We selectively review the progress of research on the psychology of time during the past 125 years, starting with the publication of the first English-language psychological journal, The American Journal of Psychology. A number of important articles on the psychology of time appeared in this journal, including the widely cited early article by Nichols (1891). The psychology of time is a seminal topic of psychological science, and although it entered a phase of decline and even moribund neglect, the past several decades have seen a prominent renaissance of interest. This renewed vigor represents the rebirth of the recognition of the centrality of the psychology of time in human cognition and behavior. Our selective overview highlights a number of strands of progress and how they have helped lead to the present, in which the cognitive neuroscience of time and timing in the brain is one of the most fervent and fertile modern areas of brain research. We also discuss some remaining challenges and potential lines of progress.

https://www.jstor.org/stable/10.5406/amerjpsyc.125.3.0267

The psychology of time: a view backward and forward.

Adaptive automation technologies and the associated research have advanced significantly since their inception in the early 1970s. Here, we present the history of this research and the lessons that...

Design Principles for Adaptive Automation and Aiding

The expiration of intellectual property rights has been seen to amount to a problem for non-consequentialist theories of intellectual property. In this article, I assess whether the difficulty is real. I maintain that, as things are at least, there is no sufficient reason to believe that the termination of intellectual property rights is an insurmountable problem for non-consequentialist theories of intellectual property rights.

Is the Expiration of Intellectual Property Rights a Problem for Non-consequentialist Theories of Intellectual Property?

In a Wall Street Journal article appearing prior to the U.S. premiere of the film Cloud Atlas, David Mitchell addresses the challenges of turning his complex novel into a film. Revealing that he considered the novel’s “there-and-back” structure as “unfilmable,” he comments favorably on the new structure devised by the screenwriters/directors Lana and Andy Wachowski (The Matrix trilogy, V for Vendetta) and Tom Tykwer (Run, Lola, Run; Heaven): “It [the novel] has now been adapted for the screen, but as a sort of pointillist mosaic: We stay in each of the six worlds just long enough for the hook to be sunk in, and from then on the film darts from world to world at the speed of a plate-spinner, revisiting each narrative for long enough to propel it forward” (Mitchell, “Translating”). Significantly, whereas the “there-and-back” structure—or “Time’s Boomerang,” as Mitchell calls it in a sly self-referential section of the novel (147)––suggests a dynamic state of affairs, the pointillist mosaic metaphor suggests a quasistatic one.1 I would argue that, through its restructuring, the film shifts its emphasis from a future in flux to a future that is fixed––as in a frame. The film certainly works on its own terms, the filmmakers deftly managing the mind-boggling task of tying together the six separate storylines of Mitchell’s novel through cinematic means. The changes in key plot points and in temporal structure, however, transform the novel’s theme that one can change the future (a “virtual future,” in Mitchell’s terms) to a theme

From Time's Boomerang to Pointillist Mosaic: Translating Cloud Atlas into Film

Jean Rhys’s 1939 novel, Good Morning, Midnight, is a modernist masterpiece of temporal, spatial, and linguistic fragments and collisions. This analysis begins with an application of what Bakhtin established as the mutual enmeshment in the genre of the novel of space and time, or “chronotope,” to Rhys’s novel, and goes on to identify Sasha’s primal experience of shame as the cause of temporal collapse. The mere recall of a shameful moment can ignite a blush, make the body burn—in short, erase the temporal distance between the past and the present, and Sasha exists in a state of shame so extreme that she exemplifies Bruno Chaouat’s concept of hontologie. Rhys records the violent destruction of linear time by the seismic force of the shame effect.

Hontologie: The Chronotope of Shame in Jean Rhys’s Good Morning, Midnight

This thirteenth volume in the interdisciplinary Study of Time series explores the way in which limits and constraints impact upon our understanding of time.

Christian Steineck

Papers

Time: Limits and Constraints