Relevant bibliographies by topics / Hapticity

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Hapticity'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Hapticity"

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Pallasmaa, Juhani. "Hapticity Vision." Architectural Design 75, no. 4 (July 2005): 137–38. http://dx.doi.org/10.1002/ad.119.

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Ozdamar, Esen Gokce, Gokcen Firdevs Yucel Caymaz, and Hulya Yavas. "Hapticity in Digital Education Atmosphere." Journal of Design Studio 3, no. 2 (December 31, 2021): 141–57. http://dx.doi.org/10.46474/jds.982811.

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This article focuses on the effects of the decreased ability to perceive touch in distance learning for all of the actors in architectural design studios during the ongoing Covid-19 pandemic. As part of face-to-face architectural pedagogy, the tactile experience of architectural materials, models, and corporeality in the studio environment assumes great importance. However, in contrast, these aspects are diminished when it comes to digital education, generating new topics for discussion. This article asks how and to what extent distance education models can affect the process of learning, understanding, discussing, and designing architecture, amidst the prospect of continuous digital education in the post-pandemic period. Hence, it examines the awareness and experiences of haptic perception of first-year students at the Istanbul Aydın University Department of Architecture through in-depth interviews recorded on Zoom. Between 2020 and 2021, the interviews investigated haptic perception, observed construction techniques, factors affecting design materials, the way and place in which materials were perceived, the methods of sharing and transferring designs with studio instructors, questions about the obstacles encountered, and expectations for the post-pandemic period. The outcomes of these in-depth interviews showed that there is a close relationship between the students’ bodily interests and their awareness with regards to perceiving materials and that the former indicated a tendency towards making models. It was observed that students had preferred digital design tools in the pre-pandemic period, and in addition to the digital tools that students often use as a design approach, they negotiated as designing through hand-drawing in order to gain the “thinking with one’s hands” experience in this study. This emphasizes the need for haptic experiences in an architectural educational environment.
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Cannella, Anthony F., Suman Kr Dey, Samantha N. MacMillan, and David C. Lacy. "Structural diversity in pyridine and polypyridine adducts of ring slipped manganocene: correlating ligand steric bulk with quantified deviation from ideal hapticity." Dalton Transactions 47, no. 15 (2018): 5171–80. http://dx.doi.org/10.1039/c8dt00537k.

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Horak, Kyle T., Alexandra Velian, Michael W. Day, and Theodor Agapie. "Arene non-innocence in dinuclear complexes of Fe, Co, and Ni supported by a para-terphenyl diphosphine." Chem. Commun. 50, no. 34 (2014): 4427–29. http://dx.doi.org/10.1039/c4cc00838c.

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Fetisov, Evgenii O., Igor P. Gloriozov, Denis A. Kissounko, Mikhail S. Nechaev, Samia Kahlal, Jean-Yves Saillard, and Yuri F. Oprunenko. "DFT study of dihydrogen addition to molybdenum π-heteroaromatic complexes: a prerequisite step for the catalytic hydrodenitrogenation process." New Journal of Chemistry 39, no. 11 (2015): 8915–21. http://dx.doi.org/10.1039/c5nj01585e.

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Giese, Michael, Markus Albrecht, Arto Valkonen, and Kari Rissanen. "The pentafluorophenyl group as π-acceptor for anions: a case study." Chemical Science 6, no. 1 (2015): 354–59. http://dx.doi.org/10.1039/c4sc02762k.

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A unique structural study investigates the variability of anion–π bonding in the solid state structures of pentafluorophenyl arenes. The hapticity concept is used as tool to describe the structural differences of various anion–π complexes.
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Mebs, Stefan, Maren A. Chilleck, Simon Grabowsky, and Thomas Braun. "Hapticity Uncovered: Real-Space Bonding Indicators for Zincocene Chemistry." Chemistry - A European Journal 18, no. 37 (August 14, 2012): 11647–61. http://dx.doi.org/10.1002/chem.201200870.

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Day, Benjamin M., and Martyn P. Coles. "Assigning Hapticity to Cyclopentadienyl Derivatives of Antimony and Bismuth." Organometallics 32, no. 15 (August 2013): 4270–78. http://dx.doi.org/10.1021/om400434f.

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Blacquiere, Johanna M., Carolyn S. Higman, Robert McDonald, and Deryn E. Fogg. "A Reactive Ru–Binaphtholate Building Block with Self-Tuning Hapticity." Journal of the American Chemical Society 133, no. 35 (September 7, 2011): 14054–62. http://dx.doi.org/10.1021/ja204767a.

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Wang, Hongyan, Zhonghua Sun, Yaoming Xie, R. Bruce King, and Henry F. Schaefer. "Unsaturation and Variable Hapticity in Binuclear Azulene Iron Carbonyl Complexes." Organometallics 29, no. 3 (February 8, 2010): 630–41. http://dx.doi.org/10.1021/om9009284.

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Dissertations / Theses on the topic "Hapticity"

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Chang, Clementine. "Architecture in Search of Sensory Balance." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2841.

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This thesis addresses the urgent need to awaken our numbed senses by means of haptic architecture. As today's technologies continue to hyper-stimulate and under-differentiate, it is architecture's obligation to resist the resultant de-sensitizing of daily experiences. A return of a multi-sensory and corporeal element to architecture can reveal new possibilities for restoring sensory balance, and for connecting our bodies to our surroundings. Through the authority of all the senses, we may re-discover our human identity within the larger context of the world.

The proposed design is a spa health club in downtown Toronto. Throughout history, public baths have been important spaces in cities. Bathers are able to be social or solitary as they choose, while cleansing body and senses. Today, such spaces are lost in the race where thousands upon thousands of advertisements compete for one's imagination. Combining the ancient bath culture with the contemporary fitness culture, the design of the spa health club aims to heighten awareness by engaging the body and all of its senses. Central to the design is an urban public park offering transitory moments of tranquility and sensual pleasure. The spa, with its public park, offers a space that resumes the dialogue between body and space, creating haptic memories and, above all, raising human consciousness.
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Beattie, Ronn. "A passage in women's sculpture : diversity, hapticity and domesticity in one contemporary lineage of women's sculpture." Thesis, Open University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342941.

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Srikanth, Preethi. "Object to Experience: Understanding Perception to Create Events." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277134998.

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Plichta, Meghan E. "Earth, Food, and Building: Values in Nourishment and Spatial Experience." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337265051.

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Bugaj, Malgorzata. "Visceral material : cinematic bodies on screen." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10653.

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This thesis investigates cinema’s attempts to engage in a dialogue with the trace of the physical body. My concern is with the on-screen presentation of the body rather than its treatment as a representation of gender, sexuality, race, age, or class. I examine specifically The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996), Attenberg (Tsangari, 2010), Taxidermia (Pálfi, 2006), and Sokurov’s family trilogy (Mother and Son, 1997; Father and Son, 2003; and Alexandra, 2007). The recurring tropes in these seven films include references to the medical gaze (both objective and objectifying) and haptic visuality which privileges sensual, close engagement with the image of the material object. I consider the medical and the haptic as metaphors for depictions of the body in cinema. To develop my analysis, I draw on the works of Michel Foucault, Laura U. Marks and Vivian Sobchack amongst others. I conclude that the discussed films, preoccupied with images of corporeal forms, criticise cinema’s conventional treatment of the body as simply a vessel for a goal-driven character and portray bodies which appear to consciousness in their own right.
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Pansegrouw, Jacques Le Roux. "Experiential ground." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/32816.

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In humanity’s current condition, the advantages of organic material sources are supplanted by the qualities of synthetics that allow for rapid growth and altered capabilities, whilst man becomes further removed from his natural existence as a being that once possessed the aptitude to understand and work with these materials. Prior to our industrial, mechanised and materialist consumer culture, the direct interaction with the natural world provided humanity with more comprehensive and experiential ground for growth and learning. As we are connected to the world through our senses, space becomes the primary enabler of such a platform. Relying on the haptic qualities of materials and the body’s ability to experience and embody its immediate surroundings, architecture’s role in the integration between man, nature, and industry is explored. As a natural industry with a significant public interface, architecture acts as a mediator between man’s “constructed nature” and his “first nature” – referring to man’s estrangement from his environment. This dissertation investigates the adaptation of industrial buildings to accommodate public interaction whilst responding to the environmental impact that the production of building materials has on the environment. Alternatives to commonly used materials such as glass, steel and carbon fibres were researched, and so hemp, flax and bamboo became the primary elements used in the making of the architecture.
Dissertation MArch(Prof)--University of Pretoria, 2014
Architecture
MArch(Prof)
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Volvey, Anne. "Transitionnelles géographies : Sur le terrain de la créativité artistique et scientifique." Habilitation à diriger des recherches, Université Lumière - Lyon II, 2012. http://tel.archives-ouvertes.fr/tel-00803871.

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Cette Habilitation à diriger des recherches traite d'art et de géographie à partir de la pratique et de l'expérience vivante du terrain. A fleur du sujet-cherchant-avec-l'espace, par une attention portée à la relationnalité et à la corporalité de cette pratique, à l'aide d'outils psychanalytiques transitionnels, elle élabore l'idée d'un régime haptique de connaissance spatiale dans ces deux disciplines. Elle dialogue avec les géographies anglophones de l'identité, et de l'art (ville créative, art public). Elle interroge la ligne de démarcation épistémologique entre art et géographie.
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Ylijoki, Kai Erik Oskar. "Cobalt-mediated pentadienyl/alkyne [5+2] cycloaddition reactions." Phd thesis, 2010. http://hdl.handle.net/10048/1031.

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Thesis (Ph. D.)--University of Alberta, 2010.
Title from pdf file main screen (viewed on June 25, 2010). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Department of Chemistry, University of Alberta. Includes bibliographical references.
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Ling, Andrea Shin. "The Girl in the Wood Frock." Thesis, 2007. http://hdl.handle.net/10012/3032.

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A GIRL, forced to marry her father after he sees her playing in his dead wife’s wedding gown, runs away wearing five dresses. Four dresses are of silk and they are beautiful. The last dress is of wood. It is in this dress that the girl escapes, throwing herself into the river to float away. A prince saves the girl but treats her badly, for she wears an ugly wood frock. Her suffering is eased at night when the girl takes off the wood dress and dances in her silk ones. The prince discovers the girl in the silk dresses and falls in love. They live happily ever after. This thesis is based on a fairy tale in which a girl’s life is changed by what she wears. In Fair Maiden Wood clothing is a means to identity. Costume is what identifies this girl as her father’s new bride, and it reveals to the shallow prince who his true love is. It is through clothing that we identify the fairy tale. But more significantly, it is through clothing that the girl experiences the outside world. The girl lives through her wood frock – it is the vessel by which she escapes the threat of incest, it is the prison that disguises her beauty from the prince; it is her armor, her cage, her temporary home. The wood frock becomes the girl’s first architecture, protecting and sheltering the girl in the most intimate manner, controlling her most immediate environment. But its role is not limited to enclosure; the wood dress also changes the girl’s experience of her surroundings, extending her bodily influence while also constraining it. The wood dress dictates how the girl moves, how much space she needs, how others see her, and how they treat her. It is an environment, elusively defined by the dialogue between her moving body and the surface of the wood shell surrounding her, which changes the girl’s quality of existence. In this in-between silhouette is a most potent, and poetic, form of architecture. In my thesis I continue the story of the girl in the wood frock through the design of three of her five gowns. The gowns reference the work of designers such as Cristobal Balenciaga or Issey Miyake whose clothes, by virtue of their construction and materiality, affect wearer and observer in startling and profound fashion. Their garments show a symbiotic relationship between body and shell, where the shell is not simply a passive enclosure but a responsive and independent extension of the body. My dresses are made with this symbiosis in mind, and I use their (painstaking) construction in order to propose that in clothing is the potential to create spatial environments that change fundamental perceptions by filtering and extending the wearer’s experience of the world and her effect on it. These dresses and the spaces they create are unique. They are not costumes of the everyday, used to suppress sensation in order to function; instead they are of the special day, when the girl seeks to be stimulated, enlightened, and also saved. They are dresses of heightened awareness, integrating both sense and action within their shifting boundaries, shaping a dynamic, albeit fleeting, architecture.
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Books on the topic "Hapticity"

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Beattie, Ronn. A passage in women's sculpture: Diversity, hapticity and domesticity in one contemporary lineage of women's sculpture : a thesis submitted in partial fulfilment of the requirements of the Open University for the degree of Doctor of Philosophy. London: Central Saint Martins College of Art & Design, 2000.

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Book chapters on the topic "Hapticity"

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Owens, Deirdre Cooper. "Hapticity and “Soul Care”:." In Ideas in Unexpected Places, 47–56. Northwestern University Press, 2022. http://dx.doi.org/10.2307/j.ctv2ckjpp9.9.

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Garrington, Abbie. "Virginia Woolf, Hapticity and the Human Hand." In Haptic Modernism, 115–38. Edinburgh University Press, 2013. http://dx.doi.org/10.3366/edinburgh/9780748641741.003.0004.

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"Chapter 3 Virginia Woolf, Hapticity and the Human Hand." In Haptic Modernism, 115–41. Edinburgh University Press, 2013. http://dx.doi.org/10.1515/9780748682539-004.

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Rotter, Andrew J. "Touching, Feeling, and Healing." In Empires of the Senses, 187–232. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190924706.003.0007.

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This chapter considers touch in empire: it asks us to imagine how the body would feel being moved to a completely new environment. Hapticity, the chapter argues, is both the pauper and king of the senses. It is generally relegated to the realm of the lower senses, beneath even smell and taste. Conversely, touch can also be seen as the most powerful of the senses. It was of great importance in medieval Europe, for example. The metaphors used to describe empire were frequently haptic. The chapter also looks at how the Britons and Americans in India and the Philippines wanted to change the people they encountered. Health was a great motivator in this desire.
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"THE GAZE , TOUCH , MOTION: ASPECTS OF HAPTICITY IN ITALIAN EARLY MODERN ART." In Das haptische Bild, 51–68. Akademie Verlag, 2013. http://dx.doi.org/10.1524/9783050094496.51.

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Pyke, Jenny. "I Am Collecting Beautiful Objects: Michel Gondry’s Taxidermy of Emotions." In ReFocus: The Films of Michel Gondry, 49–65. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456012.003.0004.

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Continuing both the examination of the materiality of objects and the employment of frameworks from contemporary art, this chapter by Jenny Pyke uses a comparison with taxidermy as an art form to explore the way that Gondry creates objects infused with affect, not because of what they represent but because of how they are constructed. Like examples of taxidermy, these objects both contain a material history and generate sensation through their feeling of hapticity. This chapter explains how objects in The Science of Sleep function not only as containers of emotion but also as points of connection between the lovers Stéphane and Stéphanie, who communicate and share their way of seeing and imagining the world through objects and build relationships in tandem with their construction.
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Kulezic-Wilson, Danijela. "Concluding Thoughts." In Sound Design is the New Score, 151–56. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855314.003.0006.

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Chapter 6 offers concluding thoughts on various methods of blurring the line between score and sound design and their common themes such as integration, inclusion, the erasure of boundaries, and the toppling of hierarchies. The chapter notes the inner dialectics of this trend, epitomized in the forces of change understood as progression and those explained by the cyclical reappearance of certain tendencies. The former are manifested in the use of a contemporary musical language that draws on the whole world of sound and the use of digital technology; the latter include the musical approach to soundtrack, aesthetic trends such as the aesthetics of reticence, and a fascination with the materiality, texture, and hapticity of sound, which all have precedents of some kind in the past. This chapter asserts that the main methods of blurring the line between score and sound design are inspired by music or informed by musical logic.
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Roberts, Debra. "The Rustle of Taffeta: The Value of Hapticity in Research and Reconstruction of an Eighteenth-Century Sack-Back Dress." In The Erotic Cloth. Bloomsbury Academic, 2018. http://dx.doi.org/10.5040/9781474281768.ch-004.

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Harney, Stefano. "Hapticality in the Undercommons." In The Routledge Companion to Art and Politics, 173–79. Routledge, 2015. http://dx.doi.org/10.4324/9781315736693-20.

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Conference papers on the topic "Hapticity"

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Yohanan, Steve, Mavis Chan, Jeremy Hopkins, Haibo Sun, and Karon MacLean. "Hapticat." In the 7th international conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1088463.1088502.

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Reports on the topic "Hapticity"

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Merkert, J., R. M. Nielson, M. J. Weaver, and W. E. Geiger. NMR Evidence for a Planar Arene Intermediate in the Electron-Transfer Induced Eta 6 to Eta 4 Hapticity Change of a Rhodium Arene Complex. Fort Belvoir, VA: Defense Technical Information Center, July 1989. http://dx.doi.org/10.21236/ada210211.

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You might also be interested in the extended bibliographies on the topic 'Hapticity' for particular source types:
Journal articles
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