Although the notion of spatiality has always lurked in the background of discussions of literary form, the self-conscious use of the term as a critical concept is generally traced to Joseph Frank's seminal essay of 1945, "Spatial Form in Modern Literature."1 Frank's basic argument is that modernist literary works are "spatial" insofar as they replace history and narrative sequence with a sense of mythic simultaneity and disrupt the normal continuities of English prose with disjunctive syntactic arrangements. (...) This argument has been attacked on several fronts. An almost universal objection is that spatial form is a "mere metaphor" which has been given misplaced concreteness and that it denies the essentially temporal nature of literature. Some critics will concede that the metaphor contains a half-truth, but one which is likely to distract attention from more important features of the reading experience. The most polemical attacks have come from those who regard spatial form as an actual, but highly regrettable, characteristic of modern literature and who have linked it with antihistorical and even fascist ideologies.2 Advocates of Frank's position, on the other hand, have generally been content to extrapolate his premises rather than criticize them, and have compiled an ever-mounting list of modernist texts which can be seen, in some sense, as "antitemporal." The whole debate can best be advanced, in my view, not by some patchwork compromise among the conflicting claims but by a radical, even outrageous statement of the basic hypothesis in its most general form. I propose, therefore, that far from being a unique phenomenon of some modern literature, and far from being restricted to the features which Frank identifies in those works , spatial form is a crucial aspect of the experience and interpretation of literature in all ages and cultures. The burden of proof, in other words, is not on Frank to show that some works have spatial form but on his critics to provide an example of any work that does not. · 1. Frank's essay first appeared in Sewanee Review 53 and was revised in his The Widening Gyre . Frank's basic argument has not changed essentially even in his most avante-garde statements; he still regards spatial form "as a particular phenomenon of modern avante-garde writing." See "Spatial Form: An Answer to Critics," Critical Inquiry 4 : 231-52. A useful bibliography, "Space and Spatial Form in Narrative," is being complied by Jeffrey Smitten .· 2. This charge generally links the notion of spatial form with Wyndham Lewis and Ezra Pound, the imagist movement, the "irrationality" and pessimistic antihistoricism of modernism, and the conservative Romantic tradition. Frank discusses the complex motives behind these associations in the work of Robert Weimann and Frank Kermode in his "Answer to Critics," pp. 238-48. W. J. T. Mitchell, editor of Critical Inquiry, is the author of Blake's Composite Art, and The Last Dinosaur Book: The Life and Times of a Cultural Icon. The present essay is part of Iconology: The Image in Literature and the Visual Arts. "Diagrammatology" appeared in the Spring 1981 issue of Critical Inquiry. Leon Surette responds to the current essay in "‘Rational Form in Literature’". (shrink)

One measure of the validity of [Joseph] Frank's insight is the extent to which other versions of his ideas appear in other contexts: for if "spatial form" refers to something real, it cannot have escaped notice by other readers. One thinks, for example, of Northrop Frye's description of the critic viewing all the elements of the poem as a simultaneous array before him; or of Gaston Bachelard's evocative descriptions of The Poetics of Space. Or Pound's interest in ideographic (...) script; or the frequent critical association of modern literature with impressionist painting. Or Eliot's poet synthesizing Spinoza, the sound of the typewriter, and the smell of cookery into a unified whole. Or—at the root of it all, perhaps—Poe's insistence on the unified effect of the story or poem.1 All of these instances reflect a more or less casual assumption of the basic premise of Frank's essay. More recently another critic, Frank Kermode, has offered an alternative description of this general problem. In The Romantic Image2 he assesses symbolist poetic theory; here the verbal image , autonomous and autotelic, presumably unites meaning and feeling without intervening reflection or discourse: the "image" so hypostatized seems very close to a "spatial" form, and certainly the suppression of discourse, of reflection generally, follows from the disruption of syntax and narrative that results from the impulse toward "spatial" effects. Provisionally, we might say that Joseph Frank's essay is grounded in an essentially formalist conception of the literary work as artifact, and that the striking features of his argument result from an attempt to assimilate extended works to a theory basically lyric in its orientation: as corollary, we must assume that the modern writers he cites had themselves operationally defined the concept in the course of their writing. · 1. Northrop Frye, "Literary Criticism," in The Aims and Methods of Scholarship in Modern Languages and Literature, ed. James Thorpe , p.65. See also Fables of Identity: Studies in Poetic Mythology , p. 21. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas . Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound . T.S. Eliot, "The Metaphysical Poets," Selected Essays , p. 247. Edgar Allan Poe, review of Twice-Told Tales, in Works, 17 vols., ed. James A. Harrison 11: 104-13.· 2. Frank Kermode, The Romantic Image . William Holtz, professor of English at the University of Missouri-Columbia, is currently preparing an edition of an unpublished juvenile manuscript by Charlotte Brontë. (shrink)

Novels in general use three different modes of reporting: narration, dialogue and description. Understanding that even with a given mode, such as the description of a stone, the relation between the diachronic flow of language and the synchronic focus of attention can be manipulated, we can still note that in general narration reports occurrences in a reading time considerably less than actual time. , dialogue reports occurrence in a reading time roughly congruent with actual time , and description reports occurrences (...) in a reading time considerably greater than actual time . Thus, in the interweaving of narration, dialogue and description a narrative not only defamiliarizes what it reports but guides the reader's consciousness through rhythms of correspondence between reading time and actual time. As long as we do not stay entirely in one mode—and we never do—these rhythms adjust the movement of our consciousness so that unconsciously at least we more or less approach synchronicity, depending on the particular techniques—but we never achieve it. Spatial form may be thought of as a tendency, but in ordinary language it is never achieved. Eric S. Rabkin is professor of English at the University of Michigan at Ann Arbor. The author of Narrative Suspense, The Fantastic in Literature, and many articles on science fiction, he is also the coauthor of Form in Fiction and Science Fiction: History, Science, Vision. He contributed "Metalinguistics and Science Fiction" to the Autumn 1979 issue of Critical Inquiry. (shrink)

My own contribution relates to twentieth-century literature, where "spatialization" enters so fundamentally into the very structure of language and the organization of narrative units that, as [Frank] Kermode is forced to concede, "Frank says quite rightly that a good deal of modern literature is designed to be apprehended thus." His deals with the literature of the past, where "spatialization" was still the tendency which had by no means yet emerged in as radical a manner as in modernity. Both may be (...) seen, and should be seen, as part of a unified theory which has the inestimable advantage of linking experimental modernism with the past in an unbroken continuity, and in viewing the present, not as a break, but rather as a limit-case, an intensification and accentuation of potentialities present in literature almost from the start. One of Kermode's essential aims, in The Sense of an Ending, was precisely to argue in favor of continuity and to reject the schismatic notion that a clean break with the past was either desirable or possible. It seems to me that he succeeded better than he knew, and that in polemicizing with spatial form" he merely perpetuates a schism which the deeper thrust of his own ideas has done much to reveal as nugatory and obsolete. Joseph Frank is professor of comparative literature and director of the Christian Gauss seminars in criticism at Princeton University. His many important contributions include The Widening Gyre: Crisis and Mastery in Modern Literature and Dostoevsky: The Seeds of Revolt, 1821-1849, for which he received the James Russell Lowell Prize of the MLA. (shrink)

It is obvious that the closer the structure of a narrative conforms to causal-chronological sequence, the closer it corresponds to the linear-temporal order of language. It is now equally obvious, however, that such correspondence is contrary to the nature of narrative as an art form. Indeed, it is clear that all through the history of the novel a tension has existed between the linear-temporal nature of its medium and the spatial elements required by its nature as a work (...) of art. Most of what are known as the "formal conventions" of the novel are an implicit agreement between writer and reader not to pay attention to this disjunction and to overlook the extent to which it exists. Shklovsky provocatively called Tristram Shandy the most "typical" novel in world literature because it "laid bare" all the conventions, whose nature as conventions had become imperceptible through long familiarity, employed by the form. Joseph Frank, professor of comparative literature and director of the Christian Gauss seminars in criticism at Princeton University, received the James Russell Lowell Prize of the MLA for Dostoevsky: The Seeds of Revolt, 1821-1849, the first volume of his four-volume biography. Frank's original article on spatial form in modern literature appeared in Sewanee Review ; the essay was later revised and incorporated in his The Widening Gyre: Crisis and Mastery in Modern Literature. (shrink)

The corner space, an important area of underground commercial streets, not only converts space functions but also exerts a great impact on the space atmosphere by transforming the environmental quality of the commercial street space. Based on corner space investigations of several underground commercial streets in China, this paper constructs a realistic scene model using virtual reality technology and screens. This paper classifies the corner space elements of underground commercial streets through preliminary experiments. Based on the conclusions, different morphological models (...) of the corner space were constructed by orthogonal experiments and virtual reality technology combined with psychology. A semantic differential was used to quantitatively evaluate and analyze the spatial experience cognition of the subjects. This enabled an analysis of the of underground commercial street corners’ relationship to the component elements and the visitors’ psychological perception of their spatial form. (shrink)

The cortical visual mechanisms involved in processing spatial relationships remain subject to debate. According to one current view, the ''dorsal stream'' of visual areas, emanating from primary visual cortex and culminating in the posterior parietal cortex, mediates this aspect of visual processing. More recently, others have argued that while the dorsal stream provides egocentric coding of visual location for motor control, the separate ''ventral'' stream is needed for allocentric spatial coding. We have assessed the visual form agnosic (...) patient DF, whose lesion mainly affects the ventral stream, on a prehension task requiring allocentric spatial coding. She was presented with transparent circular disks. Each disk had circular holes cut in it. DF was asked to reach out and grasp the disk by placing her fingers through the holes. The disks either had three holes (for forefinger, middle finger, and thumb) or two holes (for forefinger and thumb). The distance between the forefinger and thumb holes, and the orientation of the line formed by them, were independently varied. DF was quite unable to adjust her grip aperture or her hand orientation in the three-hole task. Although she was able to orient her hand appropriately for the two-hole disks, she still remained unable to adjust her grip aperture to the distance between the holes. These findings are consistent with the idea that allocentric processing of spatial information requires a functioning ventral stream, even when the information is being used to guide a motor response. (shrink)

Previous chapter During the 1900s and the 1910s, the rhythm became the subject of a fierce debate between the Swiss-German and Austrian schools of art history. Rhythm which had been considered by the former as a form of process was now redefined by the latter as a spatial form. To better assess this controversy, I will first expose the position of the main opponent to Wölfflin and Schmarsow: the Austrian art historian Alois Riegl - Esthétique – Nouvel (...) article. (shrink)

This article examines the spatialization of sleep in Victorian Britain across a range of institutions, including homes and dormitories. It situates the emergence of modern sleeping space at the intersection of two key narratives regarding the history of the body: Elias's `civilising process' and Foucault's account of the realization of a `disciplinary society'. Beginning in the early modern period, sleeping bodies were gradually accorded their own space set apart from others, and by the end of the 19th century the individual (...) bed was regarded as an essential ingredient of civilized society. However, the evolution of modern sleeping space was only in part informed by ideas of privacy and civility: it was also animated by ideas concerning the functioning of `normal' bodies and minds, the governmental agency of space and the moral integrity of nuclear families. Furthermore, the bed remained a highly problematic, indeterminate space, facilitating deviant as much as civilized behaviour, and giving rise to all manner of pathologies, perversities and phobias. In this respect, the history of sleeping space also sheds light on the reciprocities of rule and resistance, pleasure and power, which at once constitute and imperil the integrity of the modern body. (shrink)

Entropy is one of the physical bases for the fractal dimension definition, and the generalized fractal dimension was defined by Renyi entropy. Using the fractal dimension, we can describe urban growth and form and characterize spatial complexity. A number of fractal models and measurements have been proposed for urban studies. However, the precondition for fractal dimension application is to find scaling relations in cities. In the absence of the scaling property, we can make use of the entropy function (...) and measurements. This paper is devoted to researching how to describe urban growth by using spatial entropy. By analogy with fractal dimension growth models of cities, a pair of entropy increase models can be derived, and a set of entropy-based measurements can be constructed to describe urban growing process and patterns. First, logistic function and Boltzmann equation are utilized to model the entropy increase curves of urban growth. Second, a series of indexes based on spatial entropy are used to characterize urban form. Furthermore, multifractal dimension spectra are generalized to spatial entropy spectra. Conclusions are drawn as follows. Entropy and fractal dimension have both intersection and different spheres of application to urban research. Thus, for a given spatial measurement scale, fractal dimension can often be replaced by spatial entropy for simplicity. The models and measurements presented in this work are significant for integrating entropy and fractal dimension into the same framework of urban spatial analysis and understanding spatial complexity of cities. (shrink)

W. J. T. Mitchell's "Spatial Form in Literature: Toward a General Theory" (Critical Inquiry 6 [Spring 1980]: 539-67) raises some fundamental questions about the concept of form itself and makes some large claims for the centrality of spatial form not only in modern criticism but in our entire culture. I wish to address a few of the questions raised by his discussion. First, Mitchell posits an identity between spatial form and "synchronic structural models" (...) as if all explanatory models abstracted from temporal alteration were necessarily spatial. (shrink)

This article argues against the concept of integration as the main mechanism allowing various sociocultural groups to live together and instead proposes ‘radical inclusivity’ as a better, less oppressive model of a pluralistic society. Through analytical and reflective research on the non-cohesion-based approach to integration or inclusion, this article is devoted to examining the affordances and limitations of integration through various forms of spatial interventions. As an example, we will discuss the Ellesmere Green Project in Sheffield (UK) as a (...) typical small urban regeneration executed in a highly diverse part of Sheffield. This piece aims to bring forward the significance of moving beyond the community-as-cohesion model in urban politics and planning for integration. (shrink)

Spatial semiosis differs from temporal one by its structural and functional peculiarities. Meaningful relations between units of spatial texts are not ordered along of temporal axe and do not need time in their form of expression. However time remains an important factor for both: being of the spatial semiosis in the external time and being of time in the spatial texts as object of representation. In the contrast to temporal communication, where acts receiving of texts (...) must be synchronized with the acts of their (re)production, spatial semiosis is built as a diachronic process, dividing in time from two separate acts: creating and perceiving. This structural peculiarity allows to connect people from different temporal periods and gives to spatial semiosis the function of irreplaceable means for cultural memory. Excluding time from the semiotic form of their plane of expression, spatial texts have some rules of presentation in time and semiotic means for representation of temporal order and duration in their plane of contents. There are different means of representation of time in the spatial forms: the projection of temporal structures on the spatial ones, concentration of different moments in one state, etc. (shrink)

Spatial semiosis differs from temporal one by its structural and functional peculiarities. Meaningful relations between units of spatial texts are not ordered along of temporal axe and do not need time in their form of expression. However time remains an important factor for both: being of the spatial semiosis in the external time and being of time in the spatial texts as object of representation. In the contrast to temporal communication, where acts receiving of texts (...) must be synchronized with the acts of their (re)production, spatial semiosis is built as a diachronic process, dividing in time from two separate acts: creating and perceiving. This structural peculiarity allows to connect people from different temporal periods and gives to spatial semiosis the function of irreplaceable means for cultural memory. Excluding time from the semiotic form of their plane of expression, spatial texts have some rules of presentation in time and semiotic means for representation of temporal order and duration in their plane of contents. There are different means of representation of time in the spatial forms: the projection of temporal structures on the spatial ones, concentration of different moments in one state, etc. (shrink)

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 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 temporal cognitive. 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. (shrink)

Spatial Practices makes a timely and significant contribution to the growing literature on social/spatial theory. In it the notion of spacial practice takes on a rich and layered meaning for some of America's leading scholars as they critically link the theoretical practices of the space of their disciplines to the practical social space of everyday political and economic urban life. Original essays provide compelling insights into the space of racial politics, the unavoidability of recognizing a radical planning practice, (...) and the imagistic face of the contemporary "figured" city. The reader will find rich conceptual tools presented in discussions that grapple with issues raised by the production of reduced public space in common interest developments and the ubiquitous mall, the ideologies of economic restructuring, the rhetorical politics of urban revitalization, and the analytic potential of the photo/text. Students and scholars interested in how spatial theory has enriched and renewed urban theory will find Spatial Practices invaluable. It will be useful in a wide range of classes across disciplines including urban studies, urban planning, architecture, political science, sociology, geography, economics, and policy studies. "This collection explores the exciting analytical edge where investigations of urban political economy converge with cultural studies. In their exploration of theory and practice as they relate to the production of space, the authors cover a dazzling range of topics. Yet despite their varying preoccupations, the essays merge into a unified inquiry that reveals the functions and meanings of contemporary spatial forms. All those who are interested in the forces shaping urban and regional development, as well as in the impact of space on social relations, must read this book. (shrink)

Spatial language is an important predictor of spatial skills and might be inspired by peer interaction and goal-oriented building behaviors during block play. The present study investigated the frequency, type and level of children’s spatial language during block play and their associations with the level of block play by observing 228 young children in classrooms equipped with unit blocks and allowing free play on a daily basis. The findings showed that during block play, young children used more (...) words about spatial locations, deictic terms, dimensions, and shapes and fewer words about spatial features or properties and spatial orientations or transformations. Spatial locations were used most frequently, and young children tended to use vertical location words to represent the corresponding location. Most young children used gestures in conjunction with spatial deictic terms. Among shape words, tetragon words were frequently used, and the representation of spatial shapes showed alternatives, collective tendencies and gender differences. The use of spatial language during the play process had a significant positive correlation with age, the construction structure, and form of block building. (shrink)

Block building is a popular play activity among young children and is also used by psychologists to assess their intelligence. However, little research has attempted to systematically explore the cognitive bases of block-building ability. The current study (N= 66 Chinese preschoolers, 32 boys and 34 girls; mean age = 4.7 years, SD = 0.29, range = 3.4 to 5.2 years) investigated the relationships between six measures of spatial skills (shape naming, shape recognition, shape composition, solid figure naming, cube transformation, (...) and mental rotation, with the former four representing form perception and the latter two representing visualization) and block-building complexity. Correlation results showed that three of the four measures of form perception (shape naming, shape recognition, and shape composition) were significantly and positively correlated with block-building complexity, whereas the two measures of visualization were not. Results from regression models indicated that shape recognition and shape composition, as well as shape-recognition-by-gender interaction, were unique predictors of children’s block-building complexity. These findings provide preliminary evidence for the basic spatial skills underlying children’s block-building complexity and have implications for classroom instructions aimed at improving preschoolers’ block-building complexity. (shrink)

Spatial mental representations can be derived from linguistic and non‐linguistic sources of information. This study tested whether these representations could be formed from statistical linguistic frequencies of city names, and to what extent participants differed in their performance when they estimated spatial locations from language or maps. In a computational linguistic study, we demonstrated that co‐occurrences of cities in Tolkien’s Lord of the Rings trilogy and The Hobbit predicted the authentic longitude and latitude of those cities in Middle (...) Earth. In a human study, we showed that human spatial estimates of the location of cities were very similar regardless of whether participants read Tolkien’s texts or memorized a map of Middle Earth. However, text‐based location estimates obtained from statistical linguistic frequencies better predicted the human text‐based estimates than the human map‐based estimates. These findings suggest that language encodes spatial structure of cities, and that human cognitive map representations can come from implicit statistical linguistic patterns, from explicit non‐linguistic perceptual information, or from both. (shrink)

It remains controversial whether touch is a truly spatial sense or not. Many philosophers suggest that, if touch is indeed spatial, it is only through its alliances with exploratory movement, and with proprioception. Here we develop the notion that a minimal yet important form of spatial perception may occur in purely passive touch. We do this by showing that the array of tactile receptive fields in the skin, and appropriately relayed to the cortex, may contain the (...) same basic informational building blocks that a creature navigating around its environment uses to build up a perception of space. We illustrate this point with preliminary evidence that perception of spatiotemporal patterns on the human skin shows some of the same features as spatial navigation in animals. We argue (a) that the receptor array defines a ‘tactile field’, (b) that this field exists in a minimal form in ‘skin space’, logically prior to any transformation into bodily or external spatial coordinates, and (c) that this field supports tactile perception without integration of concurrent proprioceptive or motor information. The basic cognitive elements of space perception may begin at lower levels of neural and perceptual organisation than previously thought. (shrink)

The thresholds of human observers detecting line targets improve significantly when the targets are presented in a spatial context of collinear inducing stimuli. This phenomenon is referred to as spatial facilitation, and may reflect the output of long-range interactions between cortical feature detectors. Spatial facilitation has thus far been observed with luminance-defined, achromatic stimuli on achromatic backgrounds. This study compares spatial facilitation with line targets and collinear, edge-like inducers defined by luminance contrast to spatial facilitation (...) with targets and inducers defined by color contrast. The results of a first experiment show that achromatic inducers facilitate the detection of achromatic targets on gray and colored backgrounds, but tend to suppress the detection of chromatic targets. Chromatic inducers facilitate the detection of chromatic targets on gray and colored backgrounds, but tend to suppress the detection of achromatic targets. Chromatic spatial facilitation appears to be strongest when inducers and background are isoluminant. The results of a second experiment show that spatial facilitation with chromatic targets and inducers requires a longer exposure duration of the inducers than spatial facilitation with achromatic targets and inducers, which is already fully effective at an inducer exposure of 30 ms only. The findings point towards two separate mechanisms for spatial facilitation with collinear form stimuli: one that operates in the domain of luminance, and one that operates in the domain of color contrast. These results are consistent with neural models of boundary and surface formation which suggest that achromatic and chromatic visual cues are represented on different cortical surface representations that are capable of selectively attracting attention. Multiple copies of these achromatic and chromatic surface representations exist corresponding to different ranges of perceived depth from an observer, and each can attract attention to itself. Color and contrast differences between inducing and test stimuli, and transient responses to inducing stimuli, can cause attention to shift across these surface representations in ways that sometimes enhance and sometimes interfere with target detection. (shrink)

How far can one ascribe a spatial meaning to pain? When I have a pain, for instance, in my leg, how should one understand the “in” in the “pain in my leg”? I argue (contrary to Noordhof) that pain does have a spatial meaning, but (contrary to Tye) that the spatiality of pain is not to be understood in the standard sense of spatial enclosure. Instead, spatiality has a special meaning with regard to pain. By defining pain (...) in phenomenological terms as a disturbed form of bodily perception, I contend that the “in” in “pain in my body” has a dual spatial meaning: firstly, it signifies my internal perceptual relation to a disturbing part of my body; secondly, it denotes the external perceptual relation to my environment that the disturbance forces me to take. Once the spatiality of pain is understood in terms of such a perceptual relation, it is not restricted to localisable hurts, but pertains to all forms of pain, such as affliction and agony. South African Journal of Philosophy Vol. 25 (4) 2006: pp. 336-349. (shrink)

I explore two views about the relationship between spatial experience and spatial reality: spatial functionalism and spatial presentationalism. Roughly, spatial functionalism claims that the instantiated spatial properties are those playing a certain causal role in producing spatial experience while spatial presentationalism claims that the instantiated spatial properties include those presented in spatial experience. I argue that each view, in its own way, leads to an ontologically inflationary form of primitivism: (...) whereas spatial functionalism leads to primitivism about phenomenal representation, spatial presentationalism leads to primitivism about spatial properties. I conclude by discussing how to adjudicate between spatial functionalism and spatial presentationalism. (shrink)

Kant claims repeatedly that experience involves sensations being ‘ordered and placed’ in space. This paper considers what this surprising claim could possibly mean. After presenting the relevant textual evidence and rejecting two candidate interpretations of it, I defend a qualia or ‘mental paint’ interpretation, according to which experience involves a direct, conscious ‘acquaintance’ with sensations arrayed in a ‘phenomenal space.’ This interpretation allows us to take literally many of Kant's claims about sensation: that it is the matter of both intuition (...) and appearance, that we are conscious of sensation in perception, and that sensible qualities like color are sensations. (shrink)

The iterated Prisoner’s Dilemma has become the standard model for the evolution of cooperative behavior within a community of egoistic agents, frequently cited for implications in both sociology and biology. Due primarily to the work of Axelrod (1980a, 198Ob, 1984, 1985), a strategy of tit for tat (TFT) has established a reputation as being particularly robust. Nowak and Sigmund (1992) have shown, however, that in a world of stochastic error or imperfect communication, it is not TFT that finally triumphs in (...) an ecological model based on population percentages (Axelrod and Hamilton 1981), but ‘generous tit for tat’ (GTFT), which repays cooperation with a probability of cooperation approaching 1 but forgives defection with a probability of l/3. In this paper, we consider a spatialized instantiation of the stochastic Prisoner’s Dilemma, using two-dimensional cellular automata (Wolfram, 1984, 1986; Gutowitz, 1990) to model the spatial dynamics of populations of competing strategies. The surprising result is that in the spatial model it is not GIFT but still more generous strategies that are favored. The optimal strategy within this spatial ecology appears to be a form of ‘bending over backwards’, which returns cooperation for defection with a probability of 2/3 - a rate twice as generous as GTFT. (shrink)

Designed to be a high-level, approachable resource for engineers who need further insight into spatial temporal information systems from an ontological perspective, Spatial Temporal Information Systems: An Ontological Approach using STK® explains the dynamics of objects interaction from signal analysis to trajectory design, spatial modeling, and other spatial analytics by using STK®, which is a general-purpose modeling and analysis application for any type of space, defense, or intelligence system. Building a foundation to begin the study of (...) spatial temporal information systems, the book details a form of analysis that is a powerful tool for modeling, engineering, and operations of space, cyberspace, satellites, missile defense, and electronic systems. It discusses the many applications of space technologies by using a mission-proven software for timely and cost-effective development that serves public interests in civil, commercial, academic, national, and international space communities. Written for readers with a background in physics or engineering, the book is also designed for the beginning analyst sitting behind a desk who needs more information on STK. Upon reading this book, STK new users and power users will not only understand what the tools are, but also how the software can be used to make their job easier. In addition, satellite operators and analysts benefit from the ability to utilize a variety of propagators satellite applications. Analytics, semi-analytic and numerical integrators are discussed, including Keplerian orbital elements and full numerical integration of STK’s High Precision Orbit Propagation or simplified as a two-body analysis. This tool, as well as this book, will bring breadth and depth to the understanding of systems dynamics and the ontology of objects in relationship to other objects and vehicles including central bodies. (shrink)

A continuous spatial automaton is analogous to a cellular automaton, except that the cells form a continuum, as do the possible states of the cells. After an informal mathematical description of spatial automata, we describe in detail a continuous analog of Conway’s “Life,” and show how the automaton can be implemented using the basic operations of field computation.

Research on urban agglomerations from the perspective of network spatial structure is important to promote their sustainable development. Based on online and traditional data, this paper first improves three aspects of the traditional spatial gravity model—city quality, the gravitation coefficient, and city distance—considering urban center functional intensity and population mobility tendencies. The resulting improved directional gravity model is applied to analyze the structure of the city network for two urban agglomerations in China, the Beijing-Tianjin-Hebei urban agglomeration and the (...) Yangtze River Delta urban agglomeration. The results of the study are as follows: the existing urban connections have obvious hierarchies and imbalances, with the YRDUA urban hierarchical connections being of larger scale. Cities are closely connected, but city networks are unbalanced, though the YRDUA has more balanced urban development. Each node city has a clear radiation range limit, and spatial distance remains an important constraint on urban connections. The backbone network of the BTHUA has a triangular shape and trends toward a “sparse north and dense south,” while the YRDUA is characterized by multiple axes and an overall distribution that trends toward a “dense north and sparse south.” Cities with poor comprehensive strength are more likely to be captured, forming an attract and be attracted relationship. The BTHUA and the YRDUA each form three communities. (shrink)

Space is a product of semiosis. It is a condition pertinent to an organism’s semiotic freedom, which is articulated by the organism as a consequence of its capacity to manipulate the world in the course of its unfolding interaction with its environment. Spatial configuration is thus the result of agency inherent in the organism-in-its-environment. Space, a consequence of social cohesion, is effected through constraints and processes of enaction which are semiotic. These processes are productive and offer architects a novel (...) means by which to configure space, which they should embrace to articulate the nature of inhabitation. The model presented identifies activity as the essential building block to the generation of form. Modelled as a form of artificial life, swarm-like components, referred to as ‘actants’, represent discrete activities and self-configure according to differences in the environment they detect, to form a body-of-swarms. Thus, depicting the spatiality of being. (shrink)

This study aims to contribute to the research on spatial metaphors for morality from the perspective of Chinese. It outlines the linguistic patterns in Chinese that manifest the putative underlying spatial subsystem of moral metaphors, which can be summarized by a central metaphor “MORALITY IS SPATIALITY.” In doing so, it focuses on 17 spatial words that instantiate in real-life discourses five pairs of moral–spatial metaphors in their positive and negative valence. The total of 10 metaphors under (...) study forms a cluster as the spatial metaphor subsystem operating in conjunction and connection with other metaphor subsystems in our moral cognition. It is suggested that the 10 conceptual metaphors emerge from four image schemas: UP-DOWN, BALANCE, PATH, and OBJECT. A unified schematic configuration is proposed to lay out the spatial elements and relations represented by the four image schemas in a single diagram. Based on its linguistic analysis, the study also provides a list of prototypical target as... (shrink)

How far can one ascribe a spatial meaning to pain? When I have a pain, for instance, in my leg, how should one understand the “in” in the “pain in my leg”? I argue (contrary to Noordhof) that pain does have a spatial meaning, but (contrary to Tye) that the spatiality of pain is not to be understood in the standard sense of spatial enclosure. Instead, spatiality has a special meaning with regard to pain. By defining pain (...) in phenomenological terms as a disturbed form of bodily perception, I contend that the “in” in “pain in my body” has a dual spatial meaning: firstly, it signifies my internal perceptual relation to a disturbing part of my body; secondly, it denotes the external perceptual relation to my environment that the disturbance forces me to take. Once the spatiality of pain is understood in terms of such a perceptual relation, it is not restricted to localisable hurts, but pertains to all forms of pain, such as affliction and agony. (shrink)

I highlight a neglected but striking phenomenological fact about our experiences: they have a pervasively spatial character. Specifically, all (or almost all) phenomenal qualities – roughly, the introspectible, philosophically puzzling properties that constitute ‘what it’s like’ to have an experience – introspectively seem instantiated in some kind of space. So, assuming a very weak charity principle about introspection, some phenomenal qualities are instantiated in space. But there is only one kind of space – the ordinary space occupied by familiar (...) objects. And the only objects appropriately located in ordinary space are outside the subject’s mind. This entails experiential externalism, the view that at least one phenomenal quality is instantiated outside the subject’s mind. Experiential externalism is incompatible with many leading theories of experience, including certain mental paint theories; some forms of representationalism; paradigmatic versions of sense-datum theory; and views on which no phenomenal qualities are instantiated. My argument is structurally similar to familiar arguments based on the ‘transparency of experience.’ However, I suggest, phenomenological intuitions about spatiality are considerably more stable than phenomenological intuitions about transparency. For many philosophers, transparency intuitions fade markedly with respect to non-standard experiences, including experiences associated with blurry or double vision. But spatiality intuitions remain robust even for these experiences. Thus, spatiality intuitions should be more dialectically effective than transparency intuitions for supporting experiential externalism. (shrink)

The paper applies phenomenological method to the analysis of perception of landscapes and other spatial formations. A spatial formation is seen as a region of space, or a territory, with its specific meaning that is experienced by the subject who views it. Husserl’s theory of meaning-formation is used to clarify how spatial formations obtain meanings that define them as landscape, home, or country. It is suggested that besides the subject’s position and the series of perceptions of objects, (...) the decisive element that determines the meaning of the specific spatial formation is what Husserl calls a “grasping sense” . It defines the gaze specific to a particular spatiality. When the “grasping sense” becomes intersubjectively valid and institutionalized, it obtains the status of a cultural form which functions as a meaning-bestowing automaton for interpreting the world for entire societies. Finally it is argued that the spatiality specific to human Umwelten serves the purpose of creating and maintaining meanings that would otherwise disappear in the flux of time.Keywords: perception of landscapes, spatial formations, phenomenological method, grasping sense, cultural form. (shrink)

In the present essay I address the apparently problematic status of epistemology in F.W.J. Schelling’s work. Given the overblown emphasis on Schelling’s anti-Kantianism, there would seem to be little hope in articulating anything like a theory of knowledge in Schelling’s thought. For the sake of brevity I emphasize knowledge’s spatial and navigational functions in Schelling’s texts. For Schelling, the navigational is that which locates, and constructively constrains, the capacity of the subject to synthesize. This is accomplished, I argue, via (...) a spatialized reading of Schelling’s concept of intellectual intuition. While this form of intuition initially resembles that of Fichte’s, Schelling transforms the term, using it in tandem with construction, in order to maintain both the sensory immediacy, yet abstract form, of intuition as the initial means a knowing subject, immersed in the activities of nature, comes to recognize its own capacities and begins to form claims about the world. (shrink)

Summary The paper argues that all emotions possess a spatial and objective, social character. We can gain access to them only insofar as we are affected by them in a felt-bodily way. Therefore, we need a conception of felt embodiment if we are to achieve a philosophical understanding of the spatial character of emotions. Different phenomena, ranging from the atmospheres of landscapes to shared and individual emotions, illustrate the theses concerning the spatiality of emotions and atmospheres, exemplified by (...) the social contrast of emotions, among other things. The next step clarifies why we should distinguish between the emotion itself and the felt-bodily affection by the emotion. By means of distinctions between two types of felt-bodily or corporeal interaction, a unipolar and a bipolar form, we can gain a better understanding of the spatial character of emotions but also how resonances of emotions work. One result of our examination is that we can explain why positive collective emotions become more intense through shared bodily experience. (shrink)

This article offers an analysis of the cognitive role of diagrammatic movements in the theater. Based on the recognition of a theatrical work’s inherent ability to provide new insights concerning reality, the article concentrates on the way by which actors’ movements on stage create spatial diagrams that can provide new insights into the spectators’ world. The suggested model of theater’s epistemology results from a combination of Charles S. Peirce’s doctrine of diagrammatic reasoning and David Lewis’s theoretical account of the (...) truth value of counterfactual conditionals. I argue that in several theatrical works – in particular those whose central image is dominated by movements – the relation of what Lewis names “comparative overall similarity” between the fictional and the actual world is based on diagrammatic homology. The cognitive process involved in deciphering them is, hence, based on diagrammatic reasoning. The main emphasis of the analysis is on the previously unnoticed but important cognitive role of observation in the theater: the idea that observation takes an active role in the reasoning process that enables the spectators to form new knowledge about their actual world. Samuel Beckett’s plays Quad and Come and Go serve here as case studies. (shrink)

A theory of how concept formation begins is presented that accounts for conceptual activity in the first year of life, shows how increasing conceptual complexity comes about, and predicts the order in which new types of information accrue to the conceptual system. In a compromise between nativist and empiricist views, it offers a single domain-general mechanism that redescribes attended spatiotemporal information into an iconic form. The outputs of this mechanism consist of types of spatial information that we know (...) infants attend to in the first months of life. These primitives form the initial basis of concept formation, allow explicit preverbal thought, such as recall, inferences, and simple mental problem solving, and support early language learning. The theory details how spatial concepts become associated with bodily feelings of force and trying. It also explains why concepts of emotions, sensory concepts such as color, and theory of mind concepts are necessarily later acquisitions because they lack contact with spatial descriptions to interpret unstructured internal experiences. Finally, commonalities between the concepts of preverbal infants and nonhuman primates are discussed. (shrink)

Corporeality: Emergent consciousness within its spatial dimensions develops our understanding of what we can experience through our bodies in relation to the space around us. Rather than considering architecture as being about manifestation and mediation of fixed meanings, the book focuses instead on architectural space as a field that envelopes us incessantly, intimately, and affectively. We are in immediate contact with that space, and the way we relate to it determines how we are able to grasp the realities of (...) the social and material worlds around us. This enquiry considers architectural space and its impact on and relation to us from a range of disciplines and perspectives, leading from space to sense and to sensibility. The theatre becomes a central point of reference on this journey, allowing us to understand how space “works” by linking concrete spatial conditions to corresponding “forms of experience”. It allows showing how the ways we feel, think, and act emerge from within the rich texture of the pre-conscious and non-contemplative. That texture is induced and nourished by our bodily encounters with space. Offering a view of how immediate experience is generated in the body, this book enhances empirical research into the links between space, body, experience and consciousness. Maya Nanitchkova Öztürk is Associate Professor in Theory and Criticism of Architecture. Her academic interests and publications focus on space-body relationships and experience of space/place, as grounds for developing analytical methodologies and interdisciplinary links in discourse, and teaching. She works at Bilkent University (Ankara), Faculty of Art, Design and Architecture, Department of Interior Architecture and Environmental Design. She is on the editorial boards of ISI journal Space and Culture, and the web-journal Consciousness, Literature and the Arts. (shrink)

La recente esperienza dei movimenti “Occupy” e di altre proteste di strada evidenzia la domanda globale per una democrazia partecipativa che riconosca il conflitto sociale. L’emergere di un urbanismo insorgente a Tehran si è realizzato anche attraverso associazioni semantiche che dipendono dalla memoria storica presente nell’immaginazione collettiva. Durante la Rivoluzione Islamica del 1978-79, luoghi di Tehran quali Enqelab Street e Azadi Square hanno fornito le principali dimensioni spaziali della protesta rendendo possibile una sua appropriazione basata su nuove interpretazioni ideologiche. Inoltre, (...) le precedenti geografie della protesta a Tehran hanno fornito lo spazio primario per connettere gli attivisti con la gente comune e attivare una memoria collettiva inserita nel contesto urbano. Concentrandosi sulla Tehran moderna, questo articolo mira a elaborare un quadro teorico per comprendere le “piazze della protesta” come forme emergenti di spazio politico. In particolare, l’articolo si focalizza sul movimento “Take the square”, sviluppatosi a Tehran in anni recenti come un utile termine di paragone nel contesto della diffusione generale del fenomeno degli spazi urbani centrali che divengono “spazialita del malcontento”. (shrink)

This article provides a spatial analysis of the types of microspaces, or Cultural Time Zones (CTZs), that constitute the narrative universes of chick lit from South Africa, China and India. I argue that although these books take place in ‘developing’ countries, their ‘First World’ spatial politics, and thus their political impact and cultural commentary, are both enabled and constrained by the settings of their narrative thrust. In the CTZ of the five-star hotel, or the elite spa, the books’ (...) protagonists exemplify a popular notion of choice/neoliberal feminism. What, then, do they say about the possibility of feminism for confronting patriarchal traditions in CTZs like the ‘local’ neighbourhood? The three books analysed – Angela Makholwa’s Black Widow Society, Wei Hui’s Shanghai Baby and Anita Jain’s Marrying Anita: A Quest for Love in the New India – are set in the globalising cities of Johannesburg, Shanghai and Delhi in putatively ‘developing’ countries; however, the books’ female protagonists tend to inhabit a series of ‘global’, ‘First World’ CTZs, like the high-end shopping mall, the Western music-playing nightclub or the cappuccino-serving cafe. These CTZs are geographically distant from those of their Western chick lit counterparts, yet nonetheless not very far away if measured in cultural kilometres. The neoliberal, so-called feminist ‘choices’ available to these protagonists would not be possible in geographically proximate but culturally distant, ‘traditional’ CTZs. The key question this article asks is whether these narratives’ spatial settings, confined as they are to upper middle-class, ‘global’, ‘modern’ CTZs, produce a form of spatial politics that fem-washes global capitalism while failing to confront patriarchal and traditional structures which dominate in more ‘local’, ‘traditional’ CTZs. (shrink)