Time in Human Experience

Philosophy ◽  
2004 ◽  
Vol 79 (2) ◽  
pp. 165-183 ◽  
Author(s):  
Jonathan Bennett
Keyword(s):  
Human Experience ◽  
Voluntary Action ◽  
Newcomb Problem ◽  
The Past ◽  
The World ◽  
The Mind ◽  
Temporal Direction

A set of eight mini-discourses. 1. The conceivability of the physical world's running in the opposite temporal direction. 2. Augustine's reason for thinking this is not conceivable for the world of the mind. 3. Trying to imagine being a creature that lives atemporally. 4. Memory's need for causal input. 5. Acting in the knowledge that how one acts is strictly determined. 6. The Newcomb problem. 7. The idea that all voluntary action is intended to be remedial. 8. Haunted by the strangeness of the idea of the past qua past.

Who Invented the Golden Age?

1952 ◽  
Vol 2 (1-2) ◽  
pp. 83-92 ◽  
Author(s):  
H. C. Baldry
Keyword(s):  
Golden Age ◽  
Real Life ◽  
Human Experience ◽  
Imaginary Time ◽  
The Past ◽  
The World ◽  
Ancient Literature ◽  
The Future ◽  
Normal Human

There are many passages in ancient literature which depict an imaginary existence different from the hardships of real life-an existence blessed with Nature's bounty, untroubled by strife or want. Naturally this happy state is always placed somewhere or sometime outside normal human experience, whether ‘off the map’ in some remote quarter of the world, or in Elysium after death, or in the dim future or the distant past. Such an imaginary time of bliss in the past or the future has become known as the ‘golden age’. This is the name which modern scholars generally give to the ancient belief. The phrase is often echoed by modern poets. The same language has been transferred from the unknown to the known, and it has become a commonplace to describe an outstanding period of history or literature as a ‘golden age’.

scholarly journals Ten books

2007 ◽  
Vol 191 (6) ◽  
pp. 567-570
Author(s):  
Allan Beveridge
Keyword(s):  
Charles Dickens ◽  
Ethical Reasoning ◽  
Human Experience ◽  
The Internet ◽  
The Novel ◽  
Rich Diversity ◽  
The World ◽  
Hard Times ◽  
The Rich ◽  
The Mind

In the novel Hard Times, Charles Dickens gives his views on education. His character Mr Gradgrind believes in ‘facts’ and is suspicious of the imagination. All we need to know about the world, he maintains, can be reduced to simple facts. Dickens shows that such a philosophy leads to the impoverishment of the mind and to the weakening of ethical reasoning. Today it seems that the descendants of Mr Gradgrind are still in charge. The main psychiatric library where I work has been closed. It is argued that we can obtain all the ‘facts’ we need from the internet. The notion that books might have more to offer than prosaic detail, that they reflect the rich diversity of human experience, seems alien to the modern-day Gradgrinds.

scholarly journals СЕМАНТИКА І ПОЕТИКА СЛОВА-ОБРАЗУ ГЛЕЧИК У ВІРШОВІЙ МОВІ В. ГОЛОБОРОДЬКА

2019 ◽  
pp. 151-157
Author(s):  
Т. П. Беценко
Keyword(s):  
Everyday Life ◽  
Traditional Culture ◽  
Rural Life ◽  
Poetic Language ◽  
The Past ◽  
The World ◽  
Linguistic Sign ◽  
The Mind ◽  
Artistic Image

The artistic-pictorial system of V. Holoborodko’s poetic works is based on his own – nationally marked words in every way. Each element of the linguistic-visionary poetic paradigm of the artist is imbued with national colour, national-linguistic art, related to ancient folklore sources. The poetic picture of ethnic existence in the vision of the artist – originally simple and understandable; Its cores are known, known to all realities. Attention is drawn to redefined in the artistic name of the dishes. In V. Holoborodko’s poetic universe the jug appears as an element (component) of the macrocosm. Therefore, the philosophy of the poetic thought of the artist is based on the notion that the designated object – the most ancient and universal in everyday use – contains the world and eternity in itself. The article analyzes the semantics and emotionally expressive colouring of the image word jug in the poetic speech of V. Holoborodko. The substantive significance of the pitcher lexeme in the artist’s poetic usage of the word is substantiated. It has been found that the connotative shades of the considered image word are connected with the traditional culture of everyday life of the Ukrainians. In the poet’s figuratively-associative linguistic map, the jug appears as an attribute of harmony of feelings, coherence, understanding, sympathy, as a symbol of the love of young hearts. The linguistic sign of the jug can be considered a poetic universality of Vasyl Holoborodko. This is the favorite artistic image of the writer. Consequently, the word-image of the jug in the poetic language of the writer is a significant and artistically significant reality. In the mind of the artist, he combines the seven «symbol of national existence», «the attribute of rural life», «the original remarkable decoration of the kitchen utensils of our ancestors», «the contents of the past and future, coming»; «Macrocosm and matter of eternity of ethnic existence». So the jug with milk is a symbol of femininity and motherhood, a jug for two is a «symbol of love». The linguistic and aesthetic poetic sign of the jug is marked by emotions of exaltation, solemnity, majesty. This is a symbol of Ukrainian rural life.

scholarly journals The Thinking Body: a Study of the Architectural Ramifications of Maurice Merleau-Ponty's Rendering of the Human Body's Capacities

2021 ◽  
Author(s):  
◽  
Karan August
Keyword(s):  
Human Body ◽  
Subjective Experience ◽  
Human Experience ◽  
The Body ◽  
Critical Approach ◽  
Spatial Practices ◽  
Sensory Experiences ◽  
Phenomenological Experience ◽  
The World ◽  
The Mind

<p>Phenomenology offers a conceptual framework that connects and strengthens the architect' s intuitive understanding of the human experience of space with the theorist's more critical approach. Phenomenology is an ideal vehicle for architectural theorists to avoid the friction between first-hand or subjective experience and generalised or abstracted accounts of experience. In this thesis I extract an account of the human experience of space that is implicit in the Philosopher Maurice Merleau-Pontys work. I consider how this understanding has been employed in architectural scholarship and practice. In particular, I argue that the human body renders the richness of space through deliberate engagement with the indeterminate and independent possibilities of the world. In other words, as the body intentionally engages with the world, it synthesises objects that create determinate spatial situations. I account for Merleau-Ponty's depiction of the body' s non-rule governed, non-reflective, normative directiveness towards spaces and elements, and label it the thinking body. Furthermore I examine how the philosophical theory of Merleau-Ponty is represented in the explicitly theoretical works of Juhani Pallasmaa. In turn I then consider how the thinking body is physically and conceptually realised in the buildings of Carlo Scarpa. Finally I find that Juhani Pallasmaa's description of the phenomenological experience of space is incompatible with Merleau-Ponty's. The strategic importance of these different accounts emerges when projecting their implications for designed space. Pallasmaa' s account points towards an architecture that prioritises sensory experiences synthesised by the mind. The design focus of Merleau-Ponty's philosophy leads to spatial practices in line with Carlo Scarpa, that are sympathetic to the causal qualities of an intentional bodily engagement with spatial situations. In accord with Merleau-Ponty I argue that human body is our medium for the world and as such creates the spatial situation we engage with from a formless manifold of possibilities.</p>

Neuroexistentialism

2018 ◽  
Keyword(s):  
Moral Responsibility ◽  
Meaning In Life ◽  
Common Good ◽  
Religious Tradition ◽  
Third Wave ◽  
The Past ◽  
The World ◽  
The Common ◽  
The Mind ◽  
Second Wave

Existentialism is a concern about the foundation of meaning, morals, and purpose. Existentialisms arise when some foundation for these elements of being is under assault. In the past, first-wave existentialism concerned the increasingly apparent inability of religion and religious tradition to provide such a foundation, as typified in the writings of Kierkegaard, Dostoevsky, and Nietzsche. Second-wave existentialism, personified philosophically by Sartre, Camus, and de Beauvoir, developed in response to the inability of an overly optimistic Enlightenment vision of reason and the common good to provide such a foundation. There is a third-wave existentialism, a new existentialism, developing in response to advances in the neurosciences that threaten the last vestiges of an immaterial soul or self. With the increasing explanatory and therapeutic power of neuroscience, the mind no longer stands apart from the world to serve as a foundation of meaning. This produces foundational anxiety. This collection of new essays explores the anxiety caused by this third-wave existentialism and some responses to it. It brings together some of the world’s leading philosophers, neuroscientists, cognitive scientists, and legal scholars to tackle our neuroexistentialist predicament and explore what the mind sciences can tell us about morality, love, emotion, autonomy, consciousness, selfhood, free will, moral responsibility, law, the nature of criminal punishment, meaning in life, and purpose.

A Portrait of Consciousness

2020 ◽  
pp. 63-99
Author(s):  
Garry L. Hagberg
Keyword(s):  
Empirical Model ◽  
Human Perception ◽  
Perceptual Consciousness ◽  
The Past ◽  
The World ◽  
History Of ◽  
The Mind ◽  
The Way

Departing from observations taken from the legal judgment that lifted the ban on Ulysses that concern the intricate way that Joyce in his novel portrays “the screen of consciousness,” this chapter first examines the classical empirical model of human perception where the eye is modeled on the lens of a camera. Moving to a consideration of what that model misses in terms of the webs of associations woven into perception by the experiential history of the perceiver and some philosophical arguments critiquing that oversimplified model, the chapter then looks into some details concerning acts of remembering, moments of recognition, the understanding of human motives, and the way the past can overlay the perception of the present, all of which challenge any reductive model of mere ocular sensation as the fundamental content of perception. With this background the chapter then moves to its main project, a reading of Joyce’s great novel that sees the work as an expansive and encompassing study of the nuances of perception, of the relationally complex ways in which the mind organizes and interacts with the world, and of the structuring power that our language exerts within perceptual consciousness.

scholarly journals The Thinking Body: a Study of the Architectural Ramifications of Maurice Merleau-Ponty's Rendering of the Human Body's Capacities

2021 ◽  
Author(s):  
◽  
Karan August
Keyword(s):  
Human Body ◽  
Subjective Experience ◽  
Human Experience ◽  
The Body ◽  
Critical Approach ◽  
Spatial Practices ◽  
Sensory Experiences ◽  
Phenomenological Experience ◽  
The World ◽  
The Mind

<p>Phenomenology offers a conceptual framework that connects and strengthens the architect' s intuitive understanding of the human experience of space with the theorist's more critical approach. Phenomenology is an ideal vehicle for architectural theorists to avoid the friction between first-hand or subjective experience and generalised or abstracted accounts of experience. In this thesis I extract an account of the human experience of space that is implicit in the Philosopher Maurice Merleau-Pontys work. I consider how this understanding has been employed in architectural scholarship and practice. In particular, I argue that the human body renders the richness of space through deliberate engagement with the indeterminate and independent possibilities of the world. In other words, as the body intentionally engages with the world, it synthesises objects that create determinate spatial situations. I account for Merleau-Ponty's depiction of the body' s non-rule governed, non-reflective, normative directiveness towards spaces and elements, and label it the thinking body. Furthermore I examine how the philosophical theory of Merleau-Ponty is represented in the explicitly theoretical works of Juhani Pallasmaa. In turn I then consider how the thinking body is physically and conceptually realised in the buildings of Carlo Scarpa. Finally I find that Juhani Pallasmaa's description of the phenomenological experience of space is incompatible with Merleau-Ponty's. The strategic importance of these different accounts emerges when projecting their implications for designed space. Pallasmaa' s account points towards an architecture that prioritises sensory experiences synthesised by the mind. The design focus of Merleau-Ponty's philosophy leads to spatial practices in line with Carlo Scarpa, that are sympathetic to the causal qualities of an intentional bodily engagement with spatial situations. In accord with Merleau-Ponty I argue that human body is our medium for the world and as such creates the spatial situation we engage with from a formless manifold of possibilities.</p>

scholarly journals Evolution to Revolution

2021 ◽  
pp. 106-110
Author(s):  
Chinmay Suhas Jadhav
Keyword(s):  
Future Technology ◽  
The Past ◽  
Gradual Process ◽  
The World ◽  
The Future ◽  
The Mind ◽  
Do So

We know that now a days everything Changes in a span of every 5 to 10 years. Demand in Technology has reached its peak. Hence, we need to understand the basic values and necessity of advancement in future Technology to achieve the most from the world which is full of modern ideology. We can learn so many things from the past and apply it for the better future and to do so we should evolve and revolve around time. We should be able to cope up with the present and we should be able to see the future requirements and work with the same in the mind. Evolution is a slow and gradual process but it can transform the whole world if it is changed correctly. We just need to have that passion and desire to unleash the next into forthcoming world.

The paradox of landscape

1998 ◽  
Vol 1 (3) ◽  
pp. 313-325 ◽  
Author(s):  
Robert Johnston
Keyword(s):  
Human Experience ◽  
Spatial Relationships ◽  
The Past ◽  
Modern View ◽  
The World

‘The paradox of landscape’ is that, in theory, landscape aspires to a totality of human experience, but in practice it suppresses the complexity of the human experience. By supposing a ‘landscape perspective’ in the past, archaeologists are imposing a modern view of the world. In consequence, more varied perspectives should be considered during any archaeological inquiry. This is not a criticism of the use of landscape as a term to distinguish the wider spatial relationships between places which exist in the present. What is suggested as being unjustifiable is the use of the ‘landscape perspective’ to orientate and contextualize past human experience. This critique is illustrated and complemented by a case-study examining prehistoric land enclosure in Britain.

The Present Age in the Eschatology of the Pastoral Epistles

1986 ◽  
Vol 32 (3) ◽  
pp. 427-448
Author(s):  
P. H. Towner
Keyword(s):  
Potential Role ◽  
Clear Picture ◽  
Pastoral Epistles ◽  
The Past ◽  
The World ◽  
The Future ◽  
The Mind ◽  
Directing Attention ◽  
The Church ◽  
Foregone Conclusion

Recent attempts to explain the theology of the Pastoral Epistles are generally agreed that the present age looms large in the thought of the author. But there is less concord regarding the significance of this leitmotif for the message of these letters as a whole, and none have shown in detail the factors which go into the formulation of this theme. As to the first matter, it is usually noted that the present age is the age of salvation. But can a partial understanding of how the author portrays this present age guarantee a clear picture of his full conception of the nature of salvation? For example, Dibelius and Conzelmann ostensibly suggest that the stress on the present age is a concomitant to the delay of the parousia, which more or less required the church to reconcile herself to a long stay in the world. At the same time, the epiphany schema, which plays a part in directing attention to the present age, leads them to what may be generally termed an ‘early catholic’ explanation of salvation which locates salvation almost wholly in the past Christ event: ‘… salvation in the future appears to be nothing but the shadow of this past epiphany’. But there is more to be considered than just the epiphany schema if the author's understanding of the present age and the salvation connected with it are to be perceived aright. Equally, the almost foregone conclusion in some quarters that the delay of the parousia led to a removal of any vivid expectancy of the event in the mind of our author requires a fresh and balanced reappraisal, especially in view of the potential role it could play within the theological structure of his thought. In short, the kind of approach and explanation of Dibelius and Conzelmann and others seems to centre on a conspicuously slender portion of the evidence, and is therefore rightfully challenged.

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