Academic literature on the topic 'Senses and perception'

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Journal articles on the topic "Senses and perception"

1

Zaredar, Arezou. "Considering the Five Senses in Architecture." Current World Environment 10, Special-Issue1 (2015): 138–43. http://dx.doi.org/10.12944/cwe.10.special-issue1.19.

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Despite fully attention of most current architects to the sense of eyesight, architecture stimulates all of our senses. This paper discusses the perception of senses in architecture, explaining how they work and influence on each other and the differences between them. Besides giving examples of programs to improve conscious perception in an architectural space. In author`s Thesis announced with “Five Senses Museum” it has been attempted to consider all senses in frame of architecture because consciously or spontaneous they affect perception of space and also make it a place to remind with five senses. To approach this aim, this museum contains five main galleries to deal with five senses, notes the correct behavior to the senses and attempts to guide human to recognize itself with practicing domination to senses and recognizing them and learning to be in the moment concentrated. So a beyond perception among the traditional museums is possible.
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Richardson, Louise. "Non Sense-Specific Perception and the Distinction Between the Senses." Res Philosophica 91, no. 2 (2014): 215–39. http://dx.doi.org/10.11612/resphil.2014.91.2.4.

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3

Szczepańska, Magdalena, Agnieszka Wilkaniec, Daria Łabędzka, and Joanna Micińska. "NON-VISUAL PERCEPTION OF LANDSCAPE – USE OF HEARING AND OTHER SENSES IN THE PERCEPTION OF SELECTED SPACES IN THE CITY OF POZNAŃ." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 9, no. 2 (2013): 68–79. http://dx.doi.org/10.35784/teka.2535.

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Perception of landscape is associated with the perception of space first of all by the sense of sight. Visual perception is supplemented by sensations collected by the other senses. The aim of the conducted investigations was to identify landscapes in the city of Poznań perceived both positively and negatively, using the senses of hearing, smell and touch. The questionnaire method was applied in this study. It was determined that for most respondents a decisive role in the perception of landscape, apart from sight, was played by the sense of smell and hearing.
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Sakai, Nobuyuki. "Sensation and perception of chemical senses." Journal of Japan Association on Odor Environment 37, no. 6 (2006): 397. http://dx.doi.org/10.2171/jao.37.397.

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Słuchocka, Katarzyna. "SENSES IN ARCHITECTURE." space&FORM 2020, no. 44 (2020): 163–76. http://dx.doi.org/10.21005/pif.2020.44.b-10.

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Optimisation of architectural design and its perception involves a comprehensive sensory analysis of the human body response to the stimuli received by the brain. Owing to sensual haptic characteristics, expressed through relevant motor activity, we can reliably create trends among the future users. Proper assessment and sensuality of architecture shall underlie justified, reference parameters predetermining a selection of appropriate measures shaping our daily life context. Opportunities which haptic spatial perception offers facilitate a short-cut in our research to model design processes. Implementation of sensory evaluation methodology into design processes will facilitate a congruent definition of architecture and improve its quality.
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Benninga, Sara. "The Changing Perception of the Five Senses." Ikonotheka, no. 29 (September 16, 2020): 103–22. http://dx.doi.org/10.31338/2657-6015ik.29.14.

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This article examines the changing approach towards the representation of the senses in 17th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617–18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector’s cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context
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7

Stoffregen, Thomas A., and Benoît G. Bardy. "On specification and the senses." Behavioral and Brain Sciences 24, no. 2 (2001): 195–213. http://dx.doi.org/10.1017/s0140525x01003946.

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In this target article we question the assumption that perception is divided into separate domains of vision, hearing, touch, taste, and smell. We review implications of this assumption for theories of perception and for our understanding of ambient energy arrays (e.g., the optic and acoustic arrays) that are available to perceptual systems. We analyze three hypotheses about relations between ambient arrays and physical reality: (1) that there is an ambiguous relation between ambient energy arrays and physical reality, (2) that there is a unique relation between individual energy arrays and physical reality, and (3) that there is a redundant but unambiguous relation, within or across arrays, between energy arrays and physical reality. This is followed by a review of the physics of motion, focusing on the existence and status of referents for physical motion. Our review indicates that it is not possible, in principle, for there to be a unique relation between physical motion and the structure of individual energy arrays. We argue that physical motion relative to different referents is specified only in the global array, which consists of higher-order relations across different forms of energy. The existence of specificity in the global array is consistent with the idea of direct perception, and so poses a challenge to traditional, inference-based theories of perception and cognition. However, it also presents a challenge to much of the ecological approach to perception and action, which has accepted the assumption of separate senses.
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8

Lehrer, Keith, and John-Christian Smith. "Reid on Testimony and Perception." Canadian Journal of Philosophy Supplementary Volume 11 (1985): 21–38. http://dx.doi.org/10.1080/00455091.1985.10715888.

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Reid defended common sense against scepticism by appeal to the claim that our faculties should be considered trustworthy until some argument proves them to be untrustworthy. He believed, of course, that no such argument would be forthcoming. In this paper, we shall investigate Reid's defense of the faculty of perception and the evidence of the senses by analogy with the faculty of language and the evidence of testimony. Reid argued that the evidence of testimony should be trusted unless there is reason to think it untrustworthy and by analogy, that the evidence of the senses should be trusted unless there is reason to think it untrustworthy. He admitted the fallibility of such evidence but contended that such fallibility is characteristic of all our faculties. Moreover, and perhaps most important, Reid developed a psychological theory of the faculties of perception and language that showed the analogy between these two faculties to be very exact indeed.
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9

Amedi, Amir, and Shelly Levy-Tzedek. "The action-perception loop examined across senses." Multisensory Research 26, no. 1-2 (2013): 38. http://dx.doi.org/10.1163/22134808-000s0023.

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10

Schneider, Eve R., Elena O. Gracheva, and Slav N. Bagriantsev. "Evolutionary Specialization of Tactile Perception in Vertebrates." Physiology 31, no. 3 (2016): 193–200. http://dx.doi.org/10.1152/physiol.00036.2015.

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Evolution has endowed vertebrates with the remarkable tactile ability to explore the world through the perception of physical force. Yet the sense of touch remains one of the least well understood senses at the cellular and molecular level. Vertebrates specializing in tactile perception can highlight general principles of mechanotransduction. Here, we review cellular and molecular adaptations that underlie the sense of touch in typical and acutely mechanosensitive vertebrates.
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