scholarly journals Transdiagnostic assessment of temporal experience (TATE) a tool for assessing abnormal time experiences

Author(s):  
Giovanni Stanghellini ◽  
Milena Mancini ◽  
Anthony Vincent Fernandez ◽  
Marcin Moskalewicz ◽  
Maurizio Pompili ◽  
...  
Keyword(s):  

Gustav Mahler’s anniversary years (2010–11) have provided an opportunity to rethink the composer’s position within the musical, cultural and multi-disciplinary landscapes of the twenty-first century, as well as to reassess his relationship with the historical traditions of his own time. Comprising a collection of essays by leading and emerging scholars in the field, Rethinking Mahler in part counterbalances common scholarly assumptions and preferences which predominantly configure Mahler as proto-modernist, with hitherto somewhat neglected consideration of his debt to, and his re-imagining of, the legacies of his own historical past. It reassesses his engagement both with the immediate creative and cultural present of the late nineteenth century, and with the weight of a creative and cultural past that was the inheritance of artists living and working at that time. From a variety of disciplinary perspectives the contributors pursue ideas of nostalgia, historicism and ‘pastness’ in relation to an emergent pluralist modernity and subsequent musical-cultural developments. Mahler’s relationship with music, media and ideas past, present, and future is explored in three themed sections, addressing among them issues in structural analysis; cultural contexts; aesthetics; reception; performance, genres of stage, screen and literature; history/historiography; and temporal experience.


Author(s):  
Benedict Taylor

For the nineteenth century, music was commonly characterized as the “art of time,” and provided a particularly fertile medium for articulating concerns about the nature of time and the temporal experience of human life. This chapter examines some of the debates around music and time from the period, arranged thematically around a series of conceptual issues. These include the reasons proposed for the links between music and time, and the intimate connection between our subjective experience of time and music; the use of music as a poetic metaphor for the temporal course of history; its use by philosophers as an instrument for the explication of temporal conundrums; its alleged potential for overcoming time; its various forms of temporal signification across diverse genres; and the legacy of nineteenth-century thought on these topics today.


2021 ◽  
pp. 0961463X2110148
Author(s):  
Joseph R Tulasiewicz ◽  
Ellen Forsman

This article, drawn from an ethnography of a rural farming co-operative in the East of England, argues that the temporal experience of the digital is one of a-temporality rather than acceleration. In using the term a-temporality, the article is elaborating on a concept briefly discussed by Mark Fisher to denote an alienation from time, combining it with Natasha Dow Schull’s writings on casino capitalism. Dow Schull suggests that Las Vegas capitalism has moved from streamlining time to deforming it, rendering it tensile and pliant. A similar temporal distortion is apparent in the community’s experience with digital devices. The article explores the relationships of coping the community members form with their devices, arguing that they utilize them to self-medicate emotional distress and in doing so open new ways of existing in time. In this way, the article makes sense of the fact that the group – environmentalists largely sceptical of other forms of technology – has adopted the digital so readily.


1960 ◽  
Vol 57 (3) ◽  
pp. 213-236 ◽  
Author(s):  
Melvin Wallace ◽  
Albert I. Rabin
Keyword(s):  

2015 ◽  
Vol 9 (3-4) ◽  
pp. 213
Author(s):  
Maria Kon

Recent philosophical work on temporal experience offers generic models that are often assumed to apply to all sensory modalities.  We show that the models serve as broad frameworks in which different aspects of cognitive science can be slotted and, thus, are beneficial to furthering research programs in embodied music cognition.  Here we discuss a particular feature of temporal experience that plays a key role in such philosophical work: a distinction between the experience of succession and the mere succession of experiences.  We question the presupposition that there is such an evident, clear distinction and suggest that, instead, it is context-dependent.  After suggesting a way to modify the philosophical models of temporal experience to accommodate this context-dependency, we illustrate that these models can fruitfully incorporate research programs in embodied musical cognition.  To do so we supplement a philosophical model with Godøy’s recent work that links bodily movement with musical perception.  The Godøy-informed model is shown to facilitate novel hypotheses, refine our general notion of context-dependency and point towards possible extensions.


2010 ◽  
Author(s):  
Αικατερίνη Χαραλαμποπούλου

In this study I have attempted to present a linguistic investigation into the nature and structure of time, based on proposals developed in Evans (2004). Accordingly, as linguistic structure and particularly patterns of elaboration reflect conceptual structure conventionalized into a format encodable in language, this study presents an examination of the human conceptual system for time. Indeed, an examination of the ways in which language lexicalizes time provides important insights into the nature and organization of time. That is, given the widely held assumption that semantic structure derives from and reflects, at least partially, conceptual structure, language offers a direct way of investigating the human conceptual system. However, how time is realized at the conceptual level, that is, how we represent time as revealed by the way temporal concepts are encoded in language, does not tell the whole story, if we are to uncover the nature and structure of time. Research in cognitive science suggests that phenomenological experience and the nature of the external world of sensory experience to which subjective experience constitutes a response, give rise to our pre- conceptual experience of time. In other words, as Evans (2004) says, time is not restricted to one particular layer of experience but it rather “constitutes a complex range of phenomena and processes which relate to different levels and kinds of experience” (ibid.: 5). Accordingly, while my focus in this study is on the temporal structure, which is to say the organization and structuring of temporal concepts, at the conceptual level, I have also attempted to present an examination of the nature of temporal experience at the pre-conceptual level (prior to representation in conceptual structure). In this regard, I have examined the results of research from neuroscience, cognitive psychology and social psychology. More specifically and with respect to evidence from neuroscience, it is suggested that temporal experience is ultimately grounded in neurological mechanisms necessary for regulating and facilitating perception (e.g., Pöppel 1994). That is, perceptual processing is underpinned by the occurrence of neurologically instantiated temporal intervals, the perceptual moments, which facilitate the integration of sensory information into coherent percepts. As we have seen, there is no single place in the brain where perceptual input derived from different modalities, or even information from within the same modality, can be integrated. In other words, there is no one place where spatially distributed sensory information associated with the distinct perceptual processing areas of the brain, are integrated in order to produce a coherent percept. Rather, what seems to be the case is that the integration of sensory information into coherent percepts is enabled by the phenomena of periodic perceptual moments. Such a mechanism enables us to perceive, in that the nature of our percepts are in an important sense ‘constructed’. Put another way, perception is a kind of constructive process which updates successive perceptual information to which an organism has access. The updating occurs by virtue of innate timing mechanisms, the perceptual moments, which occur at all levels of neurological processing and range from a fraction of second up to an outer limit of about three seconds. It is these timing mechanisms which form the basis of our temporal experience. As Gell says, “perception is intrinsically time-perception, and conversely, time-perception, or internal time-consciousness, is just perception itself...That is to say, time is not something we encounter as a feature of contingent reality, as if it lay outside us, waiting to be perceived along with tables and chairs and the rest of the perceptible contents of the universe. Instead, subjective time arises as inescapable feature of the perceptual process itself, which enters into the perception of anything whatsoever” (1992: 231). In other words, our experience of time is a consequence of the various innate ‘timing mechanisms' in the brain which give rise to a range of perceptual moments, which are in turn necessary for and underpin perceptual processing. In this way, time exists into the experience of everything as it is fundamental to the way in which perceptual process operates. […]


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