Multiple-Timescale Representations of Space: Linking Memory to Navigation

When navigating through space, we must maintain a representation of our position in real time; when recalling a past episode, a memory can come back in a flash. Interestingly, the brain's spatial representation system, including the hippocampus, supports these two distinct timescale functions. How are neural representations of space used in the service of both real-world navigation and internal mnemonic processes? Recent progress has identified sequences of hippocampal place cells, evolving at multiple timescales in accordance with either navigational behaviors or internal oscillations, that underlie these functions. We review experimental findings on experience-dependent modulation of these sequential representations and consider how they link real-world navigation to time-compressed memories. We further discuss recent work suggesting the prevalence of these sequences beyond hippocampus and propose that these multiple-timescale mechanisms may represent a general algorithm for organizing cell assemblies, potentially unifying the dual roles of the spatial representation system in memory and navigation. Expected final online publication date for the Annual Review of Neuroscience, Volume 45 is July 2022. Please see http://www.annualreviews.org/page/journal/pubdates for revised estimates.

The Analysis of the Spatial Production Mechanism and the Coupling Coordination Degree of the Danwei Compound Based on the Spatial Ternary Dialectics

With the gradual deepening of the development of high-quality urban transformation, the “Danwei Compound” urban space production method constitutes the basis of Chinese current urban spatial transformation. The transformation plan of the original danwei compound “stock” to promote the healthy development of urban society has become the focus of research. First, with the help of Lefebvre’s space production theory, combined with the spatial transformation characteristics of its own structural form experienced by the Chinese urban danwei compound, the space production is divided into three stages, namely, the diversity-orderly type average space of the danwei compound system period, dispersed type abstract space of the commercial enclosed community period, and the integrated differential space of a livable community undergoing regeneration and transformation. At each stage, the government, market, and residents have different influences on time-space production. Secondly, using Hefei’s typical danwei compound as the research carrier, according to the space ternary dialectics, a multi-level analysis of “representations of space-representational space-spatial practice” is carried out on the production mechanism, and the logic of different types of spaces in different periods are described. Among them, the representations of space of the change of the danwei compound are the interrelationship of multiple governance subjects in different periods, such as changes in the implementation degree of governance strategies, the degree of residents’ community governance participation, residents’ satisfaction with community governance, etc. The representational space is the residents’ community perception and interpersonal relationship at different transition stages, Interpersonal trust, and other social relations’ changes. Spatial practice is manifested in changes in the support of public service facilities, public space, per capita living area, building quality, architectural style, and illegal building area. Finally, the three-dimensional space dialectical coupling coordination degree model is used to analyze and compare the representations of space of typical settlements in the three stages and the coupling characteristics of the representational space and the practice of space. On this basis, we provide innovative ideas and put forward relevant measures and suggestions for the regeneration, transformation, and development of livable areas.

The Hanged Rhizome on the Tree: Arborescence and Multiplicity in Disco Elysium

This paper looks at Disco Elysium as a model for a better understanding of Gilles Deleuze and Felix Guattari’s concept of the rhizome when applied to video games. It analyses the use and implementation of the many forms of expressing multiplicity that are present in Disco Elysium and that are manifested through the configuration of the avatar, the use of the player’s choice, and representations of space and time in the game. Ultimately, this paper also serves as a coalescence of existing Game Studies scholarship on rhizomic relations, multiplicities and affect to create a common ground for future conversations on these topics.

Between Lines and Beyond Boundaries: Alootook Ipellie’s Entanglements of Space

Manifold representations of the dwelling are expressed in the work of artist, poet, writer, editor, and activist Alootook Ipellie in the bi-monthly publication Inuit Today in the 1970s and 1980s, as a cross-section through key moments in Inuit Nunangat history. This essay thus examines Ipellie’s representations of space—not as an attempt to theorize Inuit space but rather to offer reflections on how these representations challenged ways of knowing and interpreting Arctic communities. We first address the Arctic representation in Ipellie’s work, which emphasizes the existing richness of the land according to Inuit perspectives as opposed to Qallunaat (non-Inuit) interpretations. His drawings also offer political comments on land disputes and the exploitation of territory. We then explore the representation of buildings, as Ipellie witnessed the transition from traditional to government housing. Ipellie’s humour-based approach constituted a strong social and political critique of housing issues and settler-colonial building practices. This artist acknowledged Inuit ingenuity when speaking of traditional housing, thus advocating for Inuit knowledge, invention, and built heritage. Lastly, we discuss the representation of multiple voices in the struggles over space, including Inuit communities and non-human agents, such as animals and land. Dwelling on the notion of “lines” and “the in-between”, we consider the thickness of Ipellie’s drawn lines and attend to the multiple entanglements between the artist’s political cartoons and the many lines of settler-colonialism, such as boundaries, frontiers, roads, pipelines, spatial construction, buildings, and planning.

Emotional representations of space vary as a function of peoples’ affect and interoceptive sensibility

Most research on people’s representation of space has focused on spatial appraisal and navigation. But there is more to space besides navigation and assessment: people have different emotional experiences at different places, which create emotionally tinged representations of space. Little is known about the emotional representation of space and the factors that shape it. The purpose of this study was to develop a graphic methodology to study the emotional representation of space and some of the environmental features (non-natural vs. natural) and personal features (affective state and interoceptive sensibility) that modulate it. We gave participants blank maps of the region where they lived and asked them to apply shade where they had happy/sad memories, and where they wanted to go after Covid-19 lockdown. Participants also completed self-reports on affective state and interoceptive sensibility. By adapting methods for analyzing neuroimaging data, we examined shaded pixels to quantify where and how strong emotions are represented in space. The results revealed that happy memories were consistently associated with similar spatial locations. Yet, this mapping response varied as a function of participants’ affective state and interoceptive sensibility. Certain regions were associated with happier memories in participants whose affective state was more positive and interoceptive sensibility was higher. The maps of happy memories, desired locations to visit after lockdown, and regions where participants recalled happier memories as a function of positive affect and interoceptive sensibility overlayed significantly with natural environments. These results suggest that people’s emotional representations of their environment are shaped by the naturalness of places, and by their affective state and interoceptive sensibility.

Kant’s Argument for Transcendental Idealism in the Transcendental Aesthetic Revisited

This paper provides a novel reconstruction of Kant’s argument for transcendental idealism in the Transcendental Aesthetic. This reconstruction relies on two main contentions: first, that Kant accepts the then-ubiquitous view that all cognition is either from grounds or consequences, a view he props up by drawing a distinction between logical and real grounds; second, that Kant, like most of his contemporaries, holds that our representations are the most immediate grounds of our cognition. By stressing these elements, the most threatening objection to Kant’s argument can be avoided, namely, the claim that Kant ignores the possibility that our representations of space and time are subjective in origin, but objective as regards their applicability. My reconstruction shows that this so-called neglected alternative objection is based on a conceptual confusion about the nature of a priori cognition.

Looking at Islamic Patterns II: Making Sense of Geometry

Islamic geometric patterns are arrangements of interlocking stars and polygons. Why do they attract our attention? Following Silvia's model, interesting stimuli are hard to process yet comprehensible. To understand what it means to make sense of a geometric pattern we explore representations of space and geometric structure. Perceptual and linguistic evidence yields small sets of primitive objects and qualitative relations that suffice to build a synthetic geometry of perceptual space; constructing patterns requires the capability to divide lines and circles into equal parts, but does not rely on measuring lengths or angles explicitly.We compare eight representations of a star motif that demonstrate different approaches, different spatial frames of reference, and different levels of abstraction. A representation may be parametrised to represent a category, which allows us to verify that it captures salient features (the object should not be an anomaly in the category). We conclude that sequential constructive representations (algorithms) do not provide a good model for spatial structure, and that compression (encoding) and comprehension (making sense) are distinct.Chunking and schemas capture generic structure in unfamiliar contexts, in particular repetitive, composite, modular and hierarchical structure. The large corpus of Islamic patterns exhibits constant innovation over hundreds of years. We give examples to illustrate a clear trend towards increasingly complex structure, of both modular and hierarchical forms.

The Annihilation of Space: A Bad (Historical) Concept

This article is a reminder that the concept of ‘annihilation of space’ or ‘spatial compression’, often used as a shorthand for referring to the cultural or economic consequences of industrial mobility, has a long intellectual history. The concept thus comes loaded with a specific outlook on the experience of modernity, which is – I argue – unsuitable for any cultural or social history of space. This article outlines the etymology of the concept and shows: first, that the historical phenomena it pretends to describe are too complex for such a simplistic signpost; and, second, that the term is never a neutral descriptor but always an engagement with a form of historical and cultural mediation on the nature of modernity in relation to space. In both cases this term obfuscates more than it reveals. As a counter-example, I look at the effect of the railways on popular representations of space and conclude that postmodern geography is a relative dead end for historians interested in the social and cultural history of space.

Kant’s Original Space and Time as Mere Grounds for Possibilities

In the Critique of Pure Reason Kant appears to make incompatible claims regarding the unitary natures of what he takes to be our a priori representations of space and time. I argue that these representations are unitary independently of all synthesis and explain how this avoids problems encountered by other positions regarding the Transcendental Deduction and its relation to the Transcendental Aesthetic in that work. Central is the claim that these representations (1) contain, when characterized as intuitions and considered as prior to any affections of sensibility, only an infinitude of merely possible finite spatial and temporal representations, and (2) are representations that are merely transcendental grounds for the possibilities for receiving or generating finite representations in sensibility that are determined (immediately, in the case of reception) by means of syntheses that accord with the categories.