scholarly journals Spatialization of Time from the Perspective of Information Philosophy

Proceedings ◽  
2020 ◽  
Vol 47 (1) ◽  
pp. 33
Author(s):  
En Wang
Keyword(s):  
Cognitive Linguistics ◽  
Spatial Information ◽  
The Third ◽  
Objective Time ◽  
Trace Back ◽  
Theory Of Information ◽  
Temporal And Spatial ◽  
Perception Of Time ◽  
Time Information ◽  
Information Concept

The spatialization mechanism of time is one of the important ways to explore the essence of time. The theory of cognitive linguistics holds that metaphor and metonymy are two ways of the spatialization of time concept. However, from the perspective of information philosophy, the above research only stays at the level of regenerative temporal and spatial information (concept) and does not trace back to the source of objective ontology to explain the spatialization process of time. According to the ontology theory of information philosophy, information can be divided into three different forms and the concept is just the third form of information. Thus, we can analyze the spatialization process of time under the objective time and space, in-itself, for-self, and regenerative space-time information form, revealing the inevitability spatialization of human’s perception of time. This informational perspective shows the ontological source of the human’s perception of “past, present, and future” and deepens the study of the essence of time.

scholarly journals Spatialization of Time from the Perspective of Information Philosophy

Proceedings ◽  
2020 ◽  
Vol 47 (1) ◽  
pp. 33
Author(s):  
En Wang
Keyword(s):  
Cognitive Linguistics ◽  
Spatial Information ◽  
The Third ◽  
Objective Time ◽  
Trace Back ◽  
Theory Of Information ◽  
Temporal And Spatial ◽  
Perception Of Time ◽  
Time Information ◽  
Information Concept

The spatialization mechanism of time is one of the important ways to explore the essence of time. The theory of cognitive linguistics holds that metaphor and metonymy are two ways of the spatialization of time concept. However, from the perspective of information philosophy, the above research only stays at the level of regenerative temporal and spatial information (concept) and does not trace back to the source of objective ontology to explain the spatialization process of time. According to the ontology theory of information philosophy, information can be divided into three different forms and the concept is just the third form of information. Thus, we can analyze the spatialization process of time under the objective time and space, in-itself, for-self, and regenerative space-time information form, revealing the inevitability spatialization of human’s perception of time. This informational perspective shows the ontological source of the human’s perception of “past, present, and future” and deepens the study of the essence of time.

A Universe of Societies

2018 ◽  
Author(s):  
Didier Debaise
Keyword(s):  
Spatial Relations ◽  
The Third ◽  
The Status ◽  
History Of ◽  
Temporal And Spatial

Which kind of relation exists between a stone, a cloud, a dog, and a human? Is nature made of distinct domains and layers or does it form a vast unity from which all beings emerge? Refusing at once a reductionist, physicalist approach as well as a vitalistic one, Whitehead affirms that « everything is a society » This chapter consequently questions the status of different domains which together compose nature by employing the concept of society. The first part traces the history of this notion notably with reference to the two thinkers fundamental to Whitehead: Leibniz and Locke; the second part defines the temporal and spatial relations of societies; and the third explores the differences between physical, biological, and psychical forms of existence as well as their respective ways of relating to environments. The chapter thus tackles the status of nature and its domains.

cognitive-pragmatic account of the English imperative-conditional construction

2016 ◽  
Vol 1 (2) ◽  
pp. 251-269
Author(s):  
Keding Zhang
Keyword(s):  
Cognitive Linguistics ◽  
Processing Unit ◽  
Pragmatic Approach ◽  
The Third ◽  
Pragmatic Enrichment ◽  
Symbolic Structure ◽  
Speaker Intentions ◽  
Interactive Relationship ◽  
Pragmatic Account ◽  
Everyday Communication

The imperative-conditional construction (ICC) in English is a type of construction which consists of an ordinary imperative clause and an ordinary declarative clause connected by the connective and or or. This article deals with the speaker intentions of ICCs and their motivations from a cognitive-pragmatic approach. Based on the concept of construction in cognitive linguistics, an ICC can be called a complex symbolic structure which, though composed of two components, should be regarded as a single pragmatic processing unit. It is demonstrated that, in everyday communication, the ICC can usually convey three kinds of speaker intentions: a prohibitive intention, an inducing/forcing intention, and an advisory intention. The first refers to the intention of the speaker to prohibit the hearer from carrying out the act described by the imperative. The second is the intention of the speaker to induce or force the hearer to bring about the act described by the imperative. The third refers to the intention of the speaker to advise the hearer to carry out the act described by the imperative. These speaker intentions are highly motivated. The motivations include the constructional context, the conditional relation between the imperative and the declarative, the directive force of the imperative, the pragmatic enrichment of the declarative, and the complementary and interactive relationship between the imperative and declarative clauses, among which the constructional context serves as an overall motivation, and the rest may be seen as specific motivations.

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

VIDEO-SHOT TRANSITION DETECTION: A SPATIO-TEMPORAL SALIENCY APPROACH

2010 ◽  
Vol 24 (08) ◽  
pp. 1295-1309 ◽  
Author(s):  
XIAN WU ◽  
JIANHUANG LAI ◽  
PONG C. YUEN
Keyword(s):  
Error Probability ◽  
Spatial Information ◽  
Saliency Map ◽  
Detection Error ◽  
Novel Approach ◽  
Video Shot ◽  
Recent Method ◽  
Temporal And Spatial ◽  
Spatio Temporal ◽  
Shot Transitions

This paper proposes a novel approach for video-shot transition detection using spatio-temporal saliency. Both temporal and spatial information are combined to generate a saliency map, and features are available based on the change of saliency. Considering the context of shot changes, a statistical detector is constructed to determine all types of shot transitions by the minimization of the detection-error probability simultaneously under the same framework. The evaluation performed on videos of various content types demonstrates that the proposed approach outperforms a more recent method and two publicly available systems, namely VideoAnnex and VCM.

scholarly journals Concept of the time in language and text (contextual time markers)

2021 ◽  
Vol 14 (1(14)/2020) ◽  
pp. 143-149
Author(s):  
Natalia Grushina
Keyword(s):  
Foreign Language ◽  
Cognitive Linguistics ◽  
Dimensional Space ◽  
Human Life ◽  
Three Dimensional ◽  
Cognitive Approach ◽  
The Social ◽  
Russian Literary ◽  
Dimensional Space Time ◽  
Perception Of Time

The aim of this paper is to study different time representations in language and text. Time is an abstract category firmly connected to human life, it can be considered to be the fourth dimension of reality, used to describe events in three-dimensional space. Time has been studied from different points of view and in different aspects. The perception of time can vary depending on the social and cultural environment. That is why it is so important to pay special attention to a variety of time representations when studying a foreign language. In this article I consider different time markers represented in language (English and Russian) and contextual time markers we can find in texts for reading comprehension activities at advanced levels when studying Russian as a foreign language. I compare language and contextual time markers using a cognitive approach to text units. As an example, I take time markers from the texts published in a popular Russian literary magazine Novy mir at the turn of the 21 century. Novy mir is a very famous in Russia for its liberal position and history within the dissident movement during Soviet epoch Keywords: concept of time, time markers, text and discourse, cognitive linguistics

The concept «reality» in John Berger’s essay about Vincent Van Gogh as an instrument of fine artworks interpretation

2019 ◽  
Vol 12 (21) ◽  
pp. 141-147
Author(s):  
Tetyana Lunyova ◽  
Keyword(s):  
Cognitive Linguistics ◽  
Conceptual Metaphor ◽  
Critical Discussion ◽  
Cognitive Mechanisms ◽  
Vincent Van Gogh ◽  
The Third ◽  
Artistic Representation ◽  
The World ◽  
Art For Art's Sake ◽  
World Image

The article investigates the interpretative function of the concept REALITY in John Berger’s essay about Vincent van Gogh’s art by applying the methodology of cognitive linguistics. Following Nikolay N. Boldyrev, the interpretative function of the language is considered in the article as the third main linguistic function. The theoretical and methodological foundations of the study are further developed with the idea, which is expressed by several researchers (V. V. Feshchenko, Ye. A. Yelina, U. A. Zharkova), that discourse about art performs an interpretative role. The aim of the study is to reveal the linguo-cognitive mechanisms that enable the concept REALITY to operate as a means of interpretation of van Gogh’s art in Berger’s essay. The research has demonstrated that before the concept REALITY is applied to the analysis of van Gogh’s paintings and drawings, this concept is explicitly interpreted in the essay. The following linguo-cognitive mechanisms are employed to make the content of the concept REALITY clear to the reader: actualization of the commonly known sense «reality is opposed to imagination», critical discussion of this sense, introduction of the conceptual metaphor REALITY IS THE OBJECT THAT SHOULD BE SALVAGED, and actualization of the selected fragments of the philosophical world image as well as scholarly world image, especially the conception of art for art’s sake and the conceptual metaphor REALITY IS SOMETHING THAT LIES BEHIND THE SCREEN CREATED BY THE CULTURE. Thus, having been thoroughly interpreted in the essay, the concept REALITY is used as an instrument of the interpretation of van Gogh’s artistic principles and artworks. The following linguo-cognitive mechanisms support the concept REALITY in its interpretative function: applying the conceptual metaphor REALITY IS SOMETHING THAT LIES BEHIND THE SCREEN CREATED BY THE CULTURE to read van Gogh’s letters, using the conceptual metaphor REALITY IS THE OBJECT THAT SHOULD BE SALVAGED to analyse the facts from the painter’s life, introducing the conceptual metaphor REALITY IS THE CONSUMING ITSELF PHOENIX, actualizing of the concepts WORK and PRODUCTION as the key concepts in the artist’s world image, utilizing the concepts WORK and PRODUCTION to interpret several of van Gogh’s paintings, applying the actualized conception of art for art’s sake to reveal van Gogh’s artistic principles, constructing the conceptual metaphors VAN GOGH’S ART IS APPROACHING THE WORLD and VAN GOGH’S ARTISTIC REPRESENTATION OF REALITY IS DISSOLVING IN REALITY, and constructing the conceptual metaphor VAN GOGH’S PAINTINGS ARE LASERS.

In situ transient study of polymer film growth via simultaneous correlation of charge, mass, and ellipsometric measurements

2008 ◽  
Vol 80 (11) ◽  
pp. 2439-2449 ◽  
Author(s):  
Vojtech Svoboda ◽  
Bor Yann Liaw
Keyword(s):  
Polymer Film ◽  
Quartz Crystal ◽  
Spatial Information ◽  
Film Growth ◽  
Deposition Process ◽  
Imaging Ellipsometry ◽  
Adsorption Reduction ◽  
Temporal And Spatial ◽  
Transient Study

Using three synchronized, in situ, nonintrusive, real-time characterization techniques to conduct transient observations, we revealed mechanistic details of a polymer film growth. A thin methylene green (MG) polymer coating (of the order of 35 nm) was used as a model system in this electrochemical microgravimetric imaging ellipsometry (EmIE) investigation. The direct correlation of changes in mass (via quartz crystal microbalance, QCM), ellipsometric angles (via imaging ellipsometry) with electrochemical conditions (in cyclic voltammetry, CV) provides discrete temporal and spatial information to help us decipher the underlying steps, from which we were able to separate adsorption, reduction, oxidation, desorption, and polymerization regimes involved in the deposition process. The evidence revealed in this study could have broad impact on the general understanding regarding how a film is deposited onto a metal surface.

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