Time-space perception refers to the way visual and bodily experience organizes our understanding of position, depth, movement, and temporal flow. In the provided context, it is not treated as a purely natural faculty, but as a perceptual framework shaped by technical conditions. In relation to Ryu Furusawa’s work Passing, the usual assumptions of linear perspective are dismantled: a fixed viewpoint, a space converging toward a vanishing point, and the idea that all elements in a frame record the same instant. By deliberately offsetting the time referenced at the left and right edges of the image, the work transforms perspectival space into a more parallel, axonometric-like structure and draws the viewer into a perception marked by temporal thickness rather than a single frozen instant.
The context also links time-space perception to modern experiences of railway travel, where fast movement flattens the landscape, standardizes time, and separates the traveler from a direct bodily relation to the environment. Furusawa’s digital processing is described as reversing this loss narrative: instead of accepting the disappearance of space and time, the work reconstructs perception through media. It exposes how what we call “reality” depends on specific technical parameters such as perspective, linear time, and a fixed eye, then reconfigures them into a different perceptual order. Based on the sources, time-space perception here means a technologically mediated and bodily restructured mode of sensing space and time.