No / It's all long gone now...they've closed the shop on the corner of Athlone Street...it was a rough one with a pub on the corner...my dad ran it a long time ago...that time... Within the dominant biomedical discourse, late-life dementia is regarded as a pathological condition characterised by disorientation in time and space, word finding difficulties and 'problem behaviours' such as 'wandering' and 'repetitive questioning'. Once taken out of its biomedical straightjacket, however, dementia emerges as a condition which has much in common with the conscious projects of surrealist and situationist arts movements. This includes the subversion of the idea of time (and history) as linear, unidirectional progress. People diagnosed with dementia frequently state a desire to return (or indeed a fear of returning) to places from the past which no longer exist in physical space, but which remain real as remembered worlds and sources of nostalgia (literally 'the pain of returning'). These are also issues central to the field of psychogeography - an interdisciplinary approach to exploring the emotional and sensory impact of specific, particularly urban, locations. Informed by the work of poets such as Blake, Baudelaire, and Rimbaud, as theorised by, for example, Walter Benjamin and Guy Debord, psychogeography privileges undirected 'wandering' through its emphasis on concepts such as the flaneur, and the dérive (or 'drift'). In this paper, such concepts will be used as a way of exploring the spatio-temporal experiences of people with dementia, using extracts from film and narrative life stories.

Husserlian phenomenology of time, as it is developed on theLectures on the Phenomenology of Inner Time Consciousness, shows some  difficulties  to  explain  certain  temporal  experiences.  This  is  the  case  of the incompatibility between the rigidity of the retentional modification and the effective approach that a subject may have with his memories. On the one hand, according to the Lectures’ explanation, the darkening of the past occurs in an homogeneous way: The more distant an experience is, the lower the clarity of the associated retention. However, our relation with the past is not so direct. Complementing the studies of the Lectureswith those of the Analysis concerning passive synthesiscould allow to explain this kind of temporal phenomena. / La fenomenología del tiempo husserliana, tal como es desarrollada en las Lecciones de fenomenología de la conciencia interna del tiempo, presenta dificultades a la hora de explicar ciertas experiencias relativas a la temporalidad. Es el caso de la incompatibilidad entre la rigidez de la modificación retencional y la aproximación efectiva que tiene un sujeto con sus recuerdos. Por una parte, según  la  explicación  de  las Lecciones, el oscurecimiento del pasado opera de manera homogénea: cuanto más lejana es una experiencia, menor claridad se atribuye a la retención asociada. Por otra parte, en los hechos, la relación con el pasado no es tan directa. Complementar los estudios de las Leccionescon los de los Análisis sobre las síntesis pasivas permitiría dar cuenta de este tipo de fenómenos temporales.

Le Corbusier tente de ramener l’architecture à l’utilité et de créer une esthétique de pureté en parfaite harmonie avec celle-ci. Or s’il est conduit à s’opposer à tout excès et à économiser l’espace, ses choix esthétiques semblent mal répondre à cet impératif. Un seul superflu demeure un tabou chez lui: l’ornement. Le refus de cet ajout constitue ainsi un angle pour la compréhension du caractère de ses œuvres. Une enquête sur les causes de ce rejet mène à la conclusion que l’architecture nouvelle doit avoir comme principes l’esprit puriste, l’esprit scientifique déterministe et l’esprit individualiste. Pourtant, en même temps qu’elle les incarne, elle les enfreint systématiquement jusqu’à un certain point en vue de l’obtention des effets artistiques. De cette transgression de l’interdit résultent la réintroduction du superflu, une esthétique mi-authentique mi-inauthentique, et la qualification de l’espace de création corbuséen par la « parergonalité sans parergon ». Comme l’utilité ramenée en soi implique l’économie du temps, l’examen porte aussi sur les expériences temporelles que permet l’architecture nouvelle. Il montre qu’avec la « parergonalité sans parergon », celle-ci fait éprouver la décroissance du temps, sa suspension, son enchevêtrement avec l’objet, l’éternel présent présentiste, la logique de l’accroissement sous la logique de la réduction, des vécus semblables aux troubles de l’insomnie, etc. En même temps, cette architecture se remet en question, ouvrant ainsi d’autres historicités à l’art de bâtir et à l’homme, dont l’économie de l’espace ne valorise que le comportement corporel / Le Corbusier intends to bring architecture back to the utility and to create an aesthetics of purity in perfect harmony with this latter one. Yet if he is led to oppose all excess and to economize the space, his aesthetic choises do not seem to well respond to this imperative. One single surplus remains a taboo to him: the ornament. The opposition to this addition becomes then an angle for understanding the characteristic of his works. A conclusion of the inquiry into causes of this rejection is that the new architecture must hold the purist spirit, the scientific determinist spirit and the individualist spirit as principles. However, while embodying them actually, at the same time it infringes them systematically to a certain degree in order to create artistic effects. The outcomes of this transgression of the inhibited are the reintroduction of the surplus, a half authentic, half inauthentic aesthetics, and the characterization of Le Corbusier’s space of creation by “parergonality without parergon”. Since the utility brought back to itself implying the economy of time, we proceed as well to examine the temporal experiences made possible by the new architecture, and demonstrate that by means of the “parergonality without parergon”, it brings forth experiences like diminution of the time, its suspension, its entanglement with the object, the presentist eternal present, the logic of the increase under the logic of the reduction, effects similar to insomnia disorders, etc. Meanwhile, this architecture calls itself in question, opening then different historicities to architecture and to human being of which the economy of space values only the corporal movement