法國哲學家德勒茲詮釋康德，引述莎士比亞的「時間脫節了」與韓波的「我是另一個」，視之為涵攝康德之「時間性」與「主體性」思想的「詩意公式」。吾人發現中國偉大詩人杜甫的兩句詩：「日月籠中鳥，乾坤水上萍」，亦可視為涵攝康德「時空觀」之現代「詩意公式」：「時間」是「內在性」之主觀感性形式，現代人的自我內在於時間之中如同籠中之鳥。空間是「外在性」之主觀感性形式，現代人的自我游離在外在空間如同水上浮萍。吾人回到杜詩的原初脈絡，探討杜甫作為古代詩人，何以能展現如此驚人的「現代性」：因為杜甫晚年被完全排除在朝廷皇權體制的權力位階之外，窮困潦倒，漂泊無依，被強迫成為一個失去任何位置，「時間脫節了」的「現代人」。現代人的時空感就是一種沒有位置的空洞時間與沒有軌道的漂浮空間。延伸杜甫之「詩意公式」，可以涵攝現代文學藝術中各種「無目的漫遊」之類型：法國小說家塞林的《旅行到黑夜盡頭》，喬依思的《攸里西斯》，卡謬的《異鄉人》，凱魯亞克的《在路上》，溫德斯的公路電影，杜哈絲的白色書寫，地景藝術與嬉皮運動，直到好萊塢電影《阿甘正傳》，皆指向一種「時間之囚人，空間之流放者」，從時間感之空虛苦悶，衍生出空間感之漂泊無根，流離失所。而當代各種「空間」論述蔚為流行，諸如「旅行」、「流浪」、「遊牧」、「離散」等，其實是喪失「時間性」思考的一種思想的無能與轉移逃避。

In Gilles Deleuze's interpretation about Kant's concept of time-space, he cites Shakespeare's ”The time is out of its joint” and Rimbaud's ”'Je' est un autre. ('I' is an other.), and understandings these as poetic formulas about Kant's thinking of temporality and subjectivity. We find the great Chinese poet Du Fu's two phrase: ”The time is a bird in the cage, the space is duckweed on the water” to be also a poetic formula of the kantien time-space concept: the time is subjective form of sensibility as interiority, the space is objective form of sensibility as exteriority, the modern man's self is closed inside the time like a bird in the cage, wandering about the exterior space like the duckweed on the water.Why could Du Fu' poem show a 'modernity' so wonderful? Because he had been excluded from the hierarchic system of the royal power and had became a man without position. The modern man's sense of time-space is a void time without position and a floating spaced without trajectory. By extending Du Fu's poetic formula, we can comprehend wandering-type in the modern literature and art: Céline's Jusqu'au bout de la nuit, Joyce's Ulysses, Camus' Out sider, Kerouac's On the road, Wenders's Road-Movie, Duras's white writing, and American movie Forrest Gump. All this shows a prisoner of time and a wandering-man of space.