https://clockworks2.org/wiki/index.php?title=The_Time-Lapsed_Man&feed=atom&action=historyThe Time-Lapsed Man - Revision history2024-03-28T20:12:51ZRevision history for this page on the wikiMediaWiki 1.32.1https://clockworks2.org/wiki/index.php?title=The_Time-Lapsed_Man&diff=9235&oldid=prevErlichrd at 01:01, 19 March 20192019-03-19T01:01:18Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 01:01, 19 March 2019</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l5" >Line 5:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>During flux, traveling as he "mind-pushed his boat between the stars," Thorn and others of his profession feel "one with the vastness of the ''nada''-continuum. [***] Some Enginemen he knew, in fact the majority of those from the East, subscribed to the belief that in flux they were granted a foretaste of Nirvana. Thorn’s Western pragmatism denied him this explanation. He favoured a more psychological rationale – though in the immediate period following flux he found it difficult to define exactly a materialistic basis for the ecstasy he had experienced." The down-side, as it develops in the story, is that after fifty shifts in flux, one by one Thorn's senses lapse into the past. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>During flux, traveling as he "mind-pushed his boat between the stars," Thorn and others of his profession feel "one with the vastness of the ''nada''-continuum. [***] Some Enginemen he knew, in fact the majority of those from the East, subscribed to the belief that in flux they were granted a foretaste of Nirvana. Thorn’s Western pragmatism denied him this explanation. He favoured a more psychological rationale – though in the immediate period following flux he found it difficult to define exactly a materialistic basis for the ecstasy he had experienced." The down-side, as it develops in the story, is that after fifty shifts in flux, one by one Thorn's senses lapse into the past. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Cf. and contrast "Awareness of being, without object or subject Nirvana" in Le Guin's "Vaster than Empires and More Slow," especially in the original version of the story (''New Dimensions 1'' 1970), with her description of the experience of NAFAL space travel (Nearly As Fast As Light).[https://tinyurl.com/y5c53d38] </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Cf. and contrast "Awareness of being, without object or subject Nirvana" in <ins class="diffchange diffchange-inline">Ursula K. </ins>Le Guin's "Vaster than Empires and More Slow," especially in the original version of the story (''New Dimensions 1'' 1970), with her description of the experience of NAFAL space travel (Nearly As Fast As Light).[https://tinyurl.com/y5c53d38] </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Cited and briefly discussed (and highly recommended) in Stephen Baxter's "[[The Technology of Omniscience: Past Viewers in Science Fiction]].</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Cited and briefly discussed (and highly recommended) in Stephen Baxter's "[[The Technology of Omniscience: Past Viewers in Science Fiction]].</div></td></tr>
</table>Erlichrdhttps://clockworks2.org/wiki/index.php?title=The_Time-Lapsed_Man&diff=9234&oldid=prevErlichrd at 00:55, 19 March 20192019-03-19T00:55:41Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 00:55, 19 March 2019</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1" >Line 1:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Brown, Eric, "The Time-Lapsed Man."''' ''Interzone 24'' (Summer 1988). Collected ''The Time-Lapsed Man and Other Stories.'' 1990. Rpt. New York: Tor, 1990. Text available on line[http://www.baen.com/Chapters/9781301172689/The_Time-Lapsed_Man.htm] as of 18 March 2019. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Brown, Eric, "The Time-Lapsed Man."''' ''Interzone 24'' (Summer 1988). Collected ''The Time-Lapsed Man and Other Stories.'' 1990. Rpt. New York: Tor, 1990. Text available on line[http://www.baen.com/Chapters/9781301172689/The_Time-Lapsed_Man.htm] as of 18 March 2019. </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>During flux, traveling as he "mind-pushed his boat between the stars," Thorn and others of his profession feel "one with the vastness of the ''nada''-continuum. [***] Some Enginemen he knew, in fact the majority of those from the East, subscribed to the belief that in flux they were granted a foretaste of Nirvana. Thorn’s Western pragmatism denied him this explanation. He favoured a more psychological rationale – though in the immediate period following flux he found it difficult to define exactly a materialistic basis for the ecstasy he had experienced." The down-side, as it develops in the story, is that after fifty shifts in flux, one by one Thorn's senses lapse into the past. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>During flux, traveling as he "mind-pushed his boat between the stars," Thorn and others of his profession feel "one with the vastness of the ''nada''-continuum. [***] Some Enginemen he knew, in fact the majority of those from the East, subscribed to the belief that in flux they were granted a foretaste of Nirvana. Thorn’s Western pragmatism denied him this explanation. He favoured a more psychological rationale – though in the immediate period following flux he found it difficult to define exactly a materialistic basis for the ecstasy he had experienced." The down-side, as it develops in the story, is that after fifty shifts in flux, one by one Thorn's senses lapse into the past. </div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Cited and briefly discussed (and highly recommended) in Stephen Baxter's "[[The Technology of Omniscience: Past Viewers in Science Fiction]].</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Cited and briefly discussed (and highly recommended) in Stephen Baxter's "[[The Technology of Omniscience: Past Viewers in Science Fiction]].</div></td></tr>
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<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">RDE, Initial Compiler, 18Mar19</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{DEFAULTSORT: Time-Lapsed Man}}</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{DEFAULTSORT: Time-Lapsed Man}}</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category: Fiction]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category: Fiction]]</div></td></tr>
</table>Erlichrdhttps://clockworks2.org/wiki/index.php?title=The_Time-Lapsed_Man&diff=9233&oldid=prevErlichrd at 00:54, 19 March 20192019-03-19T00:54:56Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 00:54, 19 March 2019</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1" >Line 1:</td>
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<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Brown, Eric, "The Time-Lapsed Man." ''Interzone 24'' (Summer 1988). Collected ''The Time-Lapsed Man and Other Stories.'' 1990. Rpt. New York: Tor, 1990. Text available on line[http://www.baen.com/Chapters/9781301172689/The_Time-Lapsed_Man.htm] as of 18 March 2019. </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">'''</ins>Brown, Eric, "The Time-Lapsed Man."<ins class="diffchange diffchange-inline">''' </ins>''Interzone 24'' (Summer 1988). Collected ''The Time-Lapsed Man and Other Stories.'' 1990. Rpt. New York: Tor, 1990. Text available on line[http://www.baen.com/Chapters/9781301172689/The_Time-Lapsed_Man.htm] as of 18 March 2019. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>During flux, traveling as he "mind-pushed his boat between the stars," Thorn and others of his <del class="diffchange diffchange-inline">craft </del>feel "one with the vastness of the nada-continuum. [***] Some Enginemen he knew, in fact the majority of those from the East, subscribed to the belief that in flux they were granted a foretaste of Nirvana. Thorn’s Western pragmatism denied him this explanation. He favoured a more psychological rationale – though in the immediate period following flux he found it difficult to define exactly a materialistic basis for the ecstasy he had experienced." The down-side, as it develops in the story, is that after fifty shifts in flux, one by one <del class="diffchange diffchange-inline">his </del>senses lapse into the past. </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>During flux, traveling as he "mind-pushed his boat between the stars," Thorn and others of his <ins class="diffchange diffchange-inline">profession </ins>feel "one with the vastness of the <ins class="diffchange diffchange-inline">''</ins>nada<ins class="diffchange diffchange-inline">''</ins>-continuum. [***] Some Enginemen he knew, in fact the majority of those from the East, subscribed to the belief that in flux they were granted a foretaste of Nirvana. Thorn’s Western pragmatism denied him this explanation. He favoured a more psychological rationale – though in the immediate period following flux he found it difficult to define exactly a materialistic basis for the ecstasy he had experienced." The down-side, as it develops in the story, is that after fifty shifts in flux, one by one <ins class="diffchange diffchange-inline">Thorn's </ins>senses lapse into the past. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Cf. and contrast "Awareness of being, without object or subject Nirvana" in Le Guin's "Vaster than Empires and More Slow," especially in the original version of the story (''New Dimensions 1'' 1970), with her description of the experience of NAFAL space travel (Nearly As Fast As Light).[https://tinyurl.com/y5c53d38] </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Cf. and contrast "Awareness of being, without object or subject Nirvana" in Le Guin's "Vaster than Empires and More Slow," especially in the original version of the story (''New Dimensions 1'' 1970), with her description of the experience of NAFAL space travel (Nearly As Fast As Light).[https://tinyurl.com/y5c53d38] </div></td></tr>
</table>Erlichrdhttps://clockworks2.org/wiki/index.php?title=The_Time-Lapsed_Man&diff=9232&oldid=prevErlichrd: Created page with "Brown, Eric, "The Time-Lapsed Man." ''Interzone 24'' (Summer 1988). Collected ''The Time-Lapsed Man and Other Stories.'' 1990. Rpt. New York: Tor, 1990. Text available on line..."2019-03-19T00:53:13Z<p>Created page with "Brown, Eric, "The Time-Lapsed Man." ''Interzone 24'' (Summer 1988). Collected ''The Time-Lapsed Man and Other Stories.'' 1990. Rpt. New York: Tor, 1990. Text available on line..."</p>
<p><b>New page</b></p><div>Brown, Eric, "The Time-Lapsed Man." ''Interzone 24'' (Summer 1988). Collected ''The Time-Lapsed Man and Other Stories.'' 1990. Rpt. New York: Tor, 1990. Text available on line[http://www.baen.com/Chapters/9781301172689/The_Time-Lapsed_Man.htm] as of 18 March 2019. <br />
<br />
During flux, traveling as he "mind-pushed his boat between the stars," Thorn and others of his craft feel "one with the vastness of the nada-continuum. [***] Some Enginemen he knew, in fact the majority of those from the East, subscribed to the belief that in flux they were granted a foretaste of Nirvana. Thorn’s Western pragmatism denied him this explanation. He favoured a more psychological rationale – though in the immediate period following flux he found it difficult to define exactly a materialistic basis for the ecstasy he had experienced." The down-side, as it develops in the story, is that after fifty shifts in flux, one by one his senses lapse into the past. <br />
<br />
Cf. and contrast "Awareness of being, without object or subject Nirvana" in Le Guin's "Vaster than Empires and More Slow," especially in the original version of the story (''New Dimensions 1'' 1970), with her description of the experience of NAFAL space travel (Nearly As Fast As Light).[https://tinyurl.com/y5c53d38] <br />
<br />
Cited and briefly discussed (and highly recommended) in Stephen Baxter's "[[The Technology of Omniscience: Past Viewers in Science Fiction]].<br />
<br />
{{DEFAULTSORT: Time-Lapsed Man}}<br />
[[Category: Fiction]]</div>Erlichrd