Bel, B. Concepts of time in the contemporary performing arts. Retrieved March 20, 2006, from http://www.lpl.univ-aix ... nard/music/timeperf.htm
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Corbett, M. J. (2003). Sound organisation: A brief history of psychosonic management. Ephemera, 3 Retrieved April 19, 2004, from http://www.ephemeraweb. ... rnal/3-4/3-4corbett.pdf
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 19/04/2005, 12:03
Paraphrasing Walter Ong (1982): "...sound signals the exercise of power since it must be in active production in order to exist at all. Without movement there is no sound."
Mentions John Cage's 4'33" and that it explores indeterminancy. Sounds external to the musical score are the actual performance. These (traffic, coughs, birds etc.) are different each time.
Genge, G., Schwarte, L., & Stercken, A. (Eds). (2021). Aesthetic temporalities today: Present, presentness, re-presentation. New York: Columbia University Press.
Added by: Mark Grimshaw-Aagaard 03/11/2025, 02:49
Holand, A. M. (Ed.). (2024). Time in our times: Stretching contemporary understandings of time. Berlin: De Gruyter.
Added by: Mark Grimshaw-Aagaard 18/08/2024, 08:30
Hung, W. (2022). Chinese art and dynastic time. Vol. 48. Princeton NJ: Princeton University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/01/2025, 10:22
Innes, H. A. (1972). Empire and communication. 2nd ed. Toronto: University of Toronto Press. (Original work published 1950).
Added by: Mark Grimshaw-Aagaard 03/02/2006, 14:09
Lindley, C. A. (2005). The semiotics of time structure in ludic space as a foundation for analysis and design. Game Studies, 5(1). Retrieved March 22, 2006, from http://www.gamestudies.org/0501/lindley/
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Defines three temporal semiotic levels in games:
1. Simulation: the functional characteristics of the game. time frames, quantization, ticks per cycles etc. At the level of the game design(er).
2. Ludic or Game: patterns of player movements, player engagement with the game rules. Turns, tournaments etc. At the level of the player.
3. Narrative: Based upon the three-act restorative structure. Often, especially in action games, the second act (conflict) is the most extended with the first act (beginning) and third act (resolution) often being limited to cut scenes, FMV, display of final scores etc.
Markosian, N. (2004). A defense of presentism. Oxford Studies in Metaphysics, 1, 47–82.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 09/03/2023, 07:12
Objects that are not present, are unreal.
Markosian, N. (2002-2021). Time. Stanford Encyclopedia of Philosophy. Retrieved October 27, 2021, from https://plato.stanford.edu/entries/time/.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/10/2023, 10:00
Needham, J. (1988). Time and Eastern man. Cultural Dynamics, 1(1), 62–76.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/01/2025, 10:23
Øhrstrøm, P. (2024). Travelling in branching time: A Priorean perspective. In A. M. Holand (Ed), Time in our Times: Stretching Contemporary Understandings of Time. (pp. 27–55). Berlin: De Gruyter.
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Parkes, D. N., & Thrift, N. J. (1980). Times, spaces, and places: A chronogeographic perspective. New York: John Wiley & Sons.
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"Locational spaces and times are outside the individual, experiential spaces and times are constructed from inside the individual"
Discussing the work of ecologists in the 1940s and 1950s, the authors state: "Rhythm, tempo, and timing became not simply additional attributes to the spatial characteristics of human ecology; rather with space they were jointly responsible for the maintenance of a living community"
Define three basic types of time:
Universe time or standard time. Can be recorded by clocks and calendars and so is metric.
Life time. A paratime composed of biological time (life spans etc.) and psychological time that provides a 'sense of time' (e.g. past, present, future).
Social time. Derives from group use and knowledge of temporal features such as frequency, duration and sequence of socially relevant objects and events. Social time is also a paratime.
Rhythm: recurrence of fluctuations and movement. Timing here can be universal time (i.e. metric), life time or social time (the latter two being paratimes). Tempo: the number of events that occur in each unit of time. Timing: synchronization of rhythms.
Distinguish between territorial or universal space, which may be described with three dimensions, and paraspaces, which are social, cultural spaces.
Plato. (2000). Timaeus. D. J. Zeyl, Trans. Indianapolis, IN: Hackett Publishing Company.
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The purpose of hearing is speech and harmony - like sight, hearing is given by the gods for a higher, intellectual purpose. Its primary functions are to enable speech (logos) and the understanding of harmony, which helps to bring order to the soul:
"Likewise, the same account goes for sound and hearing—these too are the gods’ gifts, given for the same purpose and intended to achieve the same result. Speech (logos) was designed for this very purpose—it plays the greatest part in its achievement. And all such composition (mousikē) as lends itself to making audible musical sound (phōnē) is given in order to express harmony, and so serves this purpose as well."
On harmony:
"And harmony, whose movements are akin to the orbits within our souls, is a gift of the Muses, if our dealings with them are guided by understanding, not for irrational pleasure, for which people nowadays seem to make use of it, but to serve as an ally in the fight to bring order to any orbit in our souls that has become unharmonized and make it concordant with itself."
Sound as percussion transmitted to the soul - Plato defines sound as a physical event, a "percussion" or blow that travels through the air and affects the sense organs, with the motion ultimately being relayed to the soul:
"A third kind of perception that we want to consider is hearing. We must describe the causes that produce the properties connected with this perception. In general, let us take it that sound is the percussion of air by way of the ears upon the brain and the blood and transmitted to the soul, and that hearing is the motion caused by the percussion that begins in the head and ends in the place where the liver is situated."
Pitch and quality - The qualities of sound, such as pitch and texture, are determined by the speed and regularity of these percussions:
"And let us take it that whenever the percussion is rapid, the sound is high-pitched, and that the slower the percussion, the lower the pitch. A regular percussion produces a uniform, smooth sound, while a contrary one produces one that is rough. A forceful percussion produces a loud sound, while a contrary one produces one that is soft."
Le Poidevin, R. (2000-2019). The experience and perception of time. Stanford Encyclopedia of Philosophy. Retrieved October 27, 2021, from https://plato.stanford. ... ntries/time-experience/.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/10/2023, 10:00
Prior, A. N. The notion of the present. Paper presented at The Study of Time, Oberwolfach.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/11/2025, 02:07
Prior makes the case that the natural sciences have expunged tenses and that their language is a tenseless one, without a conception of past, present, or future; rather events might be earlier or later than other events. "Whether the events are the case or merely have been or will be, is of no concern to the scientist, so he uses a language in which the the difference between being and having been abd being about to be is inexpressible."
For Prior, the present and the real are the same concept: "the present simply is the real considered in relation to two particular species of unreality, namely the past and the future."
"the presentness of an event is just the event" and, regarding a lecture, "its pastness is its present pastness, so that although [the] lecture isn't now present and isn't real, isn't a fact, nevertheless its pastness, its having taken place, is a present fact, is a reality, and will be one as long as time shall last."
Prior deals with an objection the special theory of relativity might have to his conception of present and reality with the example of a pulsating celestial body where we know observed pulsations actually happened a long time ago:
"We have just observed one of these pulsations, and as the body is a very distant one, we know that the pulsation we are observing happened some time ago. We now consider the pulsation immediately after the one we are observing, and we ask whether this next pulsation, although we won't of course observe it for a while, is in fact going on right now, or is really still to come, or has occurred already. On the view of presentness which I have been suggesting, this is always a sensible question. At least if there are to be any further pulsation at all, then either the body is pulsating, or it is not the case but will be the case that it is pulsating or it is not the case but has been the case that it is pulsating. The difference between pulsating — really and actually pulsating — and merely having pulsated or being about to pulsate, is as clear and comprehensible a difference as any that we can think of, being but one facet of the great gulf that separates the real from the unreal, what is from what is not. Just this, however, is what the special theory of relativity appears to deny. If the distant body is having its nth pulsation as we perceive it having its n-1th — is pulsating, and not merely has been or will be pulsating — then the nth pulsation and the perception of the n-1th are simultaneous; not just simultaneous from such and such a point of view or in such and such a frame of reference, but simultaneous. And according to the special theory of relativity, such "absolute" simultaneity is in many cases just not to be had.
One possible reaction to this situation, which to my mind is perfectly respectable though it isn't very fashionable, is to insist that all that physics has shown to be true or likely is that in some cases we can never know, we can never physically find out, whether something is actually happening or merely has happened or will happen."
Saint Augustine. (2002). The confessions of St Augustine. E. B. Pusey, Trans. Project Gutenberg. (Original work published 401).
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 17/07/2020, 09:22
"What now is clear and plain is, that neither things to come nor past are. Nor is it properly said, "there be three times, past, present, and to come": yet perchance it might be properly said, "there be three times; a present of things past, a present of things present, and a present of things future." For these three do exist in some sort, in the soul, but otherwhere do I not see them; present of things past, memory; present of things present, sight; present of things future, expectation. If thus we be permitted to speak, I see three times, and I confess there are three."
Savitt, S. (2001-2021). Being and becoming in modern physics. Stanford Encyclopedia of Philosophy. Retrieved October 27, 2021, from https://plato.stanford. ... ies/spacetime-bebecome/.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/10/2023, 10:00
Stephenson, J. (2025). Continuous discontinuities: More-than-human temporalities in Jean-Luc Nancy’s Sonic Ontology. KronoScope, 24(2), 240–256.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 16/11/2025, 03:03
Thrift, N. (1996). Spatial formations. London: Sage Publications.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 30/06/2006, 12:34
Time (2005). In Oxford English Dictionary Online. Oxford: Oxford University Press.
Added by: Mark Grimshaw-Aagaard 06/03/2006, 10:02
"the indefinite continued progress of existence and events in the past, present, and future, regarded as a whole"
