Emmanuel Levinas is a major voice in twentieth century European thought. Beginning his intellectual career in the 1920s, he has developed an original and comprehensive post rationalist ethics of social responsibility and obligation. The influence of his work has already been profound and far-reaching, readily acknowledged by such diverse and important figures as Jean-Paul Sartre, Jacques Derrida, and Enrique Dussel. Time and The Other was first presented as a series of lectures in 1946-47 at the College Philosophique and (...) is probably the clearest statement of Levinas' thought. Along with Existence and Existents (1947), it represents the first formulation of Levinas' own philosophy, later more fully developed in Totality and Infinity (1961) and Otherwise than Being or Beyond Essence (1974. (shrink)

Introduction: Time and the shared world -- The "subject" of inquiry -- Mineness and the practical first-person -- Being and otherness: Sartre's critique -- Heideggerian aprioricity and the categories of being -- The temporality of care -- Fursorge: acknowledging the other Dasein -- Authenticity, inauthenticity, and the extremes of Fursorge -- Conclusion.

The article comments on the view of authors Johannes Fabian and Emmanuel Levinas on the Africanist research and social praxis in Africa. Fabian determined his ideas within anthropology, while Levinas used philosophy and ethics. The author emphasized that their reflections articulate the need for a dialogical approach in Africanist scholarship. He argued that coevalness is not enough to redress the effects of colonial and postcolonial objectification of human existence in the country.

The first IVF baby was born in the 1970s. Less than 20 years later, we had cloning and GM food, and information and communication technologies had transformed everyday life. In 2000, the human genome was sequenced. More recently, there has been much discussion of the economic and social benefits of nanotechnology, and synthetic biology has also been generating controversy. This important volume is a timely contribution to increasing calls for regulation - or better regulation - of these and other (...) new technologies. Drawing on an international team of legal scholars, it reviews and develops the role of human rights in the regulation of new technologies. Three controversies at the intersection between human rights and new technology are given particular attention. First, how the expansive application of human rights could contribute to the creation of a brave new world of choice, where human dignity is fundamentally compromised; second, how new technologies, and our regulatory responses to them, could be a threat to human rights; and, third, how human rights could be used to create better regulation of these technologies. (shrink)

In recent years there has been a number of promising technical and institutional developments regarding use of ontologies in industry. At the same time, however, most industrial ontology development work remains within the realm of academic research and is without significant uptake in commercial applications. In biomedicine, by contrast, ontologies have made significant inroads as valuable tools for achieving interoperability between data systems whose contents derive from widely heterogeneous sources. In this position paper, we present a set of principles (...) learned from the successful Open Biomedical Ontologies (OBO) Foundry initiative to guide the design and development of the Industrial Ontologies Foundry (IOF), which is a counterpart to the OBO Foundry initiative for the manufacturing industry. We also illustrate the potential utility of these principles by sketching the conceptual design of a framework for sustainable IOF development. (shrink)

This is a book about everything and how anything whatsoever happens. By answering the question what is a thing?, the book reveals what it is to exist, what any being at all is. Such profound matters require a special method of inquiry. The method employed herein – original inquiry – begins with no assumptions about reality. It is, then, a method independent of any figure, trend, or tradition in the history of philosophy. Via this method, one simply confronts all this, (...) the world, an all-encompassing diverse array of whatnot, and on this basis can come to a secure account of what it is to be. In simply confronting the world, however, one’s experience shifts, is transient: all this goes from one way—with, say, a cat here—to some other way—the cat being over there. This manifest inconstancy must be accounted for in any comprehensive account of the world. Yet so must a manifest constancy. If the cat is now, at this moment, over there, that the cat is now, at this moment, over there is forever true. These seemingly contradictory phenomena, inconstancy and constancy, demonstrate the importance of time to understanding the world. Since any legitimate inquiry is directed at something or other and since many objects of inquiry (including inquiry itself) occur over time, correct accounts of temporal reality and of being – of time and the world – provide insight into all inquiry. These accounts provide constraints on and, hence, guidelines for investigating any subject matter in any field. (shrink)

The article explores ethical conceptualisations of time that take the existence of the embodied Other in education into consideration. Kristeva’s time/memory paradox is discussed with regard to teachers’ everyday judgements in relation to student learning. In conclusion, learning as an unruptured endeavour is impossible when the time of the embodied Other is taken into account. In this sense, teachers need to be aware of: 1) the time gap between people, 2) the time gap (...) between the conscious and subconscious, 3) the fact that teachers’ and students’ meaning-making is always tainted by past memory, 4) the ways in which the timelessness of the subconscious crashes into conscious meaning-making in the present and creates ruptures that affect the content of learning and the life conditions of Others, 5) how frozen time can be used as a way of learning from ruptures, and 6) that processing time is just as important as ‘progressing in it’. (shrink)

The decades following the civil rights and decolonization movements of the sixties and seventies - termed the post-soul era - created new ways to understand the aesthetics of global racial representation. Daphne Lamothe shows that beginning around 1980 and continuing to the present day, Black literature, art, and music resisted the pull of singular and universal notions of racial identity. Developing the idea of 'Black aesthetic time' - a multipronged theoretical concept that analyzes the ways race and time (...) collide in the process of cultural production - she assesses Black fiction, poetry, and visual and musical texts by Paule Marshall, Zadie Smith, Tracy K. Smith, Dionne Brand, Toyin Ojih Odutola, and Stromae, among others. Lamothe asks how our understanding of Blackness might expand upon viewing racial representation without borders - or, to use her concept, from the permeable, supple place of Black aesthetic time. Lamothe purposefully focuses on texts told from the vantage point of immigrants, migrants, and city dwellers to conceptualize Blackness as a global phenomenon without assuming the universality or homogeneity of racialized experience. In this new way to analyze Black global art, Lamothe foregrounds migratory subjects poised on thresholds between not only old and new worlds, but old and new selves. (shrink)

This short essay argues for a thematic connection between Emmanuel Levinas’s Time and the Other and his Totality and Infinity. Time and the Other directly addresses the problem of salvation, and this concern with salvation can be traced through Totality and Infinity, where it is implicit in Levinas’s conception of desire—so there is a religious concern at the core of that (purportedly) secular work. And this thematic connection suggests a further interpretive question about the role of (...) fecundity in both books, which is addressed in the final section. (shrink)

A longtime practitioner of Zen Buddhism discusses how the Zen concept of nonduality - the essential unity of all things - forms the basis of Buddhist ethics. The author describes key Buddhist doctrines such as the Four Noble Truths and the Eightfold Path, showing their relevance to modern problems.

Relative to any point in time, how many possible futures are there? For example, it may rain tomorrow, or again it may not. So it would appear that relative to today, there are at least two possible futures, one involving rain tomorrow and the other not. Of course only one of these two future states of affairs will take place, and in that sense there is only one actual future, though there may be many possible futures. The only (...) hypothesis under which there is, for every instant in time, only one possible future, is the hypothesis of universal Laplacean determinism, and this hypothesis has had little to recommend it since the advent of quantum physics. Furthermore, although among the many possible futures relative to any given moment in time there is only one which will become actual, no distinguishing mark separates this one from its fellows at the given moment. So it would appear that what confronts the world at each moment in time is an undifferentiated multiplicity of possible futures. But this multiplicity, though at first sight admittedly frightening in its implications, may be put to good philosophical use: as will be seen it yields natural and convincing definitions of the notions of physical necessity and possibility. On the other hand, alternative definitions of these notions are obtainable which do not make use of the manifold of possible futures, and these also will be presented. The paper will be in two parts, the first dealing with the concepts of physical possibility and necessity, and the second presenting a formal calculus of necessary and sufficient conditions in which the physical modalities find their place. (shrink)

My overarching purpose is to illustrate the philosophical fruitfulness of expanding epistemology not only laterally across the social space of other epistemic subjects, but at the same time vertically in the temporal dimension. I set about this by first presenting central strands of Michael Williams' diagnostic engagement with scepticism, in which he crucially employs a Default and Challenge model of justification. I then develop three key aspects of Edward Craig's ‘practical explication' of the concept of knowledge so that (...) they may be seen to resonate positively with Williams's epistemological picture: the admixture of internalist and externalist features; the proto-contextualism; and, finally, the distinctively genealogical antisceptical impetus. In this way I aim to support and augment the socialized anti-sceptical case mounted by Williams, and so to show that expanding epistemology in the temporal dimension can be a productive move in central debates in epistemology. Philosophical Papers Vol. 37 (1) 2008: pp. 27-50. (shrink)

The Institute of Social Research, from which the Frankfurt School developed, was founded in the early years of the Weimar Republic. It survived the Nazi era in exile, to become an important centre of social theory in the postwar era. Early members of the school, such as Adorno, Horkheimer and Marcuse, developed a form of Marxist theory known as Critical Theory, which became influential in the study of class, politics, culture and ideology. The work of more recent members, and in (...) particular Habermas, has received wide attention throughout Europe and North America. Tom Bottomore's study takes a new and controversial look at the contributions of the Frankfurt School to modern sociology, examining several issues not previously discussed elsewhere. He discusses the neglect of history and political economy by the critical theorists, and considers the relationship of the later Frankfurt School to the radical movements of the 1960s and the present time. His critical analysis makes the school's writers accessible, through an assessment of their work and an exploration of the relationship of Critical Theory to other forms of sociological thought, especially positivism and structuralism. (shrink)

"Time and the Museum: Literature, Phenomenology, and the Production of Radical Temporality, is the first explicit in-depth study of the nature of museum temporality. It argues as its departure point that the way in which museums have hitherto been understood as temporal in the scholarship - as spaces of death, othering, memory and history - is too simplistic, and has resulted in museum temporality being reduced to a strange heterotopia (Foucault) - something peculiar, and thus black boxed. However, to (...) understand the ways in which museum temporalities and timescapes are produced, and the consequences that these have upon display and visitor response, is crucial, because time is itself a political entity, with ethical consequence. Time and the Museum highlights something we all experience in some way - time - as a key ethical and political feature of the museum space. Utilizing the fields of literature and phenomenology, the book examines how time is experienced and performed in the public areas of three museum spaces within Oxford - the Ashmolean, Pitt Rivers, and Oxford University Museum of Natural History. Using concepts such as shape, structure, form, presence, absence, authenticity and aura, the book argues for a reconsideration of museum time as something with radical potential and political weight. It will appeal to academics and post"--. (shrink)

This book is the first extensive treatment of Husserl's phenomenology of time-consciousness. Nicolas de Warren uses detailed analysis of texts by Husserl, some only recently published in German, to examine Husserl's treatment of time-consciousness and its significance for his conception of subjectivity. He traces the development of Husserl's thinking on the problem of time from Franz Brentano's descriptive psychology, and situates it in the framework of his transcendental project as a whole. Particular discussions include the significance of (...) time-consciousness for other phenomenological themes: perceptual experience, the imagination, remembrance, self-consciousness, embodiment, and the consciousness of others. The result is an illuminating exploration of how and why Husserl considered the question of time-consciousness to be the most difficult, yet also the most central, of all the challenges facing his unique philosophical enterprise"--Provided by publisher. (shrink)

In this paper we articulate how time and temporalities are involved in the making of living things. For these purposes, we draw on an instructive episode concerning Norfolk Horn sheep. We attend to historical debates over the nature of the breed, whether it is extinct or not, and whether presently living exemplars are faithful copies of those that came before. We argue that there are features to these debates that are important to understanding contemporary configurations of life, time, (...) and the organism, especially as these are articulated within the field of synthetic biology. In particular, we highlight how organisms are configured within different material and semiotic assemblages that are always structured temporally. While we identify three distinct structures, namely the historical, phyletic, and molecular registers, we do not regard the list as exhaustive. We also highlight how these structures are related to the care and value invested in the organisms at issue. Finally, because we are interested ultimately in ways of producing time, our subject matter requires us to think about historiographical practice reflexively. This draws us into dialogue with other scholars interested in time, not just historians, but also philosophers and sociologists, and into conversations with them about time as always multiple and never an inert background. (shrink)

There is the world of ideas and the world of practice; the French are often for sup pressing the one and the English the other; but neither is to be suppressed. -Matthew Arnold The Function of Criticism at the Present Time From its inception, bioethics has confronted the need to reconcile theory and practice. At first the confrontation was purely intellectual, as writers on ethical theory (within phi losophy, theology, or other humanistic disciplines) turned their attention to (...) topics from the world of medical practice. Recently the confrontation has grown more intense. The ap pointment of clinical ethicists in hospitals and other health care settings is an accelerating trend in North America. Concomitantly, those institutions involved in training peo ple in clinical ethics have added organized exposure to the world of practice, in the form of placement requirements, to the normal academic course load. In common with other dis ciplines, bioethics has begun to see clinical training as a con dition of didactic theory and apprenticeship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:205 TIME AND THE IDEA OF TIME Hume entitled Part II of Book I of the Treatise "Of the Ideas of Space and Time." Students of this most obscure Part of the Book are aware, however, that he spends little time in it on time. The main reason for his concentration on space. is polemical. In Part II his primary object is to exhibit (...) the contradictions and absurdities implicit in the science of his day with its postulation of empty space and of the mathematics with its notion of infinite divisibility, and then to show how these difficulties can be overcome by the adoption and implementation of the theory of ideas he had developed in Part I. As a result, with the exception of a discussion that occupies approximately three pages in Section III, most of his references to time in Part II are little more than brief appendages tacked on to his arguments concerning space. Hume commentators have generally taken their cue from him. Although the literature contains substantial analyses of his views about space, very little can be found on the subject of time. In this paper, I shall attempt to add something to that slim literature. As its title indicates, this paper will be concerned with two subjects, time and the idea of time. Hume accepts the ordinary distinction between thé two. Time and our idea of time are separate realities, the former being a part of the world independent of us and the latter being a part of the content of our consciousness. I shall observe this distinction, beginning with an account of what Hume means by time and following that with an explanation of his theory of the origin and nature of the idea of time. After finishing these two expository sections I shall devote 206 the remainder of the paper to a critical examination of Hume's views on both subjects, ending with a suggestion about a possible alternative route he might have followed in his argument about time and the idea of time in Part II. A final preliminary point: Although Hume devotes most of his attention to space in Part II, he makes it clear that, because space and time (as well as our ideas of them) are analogous to each other in certain vital respects, his views concerning the former can easily be transferred and applied to the latter. 1. Time Hume states or implies several things about the nature of time in Part II. (1)He equates time with duration, treating the two terms as equivalent throughout his discussion. (2)Time is an objective reality, or aspect of the external world. This interpretation may be questioned because Hume never asserts an objectivistic view of time unequivocally and in certain passages writes in a way that could be interpreted as implying that time is a characteristic of our conscious experience. "As 'tis from the disposition of visible and tangible objects we receive the idea of space, so from the succession of ideas and impressions we form the idea of time..." (T 35). But later he writes: "...time is nothing but the manner, in which some real objects exist..." (T 64). Also, in the titles of his first two sections he makes a clear distinction, labelling Section I "Of the infinite divisibility of our ideas of space and time" and Section II "Of the infinite divisibility of space and time." Since, in Section II, it is apparent that he is talking about space as a part 207 of the external world, the natural inference is that he is talking about time in the same way, as, for example, when he writes, "The infinite divisibility of space implies that of time, as is evident from the nature of motion" (T 31). (3)Time is not infinitely divisible but is made up of parts Hume calls 'moments' (T 31). These moments are the 'building blocks' of time and are ultimate and indivisible. They are analogous to the ultimate, indivisible parts of space, which Hume labels 'mathematical points' (T 40). (4)The moments of time are not co-existent but successive. In this respect time differs from space. "'Tis also evident, that these parts [of... (shrink)

This book provides an account of the unity of Immanuel Kant’s early metaphysics, including the moment he invents transcendental idealism. Matthew Rukgaber argues that a division between “two worlds”—the world of matter, force, and space on the one hand, and the world of metaphysical substances with inner states and principles preserved by God on the other—is what guides Kant’s thought. Until 1770 Kant consistently held a conception of space as a force-based material product of monads that are only virtually (...) present in nature. As Rukgaber explains, transcendental idealism emerges as a constructivist metaphysics, a view in which space and time are real relations outside of the mind, but those relations are metaphysically dependent on the subject. The subject creates the simple “now” and “here,” thus introducing into the intrinsically indeterminate and infinitely divisible continua of nature a metric with transformation rules that make possible all individuation and measurement. (shrink)

Central to the functioning of colonialism and coloniality is a specific construction of time, in terms of which the spatial ordering of the world also translates into a temporal ordering. Anthropologist Johannes Fabian argues that there is a specific rhetorical device at work here, namely the ‘denial of coevalness’, which is a colonial distancing strategy through which other worlds are robbed of validity on account of not existing within the same time as the West. In this article, (...) I aim to add to analyses of scholars like Fabian, Chakrabarty and Mignolo by arguing that this colonial temporal ordering, which persists today, is also thoroughly gendered. As a point of departure I use Walter Mignolo’s idea that the denial of coevalness relies on two distinctions, namely nature versus culture, and tradition versus modernity. I argue that the discursive construction of nature (as opposed to culture) and tradition (as opposed to modernity) centres on gendered assumptions and an obsession with control over women’s bodies. In the course of making this argument, I also point out the overlaps, as well as key differences, between woman’s exclusion from Western linear time, on the one hand, and the temporal distancing of the colonised, on the other. In particular, I show how Western linear chronology positions Western women and previously colonised women in vastly different ways. I argue that if one considers the extent to which the denial of coevalness relies on colonial gender discourses, the erasure of indigenous sexuate knowledges that contradict the colonial gender discourses is not one erasure among many, but one of the key erasures that colonial temporality hinges on. A crucial implication of my analysis is that the process of undoing, deconstructing or dismantling the colonial denial of coevalness is also inherently a feminist project. (shrink)

Levinas's account of responsibility challenges dominant notions of time, autonomy, and subjectivity according to Cynthia D. Coe. Employing the concept of trauma in Levinas's late writings, Coe draws together his understanding of time and his claim that responsibility is an obligation to the other that cannot be anticipated or warded off. Tracing the broad significance of these ideas, Coe shows how Levinas revises our notions of moral agency, knowledge, and embodiment. Her focus on time brings a (...) new interpretive lens to Levinas's work and reflects on a wider discussion of the fragmentation of human experience as an ethical subject. Coe's understanding of trauma and time offers a new appreciation of how Levinas can inform debates about gender, race, mortality, and animality. (shrink)

This paper explores the relation of the theory of time and the theory of truth in Deleuze’s philosophy. According to Deleuze, a mutation in our conception of time occurred with Kant. In antiquity, time had been subordinated to movement, it was the measure or the “number of movement” (Aristotle). In Kant, this relation is inverted: time is no longer subordinated to movement but assumes an independence and autonomy of its own for the first time. In (...) Deleuze’s phrasing, time becomes the pure and empty form of everything that moves and changes — not an eternal form (as in Plato), but precisely the form of what is not eternal. In turn, the theory of time is inextricably linked to the concept of truth, since to say that a proposition is true means that it is true “in all times and in all places.” Truth, in other words, is timeless, eternal, non-temporal. When the form of the true is confronted with the form of time, the concept of truth is necessarily put into crisis, and Deleuze’s argument is that time allows the power of the false to assume an autonomy of its own. The analysis will attempt to show how the liberation of time from movement (the pure and empty form of time) leads to a liberation of the false from the true (the power of the false). (shrink)

This book initiates a discussion among scholars in rhetoric and hermeneutics in many areas of the humanities. Twenty leading thinkers explore the ways these two powerful disciplines inform each other and influence a wide variety of intellectual fields. Walter Jost and Michael J. Hyde organize pivotal topics in rhetoric and hermeneutics with originality and coherence, dividing their book into four sections: Locating the Disciplines; Inventions and Applications; Arguments and Narratives; and Civic Discourse and Critical Theory. For readers across the (...) humanities, the book demonstrates the usefulness of rhetorical and hermeneutic approaches in literary, philosophical, legal, religious, and political thinking. (shrink)

Levinas has little to say about Romeo and Juliet, unlike some other plays by Shakespeare, but it nevertheless reflects his philosophy. In keeping with his phenomenology of eros, the title characters form a relationship which does not extend to the third party, and instead retreat into what Levinas calls the “dual solitude” of lovers. Romeo and Juliet form a closed community which excludes the rest of the fictive world of Verona, its loyalties and its laws. They even withdraw from (...) the temporality of their fictive world, into the atemporality of art and idolatry, frozen in the statues which their grieving parents offer to raise in their memories and in the story of which they are protagonists. (shrink)

In this paper, I explore some of the temporal structures of racialized experience – what I call racialized time. I draw on the Martiniquan philosopher and psychiatrist Frantz Fanon, in particular his book ‘Black Skin, White Masks,’ in order to ask how racism can be understood as a social pathology which, when internalized or ‘epidermalized,’ may result in aberrations of affect, embodiment and agency that are temporally lived. In this regard, I analyze the racialized experience of coming ‘too late’ (...) to a world predetermined in advance and the distorted relation to possibility – the limitation of playfulness and imaginative variability – that defines this sense of lateness. I argue that the racialization of the past plays a structuring role in such experience. Racialization is not limited to the present, but also colonizes and reconfigures the past, splitting it into a duality of times: one open and civilizational, the other closed, anachronistic and racialized. To understand this colonial construction of the past, I draw on the work of Latin American thinker Aníbal Quijano. (shrink)

I SHOULD LIKE TO EXAMINE THE PLAUSIBILITY AND CONSEQUENCES of a particular view of the nature of metaphysics, especially in its relation to immediate human experience which it is designed to illuminate. In order to make the consideration concrete I shall apply this interpretation to a familiar controversy about the nature of time. One view, accepted by Whiteheadian process philosophers, is that time is actually episodic, atomic, epochal. The contrasting view, that of Henri Bergson among others, is that (...) time is continuous, even though it embodies temporal qualitative variations. (shrink)

In Time, Existential Presence and the Cinematic Image, Sam B. Girgus relates Laura Mulvey's theory of 'delayed cinema' to ideas on time and the relationship to the other in the writings of Jean-Luc Nancy, Emmanuel Levinas and Julia Kristeva, among others. The sustained tension in film between, in Mulvey's phrase, 'stillness and the moving image' enacts a drama of existential emergence. The stillness of the framed image in relation to the moving image opens 'free' cinematic time (...) and space for a fresh engagement with crucial ethical and cultural issues. With close readings of films such as The Bicycle Thieves, Two Days, One Night, The Three Burials of Melquiades Estrada, The Revenant and The Age of Innocence, this book proposes a fresh approach to reading film in the context of emerging existential presence and the ethical imperative. (shrink)

How patients and nurses experience the acute care psychiatric environment The concept of the therapeutic milieu was developed when patients’ hospitalizations were long, medications were few, and one‐to‐one nurse–patient interactions were the norm. However, it is not clear how the notion of ‘therapeutic milieu’ is experienced in American acute psychiatric environments today. This phenomenological study explored the experience of patients and nurses in an acute care psychiatric unit in the USA, by asking them, ‘What stands out to you about this (...) psychiatric hospital environment?’ Three figural themes emerged, contextualized by time, which was a source of stress to both groups: for patients there was boredom, and for nurses, pressure and chaos. Although they shared some themes, nurses and patients experienced them differently. For instance, nurses felt caged‐in by the Plexiglas‐enclosed nursing station, and patients felt caged‐in by the locked doors of the unit. The findings from this US study do not support the existence of the therapeutic milieu as described in the literature. Furthermore, although the nurse–patient relationship was yearned for by nurses, it was nearly absent from patients’ descriptions. The caring experienced by patients was mainly derived from interactions with other patients. (shrink)

Over the past decade, teaching and learning in virtual worlds has been at the forefront of many higher education institutions around the world. The DEHub Virtual Worlds Working Group (VWWG) consisting of Australian and New Zealand higher education academics was formed in 2009. These educators are investigating the role that virtual worlds play in the future of education and actively changing the direction of their own teaching practice and curricula. 47 academics reporting on 28 Australian higher education institutions present an (...) overview of how they have changed directions through the effective use of virtual worlds for diverse teaching and learning activities such as business scenarios and virtual excursions, role-play simulations, experimentation and language development. The case studies offer insights into the ways in which institutions are continuing to change directions in their teaching to meet changing demands for innovative teaching, learning and research in virtual worlds. This paper highlights the ways in which the authors are using virtual worlds to create opportunities for rich, immersive and authentic activities that would be difficult or not possible to achieve through more traditional approaches. (shrink)

What is time? This essay offers an attempt to think again about this oldest of philosophical questions by engaging David Hoy's recent book, The Time of Our Lives: A Critical History of Temporality, which proposes a “history of time-consciousness” in twentieth-century European philosophy. Hoy's book traces the turn-of-the-century debate between Husserl and Bergson about the different senses of time across the various configurations of hermeneutics, deconstruction, poststructuralism, and feminist theory. For him, what is at stake in (...) such a project is to distinguish between the scientific-objective “time of the universe” and the phenomenology of human temporality, “the time of our lives.” Hoy's approach is to organize his book around the three tenses of time—past/present/future—and to view objective-scientific time as derived from the more primordial forms of temporalizing lived experience that occur in our interpretation of time. In my reading of Hoy's work, I attempt to explore how “time” (lived, experiential, phenomenological) can be read not in terms of “consciousness” (Hoy's thematic), but in terms of the self's relationship with an Other. That is, my aim is less to establish a continental tradition about time-consciousness, understood through the methods of genealogy, phenomenology, or critical theory, than it is to situate the problem of time in terms of an ethics of the Other. In simple terms, I read Hoy's project as too bound up with an egological interpretation of consciousness. By reflecting on time through the relationship to the Other rather than as a mode of the self's own “time-consciousness,” I attempt to think through the ethical consequences for understanding temporality and its connection to justice. (shrink)

Mandarin speakers, like most other language speakers around the world, use spatial terms to talk about time. However, the direction of their mental temporal representation along the front-back axis remains controversial because they use the spatial term “front” to refer to both earlier times and the future. Although the linguistic distinction between time- and ego-reference-point spatiotemporal metaphors in Mandarin suggests a promising clarification of the above controversy, there is little empirical evidence verifying this distinction. In this study, (...) Mandarin speakers’ time- and ego-reference-point temporal representations on three axes were separately examined through two tasks. In a time-reference-point task, Mandarin speakers judged whether the time point of the second picture was earlier or later than the time point of the first picture, while in an ego-reference-point task, they judged whether an event or phase had happened in the past or would happen in the future. The results indicate that Mandarin speakers construe an earlier-times-in-front-of-later-times temporal sequence and adopt the front-to-the-future orientation. (shrink)

Are we paying enough attention? At least since the nineteenth century, critics have alleged a widespread and profound failure of attentiveness—to others, to ourselves, to the world around us, to what is truly worthy of focus. Why is there such great anxiety over attention? What is at stake in understanding attention and the challenges it faces? This book investigates attention from a range of disciplinary perspectives, including philosophy, history, anthropology, art history, and comparative literature. Each chapter begins with a concrete (...) scene whose protagonists are trying—and often failing—to attend. Authors examine key moments in the history of the study of attention; pose attention as a philosophical problem; explore the links between attention, culture, and technology; and consider the significance of attention for conceptualizations of human subjectivity. Readers encounter nineteenth-century experiments in boredom, ornithologists conveying sound through field notations, wearable attention-enhancing prosthetics, students using online learning platforms, and inquiries into attention as a cognitive state and moral virtue. Amid mounting concern about digital mediation of experience, the rise of “surveillance capitalism,” and the commodification of attention, Scenes of Attention deepens the thinking that is needed to protect the freedom of attention and the forms of life that make it possible. (shrink)

Very roughly, the epistemic objection to the growing block theory (GBT) says that according to that theory there are many past times at which persons falsely believe they are present. Since there is nothing subjectively distinguishable about a situation in which one truly believes one is present, from a situation in which one falsely believes one is present, the GBT is a theory on which we cannot know that we are present. In their articulation and defence of the GBT, Correia (...) and Rosenkranz (C&R) argue that the epistemic objection fails miserably. In what follows I try to unpack their response to the objection, and locate it amongst others. Along the way I flag some confusions I have about how we are to think about the GBT as articulated by C&R. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

The self as the identification of the self with itself is a product of the dynamic transformation of European culture beginning in the Renaissance. The self, or absolute ego, was an outgrowth of the consciously rationalist spirit. However, modernity's Faustian drive was conscious paradoxically without being self conscious of itself or its cultural creations. Modernism deconstructed the values and assumptions of modernity. A casualty was the problematization of the self that had been banished and/or erased by formalism, structuralism and deconstruction. (...) The modernist self erases the absolute ego reconstructing it with a rich, complex, narrative idea of a self‐conscious relational self encompassing memory, repression, autobiography and history. This paper explores the modernist conception of self in Marcel Proust's In Search of Lost Time. Proust demolishes the absolute ego in favor of the paradoxical self which knows itself only in relation to otherness actualized in persons and culture in the sacred time of existence. (shrink)

Locke claims that a person’s identity over time consists in the unity of consciousness, not in the sameness of the body. Similarly, the phenomenological approach refuses to see the criteria of identity as residing in some externally observable bodily features. Nevertheless, it does not accept the idea that personal identity has to consist either in consciousness or in the body. We are self-aware as bodily beings. After providing a brief reassessment of Locke and the post-Lockean discussion, the article draws (...) on phenomenological arguments that show the body as lived, that is, lived as one’s own body, but also possibly as “other” or “strange.” Against what has been claimed in recent writing, especially in literature on Merleau-Ponty, the author argues that the “mineness” of the body and its “alterity” are not two mutually exclusive features. In the final part of the article, the author suggests that the becoming strange of one’s own body may legitimately be considered as a prominent experience of what it means to be a person. (shrink)

Philosopher William Lane Craig of the Talbot School of Theology has published three other Kluwer books on time and eternity and God’s relationship to them. In this book, Craig draws some important strands together regarding the concept of God and relativity theory. He notes the striking “paucity of integrative literature” in this regard: “I am convinced that this lack is largely due to the fact that theologians and philosophers of religion do not understand Einstein’s theories and so are (...) reduced to merely parroting what they read in scientific popularizations,” resulting in “a superficial and uncritical interaction”. (shrink)