本論文作為對《存有與時間》的一個探究，其研究焦點主要是針對《存有與時間》第一部的寫作計畫──藉由時間性詮釋此在，解說時間之為存有問題的超越界域──探究為何任何一種存有理解皆必須以時間為其可能界域?我首先闡釋了存有理解的可能性條件──此在的時間性，而其所綻出的超越界域，乃是存有的時間狀態，此在理解投設存有之所在。不過，在海德格的前期思路中，尚未超出界域思維，徹底達致存有自身，對於這部分我將從後期思維加以補充說明。

Submitted by JOHNNY MARQUES DE JESUS null (johmaje@gmail.com) on 2018-04-09T02:47:38Z No. of bitstreams: 1 Texto de Defesa (Versão final para encadernação).pdf: 723363 bytes, checksum: 6192f37e9e645d08a9a466ffd66aea46 (MD5) / Approved for entry into archive by Satie Tagara (satie@marilia.unesp.br) on 2018-04-09T17:22:15Z (GMT) No. of bitstreams: 1 jesus_jm_me_mar.pdf: 723363 bytes, checksum: 6192f37e9e645d08a9a466ffd66aea46 (MD5) / Made available in DSpace on 2018-04-09T17:22:15Z (GMT). No. of bitstreams: 1 jesus_jm_me_mar.pdf: 723363 bytes, checksum: 6192f37e9e645d08a9a466ffd66aea46 (MD5) Previous issue date: 2018-02-02 / Não recebi financiamento / Neste trabalho iremos avaliar a natureza e implicações da tese de que o tempo fenomenológico é um fenômeno emergente/auto-organizado neural, corporificado, ativo e situado. A idéia aqui é analisar qual tipo de compreensão do tempo fenomenológico é possível elaborar mediante uma perspectiva neural/corporificada/pragmática/situada (abreviando: NCPS). O que significa conceber a hipótese de que o tempo vivido subjetivamente é uma estrutura dinâmicocomplexa que emerge da, e contribui com a regulação da, auto-organização do sistema temporal global do corpo pragmático e situado? Quais as linhas teóricas fundamentais que podem ser delineadas e investigadas para que tal hipótese possa ser desenvolvida e quais linhas de argumentação probatória podem fornecer fundamentação, verificação e justificação de tal hipótese? Com o objetivo de aplainar o terreno desta investigação, propomos partir de um paradigma histórico-filosófico fornecido pelo modelo de Guyau acerca do tempo psicológico, para posteriormente correlacioná-lo com modelos filosóficos/psicológicos/neurológicos do processamento/vivência temporal, com modelos contemporaneamente propostos acerca da corporificação situada/pragmática do tempo vivido e com modelos contemporâneos acerca da cognição, emoção, ação e mente que, embora não diretamente focados na modelagem do tempo vivido, são relevantes para o nosso caso. Nesse contexto, propusemos de início 6 proposições como eixo de coordenadas conceituais para nossas argumentações: (1) a temporalidade afetiva está estruturalmente articulada à temporalidade sensório-motora; (2) da dinâmica espaço-temporal afetivo-motora emerge o tempo neurofenomenológico; (3) ao nível neural, a emergência do tempo neurofenomenológico no, e enquanto regulador do, espaço de trabalho global (espaço de integração informacional Φ (TONONI 2008)) implica que ele não só recebe inputs dos, mas também exerce ações causais circulares descendentes (top-down) e paralelas sobre, os mecanismos neurais das temporalidades afetivo-sensorimotoras mais básicas, contribuindo para redução do espaço probabilístico de incertezas das trajetórias do corpo ativo no mundo, ao contribuir com a construção e regulação de padrões espaço-temporais afetivo-motores mais complexos dos que os fornecidos em processamentos subconscientes; (4) quando o animal está processando informações temporais no ambiente, ele só pode fazer isso se processar informações temporais auto-relacionadas e autoespecificadoras, que indicam, regulam e constituem a existência individual do corpo em oposição e complementariedade à existência de individualidades e eventos externos, sendo que (4.1) tal individualidade corporal não é dada isoladamente, mas sim é uma constituição espaço-temporal operada no interior da dinâmica do sistema ecológico animal-ambiente; (5) a identidade corporal proto-narrativa é auto-especificada e auto-produzida nas sínteses passivas temporais contínuas de estados afetivos processados/vivenciados na microescala de integração temporal emocional (na microescala episódica temporal proposta por Lewis (2000)); (5.1) mas esta proto-narrativa envolve também processamentos/vivências proprioceptivos/cinestésicos auto-relacionados e autoespecificadores, portanto, a auto-individuação espaciotemporal corporal é um processo de integração temporal auto-relacionada e auto-especificadora gerado em sínteses diacrônicas de estados sucessivos afetivos/proprioceptivos/cinestésicos; (6) o tempo pragmático primordial é uma dinâmica auto-organizada baseada numa causalidade circular entre uma intencionalidade afetivomotora do tempo (no sentido fenomenológico da direcionalidade ou referência à exterioridade) e uma forma de síntese auto-referencial de estados corporais espaço-temporais constituindo uma identidade anoética primordial. / In this work we will to evaluate the nature and implications of the thesis that phenomenolgical time is a emergent/self-organizing neural, embodied, active and situated phenomena. The idea here is to analyse what understanding of phenomenological time comes out from a possible neural/embodied/active/situated (for short, NEAS) perspective. What does it mean to conceive the hypothesis that subjectively lived time is a dynamic-complex structure that emerges from and contributes to the regulation of the self-organization of the global temporal system of the pragmatic and situated body? What are the fundamental theoretical lines that can be delineated and investigated so to make possible such hypothesis and which lines of argumentation can provide substantiation, verification and justification of such hypothesis? In order to prepare the terrain of this research, we propose a historical-philosophical paradigm provided by Guyau's model of psychological time, and later to correlate it with philosophical/psychological/neurological models of temporal processing/experiencing, with contemporaneous models about the situated/pragmatic embodiment of lived time and with contemporary models about cognition, emotion, action, and mind that, while not directly focused on the modeling of lived time, are relevant to our case. In this context, we first propose 6 propositions as the axis of conceptual coordinates for our arguments: (1) The affective temporality is structurally articulated with sensorimotor temporality; (2) from the primordial affective-motor temporal structures emerges neurophenomenological time; (3) the emergence of neurophenomenological time from, and as regulator of, the global workspace dynamics (space of informational integration Φ) implies that it exerts top-down and lateral constrains on the more basic affective-sensorimotor temporalities, contributing to the uncertainty reduction in the trajectory of active-body-in-the-world, through its contribution to the formation of more complex affective-motor patterns; (4) When the animal is processing temporal information in the environment, it can only do that if it process self-related temporal information, or proprioespecific temporal information indicating the individual existence of itself as opposed to the existence of external individuals and events. (4.1) Such bodily individuality is not given in egoic isolation, but is also a spatiotemporal constitution operated by the dynamics of the animalenvironment system; (5) A proto-narrative me-ness or ipseity is produced in the continuous temporal passive synthesis of bodily affective states at lower scale of temporal integration (the episodic time scale proposed by Lewis (2000)); (5.1) But this proto-narrative also involves proprioceptive/kineasthetic relf-related processing. Then bodily spatiotemporal self-individuation is a process of self-related temporal integration by synthesis of sucessive affective/proprioceptive/kinaesthetic states; (6) The primordial pragmatic time is a dynamics based on a circular causality between an affective-motor intentionality of time (in the phenomenological sense of referential directionality) and a form of self-referential synthesis of spatiotemporal bodily states constituting a primordial anoetic me-ness.

Bien que l’intérêt pour la sphère domestique constitue un enjeu pour la recherche ainsi que pour la conception et l’industrie, les données empiriques restent rares. Dans une perspective praxéologique, interactionnelle et naturaliste, cette thèse contribue à combler ce déficit. Elle identifie des ressources particulières de l’organisation du quotidien dans deux foyers français. Par des analyses d’entretiens, et surtout par des analyses de données audio-vidéo, la thèse met en lumière l’importance du travail interactionnel que les membres réalisent chaque jour dans les foyers pour ordonner et rendre intelligibles leurs activités. Ce travail se base sur de multiples pratiques langagières (verbalisations d’actions, annonces, pré-séquences, sollicitations, injonctions, etc.) qui marquent et donnent le temps et ouvrent des séquences de négociation entre adultes et enfants. A coté des donneurs de temps langagiers, des donneurs de temps corporels, matériels et artefactuels sont également mobilisés. L’ordonnancement des activités n’est pas une simple gestion du temps, car qu’il s’appuie constamment sur des évaluations, des rationalités, des moralités pratiques au sein d’un environnement matériel et de soin particulier. Du point de vue de la conception technologique, la socialisation des membres des familles à une certaine normalité temporelle est un phénomène central. La sophistication ou la démultiplication d’éléments techniques ne peuvent suffire au développement de systèmes et de services innovants pertinents pour les familles. Les notions de temporalité distribuée et de donneurs de temps interactionnels semblent adéquates pour aborder les activités de l’espace domestique et familial. / Although interest in the domestic sphere is a challenge for research as well as for design and for the industry, empirical data remain scarce. Within a praxeological and interactional perspective, this thesis contributes to filling this gap. It identifies specific resources of the everyday life organisation in two French homes. Through the analysis of interviews, and especially through the analysis of audio-video data, this thesis sheds light on the importance of the interactional work that members are deploying every day in their homes to order and make their activities accountable to each other. This work is based on multiple practices (such as verbalisation of actions, announcements, solicitations, directives, etc.) and resources that mark and set the time sequences of activities and open negotiation between adults and children. Besides the conversational time givers, body and artefactual material time givers are also massively mobilised. Thus, the coordination and organisation of activities is not a simple matter of time management, since they rely on a constant practical orientation anchored in specific material and care environments. From the perspective of technological design, the family members’ socialisation within a certain time and domestic normality is a central phenomenon. Sophistication or the multiplication of technical elements is not enough (and can represent a problem) with regard to the development of innovative systems for homes. Using notions of distributed temporality and interactional time givers seems to be an appropriate trial to study home and family activities.

DUBOVEC, M.: Difference of ontological difference in thinking of Martin Heidegger (Master's thesis) Charles University in Prague, Faculty of Humanities, Institute for philosophy and religious studies. Supervisor: doc. Mgr. Aleš Novák, Ph.D. The aim of master's thesis consists in explication of ontological difference in Martin Heidegger's thinking. For this purpose is used a dual method of interpretion of difference in the concept of ontological difference. First it is the issue of the difference as such. For the understanding of this idea it is analyzed the text Onto-Theological Constitution of Metaphysics. The second interpretation od difference concentrate on different understanding of ontological difference. The text Basic Problems of Phenomenology is presented as the opposite one, in which the ontological difference is connected with the temporality. The last part of master's thesis concerns the text On the essence of ground. With this the concept of transcendence is introduced as a subject in which the explication of ontological difference leads. Key words: ontological difference, onto-theology, ecstatic-horizontal temporality, Temporality, transcendence, understanding of Being

This is a time of expanding futures for transgender youth who are able to “buy time” by blocking puberty and transitioning young. Twenty years of clinical literature indicates that suppressing puberty can be lifesaving for trans youth, allowing them to avoid the distress and harm associated with transgender lives writ large. A growing number of “gender affirming” clinics now offer young trans people greater autonomy over their bodies, their futures, and their future bodies. Yet there remain troubling disparities, with indications that clinics are primarily serving white middle class trans youth and that autistic trans youth face delays. This thesis is a discourse analysis of 18 interviews with international health and mental health clinicians and 10 interviews with key stakeholders. Drawing from the literature of queer temporalities, sociological work on time and social power, queer and trans of colour critique, critical disability studies, critical autism studies, and transgender studies, I use an “interpretive repertoire” analysis to ask: How have puberty suppression and early gender transition become thinkable futures for trans youth? This thesis finds that the conditions of possibility that make early transition possible for some, are the same that foreclose it for others. The discourses of maturity and cognitive age, the expected “chrononormative” narrative, and the discourses of crisis and the “race against time”, each work to make outsiders of autistic and racialized trans youth in particular. While there is much to celebrate in the new futures available to trans youth, I argue that puberty blockers currently function as a “switchpoint” moving privileged trans youth onto a track toward even greater privilege, and widening the gap in life opportunities. This thesis introduces the concept of “the temporality of privilege” and calls for greater attention to the political implications augured by the contemporary scene of gender-affirming care for trans youth. / Thesis / Doctor of Philosophy (PhD) / We are in a time of expanding futures for transgender youth who are able to “buy time” by blocking puberty and transitioning to a new gender while young. Clinical research and literature suggest this as a lifesaving option for trans youth, allowing them to avoid distress and harm. Yet there remain troubling disparities with this treatment. Many clinics report they are primarily serving white middle class trans youth and there are some indications that autistic trans youth may be stalled or delayed in the process. I report on a discourse analysis of 18 interviews with health and mental health clinicians across six countries, in addition to 10 interviews with community level experts. I draw on a range of theory and an “interpretive repertoire” analysis to theorize how these futures become thinkable and possible for trans youth, while considering the political implications and unforeseen consequences for those youth unable to benefit.

Roy Andersson’s unique surrealist style and the affect it gives rise to, situated somewhere between deep existential dread and the most absurdist humor, are intimately connected to his staging of action in stacked layers of meaning in deep focus, immobile long takes. A formal reading of his films then gives us a greater understanding of the connection between affect and film style.But the tableau which all but evacuates time in Andersson is not only a stylistic choice: this challenge to traditional structures and temporalities is the formal manifestation of his anachronistic conception of history. I argue that cinematic time is here closely tied to historical time: a view of history as layered, instantaneous and made up of incongruous juxtapositions as commentary on a failure of historicism as central to the development of a national Swedish identity marked by passivity, anti-intellectualism, and a lack of historical conscience.

<p>While environmental literary criticism has traditionally focused its attention on the textual representation of specific places, recent ecocritical scholarship has expanded this focus to consider the treatment of time in environmental literature and culture. As environmental scholars, activists, scientists, and artists have noted, one of the major difficulties in grasping the reality and implications of climate change is a limited temporal imagination. In other words, the ability to comprehend and integrate different shapes, scales, and speeds of history is a precondition for ecologically sustainable and socially equitable responses to climate change.</p><p>My project examines the role that literary works might play in helping to create such an expanded sense of history. As I show how American writers after 1945 have treated the representation of time and history in relation to environmental questions, I distinguish between two textual subfields of environmental temporality. The first, which I argue is characteristic of mainstream environmentalism, is disjunctive, with abrupt environmental changes separating the past and the present. This subfield contains many canonical works of postwar American environmental writing, including Aldo Leopold’s A Sand County Almanac, Edward Abbey’s Desert Solitaire, Annie Dillard’s Pilgrim at Tinker Creek, and Kim Stanley Robinson’s Science in the Capital trilogy. From treatises on the ancient ecological histories of particular sites to meditations on the speed of climate change, these works evince a preoccupation with environmental time that has not been acknowledged within the spatially oriented field of environmental criticism. However, by positing radical breaks between environmental pasts and environmental futures, they ultimately enervate the political charge of history and elide the human dimensions of environmental change, in terms both of environmental injustice and of possible social responses.</p><p>By contrast, the second subfield, which I argue is characteristic of environmental justice, is continuous, showing how historical patterns persist even across social and ecological transformations. I trace this version of environmental thought through a multicultural corpus of novels consisting of Ralph Ellison’s Invisible Man, Ishmael Reed’s Mumbo Jumbo, Helena María Viramontes’ Under the Feet of Jesus, Linda Hogan’s Solar Storms, and Octavia Butler’s Parable of the Sower and Parable of the Talents. Some of these novels do not document specific instances of environmental degradation or environmental injustice and, as a result, have not been critically interpreted as relevant for environmental analysis; others are more explicit in their discussion of environmental issues and are recognized as part of the canon of American environmental literature. However, I demonstrate that, across all of these texts, counterhegemonic understandings of history inform resistance to environmental degradation and exploitation. These texts show that environmental problems cannot be fully understood, nor environmental futures addressed, without recognizing the way that social histories of inequality and environmental histories of extraction continue to structure politics and ecology in the present.</p><p>Ultimately, then, the project offers three conclusions. First, it suggests that the second version of environmental temporality holds more value than the first for environmental cultural studies, in that it more compellingly and accurately represents the social implications of environmental issues. Second, it shows that “environmental literature” is most usefully understood not as the literature that explicitly treats environmental issues, but rather as the literature that helps to produce the sense of time that contemporary environmental crises require. Third, it shows how literary works can not only illuminate the relationship between American ideas about nature and social justice, but also operate as a specifically literary form of eco-political activism.</p> / Dissertation

This dissertation seeks to understand the impact of speed on the interrelation and the overlapping of the production and consumption of cinematic and televisual texts. It explores the immediacy of digital media and new economic processes, and how they are informing structures of perception, as well as lending themselves to new and different ways of seeing the moving image in the digital age. These visual expressions are evident in the changing perception of the long take; the increasing use of video gaming aesthetics and database narratives; new and variant forms of narrative and visual styles in television; and the speed of new media technology on new voices and avant-garde expressions in independent and DIY cinema (such as the Internet, personal camcorder, mobile screens, and desktop editing). Conversely, VCR, DVD, DVR devices (as well as online streaming and DVD and Blu-Ray rental sites) have transformed the consumption of the moving image. Time-shifting devices allow for halting and controlling the flow of passing time, permitting for greater textual analysis. And, reciprocally, these new perceptions of the moving image inform expressions of filmic time and space. The speed of digital media and new economic formations raise concerns about lived reality and the attenuation of time, place, and community. It brings forth questions of the waning of pastness and memory, the diminishing of critical distance, and the vanishing of slow time. I argue, however, these shifts that are occurring in cinema and television illustrate that processes of speed are not the prime determinant in the production and consumption of moving images. Rather, they are based on a contingent and open-ended model of articulation--sites where disparate elements are temporary combined, unified, and thus, practiced and lived under the ever-changing conditions of existence.

By building a felt time repertoire, designers can sensitively feed a sense of time into their design work. And this in turn can help them produce an interaction gestalt that is richer, more sensual. My research on this suggests that this is not entirely easy, however. One has to develop a ‘feel’ for time. My research exploration began when I worked on designing a biofeedback data system, Affective Health, struggling with the tension and division between clocktime and the users’ unceasingly changing, ‘felt’ experiences. By turning to artistic practice, of music and culinary arts, I hoped to find keys to this question. Through connecting interaction-design research to these practices, I could start unfolding possibilities of temporal aesthetics in interaction design. I point to a space where designers can expand their understanding of felt time and playfully explore the sense of time that interactive systems and physical materials can deliver. Through the aspects below I point to the importance of being sensitive to felt forms and expressions of time to approach the temporal gestalt in interaction.   • Through my research I have strived to move outside clocktime and re-imagine the sense of time that interactive systems deliver. • One part of this space is felt rhythms and how they shape temporal experiences. • In common to those rhythms are the rest and pause moments that form their vitality. • One way of working with rhythm is to see how felt shapes and rhythms of time resonate through the temporal gestalt in interaction. • Aesthetic sensitivity, felt timers, can help us to orient ourselves in time. • By approaching time as plastic: time as a form and shape that we can hold on to, squeeze and weave together, we can start finding tools for remoulding the sense of time in systems, artefacts and services. • Finally, I have worked with aesthetic transformations that can encourage people to start experiencing temporality from new perspectives and with a different approach. / I den forskning som ligger till grund för den här avhandlingen har jag, genom en explorativ ansats, undersökt hur man kan förnya och berika sättet på vilket tid behandlas i interaktionsdesignforskning. Med hjälp av den här forskningen kan designers bygga upp en praktikbaserad repertoar, och med estetiskt finkänslighet formge tid och temporalitet i sitt arbete.  Detta kan i sin tur hjälpa dem att producera rikare interaktions gestalter som gör det möjligt att uppleva flera tidsuttryck. Min forskning visar på att det dock inte är helt lätt utan kräver att man gradvis utvecklar en "känsla" för tid. Tid har en kraftfull påverkan på våra tankar, känslor och handlingar, men vi är oftast ganska omedvetna om effekten tid har på våra liv. Klockan är ett praktiskt verktyg för att hålla reda på tid en och gör det möjligt att schemalägga händelser och orientera sig i en ström av erfarenheter. Men tid som den representeras av klockan är bara en bråkdel av hur vi förnimmer tid i vårt vardagliga liv. Upplevelsen av tid handlar dock inte bara om längd eller intervall mellan valda ögonblick utan den har också andra dimensioner och skepnader såsom tex styrka eller fasthet. Alla dessa dimensioner gör att tiden existerar för oss. Min utforskning började när jag arbetade med att utforma ett system för biofeedback, Affective Health, där hjärtfrekvens, affekt och rörelse skulle visualiseras på ett sätt som inspirerade till en dialog mellan användare och system. Visualiseringarna skulle representera hur användarnas egna kroppar reagerade och rörde sig i realtid men även ge möjlighet att blicka bakåt genom det förflutna. Som utgångspunkt började jag med att skapa illustrationer baserade på linjära, metriska tidsbegrepp, men jag hade svårigheter att porträttera människors egna skiftande upplevelser av tiden, det vill säga deras individuella upplevelser av rörelser och rytmer, genom de illustrationer jag tog fram. Klocktid stämde inte överens med användarnas egen, kroppsliga, upplevelse av tiden.  Genom att vända mig till konstnärlig praktik, närmare bestämt musik och matlagningskonst hoppades jag på att hitta nya lösningar. Tillsammans med Sebastien Boudet, utforskade jag hur tid tar sig uttryck genom surdegsbakning och ett levande material, degen. Genom surdegsbakningen kunde jag se och interagera med tid på nya sätt, t.ex. genom att hålla, krama, sträcka och knåda den. Arbetet hjälpte mig att formulera tankar om och resonera kring en ny sorts tidsestetik som vi normalt inte tänker på i interaktionsdesign. En som förskroppsligar tiden och omvandlar den till ett material som vi kan bearbeta genom design. Jag var dock tvungen att arbeta vidare på hur känslan av tid i surdegsbakning skulle kunna överföras till interaktionsdesign. Detta gjorde jag genom en uppföljande workshop ’BodyTimeTech’ där jag tillsammans med de 15 deltagarna byggde och diskuterade förslag på hur en känsla av tid skulle kunna ta sig uttryck i en interaktiv artefakt. Som resultat av denna såg jag bland annat hur rytmer användes på flera olika sätt. För att utforska rytmer mer i detalj byggde jag Rhythm Poetry, en applikation som jag använde för att undersöka hur upplevelser av rytm kan bearbetas och omvandlas.  Jag har en bakgrund som klassisk musiker och altviolinist. När jag reflekterade över min erfarenhet som musiker kunde jag se hur vi inom musik har en väl utformad praktikbaserad kunskap samt ett rikt språk för att gestalta tid genom musiken. Jag bestämde mig för att använda min egen erfarenhet som klassisk musiker för att grunda min förståelse och känsla av vad för slags tidsestetik jag var på väg mot och hade som mål att utveckla. Det var komplext och svårt att använda surdegsbakning och musik för att förstå känslan av tid i interaktionsdesign, men genom att knyta dessa tre praktiker kunde jag öppna upp en potential för tidsestetik i interaktionsdesign. Huvudbidraget av min forskning är en formulering av de mest framträdande aspekterna av upplevd tid som jag utvecklat genom fyra praktikbaserade undersökningar. Sammantaget utgör dessa grunden för en ny sorts tidsestetik som kan hjälpa designers att resonera kring den känsla av tid som interaktiva system och fysiska material kan leverera. Aspekterna i korthet: Ett övergripande tema i min forskning är förhållandet mellan klocktid och upplevd tid, där avhandlingens fokus ligger på aspekter av den upplevda tiden. Ett fokus i detta arbete har varit  rytmer och hur de formar upplevelsen i olika processer som tex surdegsbakning och musik.  I vissa fall är rytmerna långsamma och sträcker sig över flera timmar, som i bakning, och i andra fall väldigt snabba som i vissa musikstycken.  Gemensamt för rytmer är att de definieras av stunder av aktivitet och stunder av paus. Vilan och pausen skapar rytmens karaktär. Men vilan har också ett värde i sig som ger utrymme för att ta paus och återhämta sig, kliva av scenen.  Ett sätt att hantera rytmer är att se hur de samspelar i olika temporala gestalter, tex hur de fogas samman till en process som tex bakning eller ett musikstycke, eller hur våra talade och gestikulerande rytmer samspelar när vi kommunicerar med varandra.  Att mäta tid är ganska enkelt med en klocka, men om man vill veta mer exakt vad tiden är i en process så måste man ha ett mer raffinerat sätt att undersöka och mäta tiden. Estetisk finkänslighet kan hjälpa oss att orientera oss i tid. Tex i bakningen genom degens textur. Kladdigheten eller fastheten i degen berättar för oss att vi har arbetat oss fram till en viss tidpunkt i processen och vad som är kvar att göra. Genom att uppleva förändringarna genom flera sinnen kan vi orientera oss i tid med hjälp av estetisk finkänslighet.  Detta leder till nästa aspekt av upplevd tid som jag vill framhäva och som handlar om tidens plasticitet. Genom att närma sig tiden som plastisk, dvs något som kan klämmas på, sträckas, knådas eller vävas samman, kan designers börja bearbeta den på flera olika sätt som ligger närmare vår rika upplevda känsla av tid. Slutligen har jag i min utforskning genomgående arbetat med omvandlingar av tidsaspekter, för att skapa en uppfattning om tex en rytm på nya, ibland överraskande sätt. Transformationer filtrerar aktiviteter genom olika former och uttryck. De kan tex omvandla hjärtslag till färgförändringar. Att omvandla tid på detta sätt, kan ge en helt ny syn på den ursprungliga tidsformen. Det kan leda till att man börjar se saker (tex sitt hjärta) från nya perspektiv och med nya förhållningssätt.  Jag pekar på och beskriver dessa aspekter för att förnya och berika samtalet och praktiken kring tidsestetik i interaktionsdesignforskning. Genom aspekterna vill jag betona vikten av att som designer uppöva finkänslighet för tidens förkroppsligade former och uttryck och att ha ett rikt formspråk för tid. Således kan detta arbete aldrig riktigt avslutas, eftersom det bara är ett steg på vägen mot en pågående utveckling av nya interaktionsdesignpraktiker. / <p>QC 20161220</p>

“[that] which does not change does not endure” – Henri Bergson Numbers only quantify the development Qatar is experiencing. In Doha, the city is a physical manifestation of these changes. The general approach to development follows a ‘tear down, build new’ model. Potential value is lost in what is discarded, despite necessity and convenience. This study addresses the topic by dispelling the assumed need to destroy in order to build. In doing so, it examines existing vernacular spaces that are often overlooked. The main application is analyzed through agents of space, such as buildings and the urban environment with varied outcomes. The study introduces and encourages an alternative narrative to the existing approach through transformative principles of preservation. It addresses the core concepts of temporality and permanence by negotiating what to retain and/or what to alter. Consequently, trace plays a major role as a process of honoring and embracing the past by materializing it. Incorporating novel elements allow for a shift in perception to occur. Value becomes a method of enriching and elevating a topic, idea, artifact, material, function, or experience.