often used pejoratively, it is cardinal to break down stigmatization and create cultural awareness regarding this unique time orientation. In this paper, we argue that people must be cognizant of particular time orientations to facilitate intercultural dialogue (...) better and lessen conflict. With this in mind, we employed empirically-engaged African philosophy and developed the African Time Inventory (ATI). We theoretically introduce African time as a unique time orientation during the scale development process. The psychometric properties of the ATI are presented and proved to be reliable and valid in South Africa. In praxis, utilizing the ATI can facilitate decolonization resulting from some needed cultural awareness for dialogue and conflict mitigation. (shrink)

In the summer of 1985 my children, Laura and Aurélien, then seven and five, knelt before a Barbie doll standing at the foot of a Ken doll on an imaginary cross. I remember vividly the scene because I took a picture of it. We were vacationing in Ticino and visiting the local churches, so I assumed that this play imitated the iconography to which they were being exposed. After reading Moshenska's Iconoclasm as Child's Play, however—whose cover shows “Josh McBig,” a (...) bearded version of Ken with outstretched arms and severed legs, photographed by the Jackson sisters as part of their “Doll Games” project—I have to wonder: was there not in this play an element of parody or blasphemy, of iconoclasm even, prompted perhaps by my working at the time on contemporary “vandalism”? Or, on the contrary, was there an element of devotion, of faith produced by mimicking the ritual? I am now faced with the conundrum of “the adult's imagination of the child's imagination,” to borrow a phrase (from Michael Taussig) that resonates through Moshenska's strange and fascinating book.Sometime in the 1530s, in Redcliffe Cross in Bristol, in the west of England, a preacher named Roger Edgeworth denounced what he regarded as a current upsurge of impiety and singled out as evidence that “many Images” taken from the dissolved monasteries “haue bene caryed abrod, and gyuen to children to playe wyth all,” so that when their parents ask them what it is that they are playing with, they make them laugh by answering: “I haue here myne ydoll.” “Ydoll” is a portmanteau word—as Lewis Carroll would have said—combining “doll” and “idol,” and Moshenska finds “scattered but definite evidence... that holy things were made into playthings with sufficient frequency for it to be considered an established and recognized part of iconoclastic practice in the early modern period.” He analyzes a few other examples, but Edgeworth's sermon supplies him with the primal scene of his book: he admits to “having been seduced by this passage..., caught up in its folds, brought back to it time and again,” so that Iconoclasm as Child's Play bears some structural resemblance to Henry James's novella The Turn of the Screw. Consistently—and at times obtrusively—self-reflective, it also wonders whether its approach can be regarded as “a kind of iconoclasm” or is intended “as a form of play”—lusus serius, naturally.Iconoclasm as Child's Play explores with great ingenuity the complex relationships between the Christian rite, iconoclasm, and child's play: a Byzantine empress enables her icons to survive the Quarrel of Images by calling them her “dolls”; Protestants trivialize the Roman Catholic ritual by comparing it to “trifles” and the “mere playing of children”; in The Praise of Folly, Erasmus embraces the “foolishness” of Christianity, centered on the figure of a broken body that renders attacks against its images and iconoclastic theory itself—as Bruno Latour has shown—deeply equivocal. A further turn of the screw takes place in the missionary and mercantile context of Malacca, where the Dutch settlers impute childishness both to the Portuguese Jesuits who preceded them and to the local religions. The notions of “fetish” and “fetishism,” as Moshenska shows, charge their targets with a misattribution to objects of agency, responsibility, and desires.The object of Moshenska's inquiry, which he claims less convincingly to include “art-things,” is “polysemic and polychronic,” and a leitmotif of the interpretations he proposes is the instability of the status and meaning of what is interpreted, be it a thing, an action, or a word. Among the many epistemic virtues he attributes to iconoclasm as child's play is the questioning of “the sharp... divisions between modern and premodern” implied by historical narratives such as Max Weber's account of the Reformation as the “expulsion of play” and “disenchantment” of the world. A long meditation on the temporality of play concludes by pointing out the “toy potential of all things” and referring to James Gibson's notion of “affordance.” Indeed, child's play, whatever adults want to do with it, often consists in multiplying and inventing affordances, and it is capable of turning not only “idols” into “dolls,” but also “dolls” into “idols.”. (shrink)

Departing from a critical assessment of the most widespread and initiated definitions of Contemporary Art from the last decade and a half, sustaining a world-wide discourse on contemporary art and contemporaneity, this article will deal with two aspects of an immodest proposal captured by the keywords actualization and anachrony. While current discussions on contemporary art are arguably reproducing modernist assumptions on the primacy of innovation, bolstered by a veiled avant-garde logic, the proposal to regard contemporary art as actualized art upsets (...) not only ideas on what art after postmodernism might mean, but the whole edifice of historicist historiography. An anachronic perspective, a bi- or polychronic situatedness of the work of art, could be used to liberate art from being defined according to its unique descent, and to embrace, instead, a chronologic open to art’s continuous “life” through its successive aesthetic accessions and actualizations in time. (shrink)

ABSTRACT Even if Lotman’s theory has often been presented as a semiotic theory based on categories of space, temporal categories are crucial as well. And as we can speak of polyglotism as one of the main features of culture, we should speak of polychronism as well. In each state of culture, in fact, we find many temporal codes, and the internal dialogue is not only based on codes coming from different spaces (in the normal sense of polyglotism), but also (...) as coming from different times (in the sense of a sort of polychronism). Lotman’s reflections about this aspect of culture could be very useful in order to understand some aspects of our society, where we find a form of presentism, the temporal dimension corresponding to localism within the spatial dimension, which globalization has produced. (shrink)

How do human infants learn the causal dependencies between events? Evidence suggests that this remarkable feat can be achieved by observation of only a handful of examples. Many computational models have been produced to explain how infants perform causal inference without explicit teaching about statistics or the scientific method. Here, we propose a spiking neuronal network implementation that can be entrained to form a dynamical model of the temporal and causal relationships between events that it observes. The network uses spike-time (...) dependent plasticity, long-term depression, and heterosynaptic competition rules to implement Rescorla–Wagner-like learning. Transmission delays between neurons allow the network to learn a forward model of the temporal relationships between events. Within this framework, biologically realistic synaptic plasticity rules account for well-known behavioral data regarding cognitive causal assumptions such as backwards blocking and screening-off. These models can then be run as emulators for state inference. Furthermore, this mechanism is capable of copying synaptic connectivity patterns between neuronal networks by observing the spontaneous spike activity from the neuronal circuit that is to be copied, and it thereby provides a powerful method for transmission of circuit functionality between brain regions. (shrink)