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The essays in this topical volume inquire into one of the most fundamental issues of philosophy and of the cognitive and natural sciences: the riddle of time. The central feature is the tension between the experience and the conceptualization of time, reflecting an apparently unavoidable antinomy of subjective first-person accounts and objective traditional science. Is time based in the physics of inanimate matter, or does it originate in the operation of our minds? Is it essential for the constitution of reality, or is it just an illusion? Issues of time, temporality, and nowness are paradigms for interdisciplinary work in many contemporary fields of research. The authors of this volume discuss profoundly the mutual relationships and inspiring perspectives. They address a general audience.
By foregrounding bodily pleasure in the experience of time and its representation in queer literature, film, video, and art, Elizabeth Freeman challenges queer theorys recent emphasis on loss and trauma.
A study of the emergence in post-Kantian continental philosophy of a focus on the lived experience of temporality. The project of all philosophy may be to gain reconciliation with time, even if not every philosopher has dealt with time expressly. A confrontation with the passing of time and with human finitude runs through the history of philosophy as an ultimate concern. In this genealogy of the concept of temporality, David Hoy examines the emergence in a post-Kantian continental philosophy of a focus on the lived experience of the “time of our lives” rather than on the time of the universe. The purpose is to see how phenomenological and poststructuralist philosophers have tried to locate the source of temporality, how they have analyzed time's passing, and how they have depicted our relation to time once it has been—in a Proustian sense—regained. Hoy engages with competing theoretical tactics for reconciling us to our fleeting temporality, drawing on work by Kant, Heidegger, Hegel, Husserl, Merleau-Ponty, Nietzsche, Gadamer, Sartre, Bourdieu, Foucault, Bergson, Deleuze, Žižek, and Derrida. Hoy considers four existential strategies for coping with the apparent flow of temporality, including Proust's passive and Walter Benjamin's active reconciliation through memory, Žižek's critique of poststructuralist politics, Foucault's confrontation with the temporality of power, and Deleuze's account of Aion and Chronos. He concludes by exploring whether a dual temporalization could be what constitutes the singular “time of our lives.”
Time, temporality, and history are inherently important constructs in process organization studies, yet have struggled to move beyond limited conceptualizations in management theory. This volume draws together emerging strands of interest to adopt a more nuanced approach in understanding the temporal aspects of organizational processes.
International Relations scholars have traditionally expressed little direct interest in addressing time and temporality. Yet, assumptions about temporality are at the core of many theories of world politics and time is a crucial component of the human condition and our social reality. Today, a small but emerging strand of literature has emerged to meet questions concerning time and temporality and its relationship to International Relations head on. This volume provides a platform to continue this work. The chapters in this book address subjects such as identity, terrorism, war, gender relations, global ethics and governance in order to demonstrate how focusing on the temporal aspects of such phenomena can enhance our understanding of the world. Contributors: Andrew Hom, Christopher McIntosh, Liam Stockdale, Alasdair McKay, Shahzad Bashir, Kevin K. Birth, Valerie Bryson, Kathryn Marie Fisher, Robert Hassan, Caroline Holmqvist, Kimberly Hutchings, Tim Luecke, Tom Lundborg, Tim Stevens and Ty Solomon.
Time in antiquity, juxtaposing cultures and societies, yields remarkable intersections with temporality.
This is a book about time, but it is also about much more than time—it is about how the objects we use to think about time shape our thoughts. Because time ties together so many aspects of our lives, this book is able to explore the nexus of objects, cognition, culture, and even biology, and to do so in relationship to globalization.
Pausing, slowing, rewinding, replaying, reactivating, reanimating . . . Has manipulating video game timelines altered our experience of time? “Compelling.” —Choice Video game scholar Christopher Hanson argues that the mechanics of time in digital games have presented a new model for understanding time in contemporary culture, a concept he calls “game time.” Multivalent in nature, game time is characterized by apparent malleability, navigability, and possibility while simultaneously being highly restrictive and requiring replay and repetition. When compared to analog tabletop games, sports, film, television, and other forms of media, Hanson demonstrates, the temporal structures of digital games provide unique opportunities to engage players with liveness, causality, potentiality, and lived experience that create new ways of experiencing time. Features comparative analysis of key video games titles—including Braid, Quantum Break, Battle of the Bulge, Prince of Persia: The Sands of Time, Passage, The Legend of Zelda: The Ocarina of Time, Lifeline, and A Dark Room. “The text is well-researched, and the introduction is an excellent, focused overview of video game studies.” —Choice
The term 'temporality' often refers to the traditional mode of the way time is: a linear procession of past, present and future. As philosophers will note, this is not always the case. Christine Ross builds on current philosophical and theoretical examinations of time and applies them to the field of contemporary art: films, video installations, sculpture and performance works. Ross first provides an interdisciplinary overview of contemporary studies on time, focusing on findings in philosophy, psychology, sociology, communications, history, postcolonial studies, and ecology. She then illustrates how contemporary artistic practices play around with what we consider linear time. Engaging the work of artists such as Guido van der Werve, Melik Ohanian, Harun Farocki, and Stan Douglas, allows investigation though the art, as opposed to having art taking an ancillary role. The Past is the Present; It's the Future Too forces the reader to understand the complexities of the significance of temporal development in new artistic practices.
This collection analyzes twenty-first-century American television programs that rely upon temporal and narrative experimentation. These shows play with time, slowing it down to unfold the narrative through time retardation and compression. They disrupt the chronological flow of time itself, using flashbacks and insisting that viewers be able to situate themselves in both the present and the past narrative threads. Although temporal play has existed on the small screen prior to the new millennium, never before has narrative time been so freely adapted in mainstream television. The essayists offer explanations for not only the frequency of time play in contemporary programming, but the implications of its sometimes disorienting presence. Drawing upon the fields of cultural studies, television scholarship, and literary studies, as well as overarching theories concerning postmodernity and narratology, Time in Television Narrative offers some critical suggestions. The increasing number of of television programs concerned with time may stem from any and all of the following: recent scientific approaches to quantum physics and temporality; new conceptions of history and posthistory; or trends in late-capitalistic production and consumption, in the new culture of instantaneity, or in the recent trauma culture amplified after the September 11 attacks. In short, these televisual time experiments may very well be an aesthetic response to the climate from which they derive. These essays analyze both ends of this continuum and also attend to another crucial variable: the television viewer watching this new temporal play.