Getting Stuck in the Ordered Sequence: Disrupted Temporal Processing in Patients with Schizophrenia and What It Tells Us About the Sense of Time Continuity

2019 ◽  
pp. 205-223
Author(s):  
Anne Giersch
2019 ◽  
Vol 28 (2) ◽  
pp. 322-332 ◽  
Author(s):  
Aurora J. Weaver ◽  
Jeffrey J. DiGiovanni ◽  
Dennis T. Ries
Keyword(s):  

2017 ◽  
Author(s):  
Marc Wittmann ◽  
Henrike Fiedler ◽  
Wilhelm Gros ◽  
Julia Mossbridge ◽  
Cintia Retz Lucci

With this cross-sectional study we investigated how individual differences regarding present- and future-oriented mental processes are related to the experience of time in the seconds and minutes range. A sample of students (N = 100) filled out self-report measures of time perspective (ZTPI), mindfulness (FMI), impulsiveness (BIS), and the daydreaming frequency scale (DDFS). Furthermore they were asked to (a) retrospectively judge the duration of a waiting period of five minutes, and (b) to prospectively perform an visual duration reproduction task with intervals of 3, 6, and 9 seconds. Regression models show that (a) being more present fatalistic (ZTPI) and more impulsive are related to longer duration estimates of the waiting period, and (b) having a stronger propensity to daydream leads to a stronger under-reproduction of temporal intervals. These findings show how personality traits related to present orientation are associated with the state-like perception of duration.


Author(s):  
Michael Germana

Chapter 5 treats Ellison’s music criticism as an expression of his commitment to durational time and a critique of cultural forms like bebop that, in Ellison’s estimation, lend form to a discontinuous present. Rather than suggest, as many critics have, that Ellison was simply nostalgic for danceable swing music or hostile toward emerging musical forms, this chapter shows that Ellison’s primary criticism of bebop is that it formalizes a discontinuous sense of time and thereby affirms an historical view of the past structured by an analogous, sequentially static sense of time. Ellison’s problem with bebop, in other words, is neither musicological nor sociological, but temporal. Folk jazz and the blues, by contrast, affirm a durational view of time in the form of a “pocket” or groove entirely unlike the spatialized groove of history described in Invisible Man. In short, Ellison finds in musical grooves antidotes to the groove of history.


2021 ◽  
pp. 113292
Author(s):  
Andrea K. Shields ◽  
Mauricio Suarez ◽  
Ken T. Wakabayashi ◽  
Caroline E. Bass

2015 ◽  
Vol 35 (36) ◽  
pp. 12412-12424 ◽  
Author(s):  
A. Stigliani ◽  
K. S. Weiner ◽  
K. Grill-Spector

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