Space Time And Self

John Campbell shows that the general structural features of human thought can be seen as having their source in the distinctive ways in which we think about space and time.

Gets to the heart of science by asking a fundamental question: what is the true nature of space and time?

Hailed for its lucid presentation, TSK blends reasoning and experiential inquiry to offer a unique path of transformation. A deeply exhilarating book, TSK gives readers a language to ask the questions that conventional training teaches us to ignore. Thirty-five exercises reunite philosophy with direct experience.

Einstein's General Theory of Relativity leads to two remarkable predictions: first, that the ultimate destiny of many massive stars is to undergo gravitational collapse and to disappear from view, leaving behind a 'black hole' in space; and secondly, that there will exist singularities in space-time itself. These singularities are places where space-time begins or ends, and the presently known laws of physics break down. They will occur inside black holes, and in the past are what might be construed as the beginning of the universe. To show how these predictions arise, the authors discuss the General Theory of Relativity in the large. Starting with a precise formulation of the theory and an account of the necessary background of differential geometry, the significance of space-time curvature is discussed and the global properties of a number of exact solutions of Einstein's field equations are examined. The theory of the causal structure of a general space-time is developed, and is used to study black holes and to prove a number of theorems establishing the inevitability of singualarities under certain conditions. A discussion of the Cauchy problem for General Relativity is also included in this 1973 book.

Installation art has modified our relationship to art for over fifty years by soliciting the whole body, demonstrating its sensitivity to space, surroundings, and the living beings with which it is constantly interacting. This book analyses this modification of perception through phenomenological approaches convoking Husserl, Heidegger, Merleau-Ponty, as well as Levinas, Depraz, and the neuroscientist Varela. This theoretical framework is implicit in the various case studies which revisit works that have become classic or emblematic by Carl Andre, Bruce Nauman, Dan Graham; inaugural experiments that remain available only through photographic and written archives by Jean-Michel Sanejouand, Philippe Parreno, as well as the influence of the mode in the realm of music. The book also examines the transference of this Western form to Asia, revealing how it resonates with ancient Asian representations and practices—often associated with the spiritual. The distinct chapters underpin the role of space as a metaframe, the common ground of the various installations. While the nature and agency of space varies—from social, historical space, leisurely or political space, inner psychological space, to shared empty space—these installations reveal the chiasm between the individual body and the outside space. The chapters bear testimony of the process in which the physical journey of the spectator’s body within a material—at times invisible—space and its structural components takes place in time, as a succession of micro-experiences. ‘Installation art as experience of self, in space and time’ adds to the existing literature of art history a level of theoretical, experiential and transcultural analysis that will make this inquiry relevant to both university students and independent researchers in the academic fields of philosophy, psychology, aesthetics, art theory and history, religious and Asian studies.