Dissertations / Theses on the topic 'Sensorimotor experience, space, time'
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RINALDI, LUCA. "Sensorimotor experience biases human attention through space and time." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2016. http://hdl.handle.net/10281/100579.
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Space and time are fundamental dimensions that contribute to make human minds grounded in the physical world. Researchers across the cognitive sciences have recently addressed some key questions about the role of the sensorimotor system in spatial and temporal processing (Chapter 1). The present thesis adds to this debate by exploring the hypothesis that prior directional sensorimotor experience contributes to the human sense of space and time.
The first part of the thesis investigates whether sensorimotor experience influences visuospatial attention. A first study shows that humans have a manual and ocular leftward bias in bisection task in near but not in far space (Chapter 2). This leftward bias, for long mainly explained in terms of a right hemispheric dominance in visuospatial processing, is modulated by directional routines. For instance, individuals from different cultures show visuospatial asymmetries that can predicted by their reading habits (Chapter 3). Similarly, exposure to formal education exerts a strong influence on children’s visuospatial attention (Chapter 4). Nonetheless, the impact of cultural routines is further constrained by situational requirements. In fact, bidirectional readers reorient their visual scanning depending on the language of the task at hand (Chapter 5). In line with this, visuospatial biases can be rapidly induced by learned contingent odor-object associations (Chapter 6). On these grounds, it is therefore suggested that biological factors (i.e., hemispheric specialization) interplay with both cultural (i.e., directional scanning associated with language processing) and situational factors (i.e., current constraints imposed by task demands) in modulating visuospatial attention, likely under a hierarchical relationship (Chapter 7).
Since space and time are supposed to be tightly coupled in the human mind by motor actions, the second part of the thesis investigates whether sensorimotor experience influences the spatial representation of time. A first study shows that both finger counting and reading habits are flexibly exploited to map ordered information on the bodily space (Chapter 8). The sensorimotor involvement in representational processes was confirmed in a study showing that eye movements mediate the search and the retrieval of temporally ordered information (Chapter 9). In addition, the view that the egocentric representation of time originates from our walking experience was empirically supported by showing that temporal processing affects step movements along the sagittal space (Chapter 10). Finally, the systematic tendency to experience the future as psychologically closer than the past, derived from our experiential movement through time, was found to be altered in people with slower walking speed and distorted motion perception, i.e., anxious and depressed individuals. (Chapter 11). These studies, therefore, suggest that the processing of time is governed by the same mechanisms that orient our attention in the physical space (Chapter 12).
Overall, this thesis indicates that prior sensorimotor experience affects the way humans attend to space and time (Chapter 13).
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RIZZI, EZIA. "A JOURNEY THROUGH TIME. SPACE-TIME REPRESENTATION IN ADULTS AND CHILDREN." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2019. http://hdl.handle.net/10281/243942.
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È noto che la mente umana spesso crea una rappresentazione del tempo attraverso dimensioni più concrete, come lo spazio. Abitualmente, parliamo del passato riferendoci allo spazio dietro di noi e al futuro allo spazio di fronte a noi. Questa tesi di dottorato esplora l'origine e lo sviluppo dell'associazione tra tempo e spazio nell'infanzia e nell'età adulta.
La prima sezione fornisce una panoramica del background teorico e discute gli studi precedenti che si sono focalizzati su questo argomento. Descriviamo gli elementi mancanti e individuiamo che il tipo di informazioni elaborate (cioè gli eventi che si riferiscono alla memoria personale e non personale) possano influenzare la costruzione della linea del tempo mentale e i relativi fotogrammi spaziali di riferimento coinvolti.
Il secondo capitolo sperimentale indaga direttamente se eventi personali e non personali sono mappati in modo diverso nello spazio in età adulta, coinvolgendo madrelingua italiana. I risultati descritti mostrano che mentre gli eventi personali sono mappati preferenzialmente lungo lo spazio sagittale, gli eventi non personali sono più probabilmente mappati sullo spazio orizzontale. Questi risultati sono stati replicati in un campione di madrelingua adulti inglesi utilizzando una procedura simile e indicano che il tipo di contenuto elaborato in memoria influisce sul modo in cui l'individuo rappresenta il tempo nello spazio.
Il terzo capitolo è incentrato sull'ontogenesi della linea temporale mentale. Un primo studio ha esplorato la rappresentazione di eventi personali e non personali lungo lo spazio sagittale in bambini madrelingua inglese della scuola elementare, estendendo così la principale domanda teorica alla base di questa tesi a livello dello sviluppo. In un secondo studio, i bambini della scuola elementare italiana sono stati coinvolti in due compiti che esploravano le origini linguistiche e sensomotorie della linea mentale del tempo sagittale. I risultati indicano che la rappresentazione del tempo lungo lo spazio sagittale si basa fortemente su processi sensorimotori già in giovane età.
Insieme, questo corpus di prove fornisce nuove intuizioni sui meccanismi cognitivi e sensomotori che guiderebbero gli umani a rappresentare il tempo lungo le coordinate spaziali.It is well known that the human mind often creates a representation of time through more concrete dimensions, such as space. Habitually, we talk about past referring to the space behind us and about future referring to the space in front of us. This doctoral thesis explores the origin and development of the association between time and space in childhood and adulthood. The first section provides an overview of the theoretical background and discuss previous studies that have been focused on this topic. We outline the missing pieces of evidence and pinpoint that the type of information processed at hand (i.e., events referring to personal and non-personal memory) may impact on how the mental time line is constructed and on the relative spatial frames of reference involved. The second, empirical chapter investigates directly whether personal and non-personal events are differently mapped on space in adulthood, by involving native Italian speakers. The results described show that whereas personal events are preferentially mapped along the sagittal space, non-personal events are more likely mapped on the horizontal space. These findings were replicated in a sample of English adult speakers using a similar procedure and indicate that the type of content processed in memory affects how the individual represents time in space. The third chapter is focused on the ontogeny of the mental time line. A first study explored the representation of personal and non-personal events along the sagittal space in native English primary school children, thus extending the main theoretical question underlying this thesis at the developmental level. In a second study, Italian primary school children were involved in two tasks probing the linguistic and sensorimotor origins of the sagittal mental time line. Results indicate that the representation of time along the sagittal space strongly relies on sensorimotor processes already from a young age. Together, this body of evidence provides new insights on the cognitive and sensorimotor mechanisms that would drive humans to represent time along spatial coordinates.
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Rivera, Monica Alexandra. "Slowing Down Time, studies on spatial time." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/33992.
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The experience of time is not fixed by a rigid mathematical measure, instead, it flows at vaying rates.
There are certain occasions in which we would like to extend time with all our force, up to the limit of our stretched arms and further. Conversely there are moments which we'd like to last no more that the sparkle of a flash, but as we all have noticed, those are the longest in our life.
How does the space that we inhabit influence on our perception of time? May we identify especial elements that contribute in one or other sense to accelerate or slowdown the time?
It's said that time and space is an inseparable unity, as two aspects of the same thing. If this is so, then it also must be true that by shaping space in one way or another, we might influence the experience of time through it. Wouldn't it be delightful to believe that we may be magicians of time through manipulation of architecture?Master of Architecture
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Purcell, Marisa. "Ancestral Spaces: Time, Memory and the Liminal Experience of Painting." University of Sydney, 2008. http://hdl.handle.net/2123/2763.
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Master of Visual ArtsAbstract of Dissertation Where a person is situated in space and time determines the way an artwork is perceived. The result of this experience implies a relationship between the viewer and the artwork, thereby creating a liminal space. The terms liminal space and nonduality in this paper refer to the threshold, or in-between space that both separates and unites two opposing forces, creating a unique place that transcends memory and time. An artwork can serve as a mediatory object between artist and viewer because with each encounter, a unique meeting occurs. Thus, the meeting of audience and art object is transitory, ephemeral and temporal by nature and will be discussed in relation to the artwork as a vehicle to foster a subjective perception. Using my ancestral memories as a starting point, I refer to the art object as a means to explore time as a cross section of experience. Like dreams, where time is non-linear and memories exist side by side, I refer to the nondual space that exists between artist, artwork and audience as an opportunity to access an intuitive reaction to perception. The yearning to represent subjective space stems from my desire to understand perception and the brain. By presenting an overview of approaches from art history and contemporary art, this paper will discuss the various philosophical approaches that have been employed to represent space and time. I emphasise the ability of visual art to record the multifarious nature of experience, and the ability of the picture plane as a means to employ illusory and abstract space simultaneously. I have approached the research of time, memory and space through the lens of my own ancestry, which is essentially a combination of eastern and western in origin. Through this model I explore the tendencies throughout art history to depict space and time and the influences that culture and science have had upon the visual arts. My own paintings, and the work of Louise Bourgeois, Amy Cutler and Mamma Andersson are discussed with the intention of describing how the subjectivity of space can be expressed through a method that embraces the theories of nonduality and liminal space. Between the junction of east/west and abstract/illusory space, lies a point of union that I will refer to as ‘transcendent space’. By existing in the nondual, access is granted into a field that transcends the ‘either/or’ and allows access into a temporal space that permeates all experience. Studio work The studio component of the MVA will comprise of a series of paintings and an installation entitled, Only the memories are new. The paintings are of small scale and play with depictions of flatness and illusion. I have referenced Arabic miniatures as a means to employ a vertical perspective, whilst the inclusion of windows and doorways imply an opening to the nondual and the liminal. For the installation, components of the paintings come to life and occupy a space that invites the viewers’ participation. The installation presents an environment that asks the viewer to navigate the space that they occupy by way of memory and time.
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Purcell, Marisa. "Ancestral spaces time, memory and the liminal experience of painting /." Connect to full text, 2007. http://hdl.handle.net/2123/2763.
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Thesis (M.V.A.)--University of Sydney, 2008.Title from title screen (viewed 11 September, 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2008; thesis submitted 2007. Includes bibliographical references.
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Badenhorst, Ursula. "The eschatological garden : sacred space, time and experience in the monastic cloister garden." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/11905.
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Includes bibliographical references (p. 169-186).The argument of this dissertation is that the garden can be considered a proleptic eschatological landscape outside of time. To prove this argument I pull together strands of philosophical reflections on death, history of religions analysis concerning sacred space and time and monastic spirituality. I develop this argument by focusing on the enclosed garden, which has connected with it, in myth and metaphor, abundant meanings concerning life after death in a paradisiacal state of bliss. These meanings also become evident in the physical layout of the garden, which, when analyzing it in terms of substantial and situational definitions of sacred space, becomes a prime example of a sacred space, linked physically and symbolically to an eschatological space. The enclosed garden plays a very important role in monastic spirituality as it is not only associated with the cloister, but also with the Virgin Mary, which both offer the monk a gateway to eternity in Paradise. Physically the enclosed garden becomes the very center of the monastic precinct, offering through a ritual-sensory experience of its spatial qualities an experience which allows the monk a moment of spiritual transcendence. It is also, thus, in this moment, when the monk’s physical experience of the garden is woven together with ideas of paradise as an abode of eternity, that the garden becomes a sacred space which can lift him outside of time to experience paradisiacal happiness. This requires a process of hermeneutical interpretation from the monk and the theorist reflecting on this encounter. It is a dialogue between the garden and its interpreters, which leads to the conclusion that an encounter with the sacred never stands in isolation.
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Lima, Daniel Mattos de Araujo. "Contemporary images of space and time in Caio Fernando Abreu." Universidade Federal do CearÃ, 2007. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10736.
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nÃo hÃA experiÃncia urbana de espaÃo e de tempo na literatura do escritor Caio Fernando Abreu à o objeto de estudo dessa dissertaÃÃo. As experiÃncias subjetivas gestadas na cultura de consumo em que vivemos deflagram modos de pensar, agir, sentir e amar articulados Ãs percepÃÃes de tempo e espaÃo do sujeito contemporÃneo. Nomadismo, errÃncia, solidÃo, narcisismo e impulsividade sÃo algumas das caracterÃsticas deste sujeito. O tempo à mais acelerado e o espaÃo mais compactado de modo que a velocidade forÃada a que somos submetidos nos leva Ãs psicopatologias contemporÃneas tÃpicas do ritmo de vida das grandes cidades. As formas de sociabilidade contemporÃneas ganham laÃos mais tÃnues, tendo em vista que a cultura hoje enfatiza valores como a descartabilidade, o presente imediato, a emergÃncia, o imediatismo das aÃÃes e a compulsÃo. A percepÃÃo, a atenÃÃo e a memÃria sÃo transformadas num contexto histÃrico-cultural e individual-coletivo, de tal maneira que a interpretaÃÃo da realidade e a consciÃncia que o sujeito tem do mundo sofre significativas transformaÃÃes. A literatura de Caio Fernando Abreu apresenta as diferentes faces dos processos de subjetivaÃÃo contemporÃneos em personagens, enredos e cenÃrios figurativos da experiÃncia urbana globalizada, lanÃando um olhar particularmente revelador de tais condiÃÃes no contexto brasileiro. Com efeito, seus contos, romances e seu epistolÃrio desvelam uma crÃtica social profunda à cultura contemporÃnea na tematizaÃÃo do espectro de situaÃÃes nefastas em que està mergulhado o indivÃduo no final do sÃculo XX. De modo mais incisivo, seus textos pensam as peculiaridades da experiÃncia do brasileiro contemporÃneo ligadas, entre outros fatores, à inserÃÃo perifÃrica do paÃs ao capitalismo, aos rumos da polÃtica nacional desde a ditadura militar e Ãs vivÃncias mais subjetivas em termos de valores, utopias, visÃes de vida e de arte para o escritor e para sua geraÃÃo. O resultado à uma literatura que guarda traÃos da âcontraculturaâ e do âpÃs-modernismoâ, tanto em termos temÃticos como nas formas de narrar.
This essay discusses contemporary urban experience as presented in the fiction of Brazilian Writer Caio Fernando Abreu (1948-1996) with special attention to his imagery of time and space. The experience of individuals living in a consumer society produces particular modes of thought, action, feeling and loving which are related to contemporary perceptions of time and space. Errantry, loneliness, narcissism and impulsivity are some of the psychological features of postmodern subjectivity. Accelerated time and compact space developed/emerged specially in the second half of twentieth century along with new technologies of communication and transport seem connected to the new psychopathologies observed in typical contemporary urban life. Todayâs social patterns gain fragile ties due to the reinforcement of values like dischargeability, emphasis on immediate present time and compulsion. Perception, attention and memory have changed according to substantial transformations in the historical and cultural context of late capitalism and these changes also occur on the levels of individual and collective conscience and interpretation of reality. Abreuâs literature present the various faces of contemporary processes of production of subjectivity in characters, plots and scenarios which represent global urban experience, with particular focus on Brazilian context and conditions of modernization. In fact his short-stories, novels and personal letters reveal deep social criticism to grievous situations in which individuals at the end of the century find themselves. Particularly his texts reflect on the singularities of Brazilian globalization experience which involve broad aspects broad aspects like the peripherical insertion of the nation in capitalism and some political paths that led to military dictatorship, as well as more intimate and subjective experiences figured in terms of values, dreams, fears, points of view of life and art shared by the writer and his generation. The result is a literature that reveals traits of countercultural and postmodernist tendencies in its themes and forms of narration.
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Zhang, Qiu Jun. "How Chinese - English Bilinguals Think About Time : The Effects of Language on Space-Time Mappings." Thesis, Stockholms universitet, Centrum för tvåspråkighetsforskning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184684.
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The last decades have witnessed the resurgence of research on linguistic relativity, which provides empirical evidence of possible language effects on thought across various perceptual domains. This study investigated the linguistic relativity hypothesis in the abstract domain of time by looking at how L1 Chinese - L2 English bilinguals conceptualize time in two-dimensional space. English primarily relies on horizontal spatial items to talk about time (e.g., back to youth); in addition to horizontal spatial metaphors (e.g., ‘front year’), Chinese speakers also commonly use vertical metaphors to describe time (e.g., ‘up week’). If language has an effect on thought, then spatial-temporal metaphors should shape people’s temporal cognition. In this study, we examined whether spatial-temporal metaphors impact online processing of time and long-term habitual thinking about time. Experiment 1 showed that bilinguals could automatically access the timeline which corresponded to the immediate linguistic context. In Experiment 2, a majority of bilinguals demonstrated salient vertical bias for temporal reasoning, whereas a small number of participants relied on the horizontal axis to represent time. The dominant thinking patterns for time documented here (65% prefer a vertical representation of time; 35% horizontal) run counter to the fact that horizontal metaphors are twice as common in Chinese as vertical metaphors. Further, it was found that bilinguals who used English more frequently were more likely to have a less vertical bias, which suggested a role of L2 experience in conceptual representations. Taken together, the evidence in this study showed that spatial-temporal metaphors have both short-term and long-term effects on mental representations of time, but also that space-time mappings do not depend solely on linguistic factors.
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Cheong, Yong Jeon. "Worlds of Musics: Cognitive Ethnomusicological Inquiries on Experience of Time and Space in Human Music-making." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555598154844572.
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Ankeny, Samuel Robert. "Absolute architecture scaled experience /." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/ankeny/AnkenyS0507.pdf.
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Roberts, Sara Isabella. "Through the Looking Glass." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16295.
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This research paper explores the concepts of spatiality and temporality and also the idea of perception and how this can affect the artist’s view of the world. Having spent large amounts of time in different countries as a child and teenager, and returning to Australia as a young adult has led me to question both my identity and how it has been constructed. Throughout the dissertation I explore the story of Through the Looking Glass by Lewis Carrol to further investigate the construction of the self within opposing and multiple situations. Such experiences are also reflected in the works of Peter Doig, Hurvin Anderson and Mamma Andersson. In relation to my own work, my history and experiences will be used as a starting point to refer to painting as a practice that connects the space between my multiplicities. Consequently, this will suggest that painting is a passage that can unite polarities, bridging the rift or gap between the different events that I have encountered. Approximately seven paintings will be exhibited at the Sydney College of Arts Exhibition in December 2016.
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Xie, Jiajing. "An Architectural Rendition of Shadow Puppetry: a Translation from Shadow Puppetry to Architecture Through Movement." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491308486236146.
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Schänzel, Heike Annette. "Family time and own time on holiday : generation, gender, and group dynamic perspectives from New Zealand : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Tourism Management /." ResearchArchive@Victoria e-thesis, 2010. http://hdl.handle.net/10063/1194.
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Stival, Monica Loyola. "Hábito - expectativa: uma noção de sujeito a partir de David Hume." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-09102007-141926/.
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O intuito desta pesquisa é encontrar o vínculo entre percepção e relações contingentes na filosofia de David Hume. Uma vez que o autor nos diz que tudo o que há são percepções, surge a tarefa de precisar o modo segundo o qual relações como espaço e tempo - relações filosóficas e contingentes - se constituem. Afinal, a noção chave desta filosofia, a de causalidade, traz já a necessidade de certa percepção de tais idéias abstratas (espaço e tempo): elas devem ser derivadas de alguma experiência sensível (impressão), mesmo sendo exteriores às qualidades da experiência sensível. Será possível, assim, vislumbrar a imbricação entre o atomismo e o associacionismo humiano, delimitando o sentido da experiência para este pensamento e apontando as conseqüências dessa perspectiva em relação à problemática da época - o conhecimento - ou àquela que nascia como conseqüência - a subjetividade.The aim of the present research is to find the connexion between perception and contingent relations in David Hume\'s philosophy. Since the author himself tells us that everything that exists are perceptions, the task arises of precisely circumscribing the way in which relations such as time and space - philosophical and contingent relations - are constituted. After all, the key concept of this philosophy, the one of causality, already implies the need of some perception of such abstract ideas (time and space): they should be derived from some sensitive experience (impression), even if they are exterior to the qualities of sensitive experience. It will be thus possible to have an insight into the interrelation of Hume\'s atomism and associationism, thereby defining the meaning of experience in his philosophy and pointing out the consequences of his view to the set of problems of his epoch - knowledge - or of the one then upraising - subjectivity.
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Lawson, Siobhan. "Can real time data be used as an effective input for lighting control to influence human behaviour in a physical space against the backdrop of the global shift toward an experience economy?" Thesis, KTH, Ljusdesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-297947.
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The use of real time data as an input for lighting control is an emerging element for designers to implement into lighting schemes but does it add any value or have the ability to influence human behaviour? The recent development in technological capabilities, the demand within the emerging experience economy and the hybridisation of digital and physical realms make this a current and relevant investigation. This study aims to understand the relationship between light and behaviour and the potential of real time data to enhance it by initiating and curating lighting effect in a physical space. In this context, the experience economy describes the business model of providing meaningful and memorable experiences to customers as a core feature of a product or service while real time data describes the harvesting of information as it happens. Through reviewing literature and interviewing professionals in the field of both light and data the results conclude that light does influence behaviour in the context of attention, movement and emotion. Analysis of case studies and technological enablers indicate in-space sensors to be a valuable source of data which can be used effectively to trigger light scenes that respond instantly, with relevance to occupants inhabiting the built environment. Trend reports and industry luminaries forecast strong predictions for the merging of physical and digital worlds as a means of providing memorable and meaningful experiences for retail consumers. It is recommended that lighting designers educate themselves in preparation for the inevitable growing demand for such experiences.
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Santos, Samuel Nunes dos. "Concepção de passado, presente e futuro na I apologia de Justino Mártir: Uma visão do tempo histórico no século II D.C." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8026.
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Justin Martyr, in his First Apology, disputes the way Christians were being judged before the Roman magistrates. Because he does not agree with this, he exposes his arguments in favor of Christians. In order to strengthen his argument, Justin brings us past and contemporary events and relies on his eschatological hopes. The use of temporalities in his arguments led us to ask how he understood his present time. Based on the historical time of definition proposed by Reinhart Koselleck, we set out to analyze the First Apology to understand Justin's look towards his own time. We look after, in this way, to try to understand what factors underlie his tension, which would explain its vision of the world. In the search for a better understanding of these factors, we propose three steps: To broaden the knowledge about our source through the study of its form and content to analyze the most present intertextuality in his work (his conception of prophet and prophecy from Judeo-Christian literature) and, finally, the way he dealt with past, present, and future temporalities.
Justino Mártir, em sua I Apologia, contesta a forma como os cristãos eram julgados diante dos magistrados romanos. Sentindo que estes estavam sendo injustiçados, ele expõe seus argumentos a favor dos cristãos. A fim de corroborar seus argumentos, Justino traz-nos eventos passados e contemporâneos e se apoia em suas esperanças escatológicas. Essa construção textual de Justino nos levou a perguntar sobre como ele compreendia o seu próprio tempo. Para tanto, utilizamos a definição de tempo histórico proposta por Reinhart Koselleck que defende que o tempo histórico é a “tensão entre o espaço de experiência e o horizonte de expectativa” (KOSELLECK, 2006, p. 313). Tratamos, desta forma, de buscar entender que fatores subjaziam sua tensão, que explicariam sua visão de mundo. Para melhor entender tais fatores, nos propomos, a seguir três passos: conhecer melhor nossa fonte ampliando os nossos conhecimentos sobre sua forma e conteúdo, analisar a intertextualidade mais presente em sua obra (sua concepção de profeta e profecia a partir da literatura judaico-cristã) e, por fim, a forma como ele lidava com as temporalidades passado, presente e futuro.
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Magalhaes, Fabio Lopes Bonna Moreirão de. "Idéias provisórias para tempos provisórios: a trajetória da Internacional Situacionista e apontamentos para seu lugar na Geografia." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8136/tde-13062012-133327/.
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Nesta pesquisa procuramos estabelecer as bases teóricas e práticas da Internacional Situacionista e de dois de seus principais teóricos, Guy Debord e Raoul Vaneigem. Para aprofundar a compreensão, fomos em busca das origens desse grupo no Letrismo, na Internacional Letrista e Movimento por uma Bauhaus Imaginista, em uma tentativa de estabelecer uma trajetória. O início, no Letrismo, se estabelece como vanguarda artística, para logo quebrar com a perspectiva de uma proposta estética e realizar um aprofundamento de caráter marxista na crítica à cultura e ao urbanismo, na forma metodológica do desvio e da deriva e na construção de situações, a partir dos anos da Internacional Letrista. O processo de Decomposição da cultura faz com que alguns grupos se reúnam em uma nova internacional, desta vez Situacionista, com uma proposta inicial de revolução cultural, na e contra Decomposição. O envolvimento de Guy Debord com outros teóricos marxistas como Henri Lefebvre, radicaliza uma crítica da vida cotidiana e tira do foco uma discussão sobre cultura. O resultado é desenvolvimento do conceito de espetáculo, forma mais desenvolvida da sociedade produtora de mercadorias, e a centralização da questão do fetiche na crítica. Uma possibilidade de debate entre uma práxis revolucionária da vida cotidiana e a centralidade do fetiche da mercadoria nos parece necessária no momento atual da Geografia.This research sought to establish the theoretical and practical bases of the Situationist International and two of its leading theorists, Guy Debord and Raoul Vaneigem. To deepen understanding, we were in search of the origins of this group in Lettrism, Lettrist International and the International Movement for an Imaginist Bauhaus, in an attempt to establish a trajectory. The beginning, in Lettrism, establishes himself as the artistic vanguard, soon to break with the prospect of an aesthetic proposal and make a deeper exploration in the marxist ideas, in order to make a critique of culture and urbanism with the methodological form of the detournement, the dérive and the construction of situations, since the years of the Lettrist International. The process of Decomposition of the culture causes some groups to join in a new International, Situationist this time, with an initial proposal of cultural revolution, inside and against Decomposition. Guy Debord\'s involvement with other marxist theorists such as Henri Lefebvre, the radical critique of everyday life takes the focus from the discussion about culture. The result is the development of the concept of spectacle, most developed form of commodity-producing society, and centered on the critical question of the fetish. A possibility for discussion between a revolutionary praxis of everyday life and the centrality of the fetish seems necessary at this moment in Geography.
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Barin, Ozlem. "The Role Of Imagination In Kant'." Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/2/1110089/index.pdf.
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The purpose of this study is to examine the role of imagination in Immanuel Kant’
s Critique of Pure Reason by means of a detailed textual analysis and interpretation. In my systematic reading of the Kantian text, I analyse how the power of imagination comes to the foreground of Kant&
#8217
s investigation into the transcendental conditions of knowledge. This is to explain the mediating function of imagination between the two distinct faculties of the subject
between sensibility and understanding. Imagination achieves its mediating function between sensibility and understanding through its activity of synthesis. By means of exploring the features of the activity of synthesis I attempt to display that imagination provides the ground of the unification of sensibility and understanding. The argument of this study resides in the claim that the power of imagination, through its transcendental synthesis, provides the ground of the possibility of all knowledge and experience. This is to announce imagination as the building block of Kant&
#8217
s Copernican Revolution that grounds the objectivity of knowledge in its subjective conditions. Therefore, the goal of this study is to display imagination as a distinctive human capacity that provides the relation of our knowledge to the objects.
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Barnitz, Peter. "Repetition and the Power of Simplicity." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1300.
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My art consists of the repetition of patterns, shapes, numbers, text, and found objects that communicate concepts in language, science, and math as art. My work addresses aesthetic and formal aspects of the art itself and embraces the process and experience of creating. I use repetition of lines and shapes to create a complex mass of infinite amounts of shapes, which create what I regard as a peaceful gathering of energy. These patterns can be freely interpreted as the co-dependency between everything in existence, which contributes to the changing balance of life. Similar to my patterns, my sculptures fuse several layers of found objects to form a larger structure with the intention of creating a new meaning and life of those objects. The wide variety of subject matter in my artwork stems from a continuous and honest investigation into our constantly changing world.
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Routledge, Andrew James. "The internal structure of consciousness." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/the-internal-structure-of-consciousness(4e91f257-fa9f-4a53-81be-e30cdb0002a5).html.
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Our understanding of the physical world has evolved drastically over the last century and the microstructure described by subatomic physics has been found to be far stranger than we could previously have envisaged. However, our corresponding model of experience and its structure has remained largely untouched. The orthodox view conceives of our experience as made up of a number of different simpler experiences that are largely independent of one another. This traditional atomistic picture is deeply entrenched. But I argue that it is wrong. Our experience is extraordinarily rich and complex. In just a few seconds we may see, hear and smell a variety of things, feel the position and movement of our body, experience a blend of emotions, and undergo a series of conscious thoughts. This very familiar fact generates three puzzling questions. The first question concerns the way in which all these different things are experienced together. What we see, for example, is experienced alongside what we hear. Our visual experience does not occur in isolation from our auditory experience, sealed off and separate. It is fused together in some sense. It is co-conscious. We may then ask the Unity Question: What does the unity of consciousness consist in? The second question is the Counting Question: How many experiences does a unified region of consciousness involve? Should we think of our experience at a time as consisting in just one very rich experience, in a handful of sense-specific experiences, or in many very simple experiences? How should we go about counting experiences? Is there any principled way to do so?The third and final question, the Dependency Question, concerns the degree of autonomy of the various different aspects of our unified experience. For example, would one's visual experience be the same if one's emotional experience differed? Is the apparent colour of a sunset affected by the emotional state that we are in at the time? I offer a new answer to the Unity Question and argue that it has striking implications for the way that we address the Counting Question and the Dependency Question. In particular, it supports the view that our experience at a time consists in just one very rich experience in which all of the different aspects are heavily interdependent.
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Pinto, Alfonso. "Une archéologie du présent. Les espaces urbains dans le cinéma-catastrophe." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSEN050/document.
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Le but de ce travail est premièrement celui de contribuer à la stabilisation de l’outil cinématographique au sein des études géographiques. En particulier l’attention sera ciblée sur trois possibles manières d’employer le cinéma au sein de la géographie : le cinéma comme représentation de l’espace, comme imaginaire des lieux et enfin comme exemple conceptuel. Dans le détail, la recherche concernera essentiellement les imaginaires des espaces urbains au sein du cinéma-catastrophe, en s’interrogeant notamment sur la capacité de ces films de constituer un nouveau régime de visibilité de l’urbain. Le corpus d’analyse se compose de soixante-deux films, issus pour la plupart du genre de la science-fiction. De ce point de vue, l’idée de départ est celle de conjuguer la dimension temporelle (en particulier les idées de futur) que la science-fiction présuppose, avec la dimension spatiale de l’urbain. La première relation entre cet imaginaire et les réalités urbaines fait suite à une interprétation « crisologique » : ces films contribuent à stabiliser un imaginaire fictionnel qui se nourrit de nombreuses pathologies qui hantent le développement des espaces urbains des derniers cinquante ans. Le dernier point essayera d’élargir la portée des réflexions précédentes. On considère l’imaginaire catastrophiste au sein du Zeitraumgeist (esprit du temps et de l’espace) contemporain. En particulier, l’attention sera portée sur une possible mutation de nos rapports à l’espace et au temps. Dans ce cas, le cadre de référence sera le concept de modernité, analysé en tant qu’expérience spatio-temporelle. La conclusion portera à élaborer l’hypothèse de la « néomodernité », néologisme qui indique les changements internes des rapports au temps (passé, présent et futur) et à l’espace (l’urbain)This research is mainly aimed at giving a contribute to the stabilization of the cinematographic instrument inside geography. It will particularly be focused on three possible ways to use movies within the geographical studies: movies as a representation of space, as imagination of places and, finally, as a conceptual example. The research will essentially be centered on the imagination of urban spaces in the catastrophic movies and particularly on the capability they might have to give urban spaces a new system of visibility. The corpus of the analysis is formed of sixty-two movies, mostly deriving from science fiction.From this perspective, the initial idea is to combine the temporal dimension, which is at the basis of science fiction (especially the ideas of the future) with the spatial dimension personified by urban spaces. The first relation between this imagination and the urban realities feeds on a “crisologic” interpretation: these movies help to stabilize a diegetic universe which is full of several pathologies that have been distressing the urban development for the last 50 years. Conversely, the last point will aim at widening the scope of the previous considerations. The imagination of catastrophes and their increasing success will be included in the contemporary Zeitraumgeist (“spirit of time and space”). I will particularly concentrate on a possible change inside our relation to space and time. In this context, the framework of reference will be the concept of modernity which is here considered, among the many meanings, as an essentially time-space experience. The conclusion will lead to develop the hypothesis of a “neo-modernity”, a neologism that is used to define the inner changes in our way to experiencing time (past, present, future) and the urban space
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Guimond, Laurie. "Lorsque les nouvelles populations rurales rencontrent les plus anciennes : l’expérience géographique au cœur de la nouvelle ruralité au Québec." Thesis, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20585.
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Mobilité, désir d’accéder à une meilleure qualité de vie, attraction de la campagne s’accélèrent depuis une trentaine d’années au Québec, comme ailleurs en occident. La campagne et les usages que l’on en fait se diversifient et se complexifient, à l’instar des populations qui l’habitent. Dans ce contexte, cette thèse se penche sur l’expérience géographique de la campagne, en tant qu’espace social. Elle met en lumière l’expérience géographique des ruraux, plus particulièrement les modalités de leur rencontre dans divers lieux qui marquent leur quotidien. Le matériel empirique de la thèse consiste surtout en des témoignages recueillis lors d’entrevues qualitatives menées auprès de nouveaux résidents et des ruraux de longue date dans deux municipalités régionales de comté (MRC) contrastées au Québec : Brome-Missisquoi et Arthabaska. La démarche privilégiée et les principales contributions qui en découlent se déclinent en trois temps.
D’abord, une comparaison directe des deux populations rurales étudiées fait ressortir que leurs pratiques de mobilité et leurs sens des lieux se rejoignent dans une certaine mesure, mais affichent aussi des différences. Par exemple, elles partagent toutes deux un sentiment d’appartenance marqué à leur milieu de vie, mais pas nécessairement avec la même intensité et pour les mêmes raisons. En outre, leurs pratiques d’engagement local convergent, favorisées par un même désir de contribuer au bien-être de leur milieu.
La thèse démontre aussi que certains lieux de sociabilité rapprochent ces deux groupes au quotidien, quoique subsistent des tensions notamment liées à leurs origines rurale ou urbaine, leur classe sociale, leurs expériences antérieures des lieux, la durée vécue dans leur milieu de vie, leur historique familial, leurs représentations et usages de la campagne... Se décèle aussi un effet de milieu entre les deux MRC à cet égard. Dans l’ensemble, leur rencontre s’avère timide et surtout réservée à l’espace public.
Enfin, en se basant sur leurs représentations de l’avenir, la thèse illustre que l’espace de leur rencontre représente un espace d’opportunités pour le dialogue sur la campagne, bien que celui-ci ne se produise pas sans affrontements et heurts. Ainsi, au-delà du binarisme traditionnel et antagonique lié aux statuts de « nouveaux » et « anciens » ruraux, l’espace de rencontre, celui à l’intérieur duquel s’opèrent à la fois tensions, négociations, compromis et nouvelles alliances, participe à construire la nouvelle ruralité contemporaine.
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Júnior, Jair Sanches Molina. "Cinema ao vivo e experiências audiovisuais em tempo real." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-07112017-152733/.
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Refletir sobre as experiências com imagens e sons em tempo real é pensar em uma ampla gama de possibilidades e experiências pela humanidade, desde os tempos mais remotos. Pelo fato dessas experiências audiovisuais em tempo real serem numerosas no tempo e no espaço, e já amplamente citada em diferentes estudos, esta apresentação tem por objetivo realizar um recorte mais restrito às experiências audiovisuais em tempo real no campo cinematográfico contemporâneo: uma arte, meio e processo em expansão que culmina na existência de um fenômeno semiótico, realizado principalmente através de modos experimentais com a presença do(s) autor(es) concebendo a experiência audiovisual, conjuntamente ao aparato tecnológico e ao público, todos participantes da criação e exibição da obra audiovisual no mesmo tempo em que ela ocorre, em transmissão direta para a tela de cinema, monitores, telas digitais ou espaços arquitetônicos. Com base em obras audiovisuais realizadas entre 2007 a 2017 desenvolveremos uma reflexão e análise das poéticas e técnicas das experiências audiovisuais em tempo real, de maneira a compreender com um olhar mais atento as possibilidades criativas e contribuir com a reflexão sobre estes formatos do audiovisual contemporâneo, cujos meios e processos estão em contínua expansão de suas fronteiras. Em estética do cinema, esta pesquisa segue em continuidade aos estudos e práticas do cinema experimental e em sua vértice ao cinema expandido.Reflecting about real-time imagery and sounds experiences is thinking about a wide range of possibilities and experiences for humanity, from the earliest times. Because the real-time audiovisual experiences are numerous in time and space, and already widely quoted in different studies, this presentation aims to make a more restricted cut-off to real-time audiovisual experiences in the contemporary cinematographic field: an art, medium and an expanding process that culminates in the existence of a semiotic phenomenon, performed mainly through experimental modes with the presence of the author(s) directing the audiovisual experience in real-time, together with the technological apparatus, the cast, and the public, all participants in the creation and exhibition of the audiovisual work at the same time as it occurs, in direct transmission to the cinema screen, monitors, digital screens or architectural spaces. Based on audiovisual works carried out between 2007 and 2017 we will develop a reflection and analysis of the poetics and techniques of audiovisual experiences in real-time, in order to understand with a closer look the creatives possibilities in live cinema and contribute with reflection on these forms of the contemporary audiovisual, whose means and processes are in continuous expansion of its borders. In aesthetics of the cinema, this research follows in continuity to the studies and practices of the experimental cinema, and in its vertex to the expanded cinema.
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Noordhuis-Fairfax, Sarina. "Field | Guide: John Berger and the diagrammatic exploration of place." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.
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Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.
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Chen, Sheng-kuan, and 陳聖寬. "Ritualising Experience: The Passing of Time and the Return of Space in Tourism." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/88179144373847902108.
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碩士南華大學
旅遊事業管理學系碩士班
96
The experience of visiting exotic places gives the tourist an opportunity to extract himself from the mundaneness of everyday life. Living in a different time-space conjunction creates a gap where we can explore human possibilities in different cultures. My dissertation utilises the film “Monday Morning” to analyse the subject of travel. I focus my attention on three specific aspects/stages of the topic: the escape, the journey and the return. The main concern of my research is to map out the social and psychological background of travel. Borrowing the insights of Emile Durkheim (the divide between the sacred and the profane) and Gennep (rites of passage) and the synthesis of Graburn and Jafari, I argue that travel constitutes a significant outlet for relief, for self-fulfilment and for experiencing the meaning of existence and life. By using the narrative analysis method, I interpret the pilgrimage aspects of travel and the inner mobility which relates to the change of scene. The chronological transformation of travel: the Pilgrimage in the middle-age, the Crusade, the eye-opening journeys made by scholars during the Renaissance, the expansionist, cross-oceanic ventures, the modern-day popular tourism, and the in-depth explorations all redefine the boundary and interchange between everyday life and travel. Specifically, the pilgrimage dimensions of travel bring out a more spiritual angle of the experience; i.e., the restructuring of the mind and the triumph over difficulties. From such a perspective, travel can be seen as a ritual: a process which ushers in the beginning of a new life stage for any accidental tourist.
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Sheehan, Daniel Joseph. "Representations of ongoing experience within the rodent hippocampal subfield CA1." Thesis, 2020. https://hdl.handle.net/2144/42053.
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The hippocampus is critical for the encoding and retrieval of episodic memories. During ongoing experience, the hippocampus exhibits activity patterns related to the current spatiotemporal context. How hippocampal firing patterns relate to the representation of mental maps important for behavioral and cognitive processes is still an open question. Here a series of experiments aimed to test how the hippocampus represents the spatiotemporal context of ongoing experience.
Extracellular recordings from the dorsal CA1 region of the hippocampus were collected from rats engaged in a blocked serial reversal object-association task. Behaviorally, rats did not utilize the temporal segregation between task blocks as a way to correctly match object valence and rather treated each block of trials as separate episodes. This lack of an alternating context was further uncovered in the neural coding of the rat’s hippocampal firing patterns. Furthermore, gradual drift in the hippocampal ensemble representation of experience was discovered, correlating with the temporal duration of the task and not the blocked organization of the behavioral paradigm.
In the next two experiments, extracellular recordings from dorsal CA1 were collected from rats traversing a linear track environment, with different environmental manipulations. During variable starting location recording sessions, it was found that positional coding by the hippocampal population was relative to starting location and that place field allocation was biased towards the reference frame at the start of the journey, demonstrating that hippocampal place fields are not uniformly distributed and express compressed activity patterns referenced to the beginning point of trajectories. During blocked manipulation of lighting condition, individual units showed preference to specific lighting conditions and the hippocampal population rapidly remapped between lights ‘ON’ and lights ‘OFF’ blocks of trials, suggesting that hippocampal maps of space are not solely governed by internal dynamics and that alterations in sensory input can modify hippocampal motifs of ongoing experience.
Overall, the findings of the three experiments further our understanding of how the hippocampus represents ongoing experience, highlighting the role of temporal drift as well as demonstrating how both external and internal stimuli and frames of reference coalesce into a comprehensive cognitive map of experience.
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Lo, Yu-Ting, and 羅郁庭. "The Learning Experience in Art Museum Education— A Case Study in Children's Art Experience Workshop “MMM Space-Time Adventure” in MoNTUE." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/muqy6f.
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碩士國立臺北教育大學
藝術與造形設計學系碩士班
103
Compared to the regular education, the extra-institutional art museum education for children is more open and diversified in terms of the activity planning and design. However, to be truly child-oriented is never an easy task. It is often hard to do adaptive course plan and make appropriate teaching strategies. MoNTUE has put a lot of effort into the breakthrough of art education. Therefore, in Children’s Art Experience Workshop, the traditional teacher-centered approach was abandoned in favor of a student-centered learning process. The research field of this study is the Children’s Art Experience Workshop of MoNTUE —MMM Space-Time Adventure, a series of experimental courses planned by MoNTUE for the first time; the children who participated in this workshop are the object of study. This study was begun through action research, participant observation, grounded theory, questionnaire and interview. The course plan, teaching strategies and students’ learning approach of MoNTUE’s educational activities for children were analyzed from the results. Besides, the changes and differences between the first phase and the second phase of MMM workshop were discussed. There was also analysis of the changes in the second phase after the application of preschool experiences from the city of Reggio Emilia in Italy and Japanese scholar Sato Manabu’s educational philosophy with the emphasis on communication and listening. Conclusions taken from research and analysis are as follows: 1. When the instructors take back the initiative, teachers in MMM workshop have more flexibilities in curriculum plan and teaching, and their teacher professional development are also improved through lesson study. 2. Courses in MMM workshop are different from other after-school art classes. With the use of resources from art exhibitions, such as artworks, artists and the space of an art museum, the curriculum plan is integrated with real art exhibitions. The teaching design is centered on students; children have more time and opportunities to explore by themselves, learning from the questions and experiences they acquired during the process, and finally make their own artworks. Learning is no longer acquiring knowledge and learning technique passively from teachers, instead; learning is from exploration, discovering and finally artistic creation. In this way, an artistic creation is a record of the learning process made by children themselves. The overall curriculum plan put emphasis on the process, not the results of children’s learning; a good result was considered as a plus but not a necessary purpose. 3. During the courses, teachers used the method of observing and recording individual children’s reactions and made adjustments to the course plan as well as teaching strategy. An advanced course plan is a reference for the instructors; however, adjustments are necessary in order to make the curriculum more appropriate for the students and thus help children in diversified development. Teaching approach in the workshop has much flexibility. In addition, the method of “observing and recording” can provide assistance to children’s learning and be used as a reference for the teacher professional development. 4. Children can broaden their horizons through the experiences from their peers and teachers; establish mutual learning relationships through communication with and listening to others. Children’s learning motivation was enhanced and they made artistic creations out of their own ideas, not art for art’s sake. Children actively learn and ask help from others through collaborative learning. At the same time, teachers can also learn and improve their professional development while the children are learning. In the MMM workshop, all the children is a learning community, and all the teachers is a learning community. Teachers and students become a learning community in MMM workshop.
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Wang, Jhu-Jane, and 王筑蓁. "Intimate Iron Man: Chain store''s employee''s work, body and Time and space experience inquiry." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/23p3ac.
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碩士高雄醫學大學
性別研究所碩士班
104
This paper starts from the perspective of insider and trying to analyze Chain Store employees experience in the workplace.This paper have two purpose: one is employee’s feelings and coping in the workplace ,the other is through employee interaction with others is examined to reveal the masculinity of employee and the meanings of gender in the workplace.Hoping this research will help the reader to understand more Chain Store employees work life. This article take qualitative approach, trying to describe in detail how the system domestication company employees. This study found that: first,Employees were domesticated "intimate" of such qualities in the “service of the high quality ”;second,employee must comply with the masculinity of “strong”and “fast”. Finally,work item implied discrimination for women in the seemingly gender-neutral in the workplace.
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Simes, Mark. "Tempora Mutantur: an examination of time in physics, biology, and human mental experience." Thesis, 2015. https://hdl.handle.net/2144/15242.
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This dissertation seeks to examine the essential nature of time--both the concept in physics, biology, and philosophy, and the phenomenon in life and culture--with the ultimate goal of deepening our understanding of the empirical manifestation of time in human mental experience. It thus engages with both philosophy and with empirical science, natural as well as humanistic, in the paradigms of history, social theory, fundamental (or philosophical) anthropology, as well as with human neuroscience. The central argument is that while time is not an empirical phenomenon in physics - time itself is not an absolute quality of matter - one can make a certain argument for the real existence of time in biology, and still a different argument for a unique, linear phenomenon of time that derives from the specific human, cultural, experience. To make these arguments the dissertation devotes attention to the analysis of both the concept of time and the empirical phenomenon to which it refers successively in physics, biology, philosophy and history/sociology. Arriving at the conclusion that the linear concept of time (the causally significant relationship between the past, present and future) reflects a phenomenon that is uniquely human and suggests the ways in which this experience is necessarily reflected in the brain.2022-02-26T00:00:00Z
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Šarkadyová, Lucie. "Okamžik a autorství ve fotografii." Doctoral thesis, 2020. http://www.nusl.cz/ntk/nusl-411489.
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Most of the work on photography is about image and trying to understand photography as an image. Contrary to this approach, this paper deals with the experience of the photographer at the time of taking the picture, and also the influence of photography, understood as a medium, on our perception. The main topic is the photography of movement, where we can best demonstrate how photography changes both our perception and our understanding of (objective) reality. The beginning of the work is devoted to one of the greatest Czech photographers, Josef Sudek, who describes the method of his work. Sudek's definition of the moment involved in taking the picture is "when everything fits together"; the impossibility of returning to the same moment is a central feature of photography as presented in this work. Consequently, the basis for the thesis is that (1) photography and camera change the way we perceive, and that (2) photography is an actualization of the possibility of how we see what we see. The actualization of the possibility is discussed mainly in the context of Barbara Probst, whose work "Exposures" fundamentally enters the history of photography, and who - once again - does not put emphasis on the image but rather on the photographer as the creator of the image.
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Zimnoch, Mateusz. "Współczesny reportaż – między racjonalizmem a doświadczeniem." Doctoral thesis, 2014.
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Cel i zakres pracyCelem rozprawy jest analiza sytuacji reportażu w realiach komunikacyjnych dwudziestego pierwszego wieku z perspektywy nauk o mediach przy uwzględnieniu wątków filozoficznych i kulturoznawczych. Wychodząc od opisu problemów kluczowych dla szeroko pojmowanej komunikacji medialnej, na czele z kompresją czasu i przestrzeni, dokonuje się osadzenia reportażu wobec tych problemów. Wywód teoretyczny podąża śladem kolejnych pojęć będących pochodną problematyki wyjściowej: czasu, prawdy, faktu i fikcji, narracji oraz doświadczenia. Wnioski z części teoretycznej aplikuje się następnie do wybranych tekstów współczesnych polskich autorów (Mariusza Szczygła, Jacka Hugo-Badera, Wojciecha Tochmana, Maxa Cegielskiego, Adama Elbanowskiego), przedstawiając w części drugiej pracy kilka propozycji interpretacyjnych prowadzonych w duchu teoretycznych ustaleń.TezaGłówna teza pracy zakłada, iż we współczesnym reportażu zaobserwować można stopniowe przechodzenie od perspektywy realistycznej, racjonalistycznej i hermeneutycznej w stronę ujęć nominalistycznych, empirystycznych i konstruktywistycznych. Innymi słowy, przekonanie reportażystów o realnej obecności istot przedmiotów zewnętrznych, sile ich rozumowego odkrywania gwarantującego obiektywność praktyk poznawczych oraz występowania nieosiągalnego wprawdzie, lecz ostatecznego sensu w rzeczywistości, jest wypierana przez całkiem odmienne przekonania. Takie mianowicie, iż rzekoma istota rzeczywistości jest co najwyżej zredukowana do takich a nie innych pojęć w ludzkim umyśle, których iluzoryczność każe koncentrować się na konkrecie i jednostkowości w miejsce poszukiwania powtarzalnych schematów i reguł, iż rozumowe objaśnianie świata jest z natury rzeczy ułomne stąd warto zastąpić je mniej autorytatywnym doświadczaniem tego świata oraz że sens, jaki miałby istnieć w zewnętrznych zjawiskach, jest przede wszystkim ludzką konstrukcją, nie zaś wyobrażeniem czegoś, co istnieje realnie i niezależnie od podmiotu. W pewnym stopniu uzasadnione byłoby stwierdzenie, iż dawne nastawienie wobec prawdy komunikowanej przez reportaż było dogmatyczne, nowe zaś jest w dużej mierze sceptyczne. Fakt ten pozwala uruchomić nowe narzędzia analityczne w badaniach nad reportażem, które otworzą nieprzetarte dotychczas szlaki w refleksji nad współczesną komunikacją medialną.Dissertation objectives and research areaThe aim of the dissertation is to describe literary journalism’s situation among the contemporary comunication system in terms of media studies with elements of philosophy and cultural studies. Description of the most important aspects of media communication, especially compression of time and space, discovers some crucial ideas in terms of which the literary journalism should be considered. Hence, the theoretical study follows the problem of time, truth, fact and fiction, narrative and experience. Conclusion of the theoretical part becomes then a starting point for further analysis of selected literary reportages by contemporary Polish journalists (Mariusz Szczygieł, Jacek Hugo-Bader, Wojciech Tochman, Max Cegielski, Adam Elbanowski). The second part of dissertation consist of literary journalism interpretations following the previous theoretical arrangements. ThesisThe main thesis of the dissertation is that among the contemporary literary journalism one can observe a visible turn from realism, rationalism and hermeneutics to nominalism, empiricism and constructivism. In other words, the literary journalists’ conviction of the real presence of the external objects’ essences as well as of the ultimate sense of reality which can be rationally discovered ensuring the human cognition to be objectively true is replaced with completely different convictions. According to them, the supposed essence of the reality should be reduced only to a certain ideas in the human mind. Because of their illusionary character one should focus on the singularity and concrete rather than on searching for universal and repeatable schemes and rules. Rational explanation of the world is obviously deformed so it should be replaces with its’ naive experiencing whereas the presumptive essences of the external objects is mostly a human construction rather than representation of anything independent from ones epistemic competence. It may be said that the previous convictions about the truth among the literary journalism was dogmatic whilst the contemporary one is mostly sceptical. This fact enables some new tools for literary journalism studies which may open a new perspectives among the contemporary human communication research.
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Карповець, Максим. "Місто як світ людського буття: філософсько-антропологічний аналіз: дисертація." Thesis, 2013. http://ekmair.ukma.edu.ua/handle/123456789/2313.
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Dissertation paper for candidate’s degree in the speciality 09.00.04 – philosophical anthropology, philosophy of culture. – Taras Shevchenko National University of Kyiv, Ministry of Education and Science, Youth and Sports of Ukraine. – Kyiv, 2012.
The dissertation paper presents a philosophical and anthropological analysis of the city as a world of human existence. It reveals cultural and ontological features of space and time in which human practices are actualized. The research shows in detail the dialectics of a human body and the city, where the principle of complement plays a sociocultural role. At the same time, the phenomenon of human corporeality in the urban environment is analyzed. Namely, such modes as the body of a citizen, a flaneur, a tourist and a crowd were determined. Particular attention is paid to the phenomenon of everyday life in the city, which not only acts as an invisible space of human existence, but also takes place as an specail environment of generating the urban behavior and, as a result, the model of a city dweller. The cultural peculiarities of the world-view were considered in the context of human openness to the world, urban anxiety and experience of the city. The study argues that the phenomenon of urban identity is a project of human existence, which is based on the image of the urban dweller while the organization of the city world.Дисертація на здобуття наукового ступеня кандидата філософських наук за спеціальністю 09.00.04 – філософська антропологія, філософія культури. – Київський національний університет імені Тараса Шевченка, МОНмолодьспорту України. – Київ, 2012. У дисертації здійснено філософсько-антропологічний аналіз міста як світу людського буття. Розкрито специфіку топографічних і темпоральних структур, у межах яких актуалізуються практики людини. Докладно висвітлено діалектику людського і міського тіла, де принцип доповнення відіграє ключову соціокультурну роль. Одночасно проаналізовано феномен людської тілесності в умовах міста через розрізнення таких модусів, як тіло городянина, фланера, туриста і натовпу. Особливу увагу приділено феномену повсякденності міста, яка функціонує як невидимий простір людського буття в місті, проте одночасно є вихідною середовищем генерування міського поведінки і, як наслідок, городянина. Розглянуто культурні особливості формування світогляду у контексті відкритості людини світу міста, індивідуального переживання і набуття досвіду. Встановлено, що феномен міської ідентичності є проектом людського буття, в основі якого перебуває формування образу городянина і водночас організація світу міста.