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that by displaying examples of art and industry from all over the globe within one ‘vast crystal frame’, it made the ‘scientific dream’ of time travel a ‘visible reality’.18 Eastlake’s comment that a first visit to the newly enlarged Sydenham Palace is ‘made up of the past as well as the present and the future’ suggests that the building’s well-established associations with ideas of spatiotemporal transcendence followed it to southeast London. Like the Hyde Park Palace, the Sydenham Palace similarly telescoped time by displaying international artefacts and specimens
level of individuals and societies, prioritises a state of self that is completed and encapsulated. In this form of being together, being is encapsulated and compressed into a spatio-temporal ‘there’. This logic is concerned with construction of a certain form of being in the world, and it does this by evolving the state of being there into a certain status of being in a spatio-temporal
order of events, as a unit, just as it does in reference to a unified spatial variety. ( 1981 , 213) Thus spatio-temporal experience exists in habits as enduring, and sometimes extensive, dispositions towards the world. The integration of organic environmental connections is evident in habits in which the environment “has its say” ( Dewey, 1983 , 15). Thus organic environmental connections are in habits. These are selectively drawn on by the demands of more immediate situations where the smooth functioning of such dispositions is interrupted or ceases to
, Baldick’s definition suggests how the ‘Gothic effect’ – its feel – is created by texts. It emphasises the importance of the spatio-temporal dimensions constructed by the text and the specific situation of the individual within them. Furthermore, Baldick stresses the effect this situation has on the characters – and, in turn, on the readers. Constrained by the influence of space
practices of rural life. These tensions resonate today in the celebration or critique of the acceleration of everyday life, which reinforces linear time, on the one hand, and calls for alternative ‘slow’ ways of living, which make space for the cyclical, on the other. For Lefebvre, capitalism was not seamless and the everyday was also the site of revolutionary possibility that would put an end to alienation. So rhythmanalysis challenges any reductive opposition between speed and slowness (mobility and inertia). It offers a more intricate spatio-temporal grasp of lived
bizarre. Superstring theory, for instance, posits that the basic units in the universe are not non-dimensional particles (points) but one-dimensional loops whose vibrations at different levels correspond to what we have previously designated ‘particles’. And instead of the three dimensions plus time that we take as fundamental to our spatio-temporal world, string theory suggests that there are nine dimensions plus time. There has been no evidence to support string theory – it is purely speculative – yet it is a seriously considered contender for a theory that will
-a-weird-beast/ . 15 Harvey, Seventeen Contradictions , p. 228. The word ‘spatiotemporal’ adds no specific or clear meaning. For example, when Harvey writes the sentence, ‘growing resentments of being locked into a spatiotemporal situation of perpetual subservience to the centre did, however, spark anti-dependency and national liberation
discontinuous and self-sufficient moments of interaction – any adequate understanding of ‘the situation’ involves apprehension of its relation to spatiotemporally extended collaborative affairs. It does not need a sociological analyst to externally establish connections between one situation and others, for the understanding of a situation as ‘placed’ within collective affairs belongs to the situation itself, indeed is integral to grasping the sense of what ‘the situation’ is. These cursory remarks on the practically problematic character of action should suffice to
, as it is objectified in cultural artefacts, for example, texts, rituals and ceremonies that have shaped a community over a long period of time. The resulting ‘figures of memory’ create a stable, yet gradually changing intellectual horizon to which people refer while creating knowledge. Cultural memory therefore acknowledges the hybridity and multi-dimensionality of intercultural encounters and it also recognises specific spatio-temporal patterns that guide these encounters. 54 Thus, the translation of knowledge into a new context requires its spatio-temporal
that the relation between digital mapping and its temporalities should be conceived as plural, dynamic and situated. Also, as digital mappings are approached in this book from an interdisciplinary angle – as medial, cartographic and technological practices – d ifferent scholarly perspectives reveal different understandings of temporalities. These twin concerns with dynamism, and plural responses to dynamism, are the central foci of this volume. The chapters in this book reflect this multiplicity of tempo-spatialities rather than spatio-temporalities.1 Many of the