Tenemos tres tiempos que rigen nuestra cronobiología: el interno, que es el tiempo que nuestras células sienten como producto de habernos adaptado al ecosistema dónde vivimos; el externo, que es el de la luz solar y artificial; y el social, que es el de la hora a la que vamos a trabajar o comemos. Si están desincronizados, aparece un desequilibrio molecular y fisiológico denominado cronodisrupción

Además del tiempo ambiental, que es el ciclo de luz y oscuridad natural, está el tiempo social: los hábitos horarios, como ir al trabajo o los contactos sociales, ayudan a sincronizar. El otro sincronizador es el tiempo metabólico, como los horarios de comida, que ayudan a controlar los relojes del tubo digestivo o del hígado

su reloj biológico generaba ciclos de más de 24 horas.

finger zingers

User studies and intuition both suggest that the activities that a knowledge worker engages in change—sometimes dramatically—over time. Projects and milestones come and go, and the tools and information resources used within an activity often change over time as well. Furthermore, activities completed in the past and their outcomes often impact activities in the present, and ongoing activities will, in turn, affect activities that will be undertaken in the future. Capturing activity over the course of time has long been a problem for desktop computing.

This means also that the predominantly linear time is comp-lemented by greater awareness of cyclical times and temporal routines which are overlapping each other.

phase-angle differ­ences simply refer to whether the phases, the parts of one rhythmic pattern,

So does polychronicity scale? Or is it a nested phenomenon whereby someone might be monochronic within hour- long intervals but polychronic when the frame enlarges to a month? And if so, what might be the consequences of different nesting combinations?

. When creating tools for schedulingandcoordination, it is crucial to provide ways for people to take into account not just the multiplicity of (potentially dissonant) rhythms [22, 46], but also the differential affective experiencesof time rendered by such rhythms.

In contrast to the assumption oftime as linear, with ordered chunks progressing ina straightforward manner, people often negotiate time rhythmically, arranging timein patterns and tempos that do not always co-exist harmoniously.

In contrast to the assumption oftime as linear, with ordered chunks progressing ina straightforward manner, people often negotiate time rhythmically, arranging timein patterns and tempos that do not always co-exist harmoniously. In line with earlier CSCW findings [e.g., 4, 9, 45, 46], we term thisrhythmic time, which acknowledges both the rhythmic nature of temporal experience as well a potential disorderliness or ‘dissonance’ when temporal rhythms conflict.Like mosaic time, bringing dissonant rhythms into semi-alignment requires adaptation, work, and patience.

In previous temporalities research,scholars have drawn productively on Zerubavel’s similar concept of a sociotemporal order–an orientation to time that is shared amongst a social group and thusly produces coordinated rhythms and temporal alignments [15, 53]

CSCW has been investigating the relationship of time and work practically from its inception as a scholarly fiel

Timing as a

Trajectories and rhythms frame temporal horizons, de-scribed as knowledge of likely future activities that are drawn upon in the organization of current work. The three together bring orderliness to the working day, with the na-ture of temporal horizons dictating how flexibly work can be organised, and the urgency with which it needs to be carried out.

Plastic time is described as unanticipated, un-reflexive and fluid, as the “experience of temporal ‘scraps’, of gapsin the schedule”, and as “the negative space of busyness”[p. 233]. Plastic time flies under the radar, being unplanned and non-immersive, and associated with neither productivi-ty nor leisure. It is interruptible, but can also expand until some other activity presents itself.

The broad pattern of work in the unit is governed by sets of large-scale andfiner-grained rhythms

An analytical approach that highlights a temporalcharacteristic of work at a collective level is the concept oftemporal rhythms.The concept of rhythms directs our attention to the re-occurring patterns ofwork and how people use their knowledge of these re-occurring patternsduring their patient care and organizational activities in the unit.

There are major differences between the rhythms of the day shift and nightshift nurses (Zerubavel, 1979

The first period of intense activity is at the beginning of the shift.The nurse going off duty ‘‘gives report’’ to the incoming nurse taking over forher. During this information exchange, which usually lasts for 30 minutes,the incoming nurse must rapidly assimilate all the information about thepatient and the daily plan of care for the patient. Immediately after shiftreport, the nurse ensures that all the medications are available and checks onthe patient. The next intense period of activities follows the SICU teammorning rounds; the nurse implements or helps the physicians implement theplan of care decisions made during the rounds. The final intense period ofactivity occurs at the end of the shift.

ess but all. I have

, it seems. Snatches

You, too, have seenthe bulbs flash from the sea. You, too, have feltit breathing down your neck. You eat fish. You’ve heardthat mermaids sing.

generating virtuous recursive loops

speeds, rhythms, and duration patternsplay an important role in performing a sense of place and time that is asunique as the flows themselve

Depending on schedules, dis-tance, lifestyle, and other variables, some people may travel as frequently asalmost every day or as infrequently as once, twice, or half a dozen times ayear, or even never.

These three clauses are best pronounced when the voice is suspended on the first two members of the period, and comes to a pause on the third.

but in a speech we need dignity and the power of taking the hearer out of his ordinary self.

We have now seen that our language must be rhythmical and not destitute of rhythm, and what rhythms, in what particular shape, make it so.

Prose, then, is to be rhythmical, but not metrical, or it will become not prose but verse.

These are the three things -- volume of sound, modulation of pitch, and rhythm -- that a speaker bears in mind.

various rhythms that suit various subjects