Simultaneity

Walter Benjamin utiliza en el Libro de los Pasajes la metáfora de la acción de despertar para explicar la entrada en la modernidad de la sociedad burguesa del siglo XIX. Y pone la obra de Marcel Proust como ejemplo privilegiado de este cambio. Adolf Loos en arquitectura juega un papel similar al de Proust en literatura: despoja los interiores de las casas burguesas de oscuridad y simbolismo.
La arquitectura de Loos incorpora dos rasgos del espíritu moderno: el dinamismo y la simultaneidad. Loos organiza los espacios de sus viviendas con una fuerte teatralidad. La casa se hace con una suma de escenarios simultáneos puestos en relación por juegos de escaleras múltiples y aperturas visuales. La acción de subir o bajar una escalera introduce el dinamismo del que prescindía la casa burguesa del siglo XIX. Las piezas, situadas como pequeños escenarios, convierten a sus habitantes en instantáneos actores de lo cotidiano.



In Das Passagen-Werk, Walter Benjamin uses the awakening metaphor to explain the entry into modernity of the bourgeois society in nineteenth-century. And he indicates the Marcel Proust work as a preferential example of this change. In architecture, Adolf Loos plays a similar role to Proust in literature: he eliminates darkness and symbolism from the interior of bourgeois houses.

Loos’s architecture incorporates two traits of modern spirit: dynamism and simultaneousness. Loos organizes the spaces of his dwellings with a strong theatricality. The house is the sum of simultaneous stages related by multiple sets of stairs and visual openings. The action of going up or down a stair introduces the missing dynamism in bourgeois dwellings of nineteenth-century. The rooms, situated as small stages, transform their inhabitants in instantaneous actors of day-to-day life.

"In the present work we have discussed the well known topic of simultaneous passing of photon through both the slit of Young double slit experiment. With the help of the example of Newton's sailor in the special theory of relativity we have shown that Feynman's statement in the quantum version of Young's double slit experiment regarding the simultaneous passage of a photon through both the slits simultaneously needs to be qualified. C. Siam | A. Hazarika | J. Saikia | R. Mahanta | G.D. Baruah""Einstein's Relativity, Simultaneity and Young's Double Slit Experiment"" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-1 | Issue-4 , June 2017, URL: http://www.ijtsrd.com/papers/ijtsrd2215.pdf
Article URL: http://www.ijtsrd.com/physics/other/2215/einsteins-relativity-simultaneity-and-young's-double-slit-experiment/c-siam"

John Cages theories on simultaneity, chance operations and indeterminacy influenced the artists of the Fluxus group. The articles features different concepts of Cages notations and the event cards of Fluxus artists. The relations between performances and videos especially in works by Nam June Paik and Joseph Beuys are discussed. The relevance of Cage´s concept and artistic practice for these uses of new media is explained.
In: URL: http://dreher.netzliteratur.net/2_Cage.pdf

A key issue in the estimation of production functions is the correlation between unobservable productivity shocks and input levels. Profit-maximizing firms respond to positive productivity shocks by expanding output, which requires additional inputs. Negative shocks lead firms to pare back output, decreasing their input usage. Olley and Pakes (1996) develop an estimator that uses investment as a proxy for these unobservable shocks. More recently, Levinsohn and Petrin (2003a) introduce an estimator that uses intermediate inputs as proxies, arguing that intermediates may respond more smoothly to productivity shocks. This paper reviews Levinsohn and Petrin's approach and introduces a Stata command that implements it.

A un secolo di distanza, questo libro volge lo sguardo a uno tra i grandi protagonisti delle avanguardie artistiche. La produzione di Léger, negli anni cruciali prima del conflitto mondiale, è setacciata in maniera capillare: non solo i capolavori acclamati, ma anche le opere considerate “minori”. Tra queste, la fitta produzione di disegni è stata riordinata nel suo complesso, per la prima volta. Da tale prospettiva è stato possibile seguire il percorso sperimentale che ha condotto ai grandi dipinti, svelandone motivazioni spesso trascurate. Ma la trattazione non si limita al dialogo a due con l’autore prescelto: al contrario si dà un impianto corale, che coinvolge la vasta rete di relazioni che legano Léger ai compagni dell’avanguardia. Ne risulta una rilettura del cubismo in senso lato, nelle sue connessioni con le tendenze pittoriche internazionali e con gli operatori di altre discipline, quali i poeti, i filosofi, i compositori musicali. Il tutto è condotto con rigore e chiarezza d’esposizione, in riferimento costante alle fonti e agli studi storiografici, da quelli ormai classici ai più recenti.

The article presents a new method for the analysis of short-form on-line storytelling by assuming an aestheticizing point of view on an everyday narrative practice. It examines the expressive affordances of Facebook status updates with the help of three prominent concepts derived from literary narratology and sociolinguistics: experientiality, simultaneity, and tellability. Conventions of the novel such as the epistolary form are juxtaposed with social media narration, in order to highlight both the intentional artistry and accidental aesthetics of status updates. The article supplements sociolinguistic studies by exposing the existentialist, self-consciously non-communicative facet of Facebook storytelling.

This chronology includes comments on John Cage´s works: The concepts of selected notations are described. The chronology can be read like an introduction to Cage´s concepts or like a journey through his ideas.
In: URL: http://dreher.netzliteratur.net/1_Cage_Chronologie.pdf

Using Marxist value theory, in particular the circuit of capital, and elements from Paul Virilio's theory of speed, this thesis argues that digital piracy is an accident of value that occurs when circulating capital crashes into the wall of real time.  During accumulation capital must metamorphose from money into commodities and back into more money and move between the spheres of production and circulation. The faster capital can complete its circulatory movement, the more capital functions to
produce surplus value and therefore more capital can be accumulated. However, there is a limit to this acceleration – if capital accelerates beyond a certain limit it cannot assume its particular forms, which has disastrous effects for the accumulation of capital. I argue that this limit is identical to the limit of absolute speed and that capital can achieve this velocity through adopting telecommunications as its medium. Under the pressure of telecommunications, the extension and duration of capital in space and time is compressed into an instantaneous and ubiquitous moment in real time. When this occurs both the circuit and forms of capital disintegrate.

1. Though comic books and graphic novels are earning more serious academic consideration than ever, in relation to one of the foremost goals of twentieth century art and literature, comic books may be more important and innovative than even the most open-minded of scholars have yet to realize. Comics, graphic novels, and sequential art belong to a rich artistic and literary tradition due in no small part to their ability to utilize the techniques of cubism and futurism. This is not a new assertion. Will Eisner (Comics and Sequential Art; Graphic Storytelling and Visual Narrative) and Scott McCloud (Understanding Comics), among many others, have examined comic art's multiple influences from forms and movements considered "high" or fine art. What has hitherto been unexplored, however, is how purely sequential art forms utilize aspects of these movements to fulfill the elusive goals and ideals of many of cubism and futurism's most renowned creators via a unique relati...

This article seeks to contribute to the debate about the relationship between time and social identity by studying the recent trend of simultaneous, crowd-sourced visual diaries. The article focuses on the concept of simultaneity and its relation to communal identity. Crowd-sourced visual diaries such as 2010's Life in a Day are often celebrated as a means to relativize time and social homogeneity through individual narrative perspectives. To challenge this view, I show how the notion of simultaneity itself can be appropriated for purposes of legitimation and how Life in a Day's universalist understanding of simultaneity actually undermines the heterogeneity of time that the project was meant to celebrate.

This article aims to explore Henri Bergson’s notions of durée and simultaneity in Sadeq Hedayat’s The Blind Owl (1937), a prominent Modernist narrative in contemporary Iranian literature. Bergson refutes the logical and linear sequence of time and regards it as an indivisible whole that simultaneously posits the past, the present and the future on the same plane – the eternal present. Likewise, for Bergson, consciousness is characterized by flux and continuity as it processes all previous memories and experiences synchronously, as if they were all parts of a unified and organic whole. This article argues that certain features of the narrative structure of The Blind Owl, in particular the relativity and subjectivity of time and place and the constant intersection of memories and experiences, can be aligned with Bergson’s interpretation of temporality and consciousness. In the nameless narrator’s stream of consciousness and interrelated visions and reminiscences, characters, settings and incidents – which drive the narrative into a timeless and placeless context – constantly melt into and echo one another and ultimately become irreducible and radically interrelated constituents of an organic totality that resists temporal, spatial and cognitive divisibility.

Keywords: The Blind Owl, durée, indivisibility of time, Modernism, simultaneity, stream-of-consciousness writing

Cet essai porte sur la simultanéité comme figure discursive de l’histoire globale. Sa question est simple : pourquoi l’histoire globale se contente-t-elle parfois de constater des simultanéités pour démontrer des connexions ? Après quelques exemples tirés de l’historiographie récente (Sanjay Subrahmanyam, Serge Gruzinski, Romain Bertrand), nous voudrions illustrer le fait que le problème de la simultanéité dans ses rapports à l’histoire à grande échelle ne date pas d’hier. Sans prétendre à quelconque exhaustivité, nous nous arrêterons sur quelques cas (Polybe, Eusèbe de Césarée, João de Barros, Joseph Scaliger) qui démontrent combien la simultanéité constitue l’un des soucis les plus anciens de cette volonté d’embrasser l’ensemble du monde connu à un moment donné, et d’en proposer une histoire. Pour finir, nous reviendrons à la question de l’écriture de l’histoire de nos jours pour me demander si la question de la simultanéité ne nous impose pas de basculer d’une science des conditions de possibilité (Michel Foucault) à une science des conditions de disponibilité.

This essay focuses on simultaneity as a discursive figure of global history. The question is rather simple: why does global history sometimes use simultaneities to demonstrate connections? Taking some examples from recent historiography (Sanjay Subrahmanyam, Serge Gruzinski, Romain Bertrand), we would like to show that the question of simultaneity in its relation to large-scale history is nothing new. Without pretending to be exhaustive, we will dwell on a few cases (Polybius, Eusebius of Caesarea, João de Barros, Joseph Scaliger) that demonstrate how simultaneity is one of the oldest concerns of the desire to embrace the whole known world at a given moment, and to propose a narrative of it. Finally, we will return to the question of present day historiography to ask whether simultaneity requires us to switch from a science of the conditions of possibility (Michel Foucault) to a science of the conditions of availability.

Resumen: La intención del presente artículo es reexaminar el concepto bergsoniano de Duración entendido como coexistencia de niveles de multiplicidad heterogéneos. Si bien dicho concepto ha sido pensado a partir de una comprensión que podría ser caracterizada como continuista, el mismo Bergson evitará confundir dicha continuidad con la idea de homogeneidad. Intentaremos mostrar que la determinación del concepto de Duración se alcanza al definirla como tensión o entrelazamiento entre sucesión y simultaneidad, y por consiguiente, como una multiplicidad que hace coexistir diferentes flujos de duración. Para ello, Bergson propone la existencia de un Tiempo impersonal y único como base para la relación entre duraciones. Nuestra hipótesis es que esta misma situación puede entenderse mejor si se articula el concepto de ritmo en la obra de Deleuze, concepto ligado íntimamente a las nociones de duración y coexistencia. Mediante los movimientos de contracción, dilatación, reunión y división, ...

Through the twentieth century, the continual exploration of outer space and its imaginary colonization in science and fiction has led to a new understanding of the space-time continuum. While the physical space surrounding planet Earth was conceptualized ever more precisely, the encounter with the immensity of time has provoked less resonance. This article analyzes the temporal dimension of the Age of Space in three steps. First, it juxtaposes various ways of conceptualizing the so-called Space Age as a significant period in human history. Second, it examines orders of time inherent in West-European space thought, in particular the widespread appeal of time dilatation as seen in Eugen Sänger’s popular 1950s photon rocket scenario. Third, it charts the experience of time on board spaceships, as detailed in astronauts’ autobiographies. This article argues that the appeal of the Space Age lay not only in the promise of continued physical expansion but also in the total control over the fourth dimension envisioned for the future.

Discusses shift in the politics of the avant-garde after World War II.  I argue that the utopian aspirations of the avant-garde are refocused on providing singular, non-binding examples of alternative ways of seeing, thinking, and experiencing everyday life.  Chapters on John Cage, Jackson Mac Low, David Tudor, Stan Brakhage, Gilbert Sorrentino, Samuel Beckett.

This paper concerns the converb forms expressing Simultaneity in Izhma Komi, Northern Khanty and Moksha belonging to the Finno-Ugric group of languages. The existing typological classifications of temporal relations and simultaneity relations in particular either are not detailed enough or lack rigorous criteria and thus appear not to be sufficient for understanding the usage and the distribution of temporal converbs. The study attempts at building a more detailed typological classification of Simultaneity functions which accounts for the data of the languages under consideration. The analyzed parameters of variation include the viewpoint aspect of the events, clause modification type, givenness of the conveyed information and the pragmatic type of the predicate. Special attention is paid to the discourse-pragmatic properties of the forms which bring new insights into the discussion.

A logical model of spatiotemporal structures is pictured as a succession of processes in time. One usual way to formalize time structure is to assume the global existence of time points and then collect some of them to form time intervals of processes. Under this set-theoretic approach, the logic that governs the processes acquires a Boolean structure. However, in a distributed computer system or a relativistic universe where the message-passing time between different locations is not negligible, the logic has no choice but to accept time interval instead of time point as a primitive concept. The resulting logico-algebraic structure matches that of orthologic, which is known as the most simplified version of quantum logic, and the conventionality of simultaneity claim is reduced to the non-distributivity of the logic.

This paper explores two non-finite temporal adverbial constructions V-m/t-+ măr and V-t-+ sa in Kazym dialect of Khanty spoken in the Kazym village of Khanty-Mansi autonomous region in Russia. V-t-+ sa construction expresses the meaning of point simultaneity ('when'), whereas V-m/t-+ măr construction is mainly used in the meaning of interval simultaneity ('while'). Yet, a more detailed look at these constructions reveals an additional discourse-level contrast in direct accessibility of the main event. V-t-+ sa describes the simultaneously occurring events directly attested by the Speaker. In turn, the use of V-m/t-+ măr is preferred in evidential, modal and other subjective contexts where the presence of the main event is subject to the Speaker's inference, hearsay, conjecture or imagination. Although the Speaker's point of view is the default, there are certain contexts in which the perspective switches to some other discourse participant. The behavior of V-m/t-+ măr and V-t-+ sa is modelled in the cognitive framework of Mental Spaces Theory.

Five topics: A rigid body does not exist in the special theory of relativity; distant simultaneity defined with respect to a given frame of reference without any reference to synchronized clocks; challenges on Einstein's connection of synchronization and contraction; a theory of relativity without light, composition of relative velocities and space of relative velocities

A logic of simultaneity provides us a way to interpret complex events in both nature and narrative. Of the book, you have a very good cover.  Of the text of the book, it was withdrawn in 2015 or so. What remains is an Abstract of the thesis which you are reading here.  It poses that the rudiments of a science of simultaneity exists in Generally Accepted Accounting Practice (GAAP). The 'science' will begin through the critical investigation of principles in the art of declaring an accounting period for balances in a particular set (and nesting) of sub-accounts. Further development of a logic, to be called “generalized Pacioli,” should allow new methodologies of testing balances in nature and human experience.

The five ways to define obligations or claims (in time) across the accounting period boundaries correspond to five ways to define the potential for change and directed action.  These five “capacitance families” provide a broader and more coherent theory of work, differentiating static from dynamic potential (through a double-entry method) with qualities that become comparable to that of liquidity. The logic provides a more detailed basis for discussing complexity and function.

The Logic of Simultaneity is at the center of all the works I am currently working on.  The actual paper originally posted here was pulled in 2018 when it became clear that Capacitance classes (of work) and Coincidensity classes (of simultaneity) were either the same or descriptions of what is 'balanced' on either side of the ledger.  The potential impacts on the 'currency' being logged by experience was too great to leave the paper stand as it was written....(though much of the business about suits and gaming still stand...essentially, the 'winking' I allude to in my book Torque).  I anticipate several years before 'The Work of Emotion' is attempted.  ...and I leave this up on the site because of the cover design. and the image of Luca Pacioli.

The Pacioli Principle will be a passive representation system and vehicle for analyzing events outside of linear time. Extrapolating the principle to a “Pacioli Postulate” (where a concept of “simultaneity” extends to both paradox and coincidence) the argument is made that this interpretive approach results in a more comprehensive model of natural law, with a more elegant methodology for explaining ordering principles where emergent complexity represents the natural boundary.

The author suggests that both the principle and its strong-form in the postulate were known to Luca Pacioli and his collaborator Leonardo DeVinci when the Summa Arithmetica was published in 1494.  Their lives would have been at stake, quite literally, had they disclosed their discovery.  So the Pacioli Principle has been hidden for over five hundred years, before our eyes, as the grammar of representational integrity underlying sustainability (economics). 

Note, that block-chain technology and the IoT shall eventually obviate postings in currency in parallel with the fading away of money.  Transactions logged with capacitance shall require a full-blown grammar of capacitance classes to make it all work---while the potential permutations on relational networks shall depend on that grammar for symmetry maintenance of the value/measure of the current (present) to assure continuity and smooth strangeitions (pronounced 'strans'jitions' if you will, or simply 'change.'). 

THIS IS NOW TO BE THE THIRD VOLUME FOLLOWING Vol.1: THICK (laying out the issues of Coincidensity) and Vol.2: The Work of Emotion (with the problems of Capacitance).    [Abstract, updated 1/31/24]