By Peter Manchester
The fourth century Neoplatonist Iamblichus, reading Plotinus related to time, contains a ‘diagram of time’ that bears comparability to the determine of double continuity drawn by way of Husserl in his reviews of time. utilizing that comparability as a bridge, this publication seeks a phenomenological restoration of Greek considered time. It argues that the characteristic of movement that the note ‘time’ designates in Greek differs from what latest scholarship has assumed, that the very phenomenon of time has been misidentified for hundreds of years. This results in corrective readings of Plotinus, Aristotle, Parmenides, and Heraclitus, all in retrospect to the ultimate word of the fragment of Anaximander, from which this quantity takes its name: “according to the syntax of time.”
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Additional resources for The Syntax of Time: The Phenomenology of Time in Greek Physics and Speculative Logic from Iamblichus to Anaximander (Studies in Platonism, Neoplatonism, and the Platonic Tradition, Volume 2)
In each case, we produce a double continuity in which one or the other (or both) of the lines is seen as carried sideways, while both lines change length in reciprocal ways. A plane ﬁeld is also being swept out. The ﬁgure collapses if the angle is seen like a conveyor belt running up and back over a roller. It then reduces to a single continuity, the equivalent of moving a point along a straight line. The Figure is a window on the crosswise quasi-timelike ﬂux of ecstatically horizoned or ‘shaded’ spans of time.
26 chapter one Husserl’s initial train-notation does represent the relatedness of several notes of a melody as they maintain their concurrence. However, as soon as we consider the span-character of this concurrence as concomitant with the notes of the melody, there is a new phenomenon to describe. The concurrence itself, in whatever relational wholes it has built up at any momentary phase, itself also changes along with the notes. To write A B C D is not strong enough, because this represents a completed melody shorn of precisely its buildup in succession.
But here Archytas calls it a “breaking” (klãsiw). This could be taken in an Aristotelian sense to mean an instantaneous interruption that cuts a single line in two (Now as a Dedekind Cut), but Iamblichus knows this is not the Figure, and his applications require that a two-dimensional motion be implied by the drawing. The breaking is not the continuous linear ‘varying’ of the ‘now-point’ along one dimension, but rather a motion which sets lines crossing each other in a two-dimensional ﬁeld. , each in its own dimension.