Thinking across Frames – Temporally Extended Consciousness and the Animation Timeline

This article explores ways in which animation production technologies (including pre-cinema, film, and digital tools) have evolved as a system that abstracts time, primarily through its spatialization. This abstraction necessitates certain assumptions about the nature of time, including its linearity and directionality. Animation technologies have evolved so as to support various modes of temporally extended consciousness; an animator’s craft thinks and works through time. Embedded within digital production technologies, the animator is faced with a new philosophical instrument: the animation timeline. The main timeline utility in most animation software adopts a linear, mechanical model of time with the individual frame as the base unit. However, digital animation timeline can also complicate the spatialized temporal dimension, as the timeline is also embedded within animated objects in motion paths and other interface elements . As animated objects always exist through time, not merely within individual frames, the animation software tools for working with time both confine and unlock opportunities for working with time.

The Oxford Handbook of Time in Music

As the art that calls most attention to temporality, music provides us with profound insight into the nature of time, and time equally offers us one of the richest lenses through which to interrogate musical practice and thought. In this volume, musical time, arrayed across a spectrum of genres and performance/compositional contexts is explored from a multiplicity of perspectives. The contributions to the volume all register the centrality of time to our understanding of music and music-making and offer perspectives on time in music, particularly though not exclusively attending to contemporary forms of musical work. In sharing insights drawn from philosophy, music theory, ethnomusicology, psychology of performance and cultural studies, the book articulates a range of understandings on the metrics, politics and socialities woven into musical time.

En torno a la ética y la trascendencia en psicoanálisis, el deseo que siempre es deseo

Relational psychoanalysis is firmly rooted in ethics, but not in ethics in its formal sense, that which we commonly call moralism, but in the response to the patient's demands and needs, an ethics that is linked to the yearning for transcendence that always nests in the human spirit and which, moreover, must always preside over patient-therapist relationships. Men and women are beings in whom desire constantly throbs, an inextinguishable desire to which they give different names and expressions, desire for pleasure in its various forms, for contact with others, for friendship, for love and also for power, for mastery of nature, of time, of space and of the course of their own existence. In this work it is emphasized that the most cursory investigation of the course of the history of humanity shows us that it is always driven by the desire for something to which it has been given different names and forms, goals, purposes and achievements, variegated and constantly contradictory to each other, but with a common denominator that, finally, links and unites them, the fact that the desire is never completely satiated, and this, in the end, pushes to a search that never rests, and in this search one reaches the most sublime of the human spirit, and also the most degrading of its nature. The different orientations of relational psychoanalysis, some of which are shown in the pages of this paper, highlight the different means by which we therapists try to help those who suffer and demand our help, and the conclusion is that most of them are entirely valid as long as they are accompanied by the love they have lacked in the early stages of their existence.

Time: A Very Short Introduction

Time: A Very Short Introduction explores questions about the nature of time that have been at the heart of philosophical thinking since its beginnings: questions like whether time has a beginning or end, whether and in what sense time passes, how time is different from space, whether time has a direction, and whether it is possible to travel in time. These questions passed into the hands of scientists with the work of Isaac Newton when the structure of space and time became connected to motion and included the subject matter of physics. This VSI charts the way that the history of physics, from Isaac Newton through Albert Einstein’s two revolutions, wrought changes to the conception of time. There are parts of physics that are in a state of confusion, but this strand of development is a story of philosophical illumination and conceptual beauty. The discussion here provides an opportunity to see what distinguishes the methods of physics from those of philosophy. It brings together physics, cognitive science, and phenomenology in the service of reconciling what modern theories tell us about the nature of time with the everyday living experience of time.

6. The big picture and new horizons

‘The big picture and new horizons’ summarizes the results already discussed and provides a broad overview of our current understanding of the nature of time. Physics continues to develop and there are reasons to think that further changes—perhaps quite radical—are on the horizon. The last thing to look at are the parts of physics from which those changes may come.

Mpemba Effect- the Effect of Time

By analyzing the relation between time and speed, the relation between time and gravitational field, the gravitational redshift of photon and the black-body radiation theorem, the conclusion that time on an object is proportional to the fourth power of the absolute temperature of the object is obtained. Applying the above conclusion about the nature of time, the author analyzes the Mpemba effect and the inverse Mpemba effect, and reaches the following conclusion: the Mpemba effect is the time effect produced when heat flows from objects into space, and the "inverse" Mpemba effect is the time effect produced when heat flows from space into objects.

Sustainable practice: The future mode of temporality in fashion

Fashion is indicative of time and, serving as the interpretive and representational forms of a society, is measured against the cyclical rhythms of trend diffusion and style adoption. This article examines the function of time within the framework of historical research, reviewing the construction and translation of contemporary fashion. The temporality of material objects is further probed by an analysis of the sociocultural development of current sustainable practices to grasp the affective nature of time and its relationship to the fashion system. With an overview of emerging sustainable design practices, the relationship between time and meaning creation is critically examined, analysed and discussed. The social production of design and its utilization of the body-as-space are presented in relation to the social construction of time, explicated as part of a subjective, embodied experience. This article presents a new modality of time in how it is articulated, imitated, reproduced and reinterpreted through material culture and future sustainable practices.