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Books on the topic 'HAND PERCEPTION'

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Author: Grafiati
Published: 9 March 2023
Last updated: 10 March 2023

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1

James, Van. Drawing with hand, head, and heart: A natural approach to learning the art of drawing. Great Barrington, MA: SteinerBooks, 2012.

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2

Eye, memory, hand: The nineteenth-century debate about the role of visual memory in the creative process. Groningen: Gerson Lectures Foundation, 2011.

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3

Land, Michael F. Looking and acting: Vision and eye movements in natural behaviour. Oxford: Oxford University Press, 2009.

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4

Jordan, Ronald C. God's hand on my shoulder for teens: Experiencing the presence of God in your everyday life. Colorado Springs, CO: Honor Books, 2004.

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5

Streri, Arlette. Voir, atteindre, toucher: Les relations entre la vision et le toucher chez le bébé. Paris: Presses universitaires de France, 1991.

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6

Streri, Arlette. Seeing, reaching, touching: The relations between vision and touch in infancy. New York: Harvester Wheatsheaf, 1993.

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7

Streri, Arlette. Seeing, reaching, touching: The relations between vision and touch in infancy. Cambridge, Mass: MIT Press, 1993.

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8

W, Tatler Benjamin, ed. Looking and acting: Vision and eye movements in natural behaviour. Oxford: Oxford University Press, 2009.

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9

University of Malawi. Polytechnic. Department of Land Economy and Quantity Surveying. Hand washing with soap: People's perceptions and mindset on hand washing : final report. Malawi: Republic of Malawi Ministry of Agriculture, Irrigation, and Water Development, 2014.

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10

Volker, Hecht, and Weis Christian, eds. Releasing the hand brake: Perceptions of regional road transport in southern Africa. Belgravia, Harare, Zimbabwe: Konrad Adenauer Foundation, 1998.

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11

Asuka, Yoshizu, and Sentar Lianne, eds. Hands off! Los Angeles, CA: Tokyopop, 2005.

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12

Asuka, Yoshizu, and Sentar Lianne, eds. Hands off! Los Angeles, CA: Tokyopop, 2005.

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13

Asuka, Yoshizu, and Sentar Lianne, eds. Hands off! Los Angeles, CA: Tokyopop, 2006.

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14

Asuka, Yoshizu, and Sentar Lianne, eds. Hands off! Los Angeles, CA: Tokyopop, 2006.

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15

Sigger, Jonathan. Using a Hot-Spot Procedure in an Online Study of Perceptions of Hand Contamination. 1 Oliver’s Yard, 55 City Road, London EC1Y 1SP United Kingdom: SAGE Publications, Ltd., 2022. http://dx.doi.org/10.4135/9781529604030.

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16

Rob, Browne, ed. Hands on pentominoes: Problem-solving activities. Palo Alto, Calif: Creative Publications, 1986.

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17

Tomczyk, Mary. Shapes, sizes & more surprises!: A Little Hands early learning book. Charlotte, Vt: Williamson Pub.Co., 1996.

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18

1940-, Adriani Götz, Weidemann Kurt, and Kunsthalle Tübingen, eds. Hans Peter Reuter: Bilder 1972-2002 : Kunsthalle Tübingen, 20. Juli bis 8. September 2002. [Köln]: Salon Verlag, 2002.

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19

Rob, Browne, and Creative Publications Inc, eds. Hands on attribute blocks: Problem-solving activities. Palo Alto, CA: Creative Publications, 1986.

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20

Hixson, B. K. Photon U: 50 hands-on experiments that explore the world of light, color, and perception. Sandy, Utah: Loose in the Lab, Inc., 2001.

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21

What the hands reveal about the brain. Cambridge, Mass: MIT Press, 1987.

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22

Poizner, Howard. What the hands reveal about the brain. Cambridge, Mass: MIT Press, 1990.

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23

Poizner, Howard. What the hands reveal about the brain. Cambridge, Mass: MIT Press, 1990.

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24

Sue, Brisby Linda, ed. A "Hands on" approach to teaching... geometry. Solvang, Calif: Hands On, 1989.

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25

Roth-Hano, Renée. Safe harbors. New York: Four Winds Press, 1993.

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26

Wolf, Jakob. Den farvede verden: Om Goethes farvelære, Hans Lipps' fænomenologi og K. E. Løgstrups religionsfilosofi. København: Munksgaard, 1990.

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27

Harchenko, Vera. Mood language. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1831656.

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In the monograph, mood is considered as a derivative of its components: travel, theater, pets, reading, replenishing collections, painting. The deficit of hard work and daily creative perception as the most important components of mood is emphasized. Much attention in creating a good mood is paid to conversational, and especially lively, creative speech. For linguists and a wide range of readers.
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28

Bertolaso, Marta, and Nicola Di Stefano. The Hand: Perception, Cognition, Action. Springer, 2018.

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29

Bertolaso, Marta, and Nicola Di Stefano. The Hand: Perception, Cognition, Action. Springer, 2017.

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30

16 Hand Horse. Simon & Schuster Children's Publishing, 1987.

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31

Liu, Honghai, and Zhaojie Ju. Hand Motion Recognition and Transfer: A Unified Framework for Human Hand Manipulation Recognition and Its Application. Springer Berlin / Heidelberg, 2017.

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32

The visual guidance of aimed-hand movements to stationary and moving targets. 1986.

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33

The visual guidance of aimed-hand movements to stationary and moving targets. 1988.

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34

The visual guidance of aimed-hand movements to stationary and moving targets. 1988.

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35

The visual guidance of aimed-hand movements to stationary and moving targets. 1988.

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36

Bergqvist, Anna, and Robert Cowan, eds. Evaluative Perception. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786054.001.0001.

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Evaluation is ubiquitous. Indeed, it isn't an exaggeration to say that we assess actions, character, events, and objects as good, cruel, beautiful, etc., almost every day of our lives. Although evaluative judgement—for instance, judging that an institution is unjust—is usually regarded as the paradigm of evaluation, it has been thought by some philosophers that a distinctive and significant kind of evaluation is perceptual. For example, in aesthetics, some have claimed that adequate aesthetic judgement must be grounded in the appreciator's first-hand perceptual experience of the item judged. In ethics, reference to the existence and importance of something like ethical perception is found in a number of traditions, for example, in Virtue Ethics and Sentimentalism. This volume brings together philosophers in aesthetics, epistemology, ethics, philosophy of mind, and value theory, to contribute in novel ways to debates about what we call Evaluative Perception. Specifically, they engage with (1) Questions regarding the Existence and Nature of Evaluative Perception: Are there perceptual experiences of values? If so, what is their nature? Are perceptual experiences of values sui generis? Are values necessary for certain kinds of perceptual experience? (2) Questions about Epistemology: Can evaluative perceptual experiences ever justify evaluative judgements? Are perceptual experiences of values necessary for certain kinds of justified evaluative judgements? (3) Questions about Value Theory: Is the existence of evaluative perceptual experience supported or undermined by particular views in value theory? Are particular views in value theory supported or undermined by the existence of evaluative perceptual experience?
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37

Taylor, Geoffrey, and Lindsay Kleeman. Visual Perception and Robotic Manipulation: 3D Object Recognition, Tracking and Hand-Eye Coordination. Springer London, Limited, 2008.

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38

Taylor, Geoffrey, and Lindsay Kleeman. Visual Perception and Robotic Manipulation: 3D Object Recognition, Tracking and Hand-Eye Coordination. Springer, 2014.

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39

and, Bruno. Perception for Action. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198725022.003.0003.

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Our bodies are not static, and multisensory signals are constantly being processed to produce motor behaviours. This chapter will discuss how multisensory interactions shape three kinds of such behaviours: reaching and grasping objects with the hand, walking, and maintaining one’s posture. Motor control is inherently multisensory, as it involves combining anticipatory sensory signals from vision and proprioception, as well as, in some cases, other sensory channels, to prepare movements before they are actually initiated, and then combining online multisensory feedback to control movements while they are being executed. In addition, multisensory motor processes turn out to be important in understanding how we perceive agency, the awareness that our own minds are the agents that will allow our actions to take place, how we adapt to novel sensory environments, how we understand actions performed by others exploiting ‘mirror’ sensorimotor brain systems, and perhaps even why we can’t tickle ourselves.
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40

De Souza, Jonathan. Music at Hand. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.001.0001.

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Musical instruments ground players’ actions and the sounds they create. Yet this book further claims that instruments mediate perception and imagination. Practicing an instrument builds bodily skills, while also fostering auditory-motor connections in players’ brains. These intersensory links reflect the ways that a particular instrument converts action into sound, the ways that it coordinates tonal and physical space. Reactivated in various ways, these connections can influence instrumentalists’ listening, improvisation, and composition. To investigate these effects, the book engages both classical and popular styles, from Bach to electronic music, from Beethoven to the blues. It uses Lewinian transformational theory to model instrumental interfaces and to analyze patterns of body-instrument interaction. Though based in music theory and analysis, the book also draws on psychology, including cognitive neuroscience, and the phenomenological philosophy of Maurice Merleau-Ponty and Martin Heidegger. Ultimately, it argues that music cognition is not simply embodied; it is also conditioned by musical technology.
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41

Absent Hand: Reimagining Our American Landscape. Counterpoint Press, 2019.

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42

Lessard, Suzannah. Absent Hand: Reimagining Our American Landscape. Counterpoint Press, 2020.

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43

The effects of high spatial constraints in determining the nature of the speed-accuracy trade-off in aimed hand movements. 1988.

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44

The effects of high spatial constraints in determining the nature of the speed-accuracy trade-off in aimed hand movements. 1990.

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45

Visual Perception and Robotic Manipulation: 3D Object Recognition, Tracking and Hand-Eye Coordination (Springer Tracts in Advanced Robotics). Springer, 2006.

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46

Touch: The science of hand, heart, and mind. Viking, 2015.

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47

Burge, Tyler. Perception: First Form of Mind. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198871002.001.0001.

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Perception is the first form of representational mind to emerge in evolution. Three types of form are discussed: formal representational structure of perceptual states, formation characteristics in computations of perceptual states, and the form of the visual and visuomotor systems. The book distinguishes perception from non-perceptual sensing. The formal representational structure of perceptual states is developed via a systematic semantics for them—an account of what it is for them to be accurate or inaccurate. This semantics is elaborated by explaining how the representational form is embedded in an iconic format. These structures are then situated in what is known about the processing of perceptual representations, with emphasis on formation of perceptual categorizations. Features of processing that provide insight into the scope of the perceptual (paradigmatically visual) system are highlighted. Relations between these processes and associated perceptual-level capacities—conation, attention, memory, anticipation, affect, learning, imagining—are delineated. Roughly, a perceptual-level capacity is one that borrows its form and content from perception and involves processing that is no more complex or sophisticated than processing that occurs in the classical visual hierarchy. Relations between perception and these associated perceptual-level capacities are argued to occur within the perceptual and perceptual-motor systems. An account of what it is to occur within these systems is elaborated. An upshot is refinement of the distinction between perceptual-level capacities, on one hand, and thought and conception, on the other. Intermediate territory between perception-level representation and propositional thought is explored. The book is resolutely a work in philosophy of science. It attempts to understand perception by focusing on its form, function, and underlying capacities, as indicated in the sciences of perception, rather than by relying on introspection or ordinary talk about perception.
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48

(Foreword), Elizabeth Spelke, Yvette Hatwell (Preface), and Tim Pownall (Translator), eds. Seeing, Reaching, Touching. Prentice-Hall, 1993.

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49

Maloney, J. Christopher. What It Is Like To Perceive. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190854751.001.0001.

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Conscious perception is a distinctive mode of cognition marked by its manifestly sensuous phenomenal character. Why? An intentionalist may reply that perception is a kind of psychological state realized by an oddly contentful mental representation. A higher order theorist might alternatively answer that a perceptual state is sensuous since it is the content of a higher order cognitive state. Neither of these representationalists is right. It is not the content of any mental state that ensures perception's phenomenal character. Rather, the unique structure of a perceptual representation determines perception's sensuous side. For a perceptual representation is an extended mental representation of a peculiar sort. It is a representation in which the vehicle of reference is itself the very object to which that vehicle refers. Perceptual representation thus differs from all other forms of cognitive representation in a way that directly acquaints a perceiver with whatever real object she perceives. Perception is sensuous because it is unbrokered cognitive contact with something present. This confrontational mode of cognition owes its phenomenal character not to what it represents but rather to how it represents. What it is like to perceive is bluntly - but exactly - to represent something real that is really at hand. Conscious perception is just direct acquaintance with what's there.
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50

Lamb, Kevin L., Gaynor Parfitt, and Roger G. Eston. Effort perception. Oxford University Press, 2013. http://dx.doi.org/10.1093/med/9780199232482.003.0011.

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Prior to 2000, most investigators had conducted their research in the same vein as that performed in greater volume on adults, and appealed for progress in this regard. While significant progress has been made in the intervening years, there remains, regrettably, a lack of consensus in terms of how data should be gathered (which tools and protocols are appropriate) and analysed statistically, making interpretations of validity and reliability quite difficult. In the past 10 years existing scales have been refined and ‘new’ ones have been constructed and promoted across a range of exercise modalities. Chapter 11 describes these advances and controversies and present the current status of the application of effort perception research in the paediatric exercise domain.
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