![]() In 1907, German mathematician Minkowski published Space and Time, a text that posited a four-dimensional space, with time as the fourth dimension. Therefore, multiple types of "space-time" are conceptually possible outside of the "space-time" experience of human beings (Nerlich 1-11). They are continuous only within the coordinate system in which they are operating. Lessing's distinction between media as privileged representations of either space or time, and these divisions of time and space as theoretical absolutes in the Enlightenment project, were undermined in the early twentieth century by Albert Einstein's theory of relativity of 19, and Hermann Minkowski's formulation of a non-Euclidean geometric space.Īccording to Einstein, space and time are relative to the observer. Lessing states that pictorial representation (see drawingand painting) should strive for spatial purity and that poetry must represent time, or the changing moment. In 1766, German writer Gotthold Ephraim Lessing's Laocoön applied the Enlightenment sensibilities of Newton and Descartes to media theory. Likewise, absolute space exists because, while objects may be moved in relation to each other, space itself cannot be moved (Trusted 98-100). Due to instabilities in the earth's movement, human beings necessarily depend on "relative time," although an absolute time outside of this relativity exists. Scientist Isaac Newton's (1642-1727) theories of mechanics are postulated on the ideals of absolute space and time. Descartes maintains that space is infinite and unlimited, and that time is the means with which the human mind accounts for duration (Trusted 69-70). Descartes' conception of time and space reflects this primacy of the mind. The work of French mathematician and philosopher René Descartes (1596-1650) posits understanding as existing in the mind alone and casts doubt on experience produced through corporeal sense perception. The Enlightenment ushered in new concepts of time and space to match its championing of scientific thought, empiricism, and rationality. In "artificial memory," the temporal and the spatial were inextricable. The speech was mapped onto specific familiar places or "loci" through which the orator navigated in his or her mind. "Artificial memory," a mnemonic technology, was used to remember a speech as it unfolded in time through the media of architecture. The medium of memory utilizes both time and space. ![]() In The Art of Memory, Frances Yates elucidates a classical example of the perceptual affects of time and space through media. Conversely, media transform the human experience and perception of time and space. Time and space are also elements that fundamentally determine and affect multiple forms of media. one's environment, conditions of life" (OED 4b). Time and space in and of themselves are media in that they fulfill the Oxford English Dictionary's definition of "medium" as "pervading or enveloping substance the substance or 'element' in which an organism lives hence. ![]() Before Albert Einstein and Hermann Minkowski conceived of "space-time," time and space were aligned as separate but interdependent media. While long related through motion (cf movement), the congruity of "time" and "space" reaches its scientific apotheosis in the early twentieth century with the single concept of "space-time" in physics and mathematics. These circular definitions demonstrate the congruity between time and space as concepts. The first definition of "space" is "denoting time or duration" (OED). The first definition of "time" in the Oxford English Dictionary is "a space or extent of time" (OED). Chicago: University of Chicago Press, 1966. Cambridge: Cambridge University Press, 1994. ![]() Metz, Christian, "Story/Discourse," in Film Theory and Criticism. Understanding Media: The Extensions of Man. New York: Bobbs-Merrill Company, Inc., 1962. Laocoön, An Essay on the Limits of Painting and Poetry. Stanford, CA: Stanford University Press, 1999. Geoffrey Winthrop-Young and Michael Wutz. Princeton, NJ: Princeton University Press, 1983 The Fourth Dimension and Non-Euclidean Geometry in Modern Art. "The Condition of Virtuality," in The Digital Dialectic: New Essays in New Media, Peter Lunenfeld (ed.). New Brunswick: Rutgers University Press, 1991. New York: McGraw-Hill, 2001.įrank, Joseph. New York: Bobbs-Merrill Company, Inc., 1965.īordwell, David and Kristin Thompson. Berkeley: University of California Press, 1967.īergson, Henri. New York: Oxford University Press, 1999.īazin, André. Baudry, Jean-Louis, "Ideological Effects of the Basic Cinematographic Apparatus," in Film Theory and Criticism, Leo Braudy and Marshall Cohen (eds.).
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