Temporalization Of Space Research Articles

From What Times Is This Place? Form as a Chronotope in the Architecture of Enric Miralles

In 1994, Enric Miralles published From what time is this place?, a brief text where the relationship between space and time is claimed through the form of the Igualada Cemetery Park and different conditions of time are considered. The title is presumably written after the book by Kevin Lynch What time is this place?, where the human sense of time and the relationship between the innate consciousness of time and place and the objective time of the world are addressed. Related to this concept arises the notion of the chronotope—from kronos, time, and topos, place; literally timeplace, defined by Mikhail Bakhtin as the intrinsic connectedness of spatial and temporal relationships assimilated in the artistic form. Approaching Miralles’ own words, this text examines the condition of architectural form as a chronotope in the Igualada Cemetery Park and in three of his projects to analyze, firstly, the strategies used and, secondly, the consequences of the connection of space and time in the form and in space and time themselves: the spatialization of time, temporalization of space, and temporalization of time. As a result, some reflections contribute to the contemporary debate on form in architecture as a spatiotemporal discipline: a chronotopic architecture.

ARTETETURISMO:

The social isolation caused by the post 2020 pandemic has changed the socio-technical paradigms, with implications for the form of enjoyment and sociability of the urban and natural space. This structural change that, at times, excessively encouraged, the dematerialization or temporalization of space, as in the school environment. Through new media and cognitive technologies, can also be an instrument for awakening socio-environmental awareness. What is proposed here is an (eco)tourist and educommunicative art methodology that points to the use of digital culture, re-appropriating imagination and collective memory as multimedia and hypertextual narrative tools for sharing invented and memorable ‘anthropo-topological’ experiences in historical cities in Brazil (Pirenópolis, Alto Paraíso, Cidade de Goiás). Thus, tries to create the phenomenological didactic bases of the concept of cultural landscape and territory, for the setting of the educational culture of tourism, development, communication and sustainable art.

Tourism. Retrotopian Time-Travel (part one)

The study historicizes the phenomenon of the tourism as a purely modern variety of the mobility of which inner morphology began to take form at the turn of the 19th century. First, the study draws on the innovative approach of Hasso Spode, historian of mentality, who has a profound influence over contemporary research of the history of tourism in German historiography. Using his theoretical framing, the study discloses how a travel that, from the late 18th century, had a diverse set of motives, experiences, ideas and practices, started to be cemented by a psychomental foundation: the tourist gaze. Then, the study interprets tourism as the product of spatialization of time and temporalization of space. Finally, the article, using Zygmunt Bauman´s theoretical conception of “retrotopia“, clips today´s form of tourism together with its primordial form and leads to the conclusion that tourism as a controversial phenomenon of modern times is endowed with human nostalgia, romance, a never-ending desire for authenticity as well as an eternal obsession with the idea of “progress” encompassing also utopian notions.

Tourism. Retrotopian Time-Travel (part two)

The study historicizes the phenomenon of tourism as a purely modern variety of the mobility of which inner morphology began taking form at the turn of the 19th centuries. First, the study draws on the innovative approach of Hasso Spode, historian of mentality, who has a profound influence over contemporary research of the history of tourism in German historiography. Using his theoretical framing, the study discloses how travel that, from the late 18th century, had been a diverse set of motives, experiences, ideas and practices, started to be cemented by a psychomental foundation: the tourist gaze. Then, the study interprets tourism as the product of spatialization of time and temporalization of space. Finally, the article, using Zygmunt Bauman´s theoretical conception of “retrotopia”, clips today's form of tourism together with its primordial form and leads to a conclusion that the tourism as a controversial phenomenon of modern times is endowed with human nostalgia, romance, a never-ending desire for authenticity as well as an eternal obsession with the idea of “progress” encompassing also utopian notions.

Maps of Modernity: Time-Space Disciplines

This essay is cast as something of a personal narrative. It recounts how I have arrived at inklings and intimations of space and time, particularly pervasive procedures of the spatialization of time and the temporalization of space, in tandem with understandings of disciplines and subjects of modernity. The account begins with my pre-apprentice days in Delhi, moves onto my apprenticeship at Cambridge, covers my journeyman sojourns in Mexico, and extends unto my artisanal concerns in the present. At stake especially are encounters and entanglements with time and space as folded within the creases of subaltern studies and de-colonial understandings (yet also postcolonial perspectives and historical anthropology). On the one hand, I explore how these shifting orientations have drawn upon hegemonic representations as well as non-certified imaginations of time and space, to now press familiar associations and now unravel unusual enunciations of these concepts and processes. On the other hand, I track the active construal, the exact production, of space and time within the epistemic practice of these critical perspectives. At stake throughout are wider issues of meaning and power, alterity and authority, difference and discipline.

Mirrors of Modernity: Time–Space, the Subaltern, and the Decolonial

This essay is cast as something of a personal narrative. It recounts how I have arrived at inklings and intimations of space and time, particularly pervasive procedures of the spatialization of time and the temporalization of space, in tandem with understandings of disciplines and subjects of modernity. The account begins with my pre-apprentice days in Delhi, moves onto my apprenticeship at Cambridge, covers my journeyman sojourns in Mexico, and extends unto my artisanal concerns in the present. At stake especially are encounters and entanglements with time and space as folded within the creases of subaltern studies and de-colonial understandings (yet also postcolonial perspectives and historical anthropology). On the one hand, I explore how these shifting orientations have drawn upon hegemonic representations as well as non-certified imaginations of time and space, to now press familiar associations and now unravel unusual enunciations of these concepts and processes. On the other hand, I track the active construal, the exact production, of space and time within the epistemic practice of these critical perspectives. At stake throughout are wider issues of meaning and power, alterity and authority, difference and disciplines.

Beyond Home and into the World: Family in the Short Stories of the South Asian Diaspora in Australia

THE FAMILY, AS THE PRIMARY UNIT OF SOCIETY, HAS BEEN OF GREAT INTEREST FOR SOCIOLOgists and anthropologists. They have been interested in structure of family, norms, experiences, anxieties, ideology, values, and rules that govern it along with roles played by different members to achieve its complex equilibrium (see Parsons; Poster). Family, today, is a place for renegotiation and primary socialization, where people can relate to each other not just on ties of blood but also on basis of love-finding solace from hardships and pressures of work (Bloodworth 112). The immigrant nuclear (moving away from traditional extended family, popularly referred to as joint family in South Asia), on other hand, is also site for cultural and generational conflicts particularly when linked with idea of home-both sensory and spatial (see Uberoi; Patel). Although, there is no one monolith familial structural form and practice (because of local cultural and religious diversity) and institution of in modern, global, and transnational South Asian diaspora has also experienced a series of changes (no longer taken for granted), still concept of and home represents for immigrants: inner spiritual self, one's true identity in a strange world (Chatterjee 263). On question of what makes home or so precious in world, J. Macgregor Wise notes that[th]e marker's of home, however, are not simply inanimate objects (a place with stuff), but presence, habits, and effects of spouses, children, parents, and companions. One can be at home simply in presence of a significant other. What makes home-territories different from other territories is on one hand living of territory (a temporalization of space), and on other their connection with identity, or rather a process of identification, of articulation of affect. Flomes, we feel, are ours. (299)Family and home are crucial sites for South Asian immigrants, as it provides them an anchoring-roots for socializing, teaching children inherited cultural values, structuring roles, and domestic divisions. It also gives a space and an outlet for creating micro-histories that challenge the authority of established forms of macrohistory in multicultural settings (Longley 213).To assert that we know what a South Asian is like, in my opinion, is a tall claim to begin with. Assessments of relationships in South Asian diaspora are no easy task, just like adequately defining or specify what is significant about it in Australia. There are no accepted measures of such interactions and negotiations within space of familial location-particularly in literature based studies. A mixing of history, sociology, and psychology is also needed to achieve some sort of theoretical definition. Sharmila Rudrappa notes that the private space/home is one of most crucial anchors for nonwhite immigrant family and to negotiate its way a sea of whiteness is a challenge for scholars of diaspora study (92). It is therefore by doing an analysis of family, with its ethnic, cultural, and social diversity, that we can understand nature of some of conflicts and changes that have occurred in new homes in diaspora. The relationship between stages of migration and life is an important one in diaspora and it can be analyzed only through story of migration from perspective of (i.e., effects on spouses, children, and parents, and, further, their changing identities and roles).Significantly, according to Paul Asbury Seaman, desire to make new connections given sense of alienation from home-or feeling of being at home in several countries, or cultures but not completely at home in any of them often leads to discovery of a new community-a community of strangers (53). For South Asians, is an institution that transcends in importance interests of individual members and their personalities. …

렘 콜하스 공간의 음악현상학적 시간성에 대한 연구

Today, the views on Temporality of space have been changed not only to be based on the concept of time, but also to identify the space with a body adapted to the new circumstances. The study suggests that the actions of performers in space have been important by changes of views and are connected to the music phenomenology mixed with music whose tempo is the phenomenology related with of human consciousness itself, and derives the temporal property by putting them into Rem Koolhaas space with the fluid quality. According to Clifton's Phenomenology of Music, an understanding of music is made in both human body and consciousness as two ways to listen to sounds and enjoy music. Though a correlation between the characteristics of Clifton's Phenomenology of Music and one of resulted from uncertainty and immateriality of modern space Temporality, we could work out four kinds of characters which are the continuity of the fluidity from temporal programs, contrasting changes or synchronicity, the multidimensionality from synesthesia of line and face, ventilation by quality of the material and immaterial circumstances of sound effects, the implication in events resulted from cognition for information and unexpected actions, and the autonomy of the route of a variety of experiences including intimate connection of inter-related events and temporary and diverse external conditions. Hereby Temporality of musical phenomenology in Rem Koolhaas's space can be experienced by systems base oh the importance of host's motion, changes of programs according to the motion as well as uncertainty and immaterial changes. Due to the changes user's emotion and motion is undergone as Temporality that changes automatically.

Journey into paradise: Tajik representations of Afghan Badakhshan

In 2003, a Tajik film crew was permitted to cross the tightly controlled border into Afghan Badakhshan in order to film scenes for a documentary entitled Sacred Traditions in Sacred Places. Although official Tajik state policies and international non-governmental organizations have increasingly stressed freer movement and greater connectivity between the two sides, this ‘prescribed community’ strongly contrasts with the lived experience of Tajik Badakhshanis. This article explores narratives of nostalgia and dissonance reflected in the film itself and recounted by the film crew in interviews during film production and screening. Engaging with existing work on the interpretation and temporalization of space and post-Soviet nostalgias, I claim that this particular nostalgia emerges in response to new configurations of power and newly imposed pressures valuing cross-border movement. In this case, nostalgia serves as an affective resource helping Tajik Badakhshanis understand and manage daily life and the new potential for border crossing in a highly regulated border zone.

The quest for the lost nation: writing history in Germany and Japan in the American century

Contents Introduction 1. Mapping Postwar Historiography in Germany and Japan 2. The Origin of the Nation: Bismarck, Meiji Ishin, and the Subject of History 3. The Nation as Victim: Writing the History of National Socialism and Japanese Fascism 4. The Invention of Contemporary History 5. The Temporalization of Space: Germany and Japan between East and West 6. History and Memory: Germany and Japan, 1945--2 Notes Bibliography Acknowledgments Index

Response: Shifting Biographies, Shifting Temporalities

The writer responds to Jonathan Hay's article, in this issue, on the role of mediation in an artwork, specifically in the painting A Solitary Temple below Brightening Peaks (Qingluan xiaosi). Hay views the work of art itself as continually generating and inhabiting new contexts. He stresses the tension inherent in the ink monochrome painting medium, which pulls the viewer back and forth between interest in the painting's surface and the quality of brushwork, on the one hand, and concern for the optical and illusionistic force of its technique and its subject matter, on the other. This oscillation, along with the carefully arranged shifting perspectives that allow the eye to move around the landscape in a way that mimics the experience of a traveler, creates a temporalization of space, a built-in instability. Hay's exploration of the painting as a Buddhist icon enmeshed in a web of Confucian commentary is also explored.