Temporal Experiments: Seven Ways of Configuring Time in Art and Literature conducts an expansive exploration of different modes of timing. Its seven chapters pursue the question of time as it is embodied in key figures that shape both aesthetic and pragmatic life. Working closely with literary, visual, and musical artworks, the book aims to provoke new ways of engaging with the question of time. It treats artworks as experiments that launch temporal figures, and that test out the possibilities and connections these different figures enable. Thus, the book seizes upon works by artists like Anne Carson, King Tubby, and Raymond Queneau as opportunities for thinking through the valence of both existing and untested temporal configurations. What other modes of shaping time, it asks, might be conjured out of the viewing of an Omer Fast film, the reading of a poem by Baudelaire, or of a novel by Tom McCarthy? In treating artworks as temporal experiments, this book stresses the fact that artworks always experiment with the raw materials of time, fashioning it or refashioning it into novel combinations. This book follows the imperatives of these experiments in order to advance a nuanced understanding of the way time insinuates itself into all aspects of social and intellectual life.

Biological rhythmicity has been a subject of scientific research for a relatively short time. In the special case of daily, or circadian rhythms, it is only during the past twenty years that rapidly increasing efforts have been undertaken in evaluat ing properties and mechanisms. As a consequence of these efforts, the study of biological and, in particular, circadian rhythmicity is no longer a somewhat dubious occupation but rather a serious branch of science which combines the interdisciplinary efforts of numerous researchers around the world. The general result of these efforts is that many features of circadian rhythms of many different species of living beings are well known today. In addition to studies with lower organisms, the evaluation of human circadian rhythms was originally more or less a compulsory exercise done in order to extend the "catalogue of species"; of course, the work was of unusual impor tance due to the special position of man in biology. In the course of the very first experimental series, it became clear that humans possess an "internal clock" as had been established in various organisms, protists, plants, and animals, and that human circadian rhythms fit the general regularities of biological rhythms known at that time. However, it soon became apparent that circadian rhythmicity of man shows, additionally, particularities of great general interest, for practical and theoretical reasons.

Every human being is aware of the flow of time. This fact is embodied in the existence of such notions as the past and the future, the two domains being separated from each other by the single moment of the present. While the past is regarded as fixed and definite, the future is viewed as unknown, uncertain, and undetermined. The only perceivable moment is the present, the `now' - the ever-changing point moving from the past into the future. Physics tells us a different story: not only are the vast majority of physical laws time-reversible, but the concept of the `now' itself has no place at all in physics. In other words, the equations of physics do not distinguish between the past and the future and seem to be completely oblivious to the very idea of the present. This book discusses the biological and psychological aspects of perception of time, and the problems related to the determination of location arising from quantum physics, together with comments and opinions from philosophers and physicists.

The critical condition and historical motivation behind Time Studies The concept of time in the post-millennial age is undergoing a radical rethinking within the humanities. Time: A Vocabulary of the Present newly theorizes our experiences of time in relation to developments in post-1945 cultural theory and arts practices. Wide ranging and theoretically provocative, the volume introduces readers to cutting-edge temporal conceptualizations and investigates what exactly constitutes the scope of time studies. Featuring twenty essays that reveal what we talk about when we talk about time today, especially in the areas of history, measurement, and culture, each essay pairs two keywords to explore the tension and nuances between them, from “past/future” and “anticipation/unexpected” to “extinction/adaptation” and “serial/simultaneous.” Moving beyond the truisms of postmodernism, the collection newly theorizes the meanings of temporality in relationship to aesthetic, cultural, technological, and economic developments in the postwar period. This book thus assumes that time—not space, as the postmoderns had it—is central to the contemporary period, and that through it we can come to terms with what contemporaneity can be for human beings caught up in the historical present. In the end, Time reveals that the present is a cultural matrix in which overlapping temporalities condition and compete for our attention. Thus each pair of terms presents two temporalities, yielding a generative account of the time, or times, in which we live.