Since the first lockdown in March 2020, time seems to have slowed to a continuous present tense. The Greek language has three words to express different experiences of time: aion, chronos and kairos. If aion is the boundless and limbo-like time of eternity, chronos represents chronological, sequential, and linear time. Kairos, however, signifies the rupture of ordinary time with the opportune moment, epiphany and redemption, revolution, and most broadly, crisis and emergency. This paper argues that the pandemic is impacting how (...) individuals perceive time in two ways: first, as a distortion of time in which individuals are caught between linear time (chronos) and rupture (kairos) invoking the state of emergency and second, as an extended present that blurs the passing of chronological time with its seeming eternity (aion). As a result of the perceived suspension of ordinary time, temporal understandings of the future are postponed, while the past hovers like a ghost over the present. (shrink)

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)

The author presents John Dewey’s mature account of temporal continuity, showing how Dewey’s position can be identified as a form of radical temporalism. Even at the most elemental level (that of subatomic particles), natural existence is for such a temporalist an irreducibly temporal affair. While he focuses primarily on Dewey’s “Time and Individuality” (1940), the author supplements his account by drawing upon Experience and Nature (1925), “Events and the Future” (1926), and to a lesser extent, other texts. In his magnum (...) opus, Dewey draws a crucial distinction between temporal quality and temporal seriality. In an essay published the following year, he insists, contra C. D. Broad, on qualitative heterogeneity being an intrinsic trait of even the thinnest slice of the tem-poral continuum. The most elemental units of the temporal flux are neither “eternal and immu-table”, nor qualitatively homogenous. They also exhibit a from-to-through structure, with the dimensions of time being defined by these terms (pastness as from which, futurity as toward which, and presentness as through which). By relating the distinction between temporal quality and temporal seriality as well as the central claims made in “Events and the Future” to “Time and Individuality”, the author brings into clear focus the contours of Dewey’s radical temporalism. (shrink)

In cognitive science, long-term anticipation, such as when planning to do something next year, is typically seen as a form of ‘higher’ cognition, requiring a different account than the more basic activities that can be understood in terms of responsiveness to ‘affordances,’ i.e. to possibilities for action. Starting from architects that anticipate the possibility to make an architectural installation over the course of many months, in this paper we develop a process-based account of affordances that includes long-term anticipation within its (...) scope. We present a framework in which situations and their affordances unfold, and can be thought of as continuing a history of practices into a current situational activity. In this activity affordances invite skilled participants to act further. Via these invitations one situation develops into the other; an unfolding process that sets up the conditions for its own continuation. Central to our process account of affordances is the idea that engaged individuals can be responsive to the direction of the process to which their actions contribute. Anticipation, at any temporal scale, is then part and parcel of keeping attuned to the movement of the unfolding situations to which an individual contributes. We concretize our account by returning to the example of anticipation observed in architectural practice. This account of anticipation opens the door to considering a wide array of human activities traditionally characterized as ‘higher’ cognition in terms of engaging with affordances. (shrink)

Volume 52, Issue 6, June - July 2020, Page 602-612.

The time of vegetal life itself—denoted as plant-time in this article, following the work of Michael Marder—is essential to human-plant relations. Conceptualized as a multi-dimensional plexity, vegetal temporality embodies the endemic land-based seasons, rhythms, cycles, and timescales of flora in conjunction with human patterns. The contemporary poet Judith Wright invoked a time-space continuum throughout her writing as a means to convey the primordial character of Australian plants while resisting the imposition of a colonialist schema of time. Wright’s bold textualization of (...) vegetal temporality embodies her commitment to fostering botanical ethics and locally-grounded activism on behalf of Aboriginal people and the Australian environment. (shrink)

“The stone the builders rejected has become the head of the corner[stone].” Max H. Fisch Introduction: An Exemplary Engagement with Intellectual History The aim of this paper is to show the depth to which C. S. Peirce, as a philosopher, was guided by his engagement with history and to clarify pragmatically what history means in this connection. This engagement prompted him to do original historical research and also reflect on historiographical practices. This work was truly exemplary. While...

The decision-making environment in intensive care units (ICUs) is influenced by the transformation of intensive care medicine, the staffing situation and the increasing importance of patient autonomy. Normative implications of time in intensive care, which affect all three areas, have so far barely been considered. The study explores patterns of decision making concerning the continuation, withdrawal and withholding of therapies in intensive care. A triangulation of qualitative data collection methods was chosen. Data were collected through non-participant observation on a surgical (...) ICU at an academic medical centre followed by semi-structured interviews with nurses and physicians. The transcribed interviews and observation notes were coded and analysed using qualitative content analysis according to Mayring. Three themes related to time emerged regarding the escalation or de-escalation of therapies: influence of time on prognosis, time as a scarce resource and timing in regards to decision making. The study also reveals the ambivalence of time as a norm for decision making. The challenge of dealing with time-related efforts in ICU care results from the tension between the need to wait to optimise patient care, which must be balanced against the significant time pressure which is characteristic of the ICU setting. (shrink)

Too often C. S. Peirce’s theory of signs is used simply as a classificatory scheme rather than primarily as a heuristic framework (that is, a framework designed and modified primarily for the purpose of goading and guiding inquiry in any field in which signifying processes or practices are present). Such deployment of his semeiotic betrays the letter no less than the spirit of Peirce’s writings on signs. In this essay, the author accordingly presents Peirce’s sign theory as a heuristic framework, (...) attending to some of the most important ways that it might serve to facilitate a semeiotic investigation of our legal practices. He pays close attention to the ways the topics of history, formalism, reductionism, and generality become, from a Peircean perspective, salient features of legal studies. (shrink)

Space and time, which should properly be taken conjointly, are both communicatively produced and created with certain contextual perspectives—they are not independent physical entities. The standpoint of production makes the relationship between space and time comprehensible. They can either be mental-subjective, physical-objective, or social-intersubjective. Social and intersubjective (or E-series) spacetime might shed new light on biological thinking. For general readers, this paper provides a clue regarding an alternative conceptualization of spacetime based on biology.

“Thought requires achievement for its own development, and without this development it is nothing. Thought must live and grow in incessant new and higher translations, or it proves itself not to be genuine thought.” – C. S. Peirce (CP 5.595) Introduction: Captivating Pictures and Liberating Gestures At the center of one of the most famous anecdotes involving a famous philosopher, we encounter what is commonly called in English a gesture, in fact, a Neapolitan gesture, though one made by a Tur...

This video-ethnographic study explores how professional actors and a director at the end of a theatrical rehearsal process coordinate transitions between rehearsed scenes. This is done through the development and use ofcues, that is, ‘signals for action’. The aim is to understand how cues are developed and how timing in transitions is achieved by using the designed cues. Work on three different scene transitions is analysed using multimodal Conversation Analysis. The results show that cueing is a central tool for developing (...) well-timed transitions, and how cues serve different purposes in the developing performance. There is no prior plan for how to achieve timely transitions. In all the analysed examples, it is an actor who must produce or act on the given cue who insists on its precise definition, followed by a negotiation on candidate cues, confirmation and specifying the cue. It is also actors who are primarily responsible for the timing of transitions, and the timing is solved through an interplay of clear-cut and embodied actions that allow for temporal variance. Cues are reflexively linked to actors’ observation and interpretation of other actors’ actions, which prevents a mechanical determination of timing in scene transition. (shrink)

ABSTRACT Despite the common understanding of kairos as a temporal concept, it also harbors a spatial notion that holds particular significance in relation to Greek visual arts. The inquiry into its primary role in the formation of aesthetic beauty requires a phenomenological reading of the Lysippan personification of the concept, as it resonates with its counterparts in the fields of philosophy, rhetoric, and medicine. Using Andrew Stewart’s suggestion as a starting point—that the Lysippan Kairos may serve as the artist’s manifesto, (...) consciously constructed in response to the earlier Polykleitan Canon—the evidence for kairos as the sire of beauty is shown to reside not only in its principal role in characterizing the perfect proportion and harmony, but also in its relationship to somatic intuition and sensory understanding, implicating the viewer as a key participant in the process. (shrink)