Academic literature on the topic 'Perception and Spatiality'
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Journal articles on the topic "Perception and Spatiality"
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Liddicoat, Stephanie. "Perceptions of Spatiality: Supramodal Meanings and Metaphors in Therapeutic Environments." Interiority 1, no. 2 (July 30, 2018): 91–111. http://dx.doi.org/10.7454/in.v1i2.17.
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This paper explores the perceptions of the spatiality of individuals who self-harm, with the aim of understanding the design aspects which foster supportive therapeutic environments. Analysis of responses found that there were key similarities in areas of perception of architectural interior space, refuting the commonly held view that all architectural response is purely subjective, and that subjective experience cannot be shared. Three examples of perceptions of interior therapeutic environments are discussed to highlight how the perceptions of spatiality of individuals who self-harm consists of a particular cluster of spatial understandings, behaviours and focuses, manifesting as a strong emotional overtone overlaid onto built environments. This includes common kinds of triggers and emotional reactions provoked by aspects of the built environment. This paper discusses architectural aspects in relation to subjectivity in perception, constructs of interiority, and the role of supramodal engagement in influencing perceptual responses to interior space. By understanding how individuals who self-harm experience a space, a greater comprehension of the design of these environments delivering mental health services may be enabled. This paper tables a series of research-derived design suggestions to facilitate supportive therapeutic spaces. This paper also proposes a series of further research directions to explore the relationships between constructs of interiority, the physical interior space, and the therapeutic function for which they are designed.
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Baaner, Lasse, and Line Hvingel. "Spatiality of Environmental Law." Journal for European Environmental & Planning Law 12, no. 2 (May 28, 2015): 173–88. http://dx.doi.org/10.1163/18760104-01202005.
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Digital society challenges the traditional perception of legal sources. The use of maps as a basis for public administration dates far back, but e-Government’s use of digital maps that include legal information creates new legal obstacles. In the coming decades, the inspire directive of 2007 will determine the interplay between geographic data and technology in the fields of environmental legislation, environmental policy and environmental management. This article examines the legal regulation of spatial information as established by the inspire directive, on one hand, and on the other hand, examines legal regulation as spatial information. It aims to deepen the understanding of spatiality as a core element of environmental law, and to connect it to the basic concept of representation used in giscience. It concludes that the future path for e-Government demands a shift in legal paradigm, from maps showing representations of applied legal norms, to maps build on datasets that have legal authority. That will integrate legal and geographic information systems, and improve the legal accountability of decision support systems used in e-Government services based on spatio-legal data.
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Viik, Tõnu. "ŽMOGIŠKOJI ERDVĖ: KULTŪRINĖ KRAŠTOVAIZDŽIŲ IR VIETOVIŲ FENOMENOLOGIJA." Problemos 79 (January 1, 2011): 103–14. http://dx.doi.org/10.15388/problemos.2011.0.1323.
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Straipsnyje fenomenologiniu metodu analizuojamas kraštovaizdžio ir kitų erdvinių struktūrų suvokimas. Erdvinė struktūra suprantama kaip erdvės sritis ar teritorija, turinti specifinę prasmę, kurią patiria stebintis subjektas. Aiškinant, kaip erdvinė struktūra įgauna prasmę, kuri ją apibrėžia kaip kraštovaizdį, namus ar šalį, remiamasi Husserlio prasmės konstitucijos teorija. Teigiama, kad, be subjekto pozicijos ir objektų suvokimų sekos, konkretaus erdvinio darinio prasmę lemiantis elementas yra tai, ką Husserlis vadino „suvokimo prasme“ (Auffassungssinn). Ji apibrėžia konkrečiam erdviškumui būdingą žiūrą. Kai tokia „suvokimo prasmė“ tampa intersubjektyviai galiojanti ir institucionalizuota, ji įgyja statusą kultūrinės formos, kuri funkcionuoja kaip visoms visuomenėms prasmę perteikiantis pasaulio interpretavimo automatas. Galiausiai tvirtinama, kad žmogiškųjų aplinkinių pasaulių (Umwelten) erdviškumas leidžia kurti ir palaikyti prasmes, kurios antraip išnyktų laiko tėkmėje.Pagrindiniai žodžiai: kraštovaizdžio suvokimas, erdvinės struktūros, fenomenologinis metodas, suvokimo prasmė, kultūrinė forma.Human Spatiality: A Cultural Phenomenology of Landscapes and PlacesTõnu Viik SummaryThe paper applies phenomenological method to the analysis of perception of landscapes and other spatialformations. A spatial formation is seen as a region of space, or a territory, with its specific meaning that is experienced by the subject who views it. Husserl’s theory of meaning-formation is used to clarify how spatial formations obtain meanings that define them as landscape, home, or country. It is suggestedthat besides the subject’s position and the series of perceptions of objects, the decisive element that determines the meaning of the specific spatial formation is what Husserl calls a “grasping sense” (Auffassungssinn).It defines the gaze specific to a particular spatiality. When the “grasping sense” becomes intersubjectively valid and institutionalized, it obtains the status of a cultural form which functions as a meaning-bestowing automaton for interpreting the world for entire societies. Finally it is argued that the spatiality specific to human Umwelten serves the purpose of creating and maintaining meanings that would otherwise disappear in the flux of time.Keywords: perception of landscapes, spatial formations, phenomenological method, grasping sense, cultural form.
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Burgese, D. F., D. P. Bassitt, D. Ceron-Litvoc, and G. B. Liberali. "The Time Perception in Contemporary." European Psychiatry 41, S1 (April 2017): S717. http://dx.doi.org/10.1016/j.eurpsy.2017.01.1288.
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With the advent of new technologies, the man begins to experience a significant change in the perception of the other, time and space. The acceleration of time promoted by new technology does not allow the exercise of affection for the consolidation of ties, relations take narcissists hues seeking immediate gratification and the other is understood as a continuation of the self, the pursuit of pleasure. It is the acceleration of time, again, which leads man to present the need for immediate, always looking for the new – not new – in an attempt to fill an inner space that is emptied. The retention of concepts and pre-stressing of temporality are liquefied, become fleeting. We learn to live in the world and the relationship with the other in a frivolous and superficial way. The psychic structure, facing new phenomena experienced, loses temporalize capacity and expand its spatiality, it becomes pathological. Post-modern inability to retain the past, to analyze the information received and reflect, is one of the responsible for the mental illness of today's society. From a temporality range of proper functioning, the relationship processes with you and your peers will have the necessary support to become viable and healthy.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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Mikułowski Pomorski, Jerzy. "Muzeum: transformacje medium na tle procesów konwergencji." Kultura i Społeczeństwo 55, no. 4 (November 22, 2011): 129–47. http://dx.doi.org/10.35757/kis.2011.55.4.7.
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The Author ponders changes in the perception of the institution of museum, which he treats as a medium. He considers its constitutive features: spatiality and transfer function. In his opinion, in the contemporary world of cultural convergence the museums, once limited with institutional perspective, targeted their attention at the needs and experiences of a viewer — they have become a piece of land which may be developed by people according to their own group needs.
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Lin, Chien Yu, Pi Hsia Hung, Yen Huai Jen, and Chien Chi Lin. "Perception of Motion Trajectory as a Spatial Concepts Activity for Children." Advanced Materials Research 187 (February 2011): 332–37. http://dx.doi.org/10.4028/www.scientific.net/amr.187.332.
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This study proposes to develop a best treatment interface of motion trajectory as a construct for children to build up their sense of spatiality. There are 30 children from kindergarten participate in this research. There are two factors in the study, first is the “leading object” and the other is the “reference object”, and each factor contains two levels, hence, there are four treatments in this experiment. This research uses “maze” as a spatial sense conceptual tool, and the maze is constructed by 3D models as a virtual environment. The focus of this research is to find out the best treatment and does not cause cognitive burden on children in the meantime. The result of this research is that the best tr eatment of motion trajectory depends on the treatment of “leading object” with “reference object” for children when they grab spatial concepts.
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Keinert, Alexa, Volkan Sayman, and Daniel Maier. "Relational Communication Spaces: Infrastructures and Discursive Practices." Media and Communication 9, no. 3 (July 23, 2021): 28–39. http://dx.doi.org/10.17645/mac.v9i3.3988.
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Digital communication technologies, social web platforms, and mobile communication have fundamentally altered the way we communicate publicly. They have also changed our perception of space, thus making a re-calibration of a spatial perspective on public communication necessary. We argue that such a new perspective must consider the relational logic of public communication, which stands in stark contrast to the plain territorial notion of space common in communication research. Conceptualising the spatiality of public communication, we draw on Löw’s (2016) sociology of space. Her relational concept of space encourages us to pay more attention to (a) the infrastructural basis of communication, (b) the operations of synthesising the relational communication space through discursive practices, and (c) power relations that determine the accessibility of public communication. Thus, focusing on infrastructures and discursive practices means highlighting crucial socio-material preconditions of public communication and considering the effects of the power relations which are inherent in their spatialisation upon the inclusivity of public communication<em>.</em> This new approach serves a dual purpose: Firstly, it works as an analytical perspective to systematically account for the spatiality of public communication. Secondly, the differentiation between infrastructural spaces and spaces of discursive practices adds explanatory value to the perspective of relational communication spaces.
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Findlay-Walsh, Iain. "Virtual auditory reality." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no. 1 (January 15, 2021): 71–90. http://dx.doi.org/10.7146/se.v10i1.124199.
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This article examines popular music listening in light of recent research in auditory perception and spatial experience, record production, and virtual reality, while considering parallel developments in digital pop music production practice. The discussion begins by considering theories of listening and embodiment by Brandon LaBelle, Eric Clarke, Salomè Voegelin and Linda Salter, examining relations between listening subjects and aural environments, conceptualising listening as a process of environmental ‘inhabiting’, and considering auditory experience as the real-time construction of ‘reality’. These ideas are discussed in relation to recent research on popular music production and perception, with a focus on matters of spatial sound design, the virtual ‘staging’ of music performances and performing bodies, digital editing methods and effects, and on shifting relations between musical spatiality, singer-persona, audio technologies, and listener. Writings on music and virtual space by Martin Knakkergaard, Allan Moore, Ragnhild Brøvig-Hanssen & Anne Danielsen, Denis Smalley, Dale Chapman, Kodwo Eshun and Holger Schulze are discussed, before being related to conceptions of VR sound and user experience by Jaron Lanier, Rolf Nordahl & Niels Nilsson, Mel Slater, Tom Garner and Frances Dyson. This critical framework informs three short aural analyses of digital pop tracks released during the last 10 years - Titanium (Guetta & Sia 2010), Ultralight Beam (West 2016) and 2099 (Charli XCX 2019) - presented in the form of autoethnographic ‘listening notes’. Through this discussion on personal popular music listening and virtual spatiality, a theory of pop listening as embodied inhabiting of simulated narrative space, or virtual story-world, with reference to ‘aural-dominant realities’ (Salter), ‘sonic possible worlds’ (Voegelin), and ‘sonic fictions’ (Eshun), is developed. By examining personal music listening in relation to VR user experience, this study proposes listening to pop music in the 21st century as a mode of immersive, embodied ‘storyliving’, or ‘storydoing’ (Allen & Tucker).
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Lindborg, PerMagnus. "Interactive Sonification of Weather Data for The Locust Wrath, a Multimedia Dance Performance." Leonardo 51, no. 5 (October 2018): 466–74. http://dx.doi.org/10.1162/leon_a_01339.
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To work flexibly with the sound design for The Locust Wrath, a multimedia dance performance on the topic of climate change, the author developed software for interactive sonification of climate data. An open-ended approach to parameter mapping allowed tweaking and improvisation during rehearsals, resulting in a large range of musical expression. The sonifications represented weather systems pushing through Southeast Asia in complex patterns. The climate was rendered as a piece of electroacoustic music, whose compositional form—gesture, timbre, intensity, harmony, spatiality—was determined by the data. The article discusses aspects of aesthetic sonification, reports the process of developing the present work and contextualizes the design decisions within theories of cross-modal perception and listening modes.
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Gehmann, Ulrich, and Martin Reiche. "Advanced Spatialities." International Journal of Art, Culture and Design Technologies 3, no. 1 (January 2013): 48–57. http://dx.doi.org/10.4018/ijacdt.2013010105.
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In this article the authors are going to explore a fundamental problem of modern spaces, and modern spatiality in general: their virtualization and final annihilation by augmenting them. There are two major domains where this happened and still happens: inside real space, and inside the virtual spaces of so-called location-based games. In both cases of its real and virtual appearance, space becomes efficient and therefore loses its uniqueness and identity, with concomitant effects on the user’s very own perception of reality. The authors will concentrate upon the case of gaming; here, augmentation re-shapes the perception of the real object in space (which is not originally part of the game) by making it an active element of the game, i.e. it utilizes the object (and furthermore the surrounding space) and thus frees it of its original meaning and utility. Furthermore, it gets incorporated into the artificial (virtual) space and acquires two new properties: it becomes interactive and as a result, interchangeable. The perception of reality thus gets augmented at the same time as it gets reduced to the bare minimum of information needed to reach the goal of the game. The authors will be providing a set of rules to address these phenomena in a generic manner.
Dissertations / Theses on the topic "Perception and Spatiality"
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Petralia, Peter S. "Reshaping spatiality : cognitive perception and the fracturing of theatrical space." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577530.
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Drawing on the tenets of cognitive science, particularly Lakoff and Johnson's writing on metaphor, this thesis investigates the ways in which perception is constructed spatially by focusing on contemporary artists' engagement with rehearsal processes and performances where technology asserts control over the boundaries of space, centring specifically on the author's own practice. This interrogation of theatricality includes three practical research projects (performances) and a three-chapter written thesis that explores the theoretical and practical concerns of artistic engagement with an understanding of space. This thesis explores the physicality of experience via cognitive science and positions it within the realm of the artist, addressing the ways in which material practitioners are always engaged in the experience of materiality. In both the written and practical components of this thesis, I interrogate and propose that space is perceived and constructed not only physically but also experientially. One of the key methodologies of this thesis is to locate, articulate and reflect upon the complex interaction between writing and practice: how material practice affects discourse and vice versa. Chapter One investigates heads pace, which is a feature of performance work that takes place largely in the head of an audience member, by using a set of techniques and technologies that subvert physical space - often including headphones worn by audience members. This chapter introduces many of the arguments of the larger thesis and establishes headspace as a viable term by reviewing the neurology of hearing and contemporary writing on sound reception, and through a dissection of four practical works, one of which was created by the author prior to this thesis: Whisper (Petralia, 2007), The Telephone Call (Cardiff, 2001), The Missing Voice (Cardiff, 1999) and Desire Paths (spell#7, 2004). Chapter Two concerns itself with aberrant pixel space, which, in the context of this project, is concerned with the internal architecture of the screen in relation to the external architecture of the stage in performance. Specifically, aberrant pixel space considers performances that use a cinematic and/or televisual frame that creates distinctions between what is in the shot, and what is not, uses the editing techniques of cinema/television, and plays with scale through its use of fragmented live performance and , perfect screen imagery. Aberrant pixel space is explored through the creation of a practice- as research performance work titled Virtuoso (working title) (petralia, 2009), which uses screens that form the boundaries of a space whose logic is defined by the properties of the television landscape. The work of Big Art Group and Gregory Crewdson are positioned alongside Virtuoso (working title) to understand the characteristics of spaces that can be understood via the extended metaphor of the pixel. Chapter Three focuses on telematic rehearsal space, which suggests that processes of artistic creation are not fixed to specific geographical locations but are in fact transitory, existing in the interchange between physical space and the space of communication. Chapter Three specifically considers the use of videoconferencing in rehearsal processes, using three performances including two new pieces created by the author in collaboration with Tiffany Mills Company: the dance- theatre works Tomorrow's Legs and Berries and Bulls, along with the work of other artists including Mabou Mines. The thesis concludes by interrogating the ways in which these three distinct spaces relate, reflecting on the ways in which space is contingent upon experience. Further, the conclusion discusses the ways that this thesis contributes to a new approach for understanding the making and witnessing process of live performance.
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Nordqvist, Amanda. "Colour and light." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10378.
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This work explores how colour and light can be used as the prime design materials. They are investigated in unison in relation to spatiality. Colour is a way for us to understand and identify what we see, it is primary for how we interpret our surroundings. The aim is to explore colour, light and reflections, by the means of printing and dyeing of translucent materials, as an attempt to challenge the visual perception of the spectator and the experience of how spatiality is perceived. The project investigates how the boundaries of a textile can be questioned, for example where does a pattern begin and end? Does it only belong to the textile or can it transcend to it’s surroundings? The investigational process is experimental and explores combinations of colour and light in translucent materials, coloured through the techniques of heat transfer printing and dyeing. Swatches made are analysed in relation to each other and to light, with a focus on their visual performance. The final design examples discusses the idea of how textile, light and colour can be used to create, define and illuminate spatiality.
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Emmett, Mathew Henry. "Felt_space infrastructure : hyper vigilant spatiality to valence the visceral dimension." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1495.
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This thesis evolves perception as a hypothesis to reframe architectural praxis negotiated through agent-situation interaction. The research questions the geometric principles of architectural ordination to originate the ‘felt_space infrastructure’, a relational system of measurement concerned with the role of perception in mediating sensory space and the cognised environment. The methodological model for this research fuses perception and environmental stimuli, into a consistent generative process that penetrates the inner essence of space, to reveal the visceral parameter. These concepts are applied to develop a ‘coefficient of affordance’ typology, ‘hypervigilant’ tool set, and ‘cognitive_tope’ design methodology. Thus, by extending the architectural platform to consider perception as a design parameter, the thesis interprets the ‘inference schema’ as an instructional model to coordinate the acquisition of spatial reality through tensional and counter-tensional feedback dynamics. Three site-responsive case studies are used to advance the thesis. The first case study is descriptive and develops a typology of situated cognition to extend the ‘granularity’ of perceptual sensitisation (i.e. a fine-grained means of perceiving space). The second project is relational and questions how mapping can coordinate perceptual, cognitive and associative attention, as a ‘multi-webbed vector field’ comprised of attractors and deformations within a viewer-centred gravitational space. The third case study is causal, and demonstrates how a transactional-biased schema can generate, amplify and attenuate perceptual misalignment, thus triggering a visceral niche. The significance of the research is that it progresses generative perception as an additional variable for spatial practice, and promotes transactional methodologies to gain enhanced modes of spatial acuity to extend the repertoire of architectural practice.
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Tracada, Eleni. "Towards human-oriented design, architecture and urbanism : shifts in education and practice." Thesis, University of Derby, 2015. http://hdl.handle.net/10545/582094.
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The scope of this piece of work is to reflect upon a series of past and recent publications as well as those in progress referring to innovations in architectural education which has already led and/or might lead to major shifts in future practices. This is an opportunity for the author to reflect on concepts and ideas for the future of architecture which is currently undergoing innovative developments by embracing new theories and enduring professional formation according to contemporary trends. This reflective work has been based on publication of research, including ongoing editorial work related to this topic. The author’s ideas and philosophy on human-oriented design and fractal patterns of social life has embraced dynamics of urban developments in modern and future cities. She has succeeded in considering, uniquely interpreting and further developing ideas and theories of established authors, such as Christopher Alexander’s concepts on patterns and principles of design and Nikos Salingaros’ thermodynamic models of the built environment. The author was inspired by teachers and renowned scholars in history, philosophy and practices of architecture; her own teachers’ experiences and their teaching had offered a singular momentum in her personal career path. This long process started when her teachers succeeded in placing urbanism and architecture side by side inside the Faculty of Architecture of Florence back in the 1970s. Hence the author reflects not only on recent publications, but also on others that have been published in the last decade or so. In this report it is evident that materials produced during these years have been essential and invaluable for her later endeavours in learning, teaching and the training of designers and architects in Great Britain and beyond.
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Bonnefoy, Carine. "Le jazz symphonique. Harmonie et spatialité." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040216.
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Cette recherche, en lien avec mes activités de pianiste, compositrice et chef d’orchestre, porte sur l’élaboration de l’œuvre de jazz symphonique. Le jazz symphonique a représenté un hybride musical et un terrain de recherche autour de l’espace sonore de l'orchestre. Il a été à bien des égards un précurseur dans l’exploration des possibilités pour créer une musique dans laquelle les approches et les préoccupations jazz et savantes entraient dans une dialectique productive. Le geste d’écriture qu'il a privilégié intègre alors la palette instrumentale comme un révélateur fondamental des structures musicales. Le compositeur élabore un processus musical qui permet au matériau de s’exprimer, de déployer ses potentialités expressives et perceptives par l’appréhension de l’espace orchestral. Identifier et comprendre les stratégies d’écoute que le compositeur destine à l’auditeur et la manière dont il potentialise la signification des éléments constitutifs de l’œuvre représentent un des principaux enjeux de la rechercheThis research relates to my pursuits as a pianist, composer and conductor, and concerns the development of the art of symphonic jazz. Symphonic jazz has represented a musical hybrid and a field of research around the soundscape of the orchestra. In many ways, it has been a forerunner in exploring the possibilities for creating music in which jazz and scholarly approaches and inquiries had entered into a productive dialectic. Hence the favoured approach to writing now integrates a variety of instruments as a fundamental revealer of musical structures. The composer creates a musical process that allows the material to express itself and spread its expressive and perceptive potential through comprehension of the orchestral space. Identifying and understanding the composer’s listening strategies for the listener, as well as the way he increases the meaning of the elements constituting the work is one of the main subjects of research
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Figueiredo, Jadismar de Lima. "Corpo próprio, especialidade e mundo percebido em Merleau-ponty." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8345.
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This study it constitutes in a dissertation based on a bibliographic background in which was used as the main source the philosophy’s title ‘Phenomenology of Perception’ by Maurice Merleau-Ponty. Its aim is to analyze the concept of one’s own body and its related spatiality discussed in the mentioned work of the philosopher. At first, it is presented an issue concerning what is the concept of body perceived by physiology as a juxtaposed structure. On the other hand, Merleau-Ponty points to a new understanding of the body, not as constituted bodies, but as one’s own body that is able to recognize its very existence as a living subject, as it is situated in space and not just positioned into it. Trailing the sense of spatiality, Merleau-Ponty discusses about it not in the same wayas addressed by Geography, in which it is possible to think of locations, but still as a point in space where the subject can notice his own body, as perceiver subject. It is the experienced world, lived, in which the subject can recognize his own existence. The notion of space can’t be understood as isolated parts, but with modalities that are associated to the subject. Considering these concepts, it explores also other topics such as intentionality and motricity. The first as a tendency of the one’s own body "to go further" because of its intention to do so and the second as an extension of the body to be able to appropriate the phenomena perceived in order to understand them. It also discusses the concept of perceived world in which the perceiver subject perceives the phenomena and the world in perspective. In addition, he is not alone, as there are other perceiver subjects that carry a peculiarity of ‘I myself’ responsible for the redefinition of the world and the phenomena appropriation through perspectives. There is ‘I myself’ in others, but this can’t be broken into, what is known of it is just what is expressed, communicated. Hence, the importance of the language that is present throughout the discussion not only as verbal language, but as body grammar.
O presente estudo constitui-se em uma dissertação de mestrado fundada em um referencial bibliográfico em que foi utilizada como principal fonte a obra Fenomenologia da Percepção do filósofo Maurice Merleau-Ponty. Seu principal objetivo é analisar o conceito de corpo próprio e sua espacialidade discutida na citada obra do filósofo. A princípio, é apresentado um problema que é o conceito de corpo analisado pela fisiologia como uma estrutura justaposta. Em contrapartida, Merleau-Ponty aponta para uma nova compreensão de corpo, não como constituído de órgãos, mas como corpo próprio, ou seja, que é capaz de reconhecer sua própria existência como um sujeito vivo, pois ele é situado no espaço e não apenas posicionado nele. Tomando como fio condutor o sentido de espacialidade, Merleau-Ponty discorre sobre o mesmo não como um espaço abordado pela Geografia, em que é possível pensar em localizações, mas como um espaço de situação em que o sujeito possa perceber o seu próprio corpo, como sujeito perceptivo. É o mundo experimentado, vivido, no qual o sujeito consegue reconhecer sua própria existência. A noção de espaço não pode ser compreendida como partes isoladas, mas como situação, pois o corpo próprio habita o espaço de seu corpo. Considerando estes conceitos, adentra-se também em outros temas como: a intencionalidade e a motricidade. O primeiro como uma tendência do corpo próprio de se “dirigir para”, porque tem a intenção de fazê-lo, e o segundo como uma extensão do corpo de poder se apropriar dos fenômenos percebidos a fim de compreendê-los. Também é discutido neste trabalho o conceito de mundo percebido em que o sujeito perceptivo percebe os fenômenos e o mundo em perspectivas. Além disso, ele não está sozinho, pois existem outros sujeitos que carregam consigo uma particularidade de Eu segundo a qual este é responsável pela ressignificação do mundo e da apropriação dos fenômenos através de perspectivas. Existe o Eu de outrem, mas este não pode ser invadido, o que se sabe dele é apenas o que é expresso, comunicado. Eis a importância da linguagem que se faz presente em toda a discussão não apenas como linguagem verbal, mas como gramática corporal.
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Luo, Xiao. "Ensemble perception of multiple spatially intermixed sets." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58300.
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The visual system is remarkably efficient at extracting summary statistics from the environment. Yet at any given time, the environment consists of many groups of objects distributed over space. Thus, the challenge for the visual system is to summarize over multiple sets distributed across space. My thesis work investigates the capacity constraints and computational efficiency of ensemble perception, in the context of perceiving multiple spatially intermixed groups of objects. First, in three experiments, participants viewed an array of 1 to 8 intermixed sets of circles. Each set contained four circles in the same colors but with different sizes. Participants estimated the mean size of a probed set. Which set would be probed was either known before onset of the array (pre-cue), or after that (post-cue). Fitting a uniform-normal mixture model to the error distribution, I found participants could reliably estimate mean sizes for maximally four sets (Experiment 1). Importantly, their performance was unlikely to be driven by a subsampling strategy (Experiment 2). Allowing longer exposure to the stimulus array did not increase the capacity, suggesting ensemble perception was limited by an internal resource constraint, rather than an information encoding rate (Experiment 3). Second, in two experiments, I showed that the visual system could hold up to four ensemble representations, or up to four individual items (Experiment 4), and an ensemble representation had an information uncertainty (entropy) level similar to that of an individual representation (Experiment 5). Taken together, ensemble perception provides a compact and efficient way of information processing.Medicine, Faculty of
Graduate
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Ahn, Minseung. "Tactile perception of spatially distributed vibratory stimuli on the fingerpad." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/35675.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2005.Includes bibliographical references (p. 86-87).
Using a pin-array type tactile display as a stimulator of the finger pad, a psychophysical study was conducted on the vibrotactile perception. The passive touch with vibratory stimuli in the low frequency could be an alternative of the active touch for the presented stimuli: polygons, round shapes and gratings. As for the effect of frequency on the texture discrimination, the high correct answer proportions corresponded to the most sensitive frequency ranges of each mechanoreceptor. The spatial acuity decreased as the frequency of the stimuli increased when the stimuli presented by the equal number of contactors. As an analogy between color vision and tactile perception, a spatial configuration of the multiple contactors was proposed to deliver the intermediate pitch using the compound waveform defined as a sinusoidal stimulus which was presented by four contactors vibrating with 30Hz and 240Hz. The subjects felt qualitatively different the compound waveform and the pure-tone.
(cont.) When the high frequency component had 3 times the intensity of the other component, the perceived frequency of the compound waveform was about 120Hz which was much lower than the component frequency 240Hz. The experimental results were explained by the hypothesis of a ratio code, neural mechanism signaling the frequency of vibratory stimuli based on the ratio of the one-to-one activated population of mechanoreceptors. In addition, the intensity of the components also affected the overall perceived frequency.
by Minseung Ahn.
S.M.
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Bihanic, David. "Espace, lieux et "hypercartes" : étude sur la spatialité des réseaux et la géographie d'information." Paris 1, 2007. http://www.theses.fr/2007PA010724.
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A l'heure où les réseaux (à la fois techniques et humains) défmissent de nouveaux repères topologiques/topographiques et géographiques du monde contemporain, qu'en est-il de la "pertinence" de nos représentations de l'espace, des lieux, décrivant des organisations centralisées, territoriales ajustant des « calculs» de distance et de proximité périphérique? Qu'advient-il de notre propre relation (au sens phénoménologique, subjectif et existentiel) à l'espace? S'élabore-il une nouvelle spatialité contemporaine des réseaux autorisant des "points" de passage, de rencontre entre deux réalités: celle des lieux géographiés, localisés, situés et celle des lieux reliés, interconnectés, distribués ? Cette thèse se propose d'examiner ces questions dans le cadre de l'étude d'un nouveau système, dispositif de représentation cartographique (développé conjointement à l'apparition de nouveaux paradigmes) : 1'« hypercarte». Il s'agira alors d'en comprendre ses spécificités et particularités « fonctionnelles» - qui la distinguent d'une carte "classique" - d'analyser ses modes d'exploration et de navigation, de parcours, de lecture et de traitement de l'information ainsi que ses arrières plans conceptuels et théoriques et méthodes qui sous-tendent sa réalisation.
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Gonzalez, Naranjo Rocio. "Féminité et spatialité dans le théâtre moderne espagnol et français : 1930-1945." Limoges, 2013. http://www.theses.fr/2013LIMO2018.
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Cette étude de recherche géocritique analyse "la Nieta de Fedra" (1929) d'Halma Angelico, La guerre de Troie n'aura pas lieu (1935) de Jean Giraudoux, Antigona (1939) de Salvador Espriu et Jason (1945) d'Elisabeth Porquerol, des pièces théâtrales au sujet mythologique qui mettent en lumière le traitement d'une féminité liée à une spatialité multiple. Le procédé géocritique permet de viser cette étude d'une façon géocentrée, dévoilant le contexte historique des pièces, l'analyse de la féminité, l'ouvrage des auteurs et les différentes transpositions de ces textes sur une scène. L'intertextualité est mise à l'honneur à partir des adaptations scéniques, présentant de plus un caractère conjectural dans les oeuvres où il existe une impossibilité de représenter. Les différents espaces ( narrés, dialogués, didascalies, espace ludique, scénographie, extra-littéraires, etc), permettent d'accorder une procédure fidèle aux idées que les auteurs voulaient véhiculer au moment de l'écriture de leurs pièces. De même à travers l'espace scénique, les différents metteurs en scène traduisent visuellement ces idées. Nous verrons donc que la féminité exposée est le fruit du contexte historique et d'une vision spatiale qui se concentre sur les espaces sédentaires et nomades (Deleuze et Guattari)This geocritical study analyzes "La Nieta de Fedra" (1929) by Halma Angelico, "La guerre de Troie n'aura pas lieu" (1935) by Jean Giraudoux, "Antigone" (1939) by Salvador Espriu and "Jason" (1945) by Elisabeth Porquerol, all of which are theater plays with mythological themes and which highlight the treatment of feminity in relationship to a multiple spatiality. The geocritical process enables this geocentric study, revealing the historical context of the plays, an analysis of the feminity, the work of these authors, and the different transpositions of these texts on stage. Intertextuality is emphasized through the different stage adaptations, presenting in addition the more speculative nature in the works which are impossible to represent. The different spaces (narrative, dialogued, stage directions, playful space, scenography, extra-literary, etc. ) make it possible to give a fair representation of the ideas that the authors wanted to convey at the time they wrote their plays. Similarly, through the scenic space, the various directors visually translate these ideas. We will sea that the exposed feminity is the result of the historical context and a spatial vision that focuses on sedentary and nomadic spaces (Deleuze and Guattari)
Books on the topic "Perception and Spatiality"
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Spatiality and symbolic expression: On the links between place and culture. New York: Palgrave Macmillan, 2015.
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Mysticism and space: Space and spatiality in the works of Richard Rolle, The cloud of unknowing author, and Julian of Norwich. Washington, DC: Catholic University of America Press, 2008.
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French, Craig. Object Seeing and Spatial Perception. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199666416.003.0006.
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This chapter considers the Spatiality Claim: if one sees an object then one sees some of that object’s spatial properties. The author considers an argument for this given by Cassam (2007), and challenges Cassam’s argument. His argument involves the idea, inspired by Dretske (1969), that seeing an object requires visual differentiation. But, it is argued here, there are prima facie counter-examples to the visual differentiation condition. Next, the author discusses the Spatiality Claim directly, and defends it against potential counter-examples which come from reflection on empirical cases where subjects can see objects yet have some sort of spatial perception deficit. One theme that emerges is that insofar as versions of the Spatiality Claim are defensible, we should focus on the relatively determinable spatial properties of objects and our perception of such properties.
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Tally, Robert T. Literary Cartographies: Spatiality, Representation, and Narrative. Palgrave Macmillan, 2014.
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Mattens, Filip. From the Origin of Spatiality to a Variety of Spaces. Edited by Dan Zahavi. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198755340.013.38.
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How can a spatial world appear to a non-extended mind? This chapter focuses on two moments in which this question steered the development of phenomenology. The first part explains how Husserl’s understanding of perception took shape against the background of nineteenth-century debates on the psychological origin of spatial presentations. It is in his phenomenological reconsideration of this matter that the subject comes to be understood as a subject of bodily capacities, engaged in a primal form of praxis. The second part focuses on Straus’s crusade against the dominant, praxis-based understanding of spatiality. Radically rejecting the question itself as originating in a Cartesian misconception of sense-perception, Straus introduced a plurality of spaces by revealing different “forms of spatiality” flowing from the affective dimension underlying all perception.
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Grandi, Giovanni B. On the Ancestry of Reid’s Inquiry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198783909.003.0005.
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Reid’s rejection of the “theory of ideas” implies that sensations are not copies of external qualities such as extension and figure. Reid also says that not even the order of sensations is spatial. However, in his early manuscripts Reid did not deny that sensations are arranged spatially. He simply denied that our ideas of extension and figure are copied from any single atomic sensation. Only subsequently did Reid explicitly reject the view that sensations are arranged spatially. The question of the spatiality of color sensation was a central concern of early interpreters of Reid, like Dugald Stewart, John Fearn, and William Hamilton. In particular, John Fearn thought that the denial of the spatiality of color sensations is the result of Reid’s commitment to the immateriality of the soul. Against Reid’s view, Fearn argued that the perception of visible figure necessarily implies the spatiality of color sensations.
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Textor, Mark. Some Marks of Mental Phenomena. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199685479.003.0002.
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Brentano, following Mill, conceived of psychology as the science of mental phenomena. In the framework of this conception of psychology, he made proposals about how to distinguish physical from mental phenomena. The chapter introduces and assesses three such proposals: Non-Spatiality, Inner Perception, and Consciousness. Brentano’s Inner Perception turns out to be immune to objections that are often directed against epistemic marks of the mental. His Non-Spatiality and Consciousness turn out to be controversial and subject to regress threats, respectively. The chapter prepares the stage for a discussion of Brentano’s Thesis that intentionality is the mark of the mental. It also introduces key concepts of Brentano’s philosophy.
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Tally, Robert T. The Geocritical Legacies of Edward W. Said: Spatiality, Critical Humanism, and Comparative Literature. Palgrave Macmillan, 2015.
Find full textBook chapters on the topic "Perception and Spatiality"
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Langer, Monika M. "The Spatiality of the Body Itself and Motility." In Merleau-Ponty’s Phenomenology of Perception, 39–47. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19761-3_7.
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Jacobson, Kirsten. "5. Neglecting Space: Making Sense of a Partial Loss of One’s World through a Phenomenological Account of the Spatiality of Embodiment." In Perception and its Development in Merleau-Ponty's Phemenology, edited by Kirsten Jacobson and John Russon, 101–22. Toronto: University of Toronto Press, 2017. http://dx.doi.org/10.3138/9781487512859-008.
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Kumari, Priyadarshini, and Subhasis Chaudhuri. "Haptic Rendering of Thin, Deformable Objects with Spatially Varying Stiffness." In Haptics: Perception, Devices, Control, and Applications, 483–92. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42321-0_45.
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Geetha, G., and S. N. Geethalakshmi. "Removing EEG Artifacts Using Spatially Constrained Independent Component Analysis and Daubechies Wavelet Based Denoising with Otsu’ Thresholding Technique." In Perception and Machine Intelligence, 346–57. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-27387-2_43.
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Sato, Katsunari, and Takashi Maeno. "Presentation of Sudden Temperature Change Using Spatially Divided Warm and Cool Stimuli." In Haptics: Perception, Devices, Mobility, and Communication, 457–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31401-8_41.
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Pick, H. L., and C. F. Palmer. "Perception and Representation in the Guidance of Spatially Coordinated Behaviour." In Motor Development in Children: Aspects of Coordination and Control, 135–45. Dordrecht: Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-009-4460-2_9.
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Yaneva, Rositsa, and Joan Cortinas Muñoz. "Integrated Assessment and Modelling of the Spatially Explicit Perceptions of Social Demands for Ecosystem Services." In Key Challenges in Geography, 373–90. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28191-5_28.
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Dessertine, Anna. "Spatializing Social Change: Artisanal and Small-Scale Gold Mining in Upper Guinea." In Methodological Approaches to Societies in Transformation, 213–35. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65067-4_9.
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AbstractThis chapter proposes a spatial perspective on the analysis of social change in the making via a study of artisanal and small-scale gold-mining sites in Guinea based on twenty-two months of fieldwork between 2011 and 2019 in the region of Upper Guinea, where increasing numbers of inhabitants have been circulating between artisanal and small-scale mining sites to search for gold since the price of gold rose between 2008 and 2012. The chapter starts by discussing artisanal and small-scale mining spaces through the notion of hotspots of transition, insisting on their liminal character. This liminality is analyzed as a spatial framework in which new opportunities emerge regarding gender—women’s adoption of what is considered masculine behavior, for instance—and where instantaneity is more privileged than continuity in some actions, such as those associated with consumption. More generally, it shows how the potential for change in artisanal and small-scale mining spaces is closely linked to their ephemeral nature. The relationship between space and temporality is more explicitly discussed in the second part of the chapter, which explores how the ephemerality of artisanal and small-scale mining spaces has recently been challenged by the Guinean government’s move to control mining mobility and fix mining sites spatially by delimiting legal mining territories. Since 2015–2016, multiple military operations have been conducted to expel miners from land for which the Guinean State has given industrial companies legal permits to prospect for and mine gold. This part of the chapter analyzes the socio-spatial consequences of this situation and shows that perceptions of time and of social change are constructed by the forms that space take.
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"The Spatiality of One’s Own Body and Motricity." In Phenomenology of Perception, 186–234. Routledge, 2013. http://dx.doi.org/10.4324/9780203720714-13.
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Adkins, Imogen. "Soundworld Spatiality and the Unheroic Self-Giving of Jesus Christ." In Theology, Music, and Modernity, 84–106. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0005.
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This chapter argues that the spatial metaphor of resonant ‘edgeless difference’, which arises from our perception of musical sound, makes more conceptualizable a vision of kenotic freedom which the New Testament understands to be embodied in Jesus Christ and made accessible through the Spirit, to the glory of the Father. This proposal is briefly explored in conversation with the Christology and theological aesthetics of Rowan Williams (1950–), who works within a kenotic idiom. We discover that a conceptuality borne of musical phenomenology can liberate Christological grammar from modernist strongholds and can direct our attention to the multiple, interconnected freedoms of the New Creation (i.e., the cosmic, ecclesiological, and individual). In so doing, it supports the idea that a Christ-centred kenotic theory of self-emptying provides a radical alternative to certain modernist views of freedom.
Conference papers on the topic "Perception and Spatiality"
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Reichert, Matthew, Xiaohang Sun, and Jason W. Fleischer. "Imaging High-dimensional Spaces with Spatially Entangled Photon Pairs." In 3D Image Acquisition and Display: Technology, Perception and Applications. Washington, D.C.: OSA, 2016. http://dx.doi.org/10.1364/3d.2016.jt3a.35.
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Zhang, Xiaohua, Qiushi Liu, and Yuchen Li. "Spatially Offset Raman Spectroscopy of NaNO3 Under PTFE layer." In 3D Image Acquisition and Display: Technology, Perception and Applications. Washington, D.C.: OSA, 2018. http://dx.doi.org/10.1364/3d.2018.jw4a.16.
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Reichert, Matthew, Hugo Defienne, Xiaohang Sun, and Jason W. Fleischer. "Quantum Imaging of Non-Unitary Objects with Spatially Entangled Photon Pairs." In 3D Image Acquisition and Display: Technology, Perception and Applications. Washington, D.C.: OSA, 2017. http://dx.doi.org/10.1364/3d.2017.jtu5a.7.
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Yingxu Wang. "The cognitive processes of perceptions on spatiality, time, and motion." In 2008 7th IEEE International Conference on Cognitive Informatics (ICCI). IEEE, 2008. http://dx.doi.org/10.1109/coginf.2008.4639174.
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Liu, Qiushi, Xiaohua Zhang, and Baozhen Zhao. "Improvement of Signal and Contrast Ratio by Optimizing Spatially Offset Raman Spectroscopy System." In 3D Image Acquisition and Display: Technology, Perception and Applications. Washington, D.C.: OSA, 2018. http://dx.doi.org/10.1364/3d.2018.jtu4a.14.
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Vinod-Buchinger, Aditya, and Sam Griffiths. "Spatial cultures of Soho, London. Exploring the evolution of space, culture and society of London's infamous cultural quarter." In Post-Oil City Planning for Urban Green Deals Virtual Congress. ISOCARP, 2020. http://dx.doi.org/10.47472/sxol5829.
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Space as affording social interaction is highly debated subject among various epistemic disciplines. This research contributes to the discussion by shedding light on urban culture and community organisation in spatialised ways. Providing a case of London’s famous cultural quarter, Soho, the research investigates the physical and cultural representation of the neighbourhood and relates it to the evolving socio-spatial logic of the area. Utilising analytical methods of space syntax and its network graph theories that are based on the human perception of space, the research narrates the evolution in spatial configuration and its implication on Soho’s social morphology. The method used examines the spatial changes over time to evaluate the shifting identity of the area that was in the past an immigrant quarter and presently a celebrated gay village. The approach, therefore, combines analytical methods, such as network analysis, historical morphology analysis and distribution of land uses over time, with empirical methods, such as observations, auto-ethnography, literature, and photographs. Dataset comprises of street network graphs, historical maps, and street telephone and trade directories, as well as a list of literature, and data collected by the author through surveys. Soho’s cosmopolitanism and its ability to reinvent over time, when viewed through the prism of spatial cultures, help understand the potential of urban fabric in maintaining a time-space relationship and organisation of community life. Social research often tends to overlook the relationship between people and culture with their physical environment, where they manifest through the various practices and occupational distribution. In the case of Soho, the research found that there was a clear distribution of specific communities along specific streets over a certain period in the history. The gay bars were situated along Rupert and Old Compton Street, whereas the Jewish and Irish traders were established on Berwick Street, and so on. Upon spatial analysis of Soho and its surrounding areas, it was found that the streets of Soho were unlike that of its surrounding neighbourhoods. In Soho, the streets were organised with a certain level of hierarchy, and this hierarchy also shifted over time. This impacted the distribution of landuses within the area over time. Street hierarchy was measured through mathematical modelling of streets as derived by space syntax. In doing so, the research enabled viewing spaces and communities as evolving in parallel over time. In conclusion, by mapping the activities and the spatiality of Soho’s various cultural inhabitants over three historical periods and connecting these changes to the changing spatial morphology of the region, the research highlighted the importance of space in establishing the evolving nature of Soho. Such changes are visible in both symbolic and functional ways, from the location of a Govinda temple on a Soho square street, to the rise and fall of culture specific landuses such as gay bars on Old Compton Street. The research concludes by highlighting gentrification as an example of this time-space relation and addresses the research gap of studying spaces for its ability to afford changeability over time.
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Bhatt, Sunil, Ankit Butola, Sheetal Raosaheb Kanade, Anand Kumar, and Dalip Singh Mehta. "High-Resolution Full-Field Optical Coherence Microscopy Using Partially Spatially Coherent Monochromatic Light Source." In 3D Image Acquisition and Display: Technology, Perception and Applications. Washington, D.C.: OSA, 2020. http://dx.doi.org/10.1364/3d.2020.jth2a.5.
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Chesnokova, Olga, and Ross S. Purves. "Automatically creating a spatially referenced corpus of landscape perception." In SIGSPATIAL '18: 26th ACM SIGSPATIAL International Conference on Advances in Geographic Information Systems. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3281354.3281356.
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Stratmann, Tim Claudius, Dierk Brauer, and Susanne Boll. "Supporting the Perception of Spatially Distributed Information on Ship Bridges." In MuC'19: Mensch-und-Computer. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3340764.3344442.
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Gaasedelen, Erik, Alex Deakyne, and Paul Iaizzo. "The Application of Deep Learning for the Classification of Internal Human Cardiac Anatomy." In 2018 Design of Medical Devices Conference. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/dmd2018-6887.
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The applications of sensing and localization are becoming more sophisticated in many invasive and non-invasive surgical procedures and there is great interest to apply them to the human heart. Ideally, such tools could be indispensable for allowing physicians to spatially understand relative tissue morphologies and their associated electrical conduction. Yet today there remains a steep divide between the creation of spatial environment models and the contextual understandings of adjacent features. To begin to address this, we explore the problem of anatomical perception by applying deep learning to the identification of internal cardiac anatomy images.