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Neuroscientists have determined that this lapse of time is more or less equivalent to three seconds: A standard measure which, interestingly enough, does not apply only to the human brain or to Western scientific culture. The Yanomami, for instance, apply a similar time pattern to their own idea of movement . Every movement of the pencil and the graphite dust that it liberates brings us back to that precise moment: That lapse in which we see. Each mark that appears on the paper due to the accumulation of matter is a vestige of a past moment, but at the same time it speaks for future possibilities, for slight alterations that could occur in the rustling of pages.
In each now the whole of the past is contained, but also the possibilities of the future are shaped. The structure of a book is a standard space for the representation of a code, a language.
If any of these coordinates is displaced —from the here, the now or the self— the whole time-space conundrum is modified, not to mention the relationship between the self and the other. These changes subtly produce a fiction, since fiction is not a parallel world, but the many possibilities which pulse within a story.
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Therefore, these subtle deictic changes allow for the existence of imagination and the experience of its possibilities. Each letter, each graphism, is an opening unto a moment.
Because of their temporal nature —their relation to the time when it was written and the time when it is being read— these indexes will always have a fictitious component. This code takes us to the time of the action: To the time of writing and then back to the time of reading. Literary experimentation has to do with the juggling of these temporalities, with playing with their ability to stimulate perception and produce diverse potentialities. What construction or system, what language, can be identified in these abstract lines that do not seem to follow any given path or algorithm?
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The former denied the logic of the narrative, the latter denied narrative itself. If this is a book, then the drawing would be a calligraphy of sorts. Indeed, it takes the form of a language. Perhaps, what is represented as a circle was, is, or could be a sphere.
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It refers us directly to another code, a purely visual one, which, like the word, is a tool to understand and structure our relationship to what we see, that is, with the other. In that three second interval we mentioned, we decode and recode information to act on it, to activate this relationship with otherness. Object Oriented Ontology one of the main currents of Speculative Realism proposes to analyze our world from outside western narratives, sciences, or languages we are familiar with.
Without forgetting that postmodernism had already given us license to dwell in meta-narratives and multiple temporalities, Graham Harman, one of the figureheads of the OOO movement, returns to the phenomenological gaze; one that grants an access to a reality which is not merely intellectual, but imaginative, perceptive and sensory; conditioned by memory and will.
Our perception is a set of presentified realities which combine and recombine to shape the other, whether it be an organic or inorganic being.
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Time, in its constant flux, in its constant combination of possibilities, also moves incessantly through these realities, altering them. Therefore, this form of existence requires an attention that can only be applied consciously. Developing this theme through his key writings of the early s, the book shows how Heidegger's analyses of truth and freedom led to an increasingly dialectical account of time and action culminating in his phenomenology of the - artistic and political - 'work'. A context is thus given for Heidegger's political engagement in While diagnosing the moral failure of this engagement, the book defends Heidegger's account of the time of human action and shows it to foreshadow his later thought of a 'new beginning'.
Show sample text content. Thus the philosopher needs to ensure that the praxis of its citizens is in line with the order of the city.
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It is this which leads the philosopher into an ambiguous position, which Plato expresses by saying that the philosopher in essence does not wish to be a ruler, but is forced to be one. Plato, Republic, d4 The philosopher has the desire to pose questions, but in order to satisfy this desire he must. But perhaps the very question here is mistaken: might it not be that Dasein is ontologically and originally both temporal and historical? Dasein would then be historical on account of its birth into a generation, and. In the context of human action, we experience chronos as continuity and.
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