Always an Abundance: Interstitial/Liminal Space, Time, and Resources that Are Invisible to the Grid

Author(s):  
Susan Gerofsky
Keyword(s):  

The Oxford Handbook of Sound Art is a collection of new essays by artists and thinkers exploring the uses of sound in contemporary arts practice. Between them these chapters bring together a wide variety of perspectives and practices from around the world into the six overarching themes of Space, Time, Things, Fabric, Senses, and Relationality that form the structure of the book. These themes were chosen to represent some of the key areas of debate and development in the visual arts and music during the second half of the twentieth century from which Sound Art emerged. Emerging from a liminal space between multiple movements, Sound Art has been resistant to its own definition. Often discussed in relation to what it is not, Sound Art now occupies a space opened up these earlier debates and with only just enough time to benefit from hindsight, this book charts some of the most exciting ways in which Sound Art’s practitioners, commentators, and audiences are recognizing the unique contribution it can make to our understanding of the world around us. This book is not intended to define sound art and actively resists any attempt to establish a new canon. Rather, it is intended as a set of thematic frames through which to understand some of the recurring themes that have emerged over the past forty years or so, bringing constellations of disparate thought and practice into recognized centers of activity.



2017 ◽  
Vol 13 (3) ◽  
pp. 532-547 ◽  
Author(s):  
Raffaele De Luca Picione ◽  
Jaan Valsiner

In this paper we discuss the semiotic functions of the psychological borders that structure the flow of narrative processes. Each narration is always a contextual, situated and contingent process of sensemaking, made possible by the creation of borders, such as dynamic semiotic devices that are capable of connecting the past and the future, the inside and the outside, and the me with the non-me. Borders enable us to narratively construct one’s own experiences using three inherent processes: contextualization, intersubjective positioning and setting of pertinence. The narrative process – as a subjective articulation of signs in a contingent social context – involves several functions of semiotic borders: separation, differentiation, distinction-making, connection, articulation and relation-enabling. The relevant psychological aspect highlighted here is that a border is a semiotic device which is required for both maintaining stability and inducing transformation at the same time. The peculiar dynamics and the semiotic structure of borders generate a liminal space, which is characterized by instability, by a blurred space-time distinction and by ambiguities in the semantic and syntactic processes of sensemaking. The psychological processes that occur in liminal space are strongly affectively loaded, yet it is exactly the setting and activation of liminality processes that lead to novelty and creativity and enable the creation of new narrative forms.





2002 ◽  
Author(s):  
J. B. Kennedy
Keyword(s):  




Author(s):  
Roger Penrose ◽  
Wolfgang Rindler
Keyword(s):  




2018 ◽  
Vol 77 (4) ◽  
pp. 173-184
Author(s):  
Wenxing Yang ◽  
Ying Sun

Abstract. The causal role of a unidirectional orthography in shaping speakers’ mental representations of time seems to be well established by many psychological experiments. However, the question of whether bidirectional writing systems in some languages can also produce such an impact on temporal cognition remains unresolved. To address this issue, the present study focused on Japanese and Taiwanese, both of which have a similar mix of texts written horizontally from left to right (HLR) and vertically from top to bottom (VTB). Two experiments were performed which recruited Japanese and Taiwanese speakers as participants. Experiment 1 used an explicit temporal arrangement design, and Experiment 2 measured implicit space-time associations in participants along the horizontal (left/right) and the vertical (up/down) axis. Converging evidence gathered from the two experiments demonstrate that neither Japanese speakers nor Taiwanese speakers aligned their vertical representations of time with the VTB writing orientation. Along the horizontal axis, only Japanese speakers encoded elapsing time into a left-to-right linear layout, which was commensurate with the HLR writing direction. Therefore, two distinct writing orientations of a language could not bring about two coexisting mental time lines. Possible theoretical implications underlying the findings are discussed.





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