Re-framing the Crusades: The Representation of Space, Landscape and Architecture in the Comics Series Croisade

In both medieval and contemporary culture, defamiliarization in space frames the imagined relationship with the other in fantasized views of the East. This paper addresses ways the creative imagination functions in the contemporary four-volume Belgian comics series Croisade by Dufaux and Xavier (vol I-IV). They foster a self-reflexive vision of competing universes, from the Celtic to the ancient Roman, from the Moorish to the Gothic. The cultural relativism of our contemporary era seems more relevant than any attempt to historicize faithfully the fictional plot. These comic books exploit the visual evidence of space as emblematic natural sites of heterotopias like the desert, and architectural space like Jerusalem, some burial sites, the sultan’s oriental palace and the Crusaders’ fortress, while assessing the changing representation of space from the medieval era to the present.

Memories from the Darkness in the Films of Pedro Costa and Affonso Uchôa

This essay analyses realist works from contemporary world cinema wherein the representation of space-time is directly affected by the color black, referring to both night and dark shadows. It investigates exactly how darkness participates in moments when the filmed subjects remember traumatic events and confront them through their courageous retellings. My hypothesis is that the color black converts the space—realistic and concerning the characters’ present time—into a place where different temporalities coexist. Through a comparative analysis of films made by the Portuguese filmmaker Pedro Costa and the Brazilian filmmaker Affonso Uchôa in the past two decades, I show how this modulation in space-time produced through color has a political meaning, since the narrated memories are related to a social experience of class and race.

Means of Lexical Representation of Spatial Continuum in Early Stories of I. A. Bunin

The question of ways of creating a spatial continuum in the early stories of I. A. Bunin “On the wrong side”, “On the farm” and “On the Donets”, united by a single principle of nomination and included in the first book of the writer’s prose “To the end of the world” (1897) is considered in the article. The semantics of the title actualizes the spatial component of the author’s linguistic picture of the world, which determined the path of linguistic and stylistic analysis of the linguistic material of stories. The authors pay special attention to the means of lexical representation of space as one of the basic linguo-cognitive categories. The novelty of the research lies in the fact that the language material has been identified, systematized and described, which makes it possible to determine the individual author's characteristics in the creation of the spatial continuum of I. A. Bunin’s early stories. The relevance of the study is due to the appeal to the problems of cognitive linguistics. On the basis of statistical, descriptive and linguo-cognitive methods of analysis, the authors identify and describe the means of lexical representation of the spatial model created in the stories of I. A. Bunin, which is characterized by a clear structuredness and individuality of the author’s approach. In the course of the study, the authors come to conclusions that make it possible to characterize the features of the construction of space in the early stories of the writer, taking into account the individual characteristics of the author's world modeling, and also to analyze the linguistic parameters of the idiostyle of I. A. Bunin.

Dynamic representation of space in the hippocampus: spatial novelty detection and consolidation in CA1 and CA2

Hippocampal place cells are the functional units of spatial navigation and are present in all subregions- CA1, CA2, CA3 and CA4. Recent studies on CA2 have indicated its role in social and contextual memory, but its contribution towards spatial novelty detection and consolidation remains largely unknown. The current study aims to uncover how CA1 and CA2 detect, process, assimilate and consolidate spatial novelty. Accordingly, a novel 3-day paradigm was designed where the animal was introduced to a completely new environment on the first day and to varying degrees of familiarity and novelty on subsequent days, as the track was extended in length and modified in shape, keeping other environmental constraints fixed. Detection of spatial novelty was found to be a dynamic and complex phenomenon, characterized by different responses from hippocampal place cells, depending on when novelty was introduced. Therefore, the study concludes that early novelty detection (the first time a novel space is introduced in a relatively familiar environment) and subsequent novelty detection are not processed in the same way. Additionally, while neuronal responses to spatial novelty detection (early and subsequent) were found to be the same in CA1 and CA2 ensembles, their responses differed in spatial consolidation mechanisms during subsequent sleep replays. For CA1, spatial coverage of prior behaviour was found to be closely reflected in subsequent sleep for that particular day, but CA2 showed no such coherent response, highlighting mnemonic processing differences between CA2 and CA1 with respect to spatial novelty.

Emotional representations of space vary as a function of peoples’ affect and interoceptive sensibility

Most research on people’s representation of space has focused on spatial appraisal and navigation. But there is more to space besides navigation and assessment: people have different emotional experiences at different places, which create emotionally tinged representations of space. Little is known about the emotional representation of space and the factors that shape it. The purpose of this study was to develop a graphic methodology to study the emotional representation of space and some of the environmental features (non-natural vs. natural) and personal features (affective state and interoceptive sensibility) that modulate it. We gave participants blank maps of the region where they lived and asked them to apply shade where they had happy/sad memories, and where they wanted to go after Covid-19 lockdown. Participants also completed self-reports on affective state and interoceptive sensibility. By adapting methods for analyzing neuroimaging data, we examined shaded pixels to quantify where and how strong emotions are represented in space. The results revealed that happy memories were consistently associated with similar spatial locations. Yet, this mapping response varied as a function of participants’ affective state and interoceptive sensibility. Certain regions were associated with happier memories in participants whose affective state was more positive and interoceptive sensibility was higher. The maps of happy memories, desired locations to visit after lockdown, and regions where participants recalled happier memories as a function of positive affect and interoceptive sensibility overlayed significantly with natural environments. These results suggest that people’s emotional representations of their environment are shaped by the naturalness of places, and by their affective state and interoceptive sensibility.

How environmental movement constraints shape the neural code for space

Study of the neural code for space in rodents has many insights to offer for how mammals, including humans, construct a mental representation of space. This code is centered on the hippocampal place cells, which are active in particular places in the environment. Place cells are informed by numerous other spatial cell types including grid cells, which provide a signal for distance and direction and are thought to help anchor the place cell signal. These neurons combine self-motion and environmental information to create and update their map-like representation. Study of their activity patterns in complex environments of varying structure has revealed that this "cognitive map" of space is not a fixed and rigid entity that permeates space, but rather is variably affected by the movement constraints of the environment. These findings are pointing toward a more flexible spatial code in which the map is adapted to the movement possibilities of the space. An as-yet-unanswered question is whether these different forms of representation have functional consequences, as suggested by an enactivist view of spatial cognition.

Pangkalan Gojek : Ruang Produk Kapitalisme Digital

Gojek driver base is a new social space formed by the tension between the development of communication technology and Indonesian drivers' work practices. It also creates further implications, namely the new meaning of a different space and new working model. Unfortunately, the communication dynamic in this event has not received much attention from communication scholars in Indonesia. Using the ethnography of space, this study found three things. First, Gojek drivers ambivalently interpret their base as 'office', but they did not consider their actions at the base as a work activity. This mystifies Gojek free drivers as 'casual workers'. Second, the absence of bases in the representation of space in the Gojek application forces driver to producing these bases independently. The cellular navigation, which gave rise to egocentric cartographic readings, became Gojek's instrument to intervene in a concrete space by making the driver the anchor of the production of a new social space. Third, the drivers then live the base with the image of brotherhood between the members of the base. They even become workers who can regulate themselves, which is in line with the logic of efficiency by digital capitalism such as Gojek.

Chelpanov: The Psychologist as a Realist Neo-Kantian

This essay explores the writings of Georgij Chelpanov, who recognized the value of both psychology and philosophy, much to the displeasure of all. Chelpanov only very guardedly expressed his own philosophical views, which stand, I conclude, in stark contrast with the neo-Kantianisms of both the Marburg and the Baden Schools. We see that in his earliest writings on spatial perception, he not so much differs with Kant as saw the matter from a different perspective. Nonetheless, he shares Kant’s affirmation that the universality and necessity associated with our representation of space affirms its apriority as a condition of cognition, particularly with respect to mathematics. Chelpanov departs from Kant in rejecting the exclusive subjectivity of space and time, arguing that there is something in noumenal reality that corresponds to our specific representations of an object’s temporal and spatial position. Otherwise, there is no way to account for their specificity, for why a perceived object is here and not there. Chelpanov argues this from a psychological viewpoint, but he acknowledges that Kant argues from a logical viewpoint. Turning to the issue of free will, he, in short, argues for a soft determinism that is quite consistent with Kantianism, even though Chelpanov’s argument is bereft of the metaphysics and the architectonic of Kant’s system. In conclusion, although scholars dispute his allegiance to neo-Kantianism, his philosophical writings demonstrate his subdued advocacy of a neo-Kantianism, albeit one more akin to the transcendental realism of Riehl and Paulsen.