Temporal Experience

In this text we intend to analyze Bill Viola’s video installation Nantes Triptych (1992) as an example of the richness which lies in the liminal spaces between arts. We defend the thesis that the utilization of the traditional pictorial structure of the triptych in this particular work, along with the powerful audiovisual material, renders a kairological event available to the viewer. This temporal experience makes possible an existential experience when in front of this video installation. To discuss this assumption we (...) will use classical art theory texts about the triptychs, as well as, among others, Deleuze’s texts about time image and the triptych structure, Agamben’s concept of kairos, the concept of kairological artwork coined by David Chan and the philosophy of temporality developed by Merleau-Ponty. (shrink)

We view things from a certain position in time: in our language, thought, feelings and actions, we draw distinctions between what has happened, is happening, and will happen. Frequently, approaches to this feature of our lives - those seen in disputes between tensed and tenseless theories, between realist and anti-realist treatments of past and future, and in accounts of historical knowledge - embody serious misunderstandings of the character of the issues; they misconstrue the relation between metaphysics and ethics, and the (...) way to characterize the kind of sense which tensed language has. David Cockburn argues that the notion of 'reasons for emotion' must have a central place in any account of meaning, and that the present should have no priority in our understanding of tense. This allows for a more satisfactory articulation of the place of past, present and future in our thought, and of the form which criticism of our thought might take. (shrink)

The last century has seen enormous progress in our understanding of time. This volume features original essays by the foremost philosophers of time discussing the goals and methodology of the philosophy of time, and examining the best way to move forward with regard to the field's core issues. The collection is unique in combining cutting edge work on time with a focus on the big picture of time studies as a discipline. The major questions asked include: What are the implications (...) of relativity and quantum physics on our understanding of time? Is the passage of time real, or just a subjective phenomenon? Are the past and future real, or is the present all that exists? If the future is real and unchanging, how is free will possible? Since only the present moment is perceived, how does the experience as we know it come about? How does experience take on its character of a continuous flow of moments or events? What explains the apparent one-way direction of time? Is time travel a logical/metaphysical possibility? (shrink)

Experience is inescapably temporal. But how do we experience time? Temporal experience is a fundamental subject in philosophy – according to Husserl, the most important and difficult of all. Its puzzles and paradoxes were of critical interest from the Early Moderns through to the Post-Kantians. After a period of relative neglect, temporal experience is again at the forefront of debates across a wealth of areas, from philosophy of mind and psychology, to metaphysics and aesthetics. The Routledge Handbook of Philosophy of (...) Temporal Experience is an outstanding reference source to the key debates in this exciting subject area and represents the first collection of its kind. Comprising nearly thirty chapters by a team of international contributors, the _Handbook_ is organised into seven clear parts: Ancient and early modern perspectives Nineteenth and early twentieth-century perspectives The structure of temporal experience Temporal experience and the philosophy of mind Temporal experience and metaphysics Empirical perspectives Aesthetics Within each part key topics concerning temporal experience are examined, including canonical figures such as Locke, Kant and Husserl; extensionalism, retentionalism and the specious present; interrelations between temporal experience and time, agency, dreaming, and the self; empirical theories of perceiving and attending to time; and temporal awareness in the arts including dance, music and film. The Routledge Handbook of Philosophy of Temporal Experience is essential reading for students and researchers of philosophy of mind and psychology. It is also extremely useful for those in related fields such as metaphysics, phenomenology and aesthetics, as well as to psychologists and cognitive neuroscientists. (shrink)

Supporters of the A-theory of time sometimes refer to an alleged experience of the passage of time in support of their theory. In this paper I argue that it is an illusion that we experience the passage of time, for such an experience is impossible. My argument relies on the general assertion that experience is contingent, in the sense that if it is possible to experience the passage of time, it is also possible to experience that time does not pass. (...) Having established this claim, I argue that it is impossible to experience that time does not pass, and hence that it is impossible to experience the passage of time. (shrink)

The purpose of this interdisciplinary study is to investigate the temporal experience of artists during the conception and generation of artworks. ;The hybrid methodology of this qualitative study establishes a philosophical framework to integrate ideas from philosophy, psychology, physics, neurobiology, and the arts. Phenomenological language illustrates the philosophical line of reasoning throughout. ;Two composers, three choreographers, two visual artists, one novelist, and one fashion designer were interviewed through a series of open-ended questions. ;Chapter I initiates discussion of the 'now' moment (...) of creative action and sequences the phases of artistic creativity including: incubation, impulsion, the action/ event, encounter, the emergence of the voice /life of the artwork itself, entrainment , creative/aesthetic engagement, and feedback looping. ;Chapter II details methodology and procedure and identifies the theoretical contributors to the research, particularly Stephen Hawking, Edmund Husserl, John Dewey, and Mihaly Csikszentmihalyi. ;Chapter III discusses of the temporal substrate of the imagination, named the matrix of subjective time. The matrix of subjective time facilitates a synthesis of memory and expectation, an evolving range of possibility and probability, and a fluid juxtaposition of temporal referents that facilitates the conception and construction of new artistic ideas. ;Chapter IV describes of the temporal dynamics and temporal strategies that surround the artist's transition from creative imagination to creative action. The dynamics are represented as vectors whose summation must produce a disequilibrium in order for concrete creative action to occur. ;Chapter V magnifies the artist's working rhythm. The artist balances and shifts many temporal components to move the artwork toward completion. These components include: imagination, self-critique , sensory interaction with the materials, sensory perception of the emerging form, the demands of the medium, and documentation. ;Chapter VI explores the temporally transcendent state of creativity that artists occasionally access. Time dilation is described as the entry point for the experience of creative hyper flow in the realm of deep time. ;Chapter VII presents a summary of the artist's ongoing negotiation of time. By studying the patterns of temporal negotiations that artists experience, we come to a deeper understanding of both time and creativity. (shrink)

This ambitious work aims to shed new light on the relations between Husserlian phenomenology and the present-day efforts toward a scientific theory of cognition—with its complex structure of disciplines, levels of explanation, and ...

This paper analyses explanations provided by current philosophical models of time consciousness. These models attempt to explain temporal experience by describing the mechanisms of time consciousness in experiential terms. I criticize this practice on two grounds; firstly, it relies upon folk notions that have no clear individuation conditions and secondly because it often merely names, but does not explain the phenomena.

How must experience of time be structured in time? In particular, does the following principle, which I will call inheritance, hold: for any temporal property apparently presented in perceptual experience, experience itself has that same temporal property. For instance, if I hear Paul McCartney singing ‘Hey Jude’, must my auditory experience of the ‘Hey’ itself precede my auditory experience of the ‘Jude’, or can the temporal order of these experiences come apart from the order the words are experienced as having? (...) A number of recent authors (Phillips Experience and Time, ‘The Temporal Structure of Experience’, Soteriou ‘Perceiving Events’, Hoerl ‘“A Succession of Feelings, in and of Itself, is Not a Feeling of Succession”’, Rashbrook) claim, to paraphrase Martin (399), that inheritance best characterises how our temporal experience seems to initial reflective intuition. For this reason, Phillips takes the principle to form part of our naïve view of temporal experience. An opposing group of theorists object that inheritance is subject to empirical counter-example. This article surveys such challenges. Section 2 considers Grush's case against inheritance based on postdiction. Section 3 examines Watzl's anti-inheritance argument based on silencing effects. Finally, Section 4 explores a number of alleged counter-examples proposed by Lee (‘Temporal Experience and the Temporal Structure of Experience’). Section 1 provides essential background to the debate. (shrink)

In this chapter I argue that there can be no mental representation of objective ‘tensed’ features of reality of the kind that might be thought to occur when we experience time passing or think of times as past, present or future, whether or not such features are part of mind-independent reality. This, I hold, has important consequences for metaphysics; but (as will be most relevant to this volume) it is also likely to have important consequences for a correct semantics for (...) tense. In a nutshell, no correct semantics for tense can treat what philosophers call ‘A-properties’ (such as real pastness, presentness or futurity) as semantic values. (shrink)

... there are cases in which on the basis of a temporally extended content of consciousness a unitary apprehension takes place which is spread out over a temporal interval (the so-called specious present). ... That several successive tones yield a melody is possible only in this way, that the succession of psychical processes are united "forthwith" in a common structure.

This article examines the phenomenological structures of the homo temporalis filtered through Augustine's illuminating, if unsystematic, insights on temporality and the imago Dei. It situates such a phenomenological interpretation of the Augustinian self in view of current interpretations that polarize or split the Augustinian self into an either/or scheme—either an “interior” self or an “exterior” self. Given this imbalance, the article suggests that a phenomenological evaluation of Augustine brings to light how interior and exterior spheres are deeply integrated. The article (...) elaborates this position by contending that the self's temporal streaming within the exterior world‐horizon is inescapable because it reflects basic constituents of a self created by God which is nevertheless capable of contemplating a God who transcends time. This seeming paradox is resolved by recourse to what is described as the “double entry” of the self. The temporal streaming of the self in the world‐horizon is porous to the eternal inwardly ; the eternal entry is thus interior and analyzable in terms of a non‐reflective self‐awareness on display in Augustine's De Trinitate; and finally Augustine's understanding of the temporality of faith indicates how the self of faith can be lived in light of Heidegger's emphasis on the future and Husserl's emphasis on the past. (shrink)

The paper develops an objection to the extensional model of time consciousness—the view that temporally extended events or processes, and their temporal properties, can be directly perceived as such. Importantly, following James, advocates of the extensional model typically insist that whole experiences of temporal relations between non-simultaneous events are distinct from mere successions of their temporal parts. This means, presumably, that there ought to be some feature(s) differentiating the former from the latter. I try to show why the extensional models (...) offers no credible ground for positing such a difference. (shrink)

Francois Recanati has recently argued that each perceptual state has two distinct kinds of content, complete and explicit content. According to Recanati, the former is a function of the latter and the psychological mode of perception. Furthermore, he has argued that explicit content is temporally neutral and that time-consciousness is a feature of psychological mode. In this paper it is argued, pace Recanati, that explicit content is not temporally neutral. Recanati’s position is initially presented. Three desiderata for a theory of (...) time-consciousness are subsequently introduced. It is then argued that a theory locating time-consciousness as a feature of psychological mode will fail to satisfy these desiderata. In the last section the intentionality of memories is discussed. Using the notion of shiftable indexical, it is argued that memories have the same explicit content as perceptions, but that they nevertheless can have different conditions of satisfaction since they are entertained in different modes. (shrink)

Our goal is to investigate the biological correlates of the first-person experience of time or phenomenal time. ‘Time’ differs in various domains, such as (i) physical time (e.g., clock time), (ii) biological time, such as the suprachiasmatic nucleus, and (iii) the perceptual rate of time. One psychophysical-measure of the perceptual rate is the critical flicker frequency (CFF), in which a flashing light is perceived as unchanging. Focusing on the inability to detect change, as in CFF, may give us insight into (...) phenomenal time. CFF varies from 24 Hz for dim light and 60 Hz in bright light and is lower for colored lights. We propose that problem of the phenomenal time can be addressed using two contrasting but complementary approaches (inability to detect changes vs. ability to detect changes): (1) The soliton-catalytic model that entails invariant quantum coherent state for temporal frequencies (TFs) >= CFF, where flickering light is perceived as unchanging, similar to a Bose-Einstein condensate (BEC). (2) Temporal frequency tuned mechanisms model, which starts with ability to detect changes for TFs < CFF and then their sensitivities decreases to zero at CFF. For a subject who has CFF of 60 Hz, the duration of one cycle or time-period of the flickering light is approximately 16.7 ms. Phenomenal time may be quantized into ‘subjective occasions of experience’ (SE), which arise out of the interaction of the individual with situation (environment). Pioneering work examining the complex interaction of neurons suggests the possibility that macroscopic quantum states similar to a BEC may also occur in the brain (Davia, 2006; Freeman & Vitiello, 2006; Georgiev, 2004; Vimal & Davia, 2008) . (shrink)

Time’s arrow is necessary for progress from a past that has already happened to a future that is only potential until creatively determined in the present. But time’s arrow is unnecessary in Einstein’s so-called block universe, so there is no creative unfolding in an actual present. How can there be an actual present when there is no universal moment of simultaneity? Events in various places will have different presents according to the position, velocity, and nature of the perceiver. Standing against (...) this view is traditional common sense since we normally experience time’s arrow as reality and the present as our place in the stream of consciousness, but we err to imagine we are living in the actual present. The present of our daily experience is actually a specious present, according to E. Robert Kelly (later popularized by William James), or duration, according to Henri Bergson, an habitus, as elucidated by Kerby (1991), or, simply, the psychological present (Adams, 2010) – all terms indicating that our experienced present so consists of the past overlapping into the future that any potential for acting from the creative moment is crowded out. Yet, for philosophers of process from Herakleitos onward, it is the philosophies of change or process that treat time’s arrow and the creative fire of the actual present as realities. In this essay, I examine the most well known but possibly least understood process cosmology of Alfred North Whitehead to seek out this elusive but actual present. In doing so, I will also ask if process philosophy is itself an example of the creative imagination and if this relates to doing science. I conclude Whitehead's process philosophy falls short of allowing for the actual creative spontaneity of a dynamic (eternal) present. (shrink)

In the introduction to Zur Phänomenologie des inneren Zeitbewusstseins, Husserl remarks that “we get entangled in the most peculiar difficulties, contradictions, and confusions” (Hua X, 4) the moment we seek to account for time-consciousness. I think most scholars of Husserl’s writings on these issues would agree. Attempting to unravel the inner workings of time-consciousness can indeed easily induce a kind of intellectual vertigo. Let us consequently start with some of the basic questions that motivated Husserl’s inquiry.

Subjects estimated the time of intentions to perform an action, of the action itself, or of an auditory effect of the action. A perceptual attraction or binding effect occurred between actions and the effects that followed them. Judgements of intentions did not show this binding, suggesting they are represented independently of actions and their effects. In additional unpredictable judgement conditions, subjects were instructed only after each trial which of these events to judge, thus discouraging focussed attention to a specific event. (...) Stronger binding effects were found, with intention, action and effect fusing to a single central point in time. In a control task, subjects reported the time of the first or second tone in sequence. Tone sequences showed no binding at all when subjects knew in advance which tone to judge, but showed the same fusion as actions when the event to be judged was not predictable. Binding of actions and effects, but not of tone sequences, occurs pre-attentively, and automatically. The data are consistent with a reconstructive process, implemented after actions, which generates a coherent sense of agency. However, this process should only be triggered only when our actions make it appropriate. We suggest that this mechanism is triggered in advance by efferent processing. This conclusion was supported by a further study in deafferented subject IW. This subject showed the normal binding of a tone towards an action, although his experience of the action was of pre-motor, rather than peripheral origin. The experience of intentional action involves an interplay between pre-motor and reconstructive processes. (shrink)

In what follows, I suggest that, against most theories of time, there really is an actual present, a now, but that such an eternal moment cannot be found before or after time. It may even be semantically incoherent to say that such an eternal present exists since “it” is changeless and formless (presumably a dynamic chaos without location or duration) yet with creative potential. Such a field of near-infinite potential energy could have had no beginning and will have no end, (...) yet within it stirs the desire to experience that brings forth singularities, like the one that exploded into the Big Bang (experiencing itself through relative and relational spacetime). From the perspective of the eternal now of near-infinite possibilities (if such a sentence can be semantically parsed at all), there is only the timeless creative present, so the Big Bang did not happen some 13 billion years ago. Inasmuch as there is neither time past nor time future nor any time at all at the null point of forever, we must understand the Big Bang (and all other events) as taking place right here and now. In terms of the eternal now, the beginning is happening now and we just appeared (and are always just appearing) to witness it. The rest is all conscious construction; time and experience are so entangled, they need each other to exist. (shrink)

The authors of the essays collected in this volume continue that tradition, challenging, expanding, and deepening it.