Academic literature on the topic 'Sensorial Experience'
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Journal articles on the topic "Sensorial Experience"
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Rathod, Madhura. "RICH SENSORIAL EXPERIENCE OF ARCHITECTURE." International Journal of Advanced Research 5, no. 12 (December 31, 2017): 1529–36. http://dx.doi.org/10.21474/ijar01/6116.
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Dinvaut, Annemarie. "Croquages de langue en formation d’enseignants." Voix Plurielles 11, no. 1 (April 30, 2014): 75–88. http://dx.doi.org/10.26522/vp.v11i1.919.
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Le sensoriel et l’expression plastique sont-ils des outils de formation pertinents pour aller à la rencontre de l’altérité et de la diversité linguistique et culturelle ? Nous nous proposons de répondre à cette question en analysant des productions d’étudiants : ceux-ci rendent compte de leur fréquentation d’une langue par une création plastique qui privilégie les aspects sensoriels de cette expérience. Ce double processus les amène à une réflexion métalinguistique et à une posture d’accueil du plurilinguisme.
We sketch our languages and develop teaching skills
Abstract: Are sensorial and plastic activities appropriate tools to develop language awareness and intercultural skills, in a college of education? To answer this question, we ask students to express their sensorial and affective experience of a language they choose: scrutinizing their productions enables us to see the impact of this activity, regarding their metalinguistic reflection and their receptiveness to linguistic and cultural plurality.
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Vidauskytė, Lina. "RELIGINĖ PATIRTIS: HIEROFANIJA AR HIEROFONIJA?" Religija ir kultūra 10 (January 1, 2012): 105–13. http://dx.doi.org/10.15388/relig.2012.0.2737.
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Oralinėje tradicijoje žmogaus sensorika yra orientuota kitaip, nei vizualinėje kultūroje. Pirmenybė yra teikiama balsui, akustinėms, ritminėms audialinės juslės savybėms. Ši sensorinė kombinacija veikia visose srityse, nes tokia yra būtinybė. Religijoje balsas taip pat atlieka lemiamą vaidmenį. Dievas kreipiasi į žmogų, kaip ir žmogus kreipiasi į Dievą. Tačiau ši kadaise pamatinė audialinė religinė patirtis buvo išstumta rašto kultūros. Straipsnyje keliamas religijotyroje plačiai vartojamos sąvokos „hierofanija“ adekvatumo įvardijant religinės patirties specifiką klausimas.Pagrindiniai žodžiai: hierofanija, hierofonija, oralumas, balsas, šventybė. RELIGIOUS EXPERIENCE: HIEROPHANY OR HIEROPHONY Lina Vidauskytė SummaryThe human sensorial system in oral society and tradition is oriented differently than in visual culture. Priority is given to voice and to the rhythmical property of the auratic organ of sense. Such sensorial combination is necessary in all areas of oral society and its culture. Voice plays one of the most important roles in religion. God addresses the human, and the human appeals to God. Yet this basic auratic religious experience was displaced by written culture. Thus, the main question of this paper is the suitability of term “hierophany” (which is widely used in religious studies) for naming the specificity of religious experience.Keywords: hierophany, hierophony, orality, voice, sacrum.
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Hrga, Iztok, and Tjaša Frumen. "Costume as a shared sensorial experience." Studies in Costume & Performance 6, no. 2 (December 1, 2021): 217–31. http://dx.doi.org/10.1386/scp_00048_1.
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This research report discusses the creation of a costume for the spectator that stimulates sensorial experiences of internalized feelings. Under the project title Sense my Thoughts, we constructed two wearable prototypes: one for the performer and the other one for the spectator. Wearable electronics embedded both in the performer’s and the spectator’s garments allow the spectator to become directly connected with the performer’s emotional experience through costume. This enables the spectators to identify with the onstage character through a personal connection and immerse themselves in the performance on a multi-sensorial level. The goal of our practice-as-research was to design wearables that measure and transmit the performer’s biometric data in a sensorial format, which the spectator would be able to feel on/in their own body in real time. We assembled one garment that captures performer’s input data, such as brainwaves, heartbeat and breathing, and interpret them as different emotional states. We then connected it wirelessly to another garment that we named the spectator’s costume, which receives the performer’s data and activates hidden vibrational motors, speakers, heaters and coolers as various combinations of physical stimuli. In this article, we focus on the latter garment and explain how the spectator’s costume can become an agent of the wearer’s empathic engagement through stimulating the suggestion of the performer’s embodied experiences. The work presented here is still in an early stage of development and, therefore, the conclusions are based on small-scale prototype research.
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Dalmoro, Marlon, Giuliana Isabella, Stefânia Ordovás de Almeida, and João Pedro dos Santos Fleck. "Developing a holistic understanding of consumers’ experiences." European Journal of Marketing 53, no. 10 (October 7, 2019): 2054–79. http://dx.doi.org/10.1108/ejm-10-2016-0586.
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Purpose This paper aims to investigate how the physical and sensory environmental triggers interact with subjective consumer evaluations in the production of shopping experiences, an under-investigated theme, despite its relevance. Design/methodology/approach An interpretative multi-method approach was used by combining video observation with camera eyeglasses and in-depth interviews with 30 customers of a department store. Findings Results offer a holistic framework with four-dimensional axial combination involving physical comfort, psychological comfort, physical product evaluation and sensorial product evaluation. Based on this framework, results highlight the role of comfort and products in producing shopping experience in ordinary store visits. Research limitations/implications The findings contribute both to consumer experience studies and to the retail marketing literature in shading a light on experience production in ordinary store visits. Specifically, we detail these visits not as a static response to a given environment stimulus, but as a simultaneous objective and subjective combination able to produce experience. Practical implications The results encourage managers to understand the experience production not just as an outcome of managerially influenced elements, like décor or odor. It involves considering subjective elements in the design of consumers’ physical and sensorial retail experiences. Originality/value Adopting an innovative method of empirical data collection, results generated a framework that integrates the objective shopping environment and subjective consumer responses. This research considers the role of comfort and product features and quality both physically and sensorially to develop experiences in a holistic manner in ordinary shopping visits.
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Almeida, Brenda Caroline Silva de, Luzia Iara Pfeifer, and Lucieny Almohalha. "Perfil sensorial de crianças pequenas com histórico de prematuridade/Sensory profile of young children with a history of prematuriy." Revista Interinstitucional Brasileira de Terapia Ocupacional - REVISBRATO 6, no. 3 (August 13, 2022): 1075–88. http://dx.doi.org/10.47222/2526-3544.rbto47403.
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Introdução: O bebê prematuro é considerado de alto risco para atrasos no desenvolvimento, uma vez que está exposto a fatores biológicos e/ou ambientais, muitas vezes, pouco congruentes com sua maturidade neurobiológica. Objetivo: Descrever o perfil sensorial, identificar as respostas aos estímulos sensoriais e os padrões sensoriais de crianças pequenas com histórico de prematuridade. Método: Estudo exploratório-descritivo, realizado com 43 pais de crianças com idade entre 7 e 35 meses, que apresentaram histórico de prematuridade com ou sem comorbidades, utilizando um roteiro semiestruturado, elaborado pelas pesquisadoras, com perguntas relacionadas à história pregressa e atual dos bebês e de seus pais; e o Toddler Sensory Profile 2, que auxilia na determinação das repostas sensoriais e delineia o padrão do perfil sensorial de crianças com idade entre 7 e 35 meses. Resultados: A maioria das crianças era do sexo masculino (53,5%) e menores de 18 meses de idade corrigida (69,7%). As maiores frequências de respostas foram classificadas como a maioria das crianças nas áreas sensoriais dos processamentos: geral (55,8%), auditivo (41,9%), visual (60,5%), tátil (51,2%), do movimento (39,5%), oral (58,1%) e nas respostas comportamentais associadas (41,9%). O mesmo ocorreu referente aos quadrantes em procura (69,7%); evita (51,2%); sensibilidade (46,5%); e registro (60,5%) Conclusão: Os resultados demonstram que a maioria das crianças pequenas avaliadas apresenta respostas dentro do esperado em todas as áreas sensoriais e nos quadrantes, entretanto, algumas apresentaram alterações de repostas (hiper ou hipo), o que justifica a importância do rastreio sensorial em crianças pequenas com histórico de prematuridade para acompanhamento precoce.Palavras-chave: Desenvolvimento infantil; Processamento sensorial; Bebê prematuro Abstract Introduction: The baby prematurely is considered at risk for developmental delays since it is exposed to biological and/or environmental factors that are often not congruent with its neurobiological maturity. Objective: To identify and to describe the responses to sensory stimuli and the sensory patterns of young children with a history of prematurity. Method: Exploratory-descriptive study, carried out with 43 parents of children aged between 7 and 35 months who had a history of prematurity with or without comorbidities. It was used a semi-structured questionnaire, prepared by the researchers, with questions related to the past and current history of the children and their parents; and the Toddler Sensory Profile 2, which helps to determine sensory responses and outlines the pattern of the sensory profile of children aged 7 to 35 months. Results: Most children were male (53.5%) and younger than 18 months corrected age (69.7%). The highest frequencies of responses were classified just like the majority of children in the sensory areas: general processing (55.8%), auditory (41.9%), visual (60.5%), tactile (51.2%), movement (39.5%), oral (58.1%) and associated behavioral responses (41.9%). The same occurred regarding the quadrants in seeking (69.7%); avoiding (51.2%); sensitivity (46.5%) and registration (60.5. Conclusion: The results demonstrate that most of the young children evaluated presented responses within the expected in all sensory areas and in the quadrants, however, some of them presented alterations in responses (hyper or hypo). This fact justify the needs of sensory screening and early intervention for young children with a history of prematurity.Keywords: Occupational Therapy. Cognition. Memory. Personal Narrative. Life Experience ResumenIntroducción: El bebé prematuro es considerado de alto riesgo para retrasos en el desarrollo, ya que están expuestos a factores biológicos y/o ambientales que muchas veces son incongruentes con su madurez neurobiológica. Objetivo Describir el perfil sensorial, identificar respuestas a estímulos sensoriales y patrones sensoriales de niños pequeños con antecedentes de prematuridad. Método: Estudio exploratorio-descriptivo, realizado con 43 padres de niños de 7 a 35 meses de edad con antecedentes de prematuridad con o sin comorbilidades, utilizando un guión semiestructurado elaborado por las investigadoras con preguntas relacionadas con la historia pasada y actual de los bebés y sus padres; y el Toddler Sensory Profile 2, que ayuda a determinar las respuestas sensoriales y describe el patrón del perfil sensorial de los niños de entre 7 y 35 meses. Resultados: La mayoría de los niños eran del sexo masculino (53.5%) y menores de 18 meses de edad corregida (69.7%). Las mayores frecuencias de respuestas se clasificaron como la mayoría de los niños en las áreas sensoriales de procesamiento: general (55.8 %), auditiva (41.9 %), visual (60.5 %), táctil (51.2 %), de movimiento (39.5 %), oral (58.1 %) y en las respuestas comportamentales asociadas (41.9%). Lo mismo ocurrió respecto a los cuadrantes de búsqueda (69.7%); evitar (51.2%); sensibilidad (46.5%) y registro (60.5%). Conclusión: Los resultados demuestran que la mayoría de los niños pequeños evaluados presentaron respuestas dentro de lo esperado en todas las áreas sensoriales y en los cuadrantes, sin embargo, algunos mostraron alteraciones en las respuestas (hiper o hipo), lo que justifica la importancia del tamizaje sensorial en niños pequeños con antecedentes de prematuridad, para un acompañamiento temprano.Palabras clave: Desarrollo infantil; Procesamiento sensorial; Bebé prematuro
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차은지 and 한정엽. "Virtual Reality contents : a full sensorial experience." Journal of Korea Intitute of Spatial Design 11, no. 5 (October 2016): 9–17. http://dx.doi.org/10.35216/kisd.2016.11.5.9.
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Insani, F. P., and A. H. Fuad. "Identifying undesirable space through sensorial experience towards sustainability." IOP Conference Series: Earth and Environmental Science 447 (March 4, 2020): 012069. http://dx.doi.org/10.1088/1755-1315/447/1/012069.
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Agostinho, Daniela, Kathrin Maurer, and Kristin Veel. "Introduction to The Sensorial Experience of the Drone." Senses and Society 15, no. 3 (September 1, 2020): 251–58. http://dx.doi.org/10.1080/17458927.2020.1820195.
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Tsevreni, Irida. "A Contemplative Approach in the Framework of Environmental Education." Nature and Culture 17, no. 2 (June 1, 2022): 215–34. http://dx.doi.org/10.3167/nc.2022.170205.
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This article investigates the potential of contemplative learning through mindfulness in the framework of environmental education. Human alienation from the rest of nature and the separation from the more-than-human others are approached under the lens of eco-phenomenology. Fifty undergraduate students at a Pedagogical Department experienced mindfulness techniques in natural places and reflected on their experiences. The research results revealed that mindfulness contributed to the sensorial and embodied experience of nature as well as to their interaction and participation in the more-than-human world. However, difficulties and challenges also emerged. Contemplative environmental learning could contribute to the healing of human alienation from the rest of nature and the establishment of an embodied, sensorial empathy for all living creatures.
Dissertations / Theses on the topic "Sensorial Experience"
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CRABTREE, BENJAMIN S. "CORPOREAL NARRATIVES: ARCHITECTURE OF EXPERIENCE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147897305.
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Eriksson, Elin, and Niklas Larsson. "A Multi-Sensory Brand-Experience : Sensorial interplay and its impact on consumers' touch behaviour." Thesis, Linnéuniversitetet, Ekonomihögskolan, ELNU, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12153.
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The purpose of this thesis is to explore to what extent different styling elements can be used within a retail store and how sensorial cues can affect customers buying behaviour by creating a multi-sensory brand-experience. Further, this project aims at contributing to the development of new knowledge regarding a multi-sensory brand-experience through the performance of an experiment. A quantitative research method with a deductive research approach has been used for this study, where theoretical concepts have been described and from which a number of hypotheses have derived as means to test the theoretical framework. In order to test our hypotheses, a research strategy in the form of experiments has been performed in the computer department at Media Markt, Kalmar. General assumptions have then been drawn from the analysis of the results in order to provide sound recommendations for marketers regarding sensory marketing in general and foremost the multi-sensory brand-experience. The result of our study shows that it is beneficial for marketers to use styling elements and sensorial cues as means to connect with customers and enhance their emotional response. The study also shows that a combination of the sensorial cues of sight and sound together contributes to an experience that is positive and memorable for the customers. Additionally, the results of this study shows that a combination of these sensory cues leads to a change in customers behaviour and create approach behaviour through awareness of products that otherwise could be missed.
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Inglis, Grant. "Discovering How To RE|Move: A secondary sensorial circulation system for the University of Cincinnati." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397234170.
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Mendes, Inês Jardim de Gouveia. "Projetar com luz : a luz como directriz na concepção espacial do Centro de Dia do Casal Novo." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/8952.
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KRIVANKA, SARAH M. "SENSITIVE MATERIAL." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179208847.
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Källeskog, Jessika. "Boundaries of Matter : The experience of space and object through the abstract to the tangible." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4101.
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Boundaries and Matter - The intangible and the corporeal A space dedicated to contemplation in a public realm With a philosophical approach to the topics I aim to absorb the dynamics in the meeting between the intangible and the physical. In the urban contemporary environment that we live in I see a need for a physical context that contrasts the flow of information and inputs that we are exposed to.From this point of view I have created a concept of a space for contemplation, as a reply for both visual as well as mental boundaries that connects both the abstraction of the mind to the corporeal. The perception of our surroundings is an acknowledgment and a consciousness of our senses. In our everyday life we are constantly surrounded by a flow of impressions. To contrast this I have created a space where you can calmly travel inward & outwards without being disturbed by the constant flow of information. This project departs as a statement towards the intense frequency of information inputs in our contemporary surrounding, the stressful act to manage our mental boundaries for what we let in and what we leave out. Through this project I wanted to define the abstract spectra of inspirations in the design-process of how I relate to form and the surroundings. Mapping it, formulate and gestalt it. Defining the boundaries to what I see as the scenery of the project. Taking the broad turns of the process leading me to collect bits and pieces from various sources and apply these thoughts in a secondary phase to the actually form-giving. Turning the abstract ideas to a space and an object, interpret in two different manners to a pavilion for contemplation and an idea of seating furniture. Throughout the process I balance the two poles through reflection from a philosophical angle that I follow up with the sensibility for the tactile sensors in how one perceive a physical object. Leading through historical values and ideas tied towards the spatial dimensions and the various scales in handling space and object. Using the materiality to create a connection to the body and wrapping up to embrace as a protective shield around the body. With the gestalt of a boundless space within given dimensions that are not obvious or sharply defined, to instead become an extension of your mind and body. As you become the centre of the space, your thoughts are the boundaries and the spatial dimensions are framing the action.
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Mendoza, Zoila. "the strength of the sounding paths: the Walk and Music in Qoyllurit’i." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/80639.
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En este trabajo exploro la relación intrínseca que existe para los pobladores del distrito de Pomacanchi, Cusco, entre el caminar al santuario del Señor de Qoyllurit’i y la música que los acompaña. Mi atención se centra en la relación con la melodía chakiri wayri y, en menor medida, con la del alawaru. En esta relación intrínseca entre música y camino se revela, por un lado, la primacía que para los pobladores andinos tiene la unidad de lo visual y lo auditivo en los procesos cognitivos. Por otro, al explorar esta relación en el contexto de la caminata, una tercera dimensión sensorial clave en dichos procesos cognitivos también aparece claramente. Se trata del sentido de la cinestesia o sensación del movimiento. En otras palabras, la unidad de lo visual, lo sonoro y el movimiento es lo que hace de la participación en la fiesta en honor al Señor de Qoyllurit’i una experiencia única e imborrable. La obvia primacía de la unidad de los tres sentidos en la experiencia de peregrinación de los pomacanchinos al Señor de Qoyllurit’i no es única o exclusiva de este contexto festivo o de este pueblo. Simplemente esta experiencia nos permite analizar más de cerca un fenómeno que creo extendido en los Andes.Here I explore the intrinsic relationship that for the people of the district of Pomacanchi (Cusco) exists between walking to the sanctuary of the Lord of Qoyllurit’i and the music that accompanies them. My attention focuses on the relationship with the chakiri wayri melody and to a lesser extent with that called alawaru. In this intrinsic relationship between music and the walk, on the one hand, the primacy of the unity of the visual and the auditory in the Andean cognitive processes reveals itself. On the other hand, in exploring this relationship in the context of the walk a third sensorial dimension key to such cognitive processes appears clearly. It is the sense of kinesthesia or sensation of movement. In other words. The unity of the visual, the auditory and the kinesthetic is what makes the participation in the fiesta of the Lord of Qoyllurit’i a unique and unforgettable experience. The obvious primacy of the unity of these three senses in the experience of pilgrimage of the people of Pomacanchi to the sanctuary of the Lord of Qoyllurit’i is not unique or exclusive of this festive context or of Pomacanchi. Simply, this experience allows us to analyze more closely a phenomenon that I believe to be spread in the Andes.
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Martínez, Rosalía. "Music, movements and colors in Andean fiesta. Bolivian examples." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/79171.
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En la fiesta andina, la música suele tanto oírse como verse. Esta dimensión multisensorial de la situación musical no es únicamente el resultado de una yuxtaposición de elementos sonoros y visuales. el análisis de las articulaciones que los campesinos indígenas de la zona de sucre (Bolivia) construyen entre sonidos, movimientos y colores revela la presencia de organizaciones singulares de la experiencia sensible que se caracterizan tanto por su espesor sensorial como por la manera en la cual se encuentran conectadas con otros campos del conocimiento. Estas formas de intersección culturalmente elaboradas implican el cuerpo mismo de los músicos, generando nuevas configuraciones perceptivas.In the Andean fiesta music is as much intended to be seen as it is to be heard. The multisensorial aspect of musical performance is not just a matter of the juxtaposition of sounds and sights. The analysis of the articulations that indigenous peasants of sucre (Bolivia) construct among sounds, movements and colors reveals an original organization of sensitive experience that is as much characterized by its sensory depth as it is by the ways it is linked to other domains of knowledge. The forms of culturally elaborated intersections that occur in the body of the musician lead to new perceptive configurations.
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Delemazure, Olivier, Olivier Mallégol, and Vincent Laplanche. "The effect of the senses on consumers experience in clothing stores." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-75540.
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This research explores the sensory marketing and more specifically the effect of the senses on consumers experience in the clothing distribution sector. The purpose of this paper is to understand if all the senses have an effect on the customer experience in clothing stores. To do this a primary quantitative data has been collected through a questionnaire from clothing store customers to assess the effect of different senses on their consumer experiences. The results obtained by the analyzing of the questionnaire through regression analysis concluded that there are two senses that really stand out of the lot, firstly the smell then secondly the sight.
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Nguyen, Andy. "Sensing Sound And Space:Auditory And Visual Spatial ImpressionIn Three Auditoria." University of Sydney. Architecture, Design Science and Planning, 2005. http://hdl.handle.net/2123/697.
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In some contexts, the experience of sound and space are often considered as two unrelated experiences. In an auditorium, the senses of hearing and seeing are not necessary unrelated. This thesis proposes that there is a sensorial relationship between sound and space in the context of symphonic concert halls. Through a study of three auditoria, this thesis explores the relationship, and the degree of correspondence and interaction between auditory and visual spatial impression. It begins by exploring the concepts of auditory and visual spatial impression in relation with auditorium acoustics and architectural design. In auditorium acoustics, a number of terms are used to describe auditory spatial impression, such as �spaciousness,� �envelopment,� and �intimacy.� These terms have connotations beyond the auditory. The thesis suggests that they may also be used to describe visual spatial impression in auditoria. Through textual analyses, the thesis finds that the auditory and visual terms do not always relate to the same physical characteristics of auditoria and can conflict with one another. Hence, it is apparent that further subjective analyses of auditory and spatial impression are needed. Three chapters in this thesis are devoted to auditory and visual subjective experiments. Their purpose is to explore the degree of correspondence or contrast, and interaction between auditory and visual spatial impression. The degree of correspondence and contrast between auditory and visual spatial impression appear to vary between auditoria and within auditoria. The relationship between auditory and visual spatial impression appear to be both necessary and arbitrary, and the degree of interaction between them appear to be strong in some cases and weak in other. From the findings, this thesis suggests that the degree of correspondence or contrast, and interaction between auditory and visual spatial impression could be used to create an audiovisual experience that suit specific musical events. Concert auditoria are culturally and artistically unique spaces. Hence, consideration must be taken to understand the relationships between, and intentions of the acoustical and architectural designs, music and architecture, for a successful and creative collaboration between designers - since the ultimate goal is to create an extraordinary audiovisual experience in a concert hall.
Books on the topic "Sensorial Experience"
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Sensorium: Embodied Experience, Technology, and Contemporary Art. The MIT Press, 2006.
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elhariry, yasser, ed. Sounds Senses. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856882.001.0001.
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Sounds Senses is about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound studies, it dismantles the retinal paradigms and oculocentrism of francophone postcolonial studies. By shifting the sensory hermeneutics of perception from the visual, the textual, and the graphemic to the sonic, the auditory, and the phonemic, the book places cultural production that privileges or otherwise exaggerates æstheticized sensorial experiences at the forefront of francophone postcolonialism. In the process, it introduces two primary theoretical thrusts—the unheard and the unintegrated—to the project of analyzing, extending, and rejuvenating francophone postcolonial studies. The book reevaluates francophone culture in relation to sound and the experience of sound, situating it along the fluid axes of paralingual utterance, audio-vision, voice, and narrative speakers. Through a range of case studies focusing on parafrancophonics, poetry, world music, cinema, the graphic novel, popular speech phenomenæ, and the poetics and politics of transcolonial identification, Sounds Senses demonstrates how francophone postcolonial culture is satiated with a glut of unexplored sonic significance.
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Pinto-Coelho, Zara, ed. The City of the Senses, the Senses in the City. UMinho Editora/CECS, 2022. http://dx.doi.org/10.21814/uminho.ed.51.
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Urban-oriented sensory analysis has a long tradition within the social sciences. However, in communication and cultural studies research, the sensorial orientation is still incipient. This publication is part of an ongoing call by Passeio, the platform for the study of art and urban culture of the Communication and Society Research Centre, for an organicist vision of the city, underlining the need to re-signify the role of the senses in the experience of everyday contemporary urban life. This book includes theoretical and/or empirical contributions from researchers in sociology, communication and cultural studies, who explore three fundamental questions: (a) the effects of the tourist era under the COVID-19 pandemic, (b) the role of music in the production of places and socialities; and (c) the importance of ambiances in the constitution of a carnal relationship with the city.
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Baird, J. A., and April Pudsey, eds. Housing in the Ancient Mediterranean World. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108954983.
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One of the greatest benefits of studying the ancient Greek and Roman past is the ability to utilise different forms of evidence, in particular both written and archaeological sources. The contributors to this volume employ this evidence to examine ancient housing, and what might be learned of identities, families, and societies, but they also use it as a methodological locus from which to interrogate the complex relationship between different types of sources. Chapters range from the recreation of the house as it was conceived in Homeric poetry, to the decipherment of a painted Greek lekythos to build up a picture of household activities, to the conjuring of the sensorial experience of a house in Pompeii. Together, they present a rich tapestry which demonstrates what can be gained for our understanding of ancient housing from examining the interplay between the words of ancient texts and the walls of archaeological evidence.
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Marín, Yarí Pérez. Marvels of Medicine. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622508.001.0001.
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Marvels of Medicine makes a compelling case for including sixteenth century medical and surgical writing in the critical frameworks we now use to think about a genealogy of cultural expression in Latin America. Focusing on a small group of practitioners who differed in their levels of training, but who shared the common experience of having left Spain to join colonial societies in the making, this book analyses the paths their texts charted to attitudes and political positions that would come to characterize a criollo mode of enunciation. Unlike the accounts of first explorers, which sought to amaze audiences back in Europe with descriptions of strange and astonishing lands, these texts instead engaged the marvellous in an effort to supersede it, stressing the value of sensorial experience and of verifying information through repetition and demonstration. Vernacular medical writing became an unlikely early platform for a new form of regionally anchored discourse that demanded participation in a global intellectual conversation yet found itself increasingly relegated to the margins. In responding to that challenge, anatomical treatises, natural histories and surgical manuals exceeded the bounds set by earlier templates becoming rich, hybrid narratives that were as concerned with science as with portraying the lives and sensibilities of women and men in early colonial Mexico.
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Crosby, Jill Flanders, and JT Torres. Situated Narratives and Sacred Dance. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9781683402060.001.0001.
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Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, this book explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attributes in religious expression across continents but also reveal lasting emotional, spiritual, and personal impacts in the communities whose ancestors were ripped from their homeland and enslaved. The authors layer historiographic data, interviews, and fieldnotes with artistic modes such as true fiction, memoir, and choreographed narrative, challenging the conventional nature of scholarship with insights gained from sensorial experience. Including reflections on the making of an art installation based on this research project, the volume challenges readers to imagine the potential of approaching fieldwork as artists. The authors argue that creative methods can convey truths deeper than facts, pointing to new possibilities for collaboration between scientists and artists with relevance to any discipline.
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Peckruhn, Heike. Sedimentation of Habits and Orienting Experiences. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190280925.003.0004.
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Chapter 4 pivots around experiences of race, and explores social and cultural habitation to sensory perceptions and meanings. It discusses the sensorium of race perception beyond the visual, and provides historical and cultural examples of how perceiving bodily Others emerges in and is maintained by sensory experiences. It explores how understanding our orientations and perspectives on the world as fundamentally embedded in and emerging from our bodily manner of existence allows us to begin grasping how it is not reason or intellectual reflection alone by which we can address perceptual alignments that might appear problematic to us. Habits and socio-cultural practices are not simply matters of belief or conviction held in a disembodied mind, but are embedded within our bodily perceptual orientation.
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Longoria Boada, Lourdes Beatriz González, Secundino González Pardo, Widmark Enrique Báez-Morales, and Maité González Saborit. Manejo del dolor oncológico en la comunidad. Mawil Publicaciones de Ecuador, 2020, 2018. http://dx.doi.org/10.26820/978-9942-826-89-3.
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El dolor oncológico es una contrariedad que suelen padecer los pacientes con cáncer. Es una carga muy difícil y compleja. Por ello es necesario manejarlo con un enfoque multidimensional y un tratamiento digno. Tres son los tipos de dolor que han sido definidos con base en la neurofisiología del dolor: dolor somático, visceral y neuropático. La definición más aceptada actualmente es la de la Asociación Mundial para el Estudio del Dolor (IASP): “Es una experiencia sensorial y emocional desagradable, asociada con un daño tisular, real o potencial, o descrita en términos de dicho daño” (1). Innumerable es la bibliografía que aborda el manejo del dolor oncológico, sin embargo, la obra más consultada es la Guía Clínica de la Organización Mundial de la Salud (OMS).
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Córdoba-Cely, Carlos, and María Cristina Ascuntar Rivera, eds. Investigación+creación a través del territorio. Editorial Universidad de Nariño, 2021. http://dx.doi.org/10.22267/lib.udn.023.
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La Investigación+Creación es un nuevo enfoque de investigación que nace de las necesidades particulares para comprender la investigación desde las disciplinas artísticas, y cuya principal característica consiste en validar una hipótesis de investigación por medio de una experiencia creativa, la cual puede materializarse a través de un prototipo plástico-sensorial, como puede ser una pieza musical, una instalación artística, una cartografía social, un performance o una construcción arquitectónica, entre otros muchos ejemplos. Este libro cuenta con 19 capítulos, donde los autores que participan en este compendio exploran la Investigación-Creación desde sus experiencias particulares en diferentes partes del territorio colombiano. Se espera que este primer volumen de la colección I+C, sirva de referente para comprender y construir de manera colaborativa este enfoque alternativo de generación de nuevo conocimiento
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Beauregard Solís, Graciela. Guía ambiental de los museos de Tabasco. Universidad Juárez Autónoma de Tabasco, 2010. http://dx.doi.org/10.19136/book.195.
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Esta guía se propone como una herramienta útil para los profesores de diversas materias en diversos niveles educativos. A partir del concepto de patrimonio cultural y su relación con los museos ofrece una historia y clasificación de los recintos en Tabasco, junto a un panorama general de las culturas prehispánicas y el ambiente del estado. Las actividades que propone se basan en la experiencia docente de los autores y en el modelo pedagógico constructivista. Para su aplicación, se incluyen hojas educativas para el profesor, mismas que pueden ser modificadas y adecuadas, dependiendo de los estilos de aprendizaje y grado académico de los estudiantes. Con el apoyo de este material, entre otras muchas cosas es posible aprovechar los recursos de los museos como medio de enseñanza activa para fomentar el desarrollo de la alfabetización sensorial, la capacidad de análisis y la elaboración de propuestas a favor de la solución de problemas ambientales.
Book chapters on the topic "Sensorial Experience"
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Katajala-Peltomaa, Sari. "From Lived Reality to a Cultural Script: Punishment Miracles as an Experience." In Palgrave Studies in the History of Experience, 37–61. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-92140-8_2.
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AbstractIn this chapter the various levels of experience are scrutinized within the context of interaction with a saint, namely Saint Birgitta of Sweden. The focus lies on a case of a punishment miracle leading to demonic possession and eventually conversion to penance. The chapter combines the analysis of intimate sensorial elements, embodied enculturation, and a production of a cultural script scrutinizing how a model for experiencing was produced in the context of Vadstena Abbey’s miracle recording and later preaching.
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Fabbris, Luigi, and Alfonso Piscitelli. "Experience, sensorial skills and personality qualifying a wine consumer as an expert." In Proceedings e report, 229–34. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-461-8.43.
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This paper analyses the characteristics of wine consumers that may qualify them as wine experts. The wine evaluation expertise of consumers, as measured by various degrees of self-perceived ability, is hypothesised to causally depend on cognitive and non-cognitive characteristics of wine experience, on sensorial skills relevant for wine assessment and on wine consumption-related personality aspects. Our work consisted in measuring and analysing the relationships between the self-assessment of the ability to wine assessment given by a convenience sample of consumers and the qualification of their consumption experience and training (ranging from “simple” consumer to producer/seller to professional sommeliers), their sensorial (olfactory, flavour) skills and enogastronomic culture. Wine culture is defined as the capacity to harmonise wine and food and conceive wine as a nutritional, social and health-related means. The analysed data refer to a tasting experiment held as a social activity during a scientific meeting in Pescara, Italy, in 2018. The sample of wine assessors who filled in the evaluation questionnaire included both meeting participants and people belonging to AIS-Abruzzo, the regional association of chartered sommeliers. The data collected at wine tasters showed that there were strong relationships between the self-evaluation as wine expert and the consumption experience, the assessment skills, and the wine consumption “culture”. The relationships differed according to age, activity and length of wine consumption experience of the assessors.
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Desille, Amandine. "On the Use of Visual Methods to Understand Local Immigration Politics." In IMISCOE Research Series, 67–84. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_4.
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AbstractIn this chapter, I present the making of an ethnographic film, which I filmed during a research project in geography carried out from 2013 to 2017 and entitled Victory Day. The chapter provides a reflection on the use of film to capture political actions, specifically the ones targeting immigrant groups. It also shows the extent to which filmmaking relates to experiences of the participants involved, and to the sensorial experience of a place. With this, it builds on previous works that have highlighted the potential of moving images to represent the sensory, experiences and intersubjectivities. Finally, it tackles the ethics of working in conflict cities, and even more specifically, when participants take a hawkish stand in that conflict.
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Gu, Sijia, Yue Lu, Yuwei Kong, Jiale Huang, and Weishun Xu. "Diversifying Emotional Experience by Layered Interfaces in Affective Interactive Installations." In Proceedings of the 2021 DigitalFUTURES, 221–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5983-6_21.
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AbstractThis paper aims to improve users’ experience in affective interactive installations through the diversification of interfaces. With logically organized hierarchical experience, diverse interfaces with emotion data as inputs enhance users’ emotional interaction to be more natural and immersive. By using facial affect detection technology, an installation with diverse input interfaces was tested with an organic formal setting. Mechanical flowers and support structure based on the organic form were deployed as its physical output for a multitude of sensorial dimensions. With actions of the mechanical flowers, such as blooming, closing, rotating, glowing and blinking, a layered experiential sequence was created and the atmosphere of the installation was evaluated to be more engaging. In this way, the layered complexity of information was transferred to users’ immersive emotional experience. We believe that the practices in this work can contribute to deeper emotional engagement with users and add new layers of emotional interactivity.
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van Boeckel, Jan. "The Landscape of the Lines of the HandImagining the Storied Memories of Sensorial Experience of Place." In Relational and Critical Perspectives on Education for Sustainable Development, 33–49. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-84510-0_3.
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Nikielska-Sekula, Karolina. "“Have You Just Taken a Picture of Me?”: Theoretical and Ethical Implications of the Use of Researcher-Produced Photography in Studying Migrant Minorities." In IMISCOE Research Series, 31–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_2.
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Abstract This paper aims at discussing the value of researcher-generated visual methods in studying migration. It focuses on photography as a data collection method, and the problem is presented in the context of researching urban and rural arenas of exercising transnational belonging by migrants and their descendants in new and ancestral homelands. Photography is approached here as a sensorial experience mediating a relationship between the researcher and the participants. The author argues that the relationships occurring around photo-taking in the field are as important as the data collected intentionally. Moreover, the chapter discusses ethical questions prompted by the employment of visual methods, problematizing them in a context of different social, cultural and national settings. With this chapter, the author attempts to answer a question whether researcher-generated visual data can open new angles of analyses of migrants’ life-words and how the employment of visual methods can influence theoretical perspectives within migration studies.
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Romani, Alessia, Fabio Prestini, Raffaella Suriano, and Marinella Levi. "Material Library System for Circular Economy: Tangible-Intangible Interaction for Recycled Composite Materials." In Systemic Circular Economy Solutions for Fiber Reinforced Composites, 363–84. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-22352-5_18.
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AbstractCurrently the development of new circular materials has brought up the necessity to transfer their knowledge amongst the interested stakeholders for their real exploitation. This chapter aims to illustrate the design of a physical and virtual library system of the FiberEUse project. In particular, this library system wants to foster the development of new applications and value chains through the showcase of the new recycled composite materials and archetypal remanufactured products developed during the project. After the definition of the system concept, specific taxonomies were designed for the physical and virtual parts considering the technical properties and the expressive-sensorial qualities of the new recycled materials and products. A hierarchical organization was then designed to allow both tangible and intangible interactions with the samples, resulting in a coherent experience to explore these new recycled materials. Meanwhile, the physical exhibitors and the library website were developed to collect the physical and virtual samples. At the end, the whole system will be freely accessible through the library website and by booking a visit to the physical part. Thanks to its transdisciplinary nature, this system can stimulate the real exploitation of new value chains and applications.
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Cirillo, Vincenzo, and Pasquale Conte. "Immersive Experiences in Staircases. The Geometric System as Sensorial Stirring." In Advances in Intelligent Systems and Computing, 536–42. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12240-9_56.
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Vila Solier, L. K. "City sense. Legibility from sensorial experiences in three squares of Barcelona." In Research Tracks in Urbanism: Dynamics, Planning and Design in Contemporary Urban Territories, 74–81. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781003220855-10.
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Carpita, Maurizio, and Silvia Golia. "Prediction of wine sensorial quality: a classification problem." In Proceedings e report, 235–38. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-461-8.44.
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When dealing with a wine, it is of interest to be able to predict its quality based on chemical and/or sensory variables. There is no agreement on what wine quality means, or how it should be assessed and it is often viewed in intrinsic (physicochemical, sensory) or extrinsic (price, prestige, context) terms (Jackson, 2017). In this paper, the wine quality was evaluated by experienced judges who scored the wine on the base of a 0-10 scale, with 0 meaning very bad and 10 excellent, so, the resulting variable was categorical. The models applied to predict this variable provide the prediction of the occurrence probabilities of each of its categories. Nevertheless, jointly with this probabilities’ record, the practitioners need the predicted value (category) of the variable, so the statistical problem to be covered refers to the way in which this probabilities’ record is transformed into a single value. In this paper we compare the predictive performances of the default method (Bayes Classifier - BC), which assigns a unit to the most likely category, and other two methods (Maximum Difference Classifier and Maximum Ratio Classifier). The BC is the optimal criterion if one is interested in the accuracy of the classification, but, given that it favors the prevalent category most, when there is not a category of interest, it cannot be the best choice. The data under study concern the quality of the red variant of the Portuguese "Vinho Verde" wine (Cortez et al., 2009), measured on a 0-10 scale. Nevertheless, only 6 scores were used, with 2 scores with a very few number of observations, so this is the right context for predictive performance comparisons. In the study, we investigated different merging of categories and we used 11 explanatory variables to estimate the probabilities’ record of the wine quality variable.
Conference papers on the topic "Sensorial Experience"
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Luís-Ferreira, Fernando, João Sarraipa, and Gary McManus. "Sensorial Experience Extensions in Learning Environments." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-71983.
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Emerging technologies are providing a wide range of benefits for people in their different activities. That fact ranges from daily life activities, to business, teaching or simply for recreation. In what concerns to people with special needs there is a wide range of devices and applications that can be of use in addressing those needs and the will to progress in life. Observing in perspective, the support provided by technology can be seen as augmenting our sensorial experience by providing additional information as in the case of virtual reality and augmented reality. The devices provide additional information for what people sense, adding information and enlarging the sensorial experience while mounting additional information. This paper describes a strategy to extend, thru common use technology, the awareness of people with limited sensorial experience, aligning with other emergent technologies widely applicable to different situations while keeping a focus on teaching environments. That includes sensory devices like the Leap Motion device and 3D printed materials, which combined provide new opportunities for blind people to sense and retrieve new information.
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de Oliveira Santos, Maiara, Marcelo dos Santos Forcato, and Anelise Guadagnin Dalberto. "SENSORIAL EXPERIENCE APPLIED TO PRODUCT DESIGN TEACHING." In 10th International Conference on Education and New Learning Technologies. IATED, 2018. http://dx.doi.org/10.21125/edulearn.2018.2635.
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Durão, Maria João, and Glen A. Robertson. "Embodied Space: a Sensorial Approach to Spatial Experience." In SPACE, PROPULSION & ENERGY SCIENCES INTERNATIONAL FORUM: SPESIF-2009. AIP, 2009. http://dx.doi.org/10.1063/1.3115544.
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Yuan, Zhenhui, Gheorghita Ghinea, and Gabriel-Miro Muntean. "Quality of experience study for multiple sensorial media delivery." In 2014 International Wireless Communications and Mobile Computing Conference (IWCMC). IEEE, 2014. http://dx.doi.org/10.1109/iwcmc.2014.6906515.
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Kurvinen, E. "Session details: Stigma and the sensorial experience of objects." In DPPI03: Conference on Designing Pleasurable Products and Interfaces 2003. New York, NY, USA: ACM, 2003. http://dx.doi.org/10.1145/3245038.
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Hornsby, Adrian, and Rod Walsh. "Attaching the Value of Sensorial Experience to Pervasive Multimedia Applications." In 2010 7th IEEE Consumer Communications and Networking Conference (CCNC). IEEE, 2010. http://dx.doi.org/10.1109/ccnc.2010.5421685.
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Boukouvala, Niki. "From wine tasting to materials sensorial perception: A framework for materials experience." In DRS2022: Bilbao. Design Research Society, 2022. http://dx.doi.org/10.21606/drs.2022.460.
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Balaminutti, Lara D., and Rachel Zuanon. "Sensorial Design applied to teaching-learning in Artistic Drawing." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.133.
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The present research focuses on the Sensorial Design approach applied to the teaching-learning of artistic drawing. The Sensorial Design is subsidized by the SEE BEYOND method [LIMA JR. G.C.; ZUANON, R. 2017-2019], which is based on cognitive-behavioral neuroscience and neuroeducation studies to develop and apply didactic-pedagogical and didactic-andragogics resources aimed at teaching and learning of Design by students with and without visual impairment. In this approach, the practice of drawing is understood as an intrinsic element to the mental mechanisms of human beings and acting in their sensorimotor, cognitive and behavioral evolution. This is because through the lines, textures, colors and other compositional elements present in the drawing practice, it is possible to elaborate or express affections and materialize emotions, sensations and thoughts, which are experienced in the mind and experienced in the body as a whole. From this understanding, the approach between the fields of artistic drawing and cognitive-behavioral neuroscience is natural. In the context of higher education, specifically in Visual Arts, the cooperation between the fields of drawing, neuroscience and neuroeducation is shown to be capable of equipping educators with pedagogical practices that contribute to the formation of contemporary artists, especially with regard to the achievement of a poetic-artistic and authorial project expression. The activities carried out from the practical approach of Sensorial Design seek to question the protagonism of vision by sensitizing and enhancing the other senses. In this process, hearing, tasting, smelling, and touching also gain prominence in the formation of mental images, unlike other teaching-learning methods in which this protagonism focuses only on vision. The Sensorial Design approach is developed in the context of higher education in Visual Arts and applied in the Artistic Drawing I and II disciplines, which are part of the Visual Arts undergraduate course’s curriculum at the University of Campinas, since 2019. Through of student’s somatosensory and sensorimotor stimulations, the classes address several thematic axes fundamental to the field of artistic drawing practice, which are at the base of most artistic drawing teaching programs in Brazil for example: line, contour, filling, figure, ground, movement and rhythm. From this global stimulation of the senses, students are encouraged to expand their perceptive limits and their creative processes while expanding their sensory repertoires. Furthermore, the Sensorial Design approach corroborates the rupture of pre-established visual compositional patterns and, consequently, the reach of an authorial poetic-artistic expressiveness. It is important to highlight that in the period prior to the COVID-19 pandemic, all activities carried out with students took place in the face-to-face education context, and the drawing practice happened mostly through analogical instruments and mediums. With the pandemic already unleashed, such activities were adapted for distance education, in order to preserve their original characteristics, especially with regard to ensuring the application of somatosensory and sensorimotor stimulation in the students. The experience acquired along this methodological adaptation process (from face-to-face to distance education) has indicated relevant contributions to increment this approach in the post-pandemic context, e.g. to increase the number of digital media resources applied in the Sensorial Design practice, which point out to the formulation of a hybrid learning-teaching method (physical-digital).
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Abudayyeh, Rana. "PATTERNED: Sensorial Material Effects and the Learning Machine." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.30.
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Patterns, murals, reliefs, and various types of surface articulations have long been an integral part of design. Attitudes towards surface are reflective of a broader climate of spatial production, gauging the necessity and commodity of agglomeration within spaces specifically, and the agency of liminal territories within architecture at large. Commonly deposited on surfaces within prized programs (such as churches, palaces, and mosques), patterns and their respective aggregations reference through their inscriptions deities and assert the influence of various authorities. They are also telling of traditions of making and craft, both analog and digital. Whether such formations assume anthropomorphic qualities or are fashioned around pure geometry and repetition, the agency of surface articulation remains a present yet often contested area in design.1 The resilience of patterns and their resurgence in the digital age is a testament to their impact on our spatial experience.2 From primitive markings to the most complex formal plasticity of fabricated assemblages, topical material applications are intrinsic to asserting value and identity to the spatial volume. Heterotopias by nature, patterns alter and augment the space of occupation. They cater to a different formal metabolism characterized by a unique receptiveness to the users, thus, introducing friction to interior and exterior territories. Now more than ever, the need for this friction between surfaces and their occupants is essential in an era ubiquitous with the flatness of virtual imagery3 and an overall contextual banality.
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Vellingiri, Shanthi, and Prabhakaran Balakrishnan. "Modeling User Quality of Experience (QoE) through Position Discrepancy in Multi-Sensorial, Immersive, Collaborative Environments." In MMSys'17: Multimedia Systems Conference 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3083187.3084018.
Full textReports on the topic "Sensorial Experience"
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Rodriguez Chaparro, David Osvaldo, and Alejandro Zamorano Arancibia. Fundamentos de estética odontológica. Universidad Autónoma de Chile, September 2022. http://dx.doi.org/10.32457/12728/10161202268.
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El concepto de estética en odontología ha recibido una fuerte atención desde la aparición de materiales que fueron capaces de reproducir las propiedades ópticas de los tejidos que restauraban, es así como la aparición de las resinas acrílicas y luego de los composites, fue generando un cambio, tanto en las posibilidades que tenían los clínicos, como en las expectativas de los pacientes, que fueron aumentando cada vez mas. En este aspecto, recordemos que hace algunos años, una restauración metálica era perfectamente validada en el sector anterior y hoy en día es prácticamente inconcebible. Se hace necesario definir el concepto de estética y situarlo en el contexto de la odontología, si bien es cierto que tiene muchas definiciones, una de ellas podría ser que “es la ciencia que trata del conocimiento sensorial que llega a la atención de lo bello y se expresan las imágenes del arte” o que es “una teoría sobre el juicio basada en la experiencia”, para nosotros desde el punto de vista odontológico lo que nos interesa es definirla como la “capacidad para percibir lo bello”, si lo queremos llevar a una definición elemental para la odontología podríamos hablar de que es el proceso por el cual nosotros captamos un objeto a través de lo órganos de los sentidos y mediante un proceso interno realizamos un juicio que nos permite contrastar lo que captamos con nuestras experiencias previas y nuestro acerbo cultural para poder definirlo como un objeto bello.