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When a voluntary action is followed by a sensory outcome, their timings are perceived to shift toward each other compared to when they were generated independently. Recent studies have tried to explain this temporal binding effect based on the cue integration theory, in which the timing of action and outcome are estimated as a precision-weighted average of their individual estimates, although distinct results were obtained between the binding of action and outcome. This study demonstrates that cue integration underlies both action and outcome bindings, using visual changes as action outcomes. Participants viewed a moving clock presented on a screen to report the onset time of their action or the feature changes of visual objects that were relevant or irrelevant to the clock movement. The results revealed that the precision of outcome timing judgment was different based on the object that underwent a feature change. Moreover, consistent with the theory's prediction, the perceptual shifts of action and outcome timings were larger and smaller, respectively, when the precision of outcome timing judgments was higher. These results suggest that cue integration serves as a common mechanism in action and outcome bindings.

The article substantiates the possibility of comprehending, interpreting and understanding temporal coordination as a form of manifestation of intersubjectivity as a basic characteristic of the subjective time of an individual with disabilities. It is shown that the social field of intersubjectivity is determined by means of a phenomenological representation of the world of everyday life of an individual in a special social group of an inclusive society. It is postulated that within the framework of intersubjectivity, transformations and changes are carried out that determine the basic attitudes and temporal intentionality of individuals with disabilities in the everyday life of an inclusive society. The importance of temporal coordination is substantiated, which allows an individual to adequately represent and recognize the actual-own experience of other individuals in the direction of constructing a joint-collective experience of a special group of people with disabilities. It is demonstrated that temporal coordination is one of the significant manifestations of intersubjectivity, synchronizing the life activity of individuals in an inclusive society. The aim of the article is to consider temporal coordination as a form of manifestation of intersubjectivity, which makes it possible to represent an inclusive society as a certain type of community (special social group) from the standpoint of interpreting the world of everyday life. The scientific novelty is associated with a phenomenological and socio-pragmatic study of temporal coordination in the everyday reality of an inclusive society, reflecting the specifics of the complex experience by an individual with disabilities of the intentionality of subjective time in a special social group. The methodology of the article is based on philosophical, sociological, multidisciplinary and pedagogical complexes that make it possible to demonstrate the cognitive-heuristic and socio-pragmatic possibilities of temporal coord

The main objective for this article is to explore how users of psychoactive drugs experience time and the role psychoactive drugs play in the management and construction of time. The data in this study consists of different kinds of written documents such as anecdotal accounts and scientific articles and reports which was collected using a purposeful sampling technique. One important result is that time is experienced and constructed differently among users of legal drugs compared to users of illegal drugs. The use of heroin is for example associated with shrinking time-horizons and being afraid of looking back and looking ahead, while smoking cigarettes is correlated with killing chronological time and instituting a parenthesis in normative time. Another conclusion is that users of illegal drugs experience greater problems synchronizing social and subjective time compared to users of legal substances. The results of my study also suggest that drug users´ experiences of time are intertwined with the social context and social meanings of drug use., Sociologisk Forsknings digitala arkiv

The main objective for this article is to explore how users of psychoactive drugs experience time and the role psychoactive drugs play in the management and construction of time. The data in this study consists of different kinds of written documents such as anecdotal accounts and scientific articles and reports which was collected using a purposeful sampling technique. One important result is that time is experienced and constructed differently among users of legal drugs compared to users of illegal drugs. The use of heroin is for example associated with shrinking time-horizons and being afraid of looking back and looking ahead, while smoking cigarettes is correlated with killing chronological time and instituting a parenthesis in normative time. Another conclusion is that users of illegal drugs experience greater problems synchronizing social and subjective time compared to users of legal substances. The results of my study also suggest that drug users´ experiences of time are intertwined with the social context and social meanings of drug use., Sociologisk Forsknings digitala arkiv

The main objective for this article is to explore how users of psychoactive drugs experience time and the role psychoactive drugs play in the management and construction of time. The data in this study consists of different kinds of written documents such as anecdotal accounts and scientific articles and reports which was collected using a purposeful sampling technique. One important result is that time is experienced and constructed differently among users of legal drugs compared to users of illegal drugs. The use of heroin is for example associated with shrinking time-horizons and being afraid of looking back and looking ahead, while smoking cigarettes is correlated with killing chronological time and instituting a parenthesis in normative time. Another conclusion is that users of illegal drugs experience greater problems synchronizing social and subjective time compared to users of legal substances. The results of my study also suggest that drug users´ experiences of time are intertwined with the social context and social meanings of drug use., Sociologisk Forsknings digitala arkiv

The main objective for this article is to explore how users of psychoactive drugs experience time and the role psychoactive drugs play in the management and construction of time. The data in this study consists of different kinds of written documents such as anecdotal accounts and scientific articles and reports which was collected using a purposeful sampling technique. One important result is that time is experienced and constructed differently among users of legal drugs compared to users of illegal drugs. The use of heroin is for example associated with shrinking time-horizons and being afraid of looking back and looking ahead, while smoking cigarettes is correlated with killing chronological time and instituting a parenthesis in normative time. Another conclusion is that users of illegal drugs experience greater problems synchronizing social and subjective time compared to users of legal substances. The results of my study also suggest that drug users´ experiences of time are intertwined with the social context and social meanings of drug use., Sociologisk Forsknings digitala arkiv

El tiempo constituye la materia que el director de cine cincela y esculpe para crear sus películas. Así lo atestiguan geniales artistas como Andrei Tarkovski, Yashujiro Ozú o Alfred Hitchcock. ¿Qué relación existe entre la creación cinematográfica y la aprensión del tiempo, esa dimensión escurridiza y fantasmagórica sobre la que han reflexionado a lo largo de la historia filósofos como Platón, Aristóteles, San Agustín, Kant, Bergson o Heidegger, entre otros? El presente artí- culo realiza un recorrido por las reflexiones sobre el tiempo de cineastas y filósofos y aporta ejemplos concretos de piezas cinematográficas que aclaran e iluminan diversos conceptos. El cinematógrafo fue capaz de registrar la realidad en movimiento, es decir, el paso del tiempo, y desde entonces el ser humano puede moldearlo a su antojo gracias al montaje y a los diferentes recursos narrativos de los que se sirve la técnica cinematográfica. Los cineastas trabajan a partir de un tiempo objetivo, medible y mecánico para transformar e incidir en el tiempo subjetivo e interior del ser humano, en el tiempo que según la filosofía de Bergson se forma en la conciencia humana a través de la intuición. Filosofía, antropología y cine se funden en estas líneas para aportar luz sobre una de las preguntas fundamentales de la reflexión del ser humano., Time is the stuff that the film director sculpts to create his movies. This is witnessed by great artists such as Andrei Tarkovski, Yashujiro Ozú or Alfred Hitchcock. What is the relationship between cinematographic creation and the apprehension of time, that elusive and phantasmagoric dimension which philosophers like Plato, Aristotle, Augustine, Kant, Bergson and Heidegger have reflected on throughout history? This article presents a reflection on the time of filmmakers and philosophers and provides concrete examples of cinematographic pieces that clarify and illuminate different concepts. The cinematographer was able to record the reality in motion, that is, the passage of time and since then the human being can mold it to his whim thanks to the montage and the different narrative resources of which the cinematographic technique is served. The filmmakers work from an objective, measurable and mechanical time to transform and influence the subjective and internal time of the human being, in the time that according to the philosophy of Bergson is formed in human consciousness through intuition. Philosophy, anthropology and cinema are fused in these lines to shed light on one of the fundamental questions of human reflection.

El tiempo constituye la materia que el director de cine cincela y esculpe para crear sus películas. Así lo atestiguan geniales artistas como Andrei Tarkovski, Yashujiro Ozú o Alfred Hitchcock. ¿Qué relación existe entre la creación cinematográfica y la aprensión del tiempo, esa dimensión escurridiza y fantasmagórica sobre la que han reflexionado a lo largo de la historia filósofos como Platón, Aristóteles, San Agustín, Kant, Bergson o Heidegger, entre otros? El presente artí- culo realiza un recorrido por las reflexiones sobre el tiempo de cineastas y filósofos y aporta ejemplos concretos de piezas cinematográficas que aclaran e iluminan diversos conceptos. El cinematógrafo fue capaz de registrar la realidad en movimiento, es decir, el paso del tiempo, y desde entonces el ser humano puede moldearlo a su antojo gracias al montaje y a los diferentes recursos narrativos de los que se sirve la técnica cinematográfica. Los cineastas trabajan a partir de un tiempo objetivo, medible y mecánico para transformar e incidir en el tiempo subjetivo e interior del ser humano, en el tiempo que según la filosofía de Bergson se forma en la conciencia humana a través de la intuición. Filosofía, antropología y cine se funden en estas líneas para aportar luz sobre una de las preguntas fundamentales de la reflexión del ser humano., Time is the stuff that the film director sculpts to create his movies. This is witnessed by great artists such as Andrei Tarkovski, Yashujiro Ozú or Alfred Hitchcock. What is the relationship between cinematographic creation and the apprehension of time, that elusive and phantasmagoric dimension which philosophers like Plato, Aristotle, Augustine, Kant, Bergson and Heidegger have reflected on throughout history? This article presents a reflection on the time of filmmakers and philosophers and provides concrete examples of cinematographic pieces that clarify and illuminate different concepts. The cinematographer was able to record the reality in motion, that is, the passage of time and since then the human being can mold it to his whim thanks to the montage and the different narrative resources of which the cinematographic technique is served. The filmmakers work from an objective, measurable and mechanical time to transform and influence the subjective and internal time of the human being, in the time that according to the philosophy of Bergson is formed in human consciousness through intuition. Philosophy, anthropology and cinema are fused in these lines to shed light on one of the fundamental questions of human reflection.

El tiempo constituye la materia que el director de cine cincela y esculpe para crear sus películas. Así lo atestiguan geniales artistas como Andrei Tarkovski, Yashujiro Ozú o Alfred Hitchcock. ¿Qué relación existe entre la creación cinematográfica y la aprensión del tiempo, esa dimensión escurridiza y fantasmagórica sobre la que han reflexionado a lo largo de la historia filósofos como Platón, Aristóteles, San Agustín, Kant, Bergson o Heidegger, entre otros? El presente artí- culo realiza un recorrido por las reflexiones sobre el tiempo de cineastas y filósofos y aporta ejemplos concretos de piezas cinematográficas que aclaran e iluminan diversos conceptos. El cinematógrafo fue capaz de registrar la realidad en movimiento, es decir, el paso del tiempo, y desde entonces el ser humano puede moldearlo a su antojo gracias al montaje y a los diferentes recursos narrativos de los que se sirve la técnica cinematográfica. Los cineastas trabajan a partir de un tiempo objetivo, medible y mecánico para transformar e incidir en el tiempo subjetivo e interior del ser humano, en el tiempo que según la filosofía de Bergson se forma en la conciencia humana a través de la intuición. Filosofía, antropología y cine se funden en estas líneas para aportar luz sobre una de las preguntas fundamentales de la reflexión del ser humano., Time is the stuff that the film director sculpts to create his movies. This is witnessed by great artists such as Andrei Tarkovski, Yashujiro Ozú or Alfred Hitchcock. What is the relationship between cinematographic creation and the apprehension of time, that elusive and phantasmagoric dimension which philosophers like Plato, Aristotle, Augustine, Kant, Bergson and Heidegger have reflected on throughout history? This article presents a reflection on the time of filmmakers and philosophers and provides concrete examples of cinematographic pieces that clarify and illuminate different concepts. The cinematographer was able to record the reality in motion, that is, the passage of time and since then the human being can mold it to his whim thanks to the montage and the different narrative resources of which the cinematographic technique is served. The filmmakers work from an objective, measurable and mechanical time to transform and influence the subjective and internal time of the human being, in the time that according to the philosophy of Bergson is formed in human consciousness through intuition. Philosophy, anthropology and cinema are fused in these lines to shed light on one of the fundamental questions of human reflection.

El tiempo constituye la materia que el director de cine cincela y esculpe para crear sus películas. Así lo atestiguan geniales artistas como Andrei Tarkovski, Yashujiro Ozú o Alfred Hitchcock. ¿Qué relación existe entre la creación cinematográfica y la aprensión del tiempo, esa dimensión escurridiza y fantasmagórica sobre la que han reflexionado a lo largo de la historia filósofos como Platón, Aristóteles, San Agustín, Kant, Bergson o Heidegger, entre otros? El presente artí- culo realiza un recorrido por las reflexiones sobre el tiempo de cineastas y filósofos y aporta ejemplos concretos de piezas cinematográficas que aclaran e iluminan diversos conceptos. El cinematógrafo fue capaz de registrar la realidad en movimiento, es decir, el paso del tiempo, y desde entonces el ser humano puede moldearlo a su antojo gracias al montaje y a los diferentes recursos narrativos de los que se sirve la técnica cinematográfica. Los cineastas trabajan a partir de un tiempo objetivo, medible y mecánico para transformar e incidir en el tiempo subjetivo e interior del ser humano, en el tiempo que según la filosofía de Bergson se forma en la conciencia humana a través de la intuición. Filosofía, antropología y cine se funden en estas líneas para aportar luz sobre una de las preguntas fundamentales de la reflexión del ser humano., Time is the stuff that the film director sculpts to create his movies. This is witnessed by great artists such as Andrei Tarkovski, Yashujiro Ozú or Alfred Hitchcock. What is the relationship between cinematographic creation and the apprehension of time, that elusive and phantasmagoric dimension which philosophers like Plato, Aristotle, Augustine, Kant, Bergson and Heidegger have reflected on throughout history? This article presents a reflection on the time of filmmakers and philosophers and provides concrete examples of cinematographic pieces that clarify and illuminate different concepts. The cinematographer was able to record the reality in motion, that is, the passage of time and since then the human being can mold it to his whim thanks to the montage and the different narrative resources of which the cinematographic technique is served. The filmmakers work from an objective, measurable and mechanical time to transform and influence the subjective and internal time of the human being, in the time that according to the philosophy of Bergson is formed in human consciousness through intuition. Philosophy, anthropology and cinema are fused in these lines to shed light on one of the fundamental questions of human reflection.

This study considered the question whether retrospective time perception was affected by priming the experimental condition to be more aware of subjective time during the experience of the target duration. Awareness of subjective time was operationalized by the direction of attention toward a running stop-watch, while participants were shown images for various durations on which they were later tested. The participants was tested on durations mediated by working memory since these were deemed the most likely to produce an effect. The results were not significant. While this suggest that retrospective time perception is not a matter of perceiving passed subjective time, it is possible that the consciousness state of subjective time still has some connection to its function. More specifically, this study shows that attention directed toward subjective time does not affect retrospective time perception in working memory durations.

Background: An experimental study was conducted to compare time perception of short durations, including intra- and interindividual variability of subjective duration judgments, in schizophrenic and in healthy males. Methods: The psychological methods of reproduction, and of verbal estimation in subjective seconds, were used. Results: It was found 1) that the means of the reproductions do not differ between the 2 groups, 2) the schizophrenics verbally estimated all durations longer and less veridical than the healthy subjects, 3) the variability of the estimates between, as well as within, subjects is much greater in schizophrenics than in the healthy group, 4) also the estimates by the schizophrenic group showed an approximately linear function of responses vs. the reference durations in log-log coordinates, in agreement with Stevens# power law. Conclusion: Schizophrenics are described in terms of distraction and of chaotic and disorganized behavior. This important aspect of schizophrenic symptomatology typically results in cognitive impairment. The impairment may be at the root of the deviant, though fairly consistent, estimations by the schizophrenic subjects. This vulnerability entails that the schizophrenics seem to be unable to translate perceived time into numbers (seconds), probably because of their general difficulty in being able to quantify. To be more specific, it appears that the better understanding of the cognitive processes and the vulnerability factors of experiencing time and of time-structuring behavior is important knowledge as to how the schizophrenics individuals orient themselves in time and space. The conclusion is that our result does not support the view of general time distortion as such in schizophrenia., authorCount :3

Time perception in children has been investigated mostly by an approach that integrates information regarding time, speed and distance in a Piagetian tradition. Piaget claimed that conceptual thinking develops independently of perception. Surprisingly, little subsequent research has been attempted to explore more directly time perception (subjective experience of time) in relation to physical (clock) time in children in a developmental perspective. The purpose of the present experiments was to compare time perception in a prospective paradigm (the experience of time-in-passing) in two groups of children aged 11-13 and 14-16 years with adults aged 19-45 years, using short standard durations and the psychophysical methods of reproduction (Experiment 1) and verbal estimation in subjective seconds (Experiment 2). The results show that reproductions did not differ between the three groups (Experiment 1), while in verbal estimation a developmental trend was found (Experiment 2). The younger group of children estimated the standard durations longer and less veridical than the adults. The estimates of the older group of children lay in between. The ability of children to reproduce standard durations like adults may be due to that the method of reproduction is more based on biological processes and less influenced by cognitive factors, as opposed to verbal estimation, which requires a wide variety of cognitive experiences. The findings also indicate that even the younger children at the age of 11-13 years understand the “logical” concept of time very well, which is clearly evident from the fact that they are able to use conventional time units (seconds) in a consistent way (approximately linearly related to the standard durations), despite their tendency to estimate the standard durations longer than the adults. The reason for this is probably that, besides a certain lack of cognitive experiences, psychological (subjective, perceived) time passes slower for children than for

One hundred and twenty human subjects participated in both a prospective and a retrospective duration reproduction experiment. A scaling approach to the collected data can be found in A. D. Eisler et al. (2004). In the present part of the comprehensive project the data were treated according to the requirements of Scalar Timing (Expectancy) Theory (SET). For both the prospective and the retrospective data sets the distribution of the ratio reproduction/standard durations proved skewed to the right, and the coefficient of variation decreased with the durations rather than being constant. Both findings are at variance with SET, which assumes the validity of Weber's law and agreement between subjective and chronometric time. However, the outcome could be predicted from the generalized Weber law (common for many continua, see H. Eisler, 1965) and a nonlinear psychophysical function for duration. The symmetric distributions obtained from animals are explained by stimulus error. From the point of view of SET, as opposed to the scaling approach, except for greater scatter, the retrospective durations did not differ from the prospective in any essential way.

Experienced speed of time was modeled as a function of subjective duration and a negative exponential function was derived. In 3 experiments on the perception of retrospective and prospective durations, using the method of reproduction, speed of time and pleasantness/unpleasantness of the sound indicating the durations were estimated, both on 7-point scales. Since retrospective time perception was being studied, the 120 subjects were not informed that their task concerned time perception when a standard duration (1 out of 10, ranging between 1.3 and 20 s) was presented. The estimates differed for both variables, depending on whether the target was the standard duration, presented first in the experiments, or its reproduction. The exponential function for speed of time was confirmed for the standard duration as target; with the reproduction as target, time passed faster without systematic variations with duration. Unpleasantness varied only slightly and was about half a scale unit less in estimations of reproductions. These findings are attributed primarily to whether the target duration was unknown (the retrospectively presented standard duration) or known (the reproduction).

This paper addresses the challenge of bridging the semantic gap that exists between the simplicity of features that can be currently computed in automated content indexing systems and the richness of semantics in user queries posed for media search and retrieval. It proposes a unique computational approach to extraction of expressive elements of motion pictures for deriving high-level semantics of stories portrayed, thus enabling rich video annotation and interpretation. This approach, motivated and directed by the existing cinematic conventions known as film grammar, as a first step toward demonstrating its effectiveness, uses the attributes of motion and shot length to define and compute a novel measure of tempo of a movie. Tempo flow plots are defined and derived for a number of full-length movies and edge analysis is performed leading to the extraction of dramatic story sections and events signaled by their unique tempo. The results confirm tempo as a useful high-level semantic construct in its own right and a promising component of others such as rhythm, tone or mood of a film. In addition to the development of this computable tempo measure, a study is conducted as to the usefulness of biasing it toward either of its constituents, namely, motion or shot length. Finally, a refinement is made to the shot length normalizing mechanism, driven by the peculiar characteristics of shot length distribution exhibited by movies. Results of these additional studies, and possible applications and limitations are discussed.