Articulation Of Time Research Articles

Derrida and the Time of Decision

Derrida’s description of the aporia of decision-making is herein used to demonstrate how ethico-political concerns can already be found within the articulation of time and space as they are experienced by mortal beings, broadly understood.

Temporal Tampering and “The Case for Reparations”

Abstract This essay examines Ta-Nehisi Coates's article “The Case for Reparations” to illuminate how he uses inventive temporal strategies to transform the grounds of the reparations debate. I argue, Coates engages in a process of temporal tampering that involves meddling with dominant temporal structures (conceptions of time that serve white supremacy) to accommodate the excessiveness of anti-Black violence. Through tactics of timeline jumping and a rhetoric of repair, Coates draws on articulations of time as a resource to sabotage anti-reparations temporalities. Instead of approaching the reparations debate through stale discursive entry points, such as financial logistics, I reveal how Coates draws upon conceptions of time to reposition reparations as a mode of worldbuilding and social transformation.

Time and Temporalities in Early Modern Chinese Islam

This essay brings to light the intersectionality of Time, Religion and Identity, and the complex relationship with Time and temporality that the history of Islam in China displays. The deeply embedded temporality in Islamic praxis produced expertise in time-making that secured Chinese-Muslims an important place in Chinese society and polity. At the same time, an anxiety arising from the negative effects of the passing of Time prompted Chinese Muslim scholars to come up with methods to negotiate Past, Present and Future and new articulations of Time. This essay focuses on four articulations of Time that materialized throughout the history of Islam in China. The first examines the temporal dimension of Islamic praxis and the inter-fertilization between religion and technologies. The second introduces the philological activities in the sixteenth and seventeenth centuries as a panacea for the loss of the authentic knowledge of the past. The third focuses on Liu Zhi, a prominent Chinese Muslim whose conviction that Time is universal - but can be grasped only through its various local and technical articulations - brought him to employ a matrix system that defined Time through conjunction of dates and natural phenomena. The final part will show how Liu further articulated Time as a teleological construct in his effort to present Islam as relevant and significant for readers in China. It does so by assessing the different temporal registers Liu introduced to position Muhammad and the emergence of Islam as the ultimate and decisive stage of universal Time.

Young pupils’ articulations of time spent in school in the wake of a policy reform

Advancing the ‘temporal turn’ in the sociology of education, this article explores how a strong national discourse on the length of the school day influences pupils’ articulations of their temporal experiences. The discourse of ‘the long school day’ emerged as part of a fierce debate on the implications of a Danish school reform passed in 2014. We use a discourse-analytical framework to examine focus group data from pupils aged 8–12 to show how the discursive context of the reform influences the pupils’ articulations of their temporal experiences. The pupils’ reproduction of the adult discourse of ‘the long school day’ conceals a diversity in temporal experiences and reduces them to being a concern about the number of clock hours spent in school. To understand the broader impact of pupils’ temporal experiences of their school day, we need to rethink the linearity between clock hours and articulations of time.

Freiheit unter Bedingungen der Zeit? Schellings neuer Zeitbegriff im Nachgang zurFreiheitsschrift

AbstractThe concept of human freedom developed by Schelling in the Freiheitsschrift (1809) prompted him to explore a new concept of time in his Weltalter project. Schelling proposes the ‘generic subjectivity of time’: Time must be understood not as a precondition of dynamism, but rather as an effect of dynamic agency. The articulation of time into its moments, ‘presence’, ‘past’, and ‘future’, is realized through the dynamic contributions (motion, causality, and action) of every single causally involved being. Schelling’s concept thus fundamentally differs from Kant’s concept of time. For Kant, change and dynamism are located in the sensible world, whereas time (as well as space) is the subjective form of our sensible intuition. As such, time must be seen as a precondition of change and dynamism for Kant.

Past, Passivity, Passion: Deleuze's Allegorical Drama

This article offers a rhetorical analysis of Deleuze's concept of the past, understood not as a modification of the present but as a pre-predicative, non-subjective articulation of time. Focusing on the discussion of the three passive syntheses of time in Chapter 2 of Difference and Repetition, it traces the continuity between past, passivity and passion across Deleuze's body of work in an effort not only to remark on the conceptual resonances between them, but, more importantly, to examine the figural and formal choices that codify those resonances, and to some extent over-determine them – in particular, Deleuze's recourse to allegory and tragic form. Though the past is constituted as a primordial component of time, it already exceeds itself in the passivity of that constitutive moment, of that originary gesture by which it is first committed to historical experience. The process is rendered in dramatic terms: Habitus and Mnemosyne (Habit and Memory; Present and Past) are first pitted against each other – respectively, as the origin of time and its ground. They are then overthrown by an unnamed third element ‘which subordinates the other two to itself’ and opens the whole to infinity. The article thematises the significance of the past within this allegorical drama, develops the character, and draws out the temporal structures encoded in Deleuze's figurations.

Repetition in the work of a Samoan Christian theologian: Or, what does it mean to speak of the Perfect Pig of God?

ABSTRACTThe Samoan Christian theologian Ama'amalele Tofaeono draws on diverse intellectual sources to articulate an ecological theology both distinctively Samoan and self-consciously Oceanic. I examine Tofaeono’s writings through the lens of recent work in linguistic anthropology on repetition and replication. By paying close attention to the ways texts and their original contexts, authorship, and intentions can be brought forward into new contexts, such anthropological work offers a useful perspective on Tofaeono’s theological arguments about creation and salvation. Tofaeono frames creation and salvation as actions that are necessarily ongoing—matters of repetition rather than rupture, a kind of continuity that depends not on fundamental durability but on repeated reengagement. An appreciation of Tofaeono’s articulation of time and repetition can in turn illuminate the anthropological study of social transformation and help develop productive interdisciplinary dialogue between anthropology and theology.

Recycled Dystopias: Cyberpunk and the End of History

While cyberpunk is often described as a dystopian genre, the paper argues that it should be seen rather as a post-utopian one. The crucial difference between the two resides in the nature of the historical imagination reflected in their respective narrative and thematic conventions. While dystopia and utopia (structurally the same genre) reflect a teleological vision of history, in which the future is radically different from the present, post-utopia corresponds to what many scholars, from Fredric Jameson and Francis Fukuyama to David Bell, have diagnosed as the “end of history” or rather, the end of historical teleology. Post-utopia reflects the vision of the “broad present”, in which the future and the past bleed into, and contaminate, the experience of “now”. From its emergence in the 1980s and until today, cyberpunk has progressively succumbed to the post-utopian sensibility, as its earlier utopian/dystopian potential has been diluted by nostalgia, repetition and recycling. By analyzing the chronotope of cyberpunk, the paper argues that the genre’s articulation of time and space is inflected by the general post-utopian mood of global capitalism. The texts addressed include both novels (William Gibson’s Neuromancer, Neal Stephenson’s Snow Crash and Matthew Mather’s Atopia) and movies (Blade Runner, Blade Runner 2049 and Ex Machina).

Determining Weighted, Utility-Based Time Variant Association Rules Using Frequent Pattern Tree

Introduction: The present research was conducted at Birla Institute of Technology, off Campus in Noida, India, in 2017.Methods: To assess the efficiency of the proposed approach for information mining a method and an algorithm were proposed for mining time-variant weighted, utility-based association rules using fp-tree.Results: A method is suggested to find association rules on time-oriented frequency-weighted, utility-based data, employing a hierarchy for pulling-out item-sets and establish their association.Conclusions: The dimensions adopted while developing the approach compressed a large time-variant dataset to a smaller data structure at the same time fp-tree was kept away from the repetitive dataset, which finally gave us a noteworthy advantage in articulations of time and memory use.Originality: In the current period, high utility recurrent-pattern pulling-out is one of the mainly noteworthy study areas in time-variant information mining due to its capability to account for the frequency rate of item-sets and assorted utility rates of every item-set. This research contributes to maintain it at a corresponding level, which ensures to avoid generating a big amount of candidate-sets, which ensures further development of less execution time and search spaces.Limitations: The research results demonstrated that the projected approach was efficient on tested datasets with pre-defined weight and utility calculations.

Poliitiline esteetika ja selle empiirilised rakendused: nõukogude ühismajand kui spetsiifiline tajumaailm / Soviet Aesthetics and its Empirical Applications: the Collective Farm as a Specific Sensorium

Artikkel keskendub nõukogudeaegse, eriti stalinistliku perioodi ühismajandi mudeli põhjalloodud spetsiifilise ruumi- ja ajakogemuse kirjeldusele ja analüüsile. Püüdes esile tuua mõningaid iseloomulikumaid jooni selles tajukogemuses, vaatleb artikkel ühismajandit ühelt poolt radikaalseid muutusi produtseeriva sotskolonialistliku tööriistana, teisalt aga uut inimtüüpi tootva seadena. Käesolev uurimus mõtestab vaadeldava nähtuse spetsiifikat eelkõige esteetiliste uuringute raames, keskendudes tajukogemuse poliitiliselt suunatud teisenemisele. Uurimus on osaliselt inspireeritud ka autori isiklikust lapsepõlvekogemusest hilise ühismajandi tingimustes, selle eesmärgiks oli jõuda mainitud sensooriumi tähenduslike elementide sidusama analüüsini, võttes aluseks tekstid, mis ühel või teisel viisil peegeldavad uuritava sensooriumi tingimusi. The article explores the specific sensorium of collective farms, especially kolkhozes, as they were created during the Soviet era in the countryside of occupied Estonia. It aims at examining the collective farm primarily not as an economic system, but as an aesthetic phenomenon and as a universal utopian model that served to translate the Marxist-Leninist ideology and its multiple implications into reality. It has to be emphasized that aesthetics is not defined here in the traditional meaning of referring to a set of aesthetic values, nor is it considered as referring to the arts, but is interpreted as referring etymologically to the experience of time and space, both individually and collectively.During the World War II, as a result of the withdrawal of the Nazi army, Estonia was reoccupied by the Soviet army. Although some sovkhozes or state-owned farms were created already shortly after the beginning of the first period of occupation and annexation of Estonia by Soviet Russia in 1940, it was only in the late 1940s that it was decided by the party authorities to proceed to a rapid and massive forced collectivization that followed more or less the model already widely in use in the whole Soviet Union. The effects of the forced collectivisation, accompanied by a mass deportation that took place on March 1949, turned out to be extremely devastating for the local communities in Estonia. The forced collectivisation paved the way for radical changes of the whole sensorium.Nevertheless, the article does not aim at establishing historical facts or bring new information concerning the systematic Sovietisation of the society, it rather tries to analyse the specific atmosphere that encompassed the human action. In order to examine the specific sensorium created in the collective farms of Soviet Estonia, the article makes use of some concepts borrowed from French theorists Henri Lefebvre and especially Jacques Rancière. Although neither Lefebvre nor Rancière have explicitly written about the Soviet system, it nevertheless appears that their concepts, for example that of production of space (and time) by Lefebvre or that of distribution of the sensible by Rancière are productive and relevant in elucidating the main features of the sense experience specific to the model of a collective farm. From the distribution and articulation of time and space to the ideologically determined modes of being that characterised the ordinary life of the workers in the early kolkhozes, the article attempts to determine the key features of what makes up the sensorium of collective farms. Undoubtedly, an important feature is a shift between the private and the collective; collective farms established a collective sensorium with its specific affective model, the private sphere of life being marginalised and controlled in most aspects. To illustrate the ideological pressure on society, it suffices to refer to the manifold utopian narratives, often naive and manipulative, which were spread systematically by party members, agitators and other proponents of collective farms. These utopian narratives attempted to convince everybody that kolkhozes stood at the forefront of modernisation and that their advantage over individual farming was self-evident.It has to be emphasised that collective farms, especially kolkhozes, submitted to the rule of the communist party and served as tools of Soviet neo-colonialist politics that attempted to rapidly change not only the mode of economic production, but also to produce a new mode of reality that would conform to the predicaments of the Marxist-Leninist ideology. Moreover, individual subjects were also invited, within the strict ideological limits, to contribute to the production of this new reality. Thus the production of a new sensorium was in fact accompanied by the production of new subjectivities, a necessary element on the way towards the utopian future where social antagonism would be eliminated and happiness and prosperity would be accessible to all who would accept the ideological requirements of the Soviet power.While shedding light on the transformations that took place within the complex sensorium of collective farms, this article argues that the sensorium of the collective farm played a crucial role in the Sovietisation of the whole society. Its establishment also functioned as a method of control that would exclude all deviations, thus contributing to the production of a new Soviet subjectivity.

A horizon is not flat: Photographic pattern compositions as expression for the atemporal

Abstract Avant-garde filmmaker and painter Hans Richter refers to visual rhythm as articulation of time, and film as articulation of time and movement: ‘Rhythm is the essence of filmmaking because it is conscious articulation of time. If anything is at the bottom of filmmaking it is the articulation of time, of movement. Film and pattern are both visual expressions based on multiple images. They relate to rhythm, continuity and time but somehow the approach is different. In my practice, I consider working with pattern as managing visual rhythm. I would like to use Richters’ statement to reflect on pattern as articulation of time. Could pattern be seen as articulation of time? How is the time aspect different depending if you work with film or pattern? This article will use the project ‘A horizon is not flat’ to propose how photographic pattern can be seen as representation of place but also representation of time. The patterns can be ‘read’ as experience of place but also as experience of time, not as information or measurement of time but in an abstract or a-temporal sense as visualization of the experience or perception of continuity. I will present the suggestion of how film and pattern relate differently to rhythm and articulation of time, illustrated in a visual model.

Time Structure in the Story (Narrative Theory, 3)

'Narrative Theory' is an online introduction to classical structuralist narratological analysis. The third section deals with the narrative articulation of time, taking as a guideline Gerard Genette's theory in 'Narrative Discourse', modified as required. Outline: 1. The Generation of Story Time. 2. Fabula time. 3. Story time: order. 4. Story time: duration. 4. Story time: Aspect. 6. Time and status of the narrating.

Between Disgust And Regeneration:

Between Disgust And Regeneration: Tiffany E. Barber (bio), Angela Naimou (bio), and Wangechi Mutu (bio) Nairobi-born, New York-based artist WANGECHI MUTU makes fantastic worlds inhabited by mythological creatures and cyborgs. In her contribution to the 2015 Venice Biennale, curated by OKWUI ENWEZOR, Mutu presented three new works across a range of media—a three-channel animated video, a sculptural installation, and a large-scale collage—in a room entirely dedicated to the artist. In the three-screen video THE END OF CARRYING ALL, a barefoot black woman wearing a head wrap and a cotton print dress trudges across a dismal landscape of grasses, the sun in the background casting the lone human figure and foreground in soft silhouette. Flocks of birds migrate low across the sky. The basket balanced on her head grows bigger as she begins to stumble under its weight. Objects including a bicycle wheel, a small house, and a satellite dish crowd the basket, and items continue to multiply and pile on top of each other fantastically of their own accord. The basket woman’s back bends, her body bowed under the Click for larger view View full resolution WANGECHI MUTU. Portrait, 2015. Photo Credit: Cynthia Edorh, Getty Images. [End Page 337] basket’s multiplying weight as she slowly approaches the edge of the world, burdened by all she carries. At the end of the video, the earth rises up and swallows her. This final act of consumption sends a ripple through the bleak landscape, as if to suggest the possibility of renewal while at the same time stopping short of animating that renewal: the video fades to black once the earth settles, and the faint sound of birds is the last thing we hear. This video plays on conventional Eurocentric representations of racialized and gendered labor in spaces designated as “Third World” while also providing a strong critique of the exploitative logics of uneven capitalist accumulation and economic development. Thus the burden she carries is both the burden of representation and the weight of superfluous material consumption and waste. In The End of carrying All, what gets accumulated is not wealth but junk. This strategy of material accumulation comes to bear in a very literal way on the sculptural installation at the Biennale, entitled She’s Got the Whole World in Her. The sculpture features a black, apparently mud-covered figure—half woman, half mermaid—peering into an earthen globe suspended before her. As Mutu notes in our interview with her, the figure is covered in pulp made from junk mail. The sculpture is positioned between the video and the collage, entitled Forbidden Fruit Picker. The subject of Forbidden Fruit Picker is also a female figure, perched atop a mound situated between a dark, foreboding tree and a pair of serpents. Instead of mud or pulp, though, the figure’s body is composed of photographic fragments of human, animal, and motorcycle parts cut from magazines. The sacred and profane come together in these works, whose titles reference a Christian song (“He’s Got the Whole World in His Hands”) and the iconography of Eve in the garden. As these Biennale works indicate, issues of race, gender, sexuality, pornography, and religion are central to Mutu’s articulations of time, futurity, blackness, and the vicissitudes of the human. In all three, the transmuted female figures are frightening, mysterious, and powerful. The worlds they inhabit are at once marked by disorder, change, and excess—from the accumulation of the dense layers of images in her collage, to the amorphous globs of putrefying matter that grow and devour their surroundings. These Biennale works also exemplify her broader aesthetic concerns with fragmented existence, ongoing legacies of colonial violence, moments of upheaval under late [End Page 338] capitalism, and the affective tension between disgust and regeneration her work evokes. Her work thus captured one aim of the Biennale, titled All the World’s Futures: Enwezor had selected artists that “bring together publics in acts of looking, listening, responding, engaging, speaking in order to make sense of the current upheaval.”1 Mutu’s three works fit this vision by offering fresh insight into the relationship between art, artists, and the pervasive...

Claire Denis’s Capitalist Bastards

The films of Claire Denis consistently make global systems visible, and do so in ways that are seductively sensory. This article analyses Denis’s film Les Salauds as a queasily affective staging of contemporary capitalism’s gendered hostility. It draws both on politically engaged theories of contemporary cinema and on the insights of affect theory to understand the film’s close imbrication of financial control and sexual exploitation. Les Salauds is almost entirely set in Paris, but it refers outward to Denis’s earlier films of transnational circulation, using Michel Subor’s performance as a monstrous exploiter as a point of commonality. The article analyses the figure of the ‘salaud’ in French culture, reading Subor’s character Laporte through Sartre. It goes on to examine how the class qualities of the salaud seep beyond character and out across the film text. What emerges is a threatening mise-en-scène that evokes the hostile condition of contemporary capitalism in its articulation of time, space and affect. Gender becomes the focus for this hostility, where economic relations are played out across the body of Justine, the sexually tortured daughter. The article asks what kinds of resistance are imaginable in this oppressive milieu.

Talk of time

Maybe, before we speak of time, or maybe whilst we are speaking of time, or maybe after we have spoken of time, in the various modes of time’s insistence to exist, one should give time to the talk of time. There are various different modes of time’s insistence to exist, such as quantum physics in conversation with relativity theory where time is constructed as a fourth dimension of space. Or there are the modes of time in history, religion, psychology and philosophy, and each of these modes is composed, and composes its own specific object called time, and a particular subject who understands and interprets time in that particular mode. Yet, before, whilst or after these modes of time’s insistence to exist, one should maybe give time to time’s time. Give time for the various times to articulate themselves in the various modes of existence, thereby creating both a whole plurality of differing subjects, as well as plurality of differing objects, all called ‘time’. Once time has been given time to talk its talk, to articulate itself within the various modes, it will be interrupted by the articulations of time in various modes of time still to come. These disruptions of time by time always still to come opens the door for a theological narrative – a narrative on time, but created by the coming of messianic times, interpreted in the mode of hope but also in the mode of a promise from the past.

The drover's wives and camp couture: Baz Luhrmann's preposterous national epic

ABSTRACTThis article frames Baz Luhrmann's Australia (2008) in terms of the texture of the image and its mode of acting. Through this twofold movement it elaborates on the compositional features of the image and theorizes the mode of acting as a variant of burlesque performance: acting in strobe. Through this framing, some of the unique features of Bazmark's camp aesthetic are mapped out and Catherine Martin's contribution to it is also acknowledged. Through these aesthetic strategies, Luhrmann is able to address the historical archive of Australia, and its popular memory bank in its own flexible camp epic idiom. Thereby the film is able to free itself from being enslaved to chronological articulation of time and history. Instead, it creates for itself mechanisms and devices that enable acts of storytelling that deflect the arrow of time.

The Frenzy of the Visible in Comic Book Worlds

This article argues that the comic book form is anything but static. The panels that litter its pages are riddled with a dynamism and motion that presents its own unique articulation of time and space. Some of the narrative action represented within a comic book panel can ‘freeze’ time, but other panels — while remaining visually static as still images on a page — open up complex depictions of time and space that create modes of perception that are particular to comics. The comic represents the animated flux of time and space through stasis.

Electropalatography treatment for articulation impairment in children with dysarthria post-traumatic brain injury

Primary objective: Dysarthria with severe articulatory impairment is a common and debilitating sequelae following severe traumatic brain injury (TBI). Eectropalatography (EPG) is an instrumental treatment technique allowing visual feedback of tongue to palate movement during real time articulation. The present study investigated the effectiveness of EPG in treating the articulatory component of dysarthria post-TBI.Study design/methods: The articulatory component of dysarthria post-TBI was treated once per week with EPG over a 10-week period in three adolescents (aged 14 years 10 months–15 years 1 month). A multiple case series ABA treatment design was used. Perceptual (articulation, intelligibility) and EPG (spatial, durational) assessments were conducted pre- and post-treatment to determine outcome.Results/discussion: Perceptual improvement was noted for phoneme precision and length. Spatial EPG measures confirmed increased precision of phoneme production. No clear pattern of change for phoneme duration occurred. Intelligibility increased at word and sentence level, with little change reported in everyday speech intelligibility.Conclusion: This preliminary study indicates that EPG treatment may be effective for improving speech at the isolated phoneme, word or sentence level of articulation. These preliminary results are encouraging, being the first study to report speech changes post-treatment in participants with severe TBI and persistent dysarthria. Further research is required, however, in order to understand the regenerative capacity of articulatory function post-brain injury and to determine optimal treatment parameters for achieving generalization of therapy to everyday connected speech.

Authenticating Geographies and Temporalities: Representations of Chinese Rock in China

ABSTRACT Since the mid-1980s the Chinese rock singer Cui Jian has stirred up the arguably tranquil waters of Chinese popular music. In his wake, a rock culture emerged in China, especially Beijing. Whereas earlier generations of Chinese rock were characterized by rather clearly rebellious poses, poses that resonate the spirit of the Great Cultural Debate that characterized Chinese culture over the 1980s, the more recent music scenes employ a wider range of visual tactics. Threading through various generations and scenes within Beijing rock culture, however, has been a quest for authenticity. In this article I will present an overview of the authenticating aspirations of Beijing rock culture. I will start off by sketching a brief history of Chinese rock, and argue that, compared to the Western claim to the origin—and therefore to the continual making—of rock, Chinese rock musicians must bear the burden of providing authenticating proof in order to avoid being labeled mere copycats. Apart from the West versus Rest distinction, a second dichotomy that propels the politics of rock in China is Beijing rock versus pop from Hong Kong and Taiwan. Rock is constructed as the authentic voice of a new generation, whereas pop is interpreted as an overtly commercialized sound produced by the music industry. These dichotomies underlie the five authenticating tactics that I distinguish: representing what I call the rebellious, the ancient China, the communist China, the scenic, and, finally, the new China. This article will provide ample visual evidence of these authenticating tactics, and analyze critically the politics behind these tactics. I will in particular interrogate the insistence on articulations of time and place that prevail in (discourses on) Chinese rock culture and argue for a cultural studies approach that resists rather than reifies either time or place.

Sound – Time – Space – Movement: the Space-soundInstallations of the artist-couple 〈sabine schäfer // joachim krebs〉

This article describes the theories and practices of the German installation artists and composers Sabine Schäfer and Joachim Krebs. Much of their work concerns site-specific sound installations involving the articulation of time and space. Their principal work methods and materials are described. In addition, they have formulated a typology of five installation types which they describe using their own installations as examples. Each installation type responds to a particular set of aesthetic and practical challenges both for the artists and the visitors. These are discussed and illustrated in the article. The typology extends beyond the specific work of these artists and can be applied to installations in general, thus providing a framework for critical analysis. Furthermore, the translators have discussed the issues regarding the specialised vocabulary of the artists and the rendering of such language into English.