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Wortel, Elise. „From history to haecceity“. Alphaville: Journal of Film and Screen Media, Nr. 2 (14.02.2012): 60–75. http://dx.doi.org/10.33178/alpha.2.05.
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This article investigates the transformation of history into haecceities that allow us to grasp history through a nonlinear, cinematic sensation of pure past. Here, cinema merges classical knowledge of historical facts with the lived reality of the unrecorded past. Experiments with spatial reframings of the past in The Lady and the Duke, The King's Daughters, The White Ribbon and Coco Before Chanel are discussed to create nonlinear sensations of duration that link with Deleuze and Guattari's notions of affect and haecceity, which transform history into cinematic sets of speed, movement, and texture. Furthermore, the article analyses how the traditionally linear narrative of history is transposed into the abstract sensation of time through haecceity as pure past, where time and space come together to put the sensory quality of memory to the fore. Shifting the perspective from the linear account of history to the multilinear effects of affect and haecceity this analysis challenges the cultural hegemony of representation that favours a homogeneous image of thought. Focussing on the material and performative quality of the film image, the article analyses the spatiotemporal relations that create an analytical perception through the senses.
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Smith, Roger. „“The Sixth Sense”: Towards a History of Muscular Sensation“. Gesnerus 68, Nr. 2 (11.11.2011): 218–71. http://dx.doi.org/10.1163/22977953-06802004.
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This paper outlines the history of knowledge about the muscular sense and provides a bibliographic resource for further research. A range of different topics, questions and approaches have interrelated throughout this history, and the discussion clarifies this rather than presenting detailed research in any one area. P art I relates the origin of belief in a muscular sense to empiricist accounts of the contribution of the senses to knowledge from Locke, via the idéologues and other authors, to the second half of the nineteenth century. Analysis paid much attention to touch, first in the context of the theory of vision and then in its own right, which led to naming a distinct muscular sense. From 1800 to the present, there was much debate, the main lines of which this paper introduces, about the nature and function of what turned out to be a complex sense. A number of influential psycho-physiologists, notably Alexander Bain and Herbert Spencer, thought this sense the most primitive and primary of all, the origin of knowledge of world, causation and self as an active subject. Part II relates accounts of the muscular sense to the development of nervous physiology and of psychology. In the decades before 1900, t he developing separation of philosophy, psychology and physiology as specialised disciplines divided up questions which earlier writers had discussed under the umbrella heading of muscular sensation. The term ‘kinaesthesia’ came in 1880 and ‘proprio-ception’ in 1906. There was, all the same, a lasting interest in the argument that touch and muscular sensation are intrinsic to the existence of embodied being in the way the other senses are not. In the wider culture – the arts, sport, the psychophysiology of labour and so on – there were many ways in which people expressed appreciation of the importance of what the anatomist Charles Bell had called ‘the sixth sense’.
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Larson, Scott. „Histrionics of the Pulpit“. TSQ: Transgender Studies Quarterly 6, Nr. 3 (01.08.2019): 315–37. http://dx.doi.org/10.1215/23289252-7549428.
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Abstract The eighteenth-century Atlantic world was swept with a radical new form of Christian preaching that aimed to engage the feelings and sensations of mass audiences. In the nineteenth century, this heart-centered preaching became a mainstream form of American Christianity, but in its first hundred years, it was widely regarded as perverse, effeminate, and depraved. Early evangelical Christianity threatened to destabilize social and political orders, to drive the masses “out of their senses,” and to throw gender norms into chaos. This article argues that attention to “trans tonality”—an investigation of trans at the level of tone, expression, and sensation—offers a surprising trans history of early American culture and opens up an archive rich with accounts of gender and sensory variance.
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Daly, Nicholas. „Railway Novels: Sensation Fiction and the Modernization of the Senses“. ELH 66, Nr. 2 (1999): 461–87. http://dx.doi.org/10.1353/elh.1999.0013.
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Zepke, Stephen. „The Sublime Conditions of Contemporary Art“. Deleuze Studies 5, Nr. 1 (März 2011): 73–83. http://dx.doi.org/10.3366/dls.2011.0008.
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Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, sensation in both its wider and more specifically artistic senses (senses that become increasingly entwined in Deleuze's work) will explode the clichés of human perception, and continually reinvent the history of art without recourse to representation. In tracing Deleuze's ‘aesthetics’ from Kant we are therefore returned to the viciously anti-human (and Nietzschean) trajectory of Deleuze's work, while simultaneously being forced to address the extent of its remaining Idealism. Both of these elements play an important part in relation to Deleuze's ‘modernism’, and to the discussion of his possible relevance to contemporary artistic practices.
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Hacker, P. M. S. „The Sad and Sorry History of Consciousness: being, among other things, a Challenge to the ‘Consciousness-studies Community’“. Royal Institute of Philosophy Supplement 70 (12.04.2012): 149–68. http://dx.doi.org/10.1017/s1358246112000082.
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The term ‘consciousness’ is a latecomer upon the stage of Western philosophy. The ancients had no such term. Sunoida, like its Latin equivalent conscio, meant the same as ‘I know together with’ or ‘I am privy, with another, to the knowledge that’. If the prefixes sun and cum functioned merely as intensifiers, then the verbs meant simply ‘I know well’ or ‘I am well aware that’. Although the ancients did indeed raise questions about the nature of our knowledge of our own perceptions and thought, and introduced the idea of an inner sense, they did not characterize the mind as the domain of consciousness. Aristotelians conceived of the mind as the array of powers that distinguish humanity from the rest of animate nature. The powers of self-movement, of perception and sensation, and of appetite, are shared with other animals. What is distinctive of humanity, and what characterizes the mind, are the powers of the intellect – of reason, and of the rational will. Knowledge of these powers is not obtained by consciousness or introspection, but by observation of their exercise in our engagement with the world around us. The mediaevals followed suit. They likewise lacked any term for consciousness, although they too indulged in reflections upon ‘inner senses’ – in the wake of Avicenna's distinguishing, arguably to excess, five such senses.
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Mukherjee, Triparna. „Mobile Ubiquitous Learning is the Need of the Hour for English Language Teaching During COVID-19 Pandemic“. Vidhyayana 9, si4 (01.03.2024): 40–49. http://dx.doi.org/10.58213/vidhyayana.v9isi4.1791.
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All people naturally want to know" is how Aristotle, one of the greatest thinkers in history, opens his well-known book Metaphysics (Aristotle, 2010). Humans are recognised to possess a wide range of potential skills in the modern day. Among these skills, knowledge, learning, and curiosity surface during a person's growth and start to take shape under the impact of their surroundings. Our understanding comes from the realm of sensations. In the same book, Aristotle discusses the value of the senses and offers the proverb "who loses a sense loses a world." He stresses the value of the senses in learning by noting that they are a vital tool for comprehending the cosmos and what is happening. He stresses the use of the senses in learning by stating that "science is based on the senses but senses are not science," noting that "the senses are an important aid in understanding the universe and what is happening" but also acknowledging that "the senses can be misleading from time to time.
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Howes, David. „Quali(a)tative Methods: Sense-Based Research in the Social Sciences and Humanities“. Qualitative Sociology Review 18, Nr. 4 (31.10.2022): 18–37. http://dx.doi.org/10.18778/1733-8077.18.4.02.
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This paper begins by tracing the sensory turn in the human sciences—most notably, history and anthropology—which, in turn, gave rise to the interdisciplinary field of sensory studies. The latter field is articulated around the concept of the sensorium (defined as the entire sensory apparatus, including the extension of the senses via diverse media, as an operational complex) and the notion of qualia (defined as those aspects of the material world, such as color and sound, that are contingent on the human perceptual apparatus—in contrast to the inherent or elementary properties of materials, such as number or form, which are not).
Sense-based research in the human sciences is tied to sensing and making sense together with others. Its methodology of choice is sensory ethnography, or “participant sensation.” This method departs from the emphasis on observation in conventional qualitative research, as well as the latter’s reliance on such verbocentric methods as the questionnaire or focus group. Sensory ethnography highlights the primacy of the quali(a)tative dimensions of our being together in society. It extrapolates on Georg Simmel’s point: “That we get involved in interactions at all depends on the fact that we have a sensory effect upon one another” (as cited in Howes 2013).
In part II of this paper, a critique is presented of the diminution of the quali(a)tative in the context of the Scientific Revolution of the sixteenth and seventeenth century, the cognitive revolution of the mid-twentieth century, and the scientization of the senses in the Sensory Evaluation Research Laboratory. These revolutions are problematized for their lopsidedness: the privileging of the infrasensible over the sensible and elemental (or atomistic) over the phenomenal in the case of the Scientific Revolution; the neuronal over the sensual and social in the case of the cognitive revolution; and, the unimodal (or one-sensation- and one-sense-at-a-time) over the multimodal, as well as the reduction of “significance” to the statistical, in the case of the research protocols of the sensory science laboratory. The paper concludes by presenting the results of a series of case studies in sensory ethnography that push the bounds of sense by leading with the senses and bringing the quali(a)tative back in.
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Pavlicic, Jelena, und Ivan Nisavic. „Epicurean view on the validity of sensation: On the contextual reading of the content of the perception“. Filozofija i drustvo 34, Nr. 4 (2023): 681–93. http://dx.doi.org/10.2298/fid2304681p.
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Scholars have argued that we have good reason to defend the Epicurean view of the validity of sensation on the basis of a contextual reading of the content of perception. More specifically, it has been suggested that we can respond to skeptical challenges by acknowledging the contextual character of perceptual content and by linking its truth to the conditions under which it occurs. By examining these proposals, we identify some sources of concern and point out the limitations in providing an adequate framework for the Epicurean idea that the senses are capable of providing the ultimate criteria of truth. In particular, we argue that we should be wary of a contextual reading of perceptual content, not only because this is not a viable model for reliably distinguishing truth from falsity, but also because it is not adequately supported by the available textual evidence of Epicurean empiricist epistemology. Finally, we point out further problems for the Epicurean viewpoint by drawing on some later considerations in the history of the philosophy of perception.
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Magee, Joseph. „Sense Organs and the Activity of Sensation in Aristotle“. Phronesis 45, Nr. 4 (2000): 306–30. http://dx.doi.org/10.1163/156852800510243.
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AbstractAmid the ongoing debate over the proper interpretation of Aristotle's theory of sense perception in the De Anima, Steven Everson has recently presented a well-documented and ambitious treatment of the issue, arguing in favor of Richard Sorabji's controversial position that sense organs literally take on the qualities of their proper objects. Against the interpretation of M. F. Burnyeat, Everson and others make a compelling case the Aristotelian account of sensation requires some physical process to occur in sense organs. A detailed examination of the interpretation by Everson and Sorabji of Aristotle's theory, however, shows that their reading cannot be the correct one, since it involves many textual and philosophical difficulties. Their interpretation, for instance, would require abandoning Aristotle's requirement that only a transparent substance is suitable matter for an eye. Likewise, their understanding of the Aristotle's doctrine of sensation as the reception of form without matter in DA 2.12 cannot be reconciled with other texts of his from On Generation and Corruption. An analysis of these texts, as well as DA 2.7 and De Sensu 6 on the roles of light and the transparent medium in vision, show that, for Aristotle, the physical processes which sense organs undergo are not standard qualitative changes (i.e. alterations), but activities or the actualizations of potencies in the material constituents of living animal bodies.
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Ferris, Natalie. „‘savage warnings and notations’: The Women Charting New Sensory Terrains in the Wake of Intelligence Work“. Modernist Cultures 16, Nr. 4 (November 2021): 546–67. http://dx.doi.org/10.3366/mod.2021.0352.
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This article explores the extent to which creative work developed by a number of ex-intelligence operatives in the wake of war posited a total recalibration of sensation and the senses at midcentury. It will suggest that intelligence work, as well as the decades of discretion such work entailed, led to the estimation of a bewildering new sensory terrain. Was this a realm that could be, in the subversive potential of its sensory integration, uniquely inhabited by women artists and writers? How did they adapt to its new ‘savage warnings and notations’? 1 It is an argument informed by the considerable scholarship on the modernist and midcentury sensorium and the impact of global conflict on the mind, body, environment and human senses, but lies askant from this in its focus on those emerging from the secretive spaces of the intelligence services. The three voices central to this discussion, Elizabeth Bowen, Christine Brooke-Rose, and Prunella Clough, are rarely considered within the same critical space, and yet all three place sensory intelligibility at the centre of their aesthetic endeavours in the years immediately following their service. Is their work in the wake of war testament to an elusive new form of address or agency for women writers; a ‘wireless voice’ – as Brooke-Rose conceives of it – that is capable of setting revolutionary new terms of encounter and coherence?
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Mironov, Boris N. „The Cognitive Abilities of the Russian Peasantry at the Turn of the Twentieth Century“. Russian History 46, Nr. 2-3 (27.08.2019): 103–24. http://dx.doi.org/10.1163/18763316-04602001.
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In Russia of 1917, two-thirds of the male and female peasants age 10 and older had not had systematic schooling and were illiterate; the rest were able to read and do basic arithmetic. Only 0.1% of peasants studied in secondary or higher educational institutions. As a result, 99.9% of all peasants had a particular mode of thinking - concrete, situational, and directly related to sensations and actions. Mastery of the world in practical terms, through the window of the senses, left a deep imprint on the nature and content of peasants’ knowledge, on how they conceptualized the social and physical world, and on how they behaved.
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Kucher, V. V. „Multimodal perceptual image and linguistic means of its manifestation in an English-language literary text“. Vestnik of Samara University. History, pedagogics, philology 29, Nr. 3 (24.10.2023): 186–94. http://dx.doi.org/10.18287/2542-0445-2023-29-3-186-194.
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The article discusses the problem of multimodal perceptual image in the literary text as a language means of conveying the interaction and reciprocity of perceptual sensations obtained through several senses and manifesting an integral multimodal image. The language manifestation of the multimodality of perception is understood as a way to express in a language the results of the perception by several senses at the same time. The purpose of the article is to identify language means of manifestation of the processes of multimodal perception in a literary text. The study is carried out from the perspective of cognitive stylistics, i.e. considering stylistic devices that manifest multimodal perception as a means of knowledge representation. «The Pebble in the Sky» by A. Azimov served as an example of a literary text characterized by an abundance of perceptual vocabulary per text unit. The component analysis, lexical definition analysis, contextual analysis and linguo-stylistic analysis result in the classification of perceptual vocabulary and stylistic means manifesting multimodal perceptual image.
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Johnson, Whitney. „The Emancipated Listener“. Resonance 2, Nr. 3 (2021): 334–52. http://dx.doi.org/10.1525/res.2021.2.3.334.
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An aesthetic controversy regarding the value of conceptual and ambient sound art opens this theoretical investigation into sensation, perception, and understanding. The contrast between valuing sound through language or listening calls on aesthetic philosophy and social phenomenology to transcend existing theories of perception that tend to be rooted in the sense of sight. Extending from the sensus communis, the phenomenology of expanded listening demonstrates that sonic percepts are specified in terms of cognitive attention and temporal adumbration. Judgment and conviction are distinct evaluative processes that draw on cultivated taste and embodied sensation, respectively. An emancipated listener finds enhanced political agency in a sonic sensorium, obviating the mediation of text. Though the history of visual art has tended to value the skillful hand or conceptual mind of the artist, sound art may allow listeners to contribute a broad spectrum of meaning and value through bodies with diverse sensory abilities engaged in expanded discourse.
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Moreau, Elisabeth. „Temperament and the Senses: The Taste, Odor and Color of Drugs in Late-Renaissance Galenism“. Early Science and Medicine 28, Nr. 3-5 (21.11.2023): 526–52. http://dx.doi.org/10.1163/15733823-20230085.
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Abstract According to the medical tradition, the temperament of bodies came from the balance of their primary qualities – hot, cold, dry, and moist. However, physicians associated additional sensory properties with temperament in the field of pharmacology. These sensations included taste, color, and odor, which allow an appraisal of the constitution and active powers of drugs. The present paper examines this theme in late-Renaissance medicine, through the accounts of the French physician Jean Fernel (ca. 1497–1558) and the Italian physician Andrea Cesalpino (1519–1603). As will be shown, their respective interpretations of drug “faculties” offered original views on the relationship between temperament, sensory properties, and matter theories. Such discussions, in turn, revealed the Renaissance reception of Arabic-Latin pharmacology, Galenic medicine, and the Aristotelian physics of matter and form.
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Dittburner, Terri-Lynn, und M. A. Persinger. „Intensity of Amnesia during Hypnosis is Positively Correlated with Estimated Prevalence of Sexual Abuse and Alien Abductions: Implications for the False Memory Syndrome“. Perceptual and Motor Skills 77, Nr. 3 (Dezember 1993): 895–98. http://dx.doi.org/10.2466/pms.1993.77.3.895.
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20 normal young women listened to an ambiguous story concerning a young boy who experienced fear, odd smells, and a smothering sensation during the night and skin lesions the next morning. After the Hypnotic Induction Profile (HIP) had been established, they were asked to estimate either the percentage prevalence of childhood sexual abuse or alien abduction in the general population. There were moderate (0.50) positive correlations between the subjects' estimates of prevalence and the amount of amnesia (“lost time”) and indices of right-hemispheric anomalies (history of sensed presence and left-ear suppressions during a dichotic-listening task). Relevance of observations to formation of the False Memory Syndrome and to the development of nonpsychotic delusions is discussed.
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Nolasco, Ana. „The Poetics of Sensational Forms“. Religion and the Arts 26, Nr. 3 (01.06.2022): 337–54. http://dx.doi.org/10.1163/15685292-02603003.
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Abstract This article seeks to analyze the drift of elements of Azorean popular religion into the domain of art orchestrated by two Azorean artists, Catarina Branco and Sofia de Medeiros. The change brings unlikely marriages into fruition, uniting the humor of pop art and the solemnity of the arches of the high choir in a church, the spirit of revelry and a sign of the cross, representing the unfathomable—death, the dread of emptiness to the feeling of unity in communitas. The presentation, together with the strangeness of decontextualization provoked by this change, invoke the walk of the visitor, during which different senses are awakened, in which the poetic imagination of the observer is called forth to complete the different meanings. In this thesis I shall argue that the elements of popular religiosity carried by these artists into the domain of art constitute sensory arrangements, in the sense given to this term by Meyer, providing structure to a collective religious experience particular to Azorean culture where the sacred intertwines with the profane. The mediation of the transcendent through these sensory arrangements leads, on one hand, to contamination and reciprocal intensification of the spheres of art and religion and, on the other hand, to a renewed look at the contemporaneous and its connection to the spiritual.
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Imbar, Henry S., Vera Harikedua und Rivolta Walalangi. „Beberapa Menu Sarapan Menggunakan Pangan Lokal Terhadap Pemenuhan Kebutuhan Gizi Siswa Sekolah Dasar“. Jurnal GIZIDO 10, Nr. 1 (01.05.2018): 47–58. http://dx.doi.org/10.47718/gizi.v10i1.734.
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Organoleptic testing is a test that is based on sensing process. Sensing can also mean mental reactions (sensation) if the senses receive stimuli (stimulus). Reaction or impression that is caused due to the stimulation may be an attitude to toward or away from, liking or disliking objects will cause stimulation.Formulation of the problem in this research is how the acceptance and preference level of primary school students towards some kind of breakfast menu using local food in North Sulawesi in order to fulfill nutritional needs.The general objective of this study is to make local food in North Sulawesi as a basic ingredient in making a breakfast menu with a variety favored by children in order to fulfill the nutritional needs of elementary school. The benefits of this research provide understanding to the community in particular who have children of primary school age that the fulfillment of nutrients on elementary school children is not always synonymous with foodstuffs are expensive, must be imported, instant, branded, but the quality and nutritional content is not very relevant to the needs child nutrition. This type of research is quasy Experiment was conducted in a laboratory study Culinary Nutrition Poltekkes Kemenkes Manado and Elementary School 06, which is located in Manado City. Collecting data in this study is the result of tests performed on the organoleptic properties, which consist of preference for appearance, flavor, texture, color and aroma.Hedonic data processing using Kruskal Wallis test showed no significant difference from the third menu tested.
Conclusion statistically no significant difference between the three breakfast menu with a conventional menu, but based on the average value of the hedonic score differences.
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Yu, Ri. „A View Point of Literature Coaching Based on Brain Science: Focusing on the Development of Empathy“. Korean Society of Culture and Convergence 45, Nr. 12 (31.12.2023): 1009–19. http://dx.doi.org/10.33645/cnc.2023.12.45.12.1009.
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The purpose of this paper is to propose the direction of literature coaching to increase empathy. This study focuses on discussing the plans for literature coaching based on the brain scientific analysis of empathy. To this end, I would like to establish the concept of literature coaching based on discussions on literature education and coaching. I will also look at previous studies that have analyzed the mechanism of empathy in brain science. From a brain science perspective, the process of empathy can be divided into a brain that focuses on the senses for empathy, a brain that can be immersed in empathy situations, mirror neurons and insular lobe involved in empathy, a brain that responds emotionally through body use, and a brain that combines reactions through interaction. Accordingly, literature coaching can be arranged to awaken brain sensations through indirect experiences, immerse oneself in situations and characters for empathy, empathize and imitate characters due to mirror neuron activities, play using the body and five senses, and discuss using the principles of the social brain.
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Newton, Hannah. „Inside the Sickchamber in Early Modern England: The Experience of Illness through Six Objects“. English Historical Review 136, Nr. 580 (01.06.2021): 530–67. http://dx.doi.org/10.1093/ehr/ceab165.
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Abstract This article transports the reader imaginatively into the early modern sickchamber, a space that has rarely attracted much historiographical attention. Focusing on England c.1600–1720, it reconstructs the patient’s sensory and emotional experiences of this environment. To do so, a material culture approach is adopted, which involves the analysis of six objects from the sickroom: a physic vessel, bedcurtains, clock, mattress, sheets, and blankets. The central argument is that sickness radically altered the way people related to the things around them. When seriously unwell, the sights, sounds, tastes, smells, and tactile sensations of the items which, during health, gave rise to feelings of comfort, became sources of distress. Through this research, the article showcases the mutual benefits that an object-driven approach can bring to the twin fields of medical and material history. For the former, it sheds fresh light on the very meaning of disease in this period, showing that it was conceived as a form of dis-possession. A focus on objects also reveals a number of hitherto overlooked forms of suffering, such as ‘swallowing a lothsome potion’, tinnitus, and sleeplessness. For material studies, the article demonstrates the vital role of the senses in the ‘emotive agency’ of objects, as well as offering an opportunity to tackle the notorious challenge of the silence of many historical records on ‘everyday objects’. Confined to the sickchamber for a stretch of time, the attention of the sick rested on the things around them, eliciting comments which would have rarely been voiced in health.
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Zimmermann, Tanja. „Objects of Embodiment: A “Post-Material Turn” in Exhibiting Lost Material Culture“. Ikonotheka, Nr. 29 (16.09.2020): 249–74. http://dx.doi.org/10.31338/2657-6015ik.29.1.
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Exhibiting lost material culture goes beyond documenting, preserving, reconstructing, and staging material traces of the past. Museums, possessing modest collections of original historical objects, have to search for new ways of exhibiting material culture thereby replacing facts (original objects, documents, documentary media) by bodily experience similar to that evoked by mystical religious art addressing different human senses beyond the vision. Bodily sensations can be evoked by ambiences, following expressionist or constructivist architecture, by sculptural displays in tradition of the avant-garde, by soundscapes and large scale image projections evoking illusion and immersion. The “post-material turn” comprises thus not only virtual culture, but also new material approaches to the memory of the past, shifting from original historical artifacts to reproductions and substitutes, evoking an intense bodily experience. Although history gets space for embodiment, such ambiences evoke a strong sense of loss, because they avoid immediate contact with traces of the past by virtual and material “doubles”. The “post-material turn” will be discussed with the example of The Jewish Museum and Tolerance Center in Moscow, relating it to other contemporary “postdocumentary” and “post-factual” phenomena in memorial culture.
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Díaz-Vera, Javier E. „Soft hearts and hard souls“. Cognitive Linguistic Studies 9, Nr. 1 (30.05.2022): 128–51. http://dx.doi.org/10.1075/cogls.20025.dia.
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Abstract One of the most fundamental claims of the Cognitive Theory of Metaphor is the direction of mapping from concrete to abstract. The pervasiveness of this path of semantic change has been widely accepted among researchers interested in the study of the history and development of emotional expressions. Whereas most studies focus on the analysis of one specific target domain (i.e., one emotion or one family of emotions), less attention has been paid to the reconstruction and analysis of the set of diachronic changes that affected one single source domain. Within this framework, in this paper I have used data extracted from standard Old English dictionaries and thesauri, in order to propose a complete analysis of the set of Old English adjectives for different textural properties of physical objects (such as roughness, smoothness, softness and hardness). I am especially interested in the reconstruction and analysis of the paths of semantic change (from concrete to abstract) illustrated by this section of the Old English vocabulary. Broadly speaking, apart from the original senses for physical texture, these adjectives developed secondary meanings in the fields of feelings and emotions, which I have classified into three categories: physical sensations (such as weakness and pleasantness), sensorial sensations (such as auditive, visual or gustative sensations) and emotional sensations (such as grief, anger, compassion and empathy). Furthermore, the resulting figurative meanings (which I have analysed in terms of metonymic, synaesthetic and metaphoric extensions) can also be grouped into positive and negative sensations. The present paper supports the idea that the origin of our understanding of abstract concepts is deeply rooted in our physical experiences. This is indeed a conceptual pattern showed by the diachronic evolution of Old English adjectives for texture. This paper concludes with some remarks on the social and cultural changes that prompted some of these semantic changes, paying special attention to the Christianization of Anglo-Saxon England and the introduction of Christian values.
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Switlick, Tiffany, Thomas W. Kernozek und Stacey Meardon. „Differences in Joint-Position Sense and Vibratory Threshold in Runners With and Without a History of Overuse Injury“. Journal of Sport Rehabilitation 24, Nr. 1 (Februar 2015): 6–12. http://dx.doi.org/10.1123/jsr.2013-0089.
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Context:A relationship between altered postural control and injury has been reported in sports. Sensorimotor function serves a fundamental role in postural control and is not often studied in runners. Persons who sustain running injury may have altered sensorimotor function contributing to risk of injury or reinjury.Objectives:To determine if differences in knee and ankle proprioception or plantar sensation exist between injured and noninjured runners.Design:Retrospective case-control study.Setting:University campus.Participants:Twenty runners with a history of lower-extremity overuse injury and 20 noninjured runners were examined. Injured runners were subcategorized into 2 groups based on site of injury: foot/ankle and knee/hip.Main Outcome Measures:Active absolute joint-repositioning error of the ankle at 20° inversion and 10° eversion and the knee at 15° and 40° flexion was assessed using an isokinetic dynamometer. Vibratory threshold at the calcaneus, arch, and great toe was determined for each subject using a handheld electric sensory threshold instrument.Results:Runners in the injured-foot/ankle group had increased absolute error during ankle-eversion repositioning (6.55° ± 3.58°) compared with those in the noninjured (4.04° ± 1.78°, P = .01) and the hip/knee (3.63° ± 2.2°, P = .01) groups. Runners in the injured group, as a whole, had greater sensitivity in the arch of the plantar surface (2.94 ± 0.52 V) than noninjured runners (2.38 ± 0.53 V, P = .02).Conclusions:Differences in ankle-eversion proprioception between runners with a history of ankle and foot injuries and noninjured runners were observed. Runners with a history of injury also displayed an increased vibratory threshold in the arch region compared with noninjured runners. Poor ankle-joint-position sense and increased plantar sensitivity suggest altered sensorimotor function after injury. These factors may influence underlying postural control and contribute to altered loading responses commonly observed in injured runners.
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Sakai, Nobuyuki. „Sensation and perception of chemical senses“. Journal of Japan Association on Odor Environment 37, Nr. 6 (2006): 397. http://dx.doi.org/10.2171/jao.37.397.
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Sanders, John T. „Retinae don't see“. Behavioral and Brain Sciences 27, Nr. 6 (Dezember 2004): 890–91. http://dx.doi.org/10.1017/s0140525x04250208.
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Sensation should indeed be understood globally: some infant behaviors do not make sense on the model of separate senses; neonates of all species lack time to learn about the world by triangulating among different senses. Considerations of natural selection favor a global understanding; and the global interpretation is not as opposed to traditional work on sensation as might seem.
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Sincar, Cerasela Dorina, Camelia Ana Grigore, Silvia Martu, Liliana Lacramioara Pavel, Alina Calin, Alina Plesea Condratovici und Bianca Ioana Chesaru. „Chemical Senses Taste Sensation and Chemical Composition“. Materiale Plastice 54, Nr. 1 (30.03.2017): 172–74. http://dx.doi.org/10.37358/mp.17.1.4810.
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Taste and smell are chemical senses, which means that the receptors (chemoreceptors) of these senses respond to chemical stimuli. In order for a substance to produce a taste sensation, it should be ingested in a solution or subsequently dissolved in saliva; a solid substance put in the mouth perfectly dry is tasteless. Therefore, taste receptors or taste buds occur only on wet surfaces, more precisely in the oral cavity in land vertebrates; however, in aquatic animals, these receptors are scattered all over the body. There are functionally different types of receptors for each of the primary tastes and the distribution of each type is not even on the surface of the tongue mucosa. The sweet and sour sensitive buds are located mainly on the tip of the tongue, those sensitive to acids are located on the sides of the tongue and those stimulated by the bitter taste are located towards the back of the tongue and in the epiglottis area. Taste may be generated by substances which touch the taste buds through the blood; thus, histamine injected intravenously causes a metallic taste, glucin a sweet taste, whereas jaundice may trigger a bitter taste due to the big concentration of gallbladder constituents in the blood.
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Vellodi, Kamini. „Two Regimes of Fact“. eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, Nr. 1 (2015): 103–22. http://dx.doi.org/10.28937/1000106255.
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In her contribution, Kamini Vellodi reflects on the chances of a methodological shift in the discipline of art history thanks to this expanded rethinking of fact by concentrating on the notion of the “pictorial fact”, or “matter of fact,” in Gilles Deleuze’s transcendental empiricism. Vellodi argues that Deleuze’s matter of fact can help us to overcome the still prevalent self-conception of art history as discipline, which has to trace historical facts, understood as given entities that “represent” already accomplished events, that provide the foundations and target for subsequent interpretation and elaboration. Following these assumptions, facts are antecedent to art historical investigations; they are seen as empirical material, independent from the art historian, something, which he or she has to collect in order to reconstruct the authentic essence of the artwork. This reductive notion of facticity in art history dominates not only the understanding of material and historical facts of artworks but as well the understanding of their formal qualities, as Vellodi shows. In the representational regime, as Vellodi calls it, forms in artworks are reduced to their function to represent an antecedent “fact”, hence an external meaning. Instead, she counts to augment this regime of fact – which might be important concerning questions of technique, dates etc. – by a second conception of fact that foregrounds the dynamic qualities of those material qualities of the artwork, which cannot be explained by their representational function, but are sensed in presence of the artwork. Vellodi proposes to follow Deleuze’s notion of “matters of fact” as proper pictorial ligatures acting as living forces and hence affecting the perception of art by challenging prevailing notions of the artwork. Facticity in this sense is understood as the material quality of the artwork realized in sensation and hence radically dynamic and contingent. This notion of “matters of fact” bears ramifications for a philosophy of painting as well as for art history, as Vellodi shows. Art historical practice would in consequence be forced to take account of the difference of each artwork acting as dynamic force beyond and even against already acquired facts. If one follows Vellodis analysis, one could draw the consequence, that art history should be practised as a never completed activity trying to create facticity by forming differentiated new relations to each work of art in its specific material appearance.
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Dunbar, Maureen E., und Jacqueline J. Shade. „Exploring the Links between Sensation & Perception“. American Biology Teacher 83, Nr. 6 (01.08.2021): 377–81. http://dx.doi.org/10.1525/abt.2021.83.6.377.
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In a traditional anatomy and physiology lab, the general senses – temperature, pain, touch, pressure, vibration, and proprioception – and the special senses – olfaction (smell), vision, gustation (taste), hearing, and equilibrium – are typically taught in isolation. In reality, information derived from these individual senses interacts to produce the complex sensory experience that constitutes perception. To introduce students to the concept of multisensory integration, a crossmodal perception lab was developed. In this lab, students explore how vision impacts olfaction and how vision and olfaction interact to impact flavor perception. Students are required to perform a series of multisensory tasks that focus on the interaction of multiple sensory inputs and their impact on flavor and scent perception. Additionally, students develop their own hypothesis as to which sensory modalities they believe will best assist them in correctly identifying the flavor of a candy: taste alone, taste paired with scent, or taste paired with vision. Together these experiments give students an appreciation for multisensory integration while also encouraging them to actively engage in the scientific method. They are then asked to hypothesize the possible outcome of one last experiment after collecting and assessing data from the prior tasks.
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Tjokrodipo, L., A. Sneep und P. Michielsen. „A case of incubus phenomenon“. European Psychiatry 64, S1 (April 2021): S818. http://dx.doi.org/10.1192/j.eurpsy.2021.2162.
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IntroductionThe incubus phenomenon is a paroxysmal sleep-related disorder in which patients experience sleep paralysis and compound hallucinations. The symptoms of this phenomenon contain: sensed presence, fear, visual and auditory hallucinations, unusual body experiences such as out-of-body experience and feelings of floating/paralysis, experiencing a pressure on the thorax, difficulties breathing and a feeling of pain(1). This phenomenon appears to be universal, but has different cultural explanations(2).ObjectivesWe present a case of possible incubus phenomenon to raise awareness about this specific condition.MethodsA literature search in English was performed using PubMed with the following mesh term: ‘incubus phenomenon’.ResultsWe present a 29-year old man, known with an intellectual disability (IQ=74), psychotic disorder and a cannabis use disorder. After neurological examination, he was diagnosed with narcolepsy and cataplexy. Over the past weeks there had been an increase of hallucinations that appear before, during or after sleep. The patient’s thoughts included sexual approaches by caregivers, difficulties in breathing and a moving sensation while laying down in bed and experiencing pressure on the thorax assuming a woman was sitting on his chest. Literature search shows a lifetime prevalence of 0.11 % in general population versus 0.41 % in psychiatric patients(2.)ConclusionsLiterature review shows only a few cases describing the incubus phenomenon. The prevalence is four times higher in patients with a psychiatric history(2) and should not be confused with psychotic disorder. Recognizing is important for proper treatment, as reoccurring attacks can be treated with anxiolytics, antidepressants, anticholinergics or anti-epileptics, and sleep hygiene methods(1.)DisclosureNo significant relationships.
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Shakya, Sudha. „COLOR VISION DEFECT: COLOR BLINDNESS“. International Journal of Research -GRANTHAALAYAH 2, Nr. 3SE (31.12.2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3619.
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Humans have many types of sensations such as sight, hearing, touch, smell, taste etc. They originate from stimulants, which a person receives from their external environment, stimulate the stimulating senses i.e. eye, ear, skin, nose and tongue, and produce different sensations. According to Eiseneck (1972), "sensation is a mental process that is no longer divisible." It is produced by external stimuli that affect the senses, and its intensity depends on the stimulus, and its properties depend on the nature of the senses. Apart from these five sensations, there are other sensations such as incidental sensation, static sensation and motion sensation.
मानव में कई प्रकार की संवेदनाएं होती हैं जैसे दृष्टि, श्रवण, स्पर्श, गंध, स्वाद आदि। इनकी उत्पत्ति उद्दीपकों से होती है, जिसे व्यक्ति अपने बाह्य पर्यावरण से ग्रहण करता है, यह उद्दीपक ज्ञानेन्द्रियों अर्थात आंख, कान, त्वचा, नाक और जिव्हा को उद्दीप्त करते हैं, और विभिन्न संवेदना को उत्पन्न करते हैं। आइजनेक (1972) के अनुसार ‘‘ संवेदना एक मानसिक प्रक्रम है जो आगे विभाजन योग्य नहीं होता। यह ज्ञानेन्द्रियों को प्रभावित करने वाली बाह्य उत्तेजना द्वारा उत्पादित होता है, तथा इसकी तीव्रता उत्तेजना पर निर्भर करती है, और इसके गुण ज्ञानेन्द्रिय की प्रकृति पर निर्भर करते हैं। इन पांच संवेदनाओं के अतिरिक्त अन्य संवेदना भी है जैसे आंगिक संवेदना, स्थैतिक संवेदना तथा गति संवेदना।
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Goyel, Vinita, Aman Jain, Shivani Mathur, Vinod Sachdev und Shambhavi Singh. „Exploring the Effect on 5 Senses in Children under Nitrous Oxide Sedation“. Journal of Evolution of Medical and Dental Sciences 10, Nr. 38 (20.09.2021): 3365–69. http://dx.doi.org/10.14260/jemds/2021/683.
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BACKGROUND Sensation and perception are two separate processes that are very closely related. Sensation is the input about the outside world obtained by our sensory receptors while perception is the difficult system by which the brain selects, organizes and interprets these sensations. Effects of nitrous oxide on the sensation and perception has not been unturned although role in physiological, anxiolytic, behavioural, psychomotor and analgesic parameters have been examined in both children and adults. The human senses have long been unnoticed, despite their responsiveness being of great importance. The purpose of this study was to evaluate the effectiveness of nitrous oxide inhalation sedation on 5 senses i.e. sight, hearing, touch, smell and taste at different titrations of nitrous oxide and oxygen. METHODS 7 to 12 years old children with Frankl’s behaviour rating score of 2, 3 and 4 with no prior dental experience and requiring dental treatment under nitrous oxide sedation who were systemically healthy were included in the study. The 5 senses (i.e. hearing, touch, smell, taste and vision) were evaluated with different materials at 4 different titration levels to evaluate the effect of nitrous oxide on the 5 senses T0: 100 % oxygen, T1: 30 % nitrous oxide, T2: 50 % nitrous oxide, T3: 100 % oxygen. RESULTS The results of the present study depicted that there is significant difference in the perception of various senses at different concentrations of nitrous oxide and also when compared to baseline values. It was observed that the patient regained the normal perception in 5 minutes after 100 % oxygen post-operatively. CONCLUSIONS Nitrous oxide is found to depress/relax one’s senses too. KEY WORDS Vision, Smell, Taste, Touch, Sound, Perception, Consciousness, Nitrous Oxide Sedation, Oxygen, Behaviour
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MacIsaac, D. Gregory. „Non enim ab hiis que sensus est iudicare sensum.Sensation and Thought in Theaetetus, Plotinus and Proclus“. International Journal of the Platonic Tradition 8, Nr. 2 (20.08.2014): 192–230. http://dx.doi.org/10.1163/18725473-12341287.
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I examine the relation between sensation and discursive thought (dianoia) in Plato, Plotinus, and Proclus. InTheaetetus, a soul whose highest faculty was sensation would have no unified experience of the sensible world, lacking universal ideas to give order to the sensible flux. It is implied that such universals are grasped by the soul’s thinking. In Plotinus the soul is not passive when it senses the world, but as thelogosof all things it thinks the world through its own forms.Proclus argues against the derivation of universallogoifrom the senses, which alone can’t make the sensible world comprehensible. At most they give a record of the original sense-impression in its particularity. The soul’s own projected logoi give the sensible world stability. For Proclus, bare sensation does not depend on thought, but a unified experience of the sense-world depends on its paradigmaticlogoiin our souls.
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Silva, Nilo. „O desdobramento da alma em direção ao belo: preleções no Livro sexto do diálogo Sobre a Música de Agostinho de Hipona“. Civitas Augustiniana 8, Nr. 1 (2019): 43–59. http://dx.doi.org/10.21747/civitas/8a3.
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Our investigation aims to propose a brief reflection on Book VI of De musica(387-391) by Agostinho de Hipona. In the light of philosophy, it is intendedto submit the main lines of arguments on the unfolding of the soul in its itinerary to God, in analogy to the rhythms and harmonies of musical art. Evidently, the meeting betweenHellenistic philosophy and Christianity in the early days of Patristics took place through many resources, but with some acquiescence on the part of Latin Patrology. In this context, the thought of Augustine of Hippo mustbe considered a reference for thesynthesis of Hellenistic philosophy in the Latin tradition. There is no doubt that the Neoplatonic reference was singularly present in Augustine's philosophy, not only as an ingredient of his intellectual and spiritual evolution, culminating in his conversion, but it was also the instrument by which, and exclusively through it, his thought has formed. In fact, it is clear that Augustine's thought is a synthesis of Hellenistic culture incorporated in Latin times, although this characteristic is not duly explicit in some of his works and in the course of his history, requiring a closer and more accurate examination of our interpretations. In the course of reading book VI of De musicawe can identify three important aspects: i) At first, Augustine proposes theunfolding of the soul based on the sensations. The path of reflection runs through the education of the senses in order to achieve the perceptual-sensorial transcendentalization,so that, Augustine intends to demonstrate that the movements and rhythms of music are in analogy to the rhythms of the soul driven by a natural desire to contemplate God; ii) In order to carry out this path of soul ascension, Augustine identifies in Neoplatonism the notion of spiritualization as an essential activity of the soul'sintimate life, in such a way that the dialogue is impregnated with the Plotinian speculation about the concept of unity, order and being, always related to the notion of God as ineffable; iii) The Augustinian assumption in discovering bodily harmonies in the soul through sensations, sounds and words in analogy to eternal harmony, supports, in a way, his notion of invisible perfection of God as the one who reveals himself to us in created things.
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Costantini, Mariaconcetta. „Science, Sexuality and Sensation Novels: Pleasures of the Senses“. Women's Writing 20, Nr. 2 (März 2013): 268–70. http://dx.doi.org/10.1080/09699082.2013.773785.
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Howes, David. „Multisensory Anthropology“. Annual Review of Anthropology 48, Nr. 1 (21.10.2019): 17–28. http://dx.doi.org/10.1146/annurev-anthro-102218-011324.
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The senses are made, not given. Multisensory anthropology focuses on the variable boundaries, differential elaboration, and many different ways of combining the senses across (and within) cultures. Its methodology is grounded in “participant sensation,” or sensing—and making sense—along with others, also known as sensory ethnography. This review article traces the sensualization of anthropological theory and practice since the early 1990s, showing how the concept of sensory mediation has steadily supplanted the prior concern with representation. It concludes with a discussion of how the senses are engaged in filmmaking, multispecies ethnography, and material culture studies as well as in achieving social justice.
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Stephens, Elizabeth. „Sensation machine: Film, phenomenology and the training of the senses“. Continuum 26, Nr. 4 (27.07.2012): 529–39. http://dx.doi.org/10.1080/10304312.2012.698033.
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TAPKI, Sinem. „SENSATIONS IN URBAN SPACE: SENSATIONAL ANALYSIS OF THE YELDEĞİRMENİ AREA“. INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, Nr. 26 (2022): 0. http://dx.doi.org/10.17365/tmd.2022.turkey.26.03.
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Aim: This research aims to examine the forms and features of understanding and grasping urban space through the senses. In the study, unlike the eye-centred paradigm, it discusses the importance of understanding urban space, not only with the sense of sight, but also with other senses, and its importance in making sense of it. Method: Between January and September 2021, Kadıköy Yeldeğirmeni, Rıhtım Avenue, Karakolhane Street and İskele Street were experienced and sensory analysis of these experienced axes was made.The sensations felt were evaluated using graphical expression in the computer environment. During the sensory analysis, no instrument was used to measure the intensity of the sensations, and the experiencing body was taken as the basis. The scale showing the intensity of the sensations is subjective, and the interval regions in the diagrams are not a mathematical value, but the experienced area. Results: According to the sensory analysis, the sensations and dominant sensations on the three axes differ. The factors that create each sensation are also different. It was determined that sound, motion and visual sensations were dominant in İskele Street, sound sensation in Rıhtım Street, and sound and smell sensation in Karakolhane Street. In this study, in which the eye-centred paradigm was questioned, it was noted that urban space can be grasped with multi-sensational perception. Although visual sense is dominant today, urban experiences consist of the sum of sight, smell, sound, muscle-balance and touch senses. The fact that visuality comes to the fore in the representation of sensations also shows the need for new studies to be done.
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Terada, Kazunori, Akinori Kumazaki, Daisuke Miyata und Akira Ito. „Haptic Length Display Based on Cutaneous-Proprioceptive Integration“. Journal of Robotics and Mechatronics 18, Nr. 4 (20.08.2006): 489–98. http://dx.doi.org/10.20965/jrm.2006.p0489.
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When a human recognizes length of an object while exploring it with an index finger, both proprioception and cutaneous sensation provide information for estimating the length of the object. We studied the contribution of cutaneous sensation and proprioception to the subjective estimation of object length, developing an apparatus for investigating the human cutaneous-proprioceptive integration using velocity dependency of cutaneous and proprioceptive length perception. We conducted four experiments. In experiment 1, 12 subjects estimated object length passively, using cutaneous sensation only via the index finger. In experiment 2, ten subjects estimated the distance if index finger traveled passively without cutaneous sensation. In experiment 3, subjects used both cutaneous and proprioceptive sensation to estimate the object length. The results showed that using both senses simultaneously improves length perception. In experiment 4, 17 subjects estimated object length moving the index finger passively but with the cutaneous sensation and proprioception differing in perceived length. The results showed that subjects relied on the greater sensation if proprioceptive and cutaneous sensations were discrepant.
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Desmawati, Alina, und Muhammad Hasan. „The Concept of Pain in Orthodontic Care“. Crown: Journal of Dentistry and Health Research 1, Nr. 2 (21.12.2023): 50–53. http://dx.doi.org/10.59345/crown.v1i2.89.
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Pain is a subjective sensation that plays a crucial role in physiological illnesses. Orthodontic tooth movement frequently results in pain, serving as a major obstacle for individuals contemplating orthodontic treatment. Moreover, it is a key determinant leading to the cessation of treatment. This review aims to elucidate the notion of pain associated with orthodontic therapy. Nociception, a complex neurophysiological process, involves four component processes: transduction, transmission, modulation, and perception. During nociception, the central nervous system (cortex cerebri) senses the sensation of pain as powerful peripheral stimuli occur.
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de Freitas, Elizabeth, David Rousell und Nils Jäger. „Relational architectures and wearable space: Smart schools and the politics of ubiquitous sensation“. Research in Education 107, Nr. 1 (15.11.2019): 10–32. http://dx.doi.org/10.1177/0034523719883667.
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This paper undertakes an analysis of the “smart school” as a building that both senses and manages bodies through sensory data. The authors argue that smart schools produce a situation of ubiquitous sensation in which learning environments are continuously sensed, regulated, and controlled through complex sensory ecosystems and data infrastructures. This includes the consideration of ethical and political issues associated with the collection of biometric and environmental data in schools and the implications for the design and operation of learning environments which are increasingly regulated through decentralized sensor networks. Working through a relational and adaptive theory of architecture, the authors explore ways of intervening in smart schools through the reconceptualization of sensor technologies as “atmospheric media” that operate within a distributed ecology of sensation that exceeds the limited bandwidth of the human senses. Drawing on recent projects in contemporary art, architecture, and interaction design, the authors discuss specific architectural interventions that foreground the atmospheric qualities and ethical problematics of sensor technologies in school buildings.
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Liu, Xiaoxiao, Yukari Nagai, Kumi Yabuuchi und Xiuxia Cui. „USE INTERACTIVE MEDIA TO ENHANCE CREATIVITY OF DESIGNERS BY STIMULATING THE SENSES IN THE CONTEXT OF ART DESIGN EDUCATION“. Proceedings of the Design Society 1 (27.07.2021): 3319–28. http://dx.doi.org/10.1017/pds.2021.593.
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AbstractCreativity is very important for designers, and methods to stimulate designers' creativity are the long-term focus of art design education. The senses are an important channel for designers to receive information and define core issues. Stimulating the designer's senses can help enhance their perception and creativity, and is of great benefit for the quality and efficiency of the design outcome. Today's interactive media technology provides more possibilities and advantages for designers' perception and sensation. The purpose of this research is to explore a way to stimulate the designer's senses through the use of interactive media, thereby improving the designer's design thinking and creativity, and providing designers with innovative design support. By means of interactive ground projection and experiments, and discussion of the advantages of interactive media to stimulate designers' senses, this research proposes innovations in art design educational media, which is valuable for the training and learning of designers and the development of virtual education environment in the future.
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Story, Gina M., und Robert W. Gereau. „Numbing the Senses: Role of TRPA1 in Mechanical and Cold Sensation“. Neuron 50, Nr. 2 (April 2006): 177–80. http://dx.doi.org/10.1016/j.neuron.2006.04.009.
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Latuny, Marsiano Rocky, und Handry Rochmad Dwi Happy. „Synesthesia and the Experience of the Art of Photography“. Jurnal Desain Komunikasi Visual Asia 7, Nr. 01 (28.02.2023): 45. http://dx.doi.org/10.32815/jeskovsia.v7i01.913.
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Photography is one branch of a large grouping in the arts, apart from design and painting. As a field of art, photography certainly has its own aesthetic concept, even the aesthetic concept is closely related to "feeling", an abstract concept regarding the process of absorbing something in human beings that cannot even be fully described. Understanding the concept of aesthetics is a dialectical process related to other issues such as philosophy, social, politics, culture, and economics so that the values of goodness and truth often appear in a variety of aesthetic discussions. The development of an approach to the concept of the creation process that involves the audience and seeks to provide various stimuli for the five senses requires the ability to process other senses, namely connecting the five senses. The concept related to this is known as synaesthesia (synesthesia), a concept where the five senses work together at the same time when responding to a stimulus so that it will cause a sensation that exceeds the expression of one of the five senses. Understanding aesthetics with these various approaches is an active appreciation process that aims to uncover new discourse possibilities in the development of photography.
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Vandierendonck, André, und Koen Van Der Goten. „Sensation of Resistor-Induced Warmth in Blind Persons“. Perceptual and Motor Skills 78, Nr. 3 (Juni 1994): 727–36. http://dx.doi.org/10.1177/003151259407800309.
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It is commonly believed that the human sense of warmth is inferior in spatiotemporal acuity to the tactile senses. However, little or no evidence is available about the active feeling of warmth. We investigated the ability of people to detect in an active way small changes of warmth on very small areas (2-mm × 2-mm resistors). To that end, a new procedure was developed to measure perception of warmth. The results indicate that people who are able to detect the warmth stimuli perceive small incremental changes and that detection performance improves as stimulus intensity increases. Male subjects seem to be less sensitive than female subjects at lower levels of stimulation, but this relationship is reversed at higher levels of stimulation.
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Kobayashi, S. „The five senses and fiber.2.Material feeling sensation and its measurement.“ Sen'i Kikai Gakkaishi (Journal of the Textile Machinery Society of Japan) 44, Nr. 9 (1991): P403—P409. http://dx.doi.org/10.4188/transjtmsj.44.9_p403.
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Shimizu, Shunji, Shuichi Ino, Takeshi Tsuruga, Tohru Ifukube Yuichi Wakisaka und Takashi Izumi. „Evaluation of a New Force Display using Metal Hydride Alloys“. Journal of Robotics and Mechatronics 9, Nr. 1 (20.02.1997): 14–23. http://dx.doi.org/10.20965/jrm.1997.p0014.
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It is an important study subject today to develop the method of realizing harmonious sensation feedback to humans not only in the remote manipulation of robots but also in human interface in general. Many study reports on such sensation feedback are available in the fields of visual and acoustic senses, but very few are available in the fields of force and tactile senses. This paper reports on the design, experimental fabrication and evaluates the usefulness of a new force display using a metal hydride (MH) actuator. The actuator made by the MH alloys is one of a few actuators suitable for putting on human. At first, the differential limen for applied force in human was investigated to obtain the design indices of the force display. Then, two types of experiments were carried out to evaluate the availability of the display. The experiments verified that the experimentally fabricated force display is fully capable of displaying continuous force variations on the sensation levels of about 3.5-15.6dB [S.L.] of force. It also verified that the difference between the force that acted on an arm when the arm actually lifted a real object of 20N and the force that was displayed by the force display and sensed to be equivalent to the force of the real object was smaller than the differential limen, indicating that this force display is capable of giving approximately the same force information as real objects to human. As a result, it was verified that the force display using MH actuators is useful.
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Lin, Jingjing. „“Blossoming” Under a Glass: Interpreting the Sensory Depiction of Elizabeth Bishop’s “Poetic Map” from the Humanist-geographical Perspective“. BCP Education & Psychology 10 (16.08.2023): 75–83. http://dx.doi.org/10.54691/bcpep.v10i.5205.
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Elizabeth Bishop (1911-1979) is arguably one of the most outstanding American poets in the 20th century, with a fetish about maps and landscapes as her as poetica. In her literary mapping of the poetic landscapes, a clever operation of human sensorium is notable. To examine the specific roles senses, play in the construction of Bishop’s “poetic map”, this article analyzes the depiction of three couples of senses—sight and hearing, movement and touch, smell and taste—in six of Elizabeth Bishop’s representative poems under the framework of Yi-fu Tuan’s humanist geography. By interpreting in the three main sections the metaphorical relationships between maps and different senses, it penetrates into the natural, spatial, and humanistic attributes of Bishop’s “poetic map”, and finds out that while feeling about geographic scenery with her outer senses, Bishop contemplates in her inner sensation in a humanistic way, and keeps questioning human being’s meaning in the environment. Based on these analyses, this paper adds a sensory perspective into the spatial/geographical study on Elizabeth Bishop, and tries to respond to the topic of man-environment relationship in the nature writing in contemporary literature.
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Kearney, Richard. „Philosophies of Touch: from Aristotle to Phenomenology“. Research in Phenomenology 50, Nr. 3 (14.10.2020): 300–316. http://dx.doi.org/10.1163/15691640-12341453.
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Abstract This essay explores Aristotle’s discovery of touch as the most universal and philosophical of the senses. It analyses his central insight in the De Anima that tactile flesh is a “medium not an organ,” unpacking both its metaphysical and ethical implications. The essay concludes with a discussion of how contemporary phenomenology—from Husserl to Merleau-Ponty and Irigaray—re-describes Aristotle’s seminal intuition regarding the model of “double reversible sensation.”
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Culbertson, Heather, Samuel B. Schorr und Allison M. Okamura. „Haptics: The Present and Future of Artificial Touch Sensation“. Annual Review of Control, Robotics, and Autonomous Systems 1, Nr. 1 (28.05.2018): 385–409. http://dx.doi.org/10.1146/annurev-control-060117-105043.
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This article reviews the technology behind creating artificial touch sensations and the relevant aspects of human touch. We focus on the design and control of haptic devices and discuss the best practices for generating distinct and effective touch sensations. Artificial haptic sensations can present information to users, help them complete a task, augment or replace the other senses, and add immersiveness and realism to virtual interactions. We examine these applications in the context of different haptic feedback modalities and the forms that haptic devices can take. We discuss the prior work, limitations, and design considerations of each feedback modality and individual haptic technology. We also address the need to consider the neuroscience and perception behind the human sense of touch in the design and control of haptic devices.
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Balode, Linda. „THE HEALING GARDENS AND PARKS OF SENSES“. Latgale National Economy Research 1, Nr. 5 (21.10.2013): 7. http://dx.doi.org/10.17770/lner2013vol1.5.1148.
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Health gardens therapy is a relatively new discipline of landscape science of which many fields of research are still undiscovered. While researching the international scientific literature the more underlying theories of the health gardens need to be considered as well. In Latvia the development of senses gardens has not been enough explored. Purpose: Based on the international sensation, treatment and therapy garden studies establish perspectives for sustainable development of therapy gardens in Latvia. Materials and Methods: Summarize literature on the impact of the Latvian rehabilitation centre and medical treatment worldwide on people as well as to study information used in the Latvian statistical data bases, historical papers, scientific research literature, publications, documents, and electronic resources analysis. To explore health and rehabilitation garden sustainable development and to create new opportunities to improve their residents’ mental health. Such garden visits not only develop feelings and senses of a small child or a teenage, but also enable residents of any age with various disabilities to spend their free time interactively. Perhaps such gardens make it possible to build self-confidence in people and underpin their social inclusion.