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Journal articles on the topic 'Senses and perception'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Zaredar, Arezou. "Considering the Five Senses in Architecture." Current World Environment 10, Special-Issue1 (June 28, 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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2

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 (June 30, 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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4

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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5

Słuchocka, Katarzyna. "SENSES IN ARCHITECTURE." space&FORM 2020, no. 44 (December 3, 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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Stoffregen, Thomas A., and Benoît G. Bardy. "On specification and the senses." Behavioral and Brain Sciences 24, no. 2 (April 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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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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Schneider, Eve R., Elena O. Gracheva, and Slav N. Bagriantsev. "Evolutionary Specialization of Tactile Perception in Vertebrates." Physiology 31, no. 3 (May 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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Wade, Nicholas J. "Abolition of the senses." Behavioral and Brain Sciences 24, no. 2 (April 2001): 243–44. http://dx.doi.org/10.1017/s0140525x01543940.

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In advocating an extreme form of specification requiring the abolition of separate senses, Stoffregen & Bardy run the risk of diverting attention from the multisensory integration of perception and action they wish to champion.

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12

Koons, Benjamin Robert. "Aristotle’s Infallible Perception." Apeiron 52, no. 4 (October 25, 2019): 415–43. http://dx.doi.org/10.1515/apeiron-2017-0076.

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Abstract In the De Anima, Aristotle claims that the five senses are infallible about their proper objects. I contend that this claim means that sight is infallible about its proper object in its most specific form, i. e. sight is infallible about red or green and not merely about color in general. This robust claim is justified by Aristotle’s teleological principle that nature does nothing in vain. Additionally, drawing on Aristotle’s comparison of perception and one’s understanding of the essences, I defend a conception of the senses in which the structure of their contents is simple rather than predicative and show how this coheres better with the rest of my interpretation.

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Ternaux, Jean-Pierre. "Synesthesia: A Multimodal Combination of Senses." Leonardo 36, no. 4 (August 2003): 321–22. http://dx.doi.org/10.1162/002409403322258790.

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Synesthesia is an unusual phenomenon that is occasionally reported in artists and writers. In its pathological context, synesthesia is described as a confusion of the senses where the excitation of one sense triggers stimulation in a completely different sensory modality. In contrast to this pathological form, synesthesia can also be considered as a physiological behavior that involves a multimodal combination of all senses. Such an expression of sensory perception can also be considered as a natural process that contributes to the adaptation of the living organism to its environment. The author attempts to analyze the cerebral mechanisms involved in sensory perception and synesthesia.

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Majid, Asifa, Seán G. Roberts, Ludy Cilissen, Karen Emmorey, Brenda Nicodemus, Lucinda O’Grady, Bencie Woll, et al. "Differential coding of perception in the world’s languages." Proceedings of the National Academy of Sciences 115, no. 45 (November 5, 2018): 11369–76. http://dx.doi.org/10.1073/pnas.1720419115.

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Is there a universal hierarchy of the senses, such that some senses (e.g., vision) are more accessible to consciousness and linguistic description than others (e.g., smell)? The long-standing presumption in Western thought has been that vision and audition are more objective than the other senses, serving as the basis of knowledge and understanding, whereas touch, taste, and smell are crude and of little value. This predicts that humans ought to be better at communicating about sight and hearing than the other senses, and decades of work based on English and related languages certainly suggests this is true. However, how well does this reflect the diversity of languages and communities worldwide? To test whether there is a universal hierarchy of the senses, stimuli from the five basic senses were used to elicit descriptions in 20 diverse languages, including 3 unrelated sign languages. We found that languages differ fundamentally in which sensory domains they linguistically code systematically, and how they do so. The tendency for better coding in some domains can be explained in part by cultural preoccupations. Although languages seem free to elaborate specific sensory domains, some general tendencies emerge: for example, with some exceptions, smell is poorly coded. The surprise is that, despite the gradual phylogenetic accumulation of the senses, and the imbalances in the neural tissue dedicated to them, no single hierarchy of the senses imposes itself upon language.

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Gardener, Joanna, William Cartwright, Lesley Duxbury, and Amy Griffin. "Mapping Perception of Place through Emotion, Memory, Senses, and the Imaginary." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-87-2019.

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<p><strong>Abstract.</strong> This paper reports on a research project that has a focus on the perception of place, collective experience, and shared perceptions. It aims to demonstrate how mapping can be used to bring depth and meaning to places through portraying emotions, memory, sensation, and the imagination. This study explores how maps can be developed to create a deeper understanding and explore perceptions of place. It draws upon the diverse experiences of a participatory study of a single, shared place, the Edinburgh Gardens in North Fitzroy, Melbourne, Australia. This participatory study expands upon a previous research study of the Edinburgh Gardens, which focused on the influence of time in the perception of place. While time plays a significant role in changing perceptions of place, emotions, sensory inputs, and memory also play vital roles in shaping these perceptions.</p><p> The intent of this study was to look for shared experiences, synergies, or differences between different participants’ visits to the park, while examining how people perceive, move through, and understand the place and their emotional connection to it. Through a three-part participatory study, <i>1. Memory</i>, <i>2. Experience</i>, and <i>3. Reflection</i>, the data collected informs a series of emotional maps of the Edinburgh Gardens.</p><p> The first part of the study, <i>Memory</i>, asked participants to recall and describe a memory of an experience they had at the Edinburgh Gardens. Questions included why the event was significant, were they with other people, how long did they stay, and could they remember any smells or sounds or think of any colours associated with the experience. Participants were also asked to draw a map of the gardens as they remembered them (Figure 1). The second part of the study, <i>Experience</i>, asked participants to go for a walk in the park and capture their experience in real-time (Figure 2). This included many of the same questions as Part 1, while also asking them to record their route as they moved through the park, via a GPS walking app and pen and paper (Figure 3). The final part of the study, <i>Reflection</i>, asked participants to reflect and compare the visits to the park.</p><p> The intention of this participatory component of the research programme is to visually explore emotional connections to place by creating prototype maps of place perceptions. The study focuses on the making of place and examines how places are perceived through deep mapping and associated spatial narratives. In creating these prototype maps, it investigates how the cartographic sciences, design thinking, and artistic expression can inform one another to spark new ideas and generate new ways of thinking about approaches to cartography and in turn, the possibilities that emerge when these disciplines work together.</p><p> Through a practical and theoretical investigation into emotional cartography, this study explores perception of place and the representation of shared perceptions through mapping. Furthermore, it illustrates the role memory and conscious experience have on feelings and emotions attached to perception of place. Through creating prototypes of emotional maps, we are able to see the crossover between scientific cartography and artistic expression and appreciate how these different disciplines can be engaged to shape new approaches to cartography and reveal the map’s ability to impart emotion and evoke a sense of place.</p>

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SHEWFELT, R. L. "PERCEPTION OF FOOD QUALITY BY THE FIVE SENSES." Journal of Food Quality 14, no. 1 (February 1991): v—vi. http://dx.doi.org/10.1111/j.1745-4557.1991.tb00043.x.

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17

Paterson, M. W. D. "The Senses of Modernism: Technology, Perception and Aesthetics." British Journal of Aesthetics 43, no. 4 (October 1, 2003): 424–27. http://dx.doi.org/10.1093/bjaesthetics/43.4.424.

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Scarth, Linda Loos. "Book Review: The Five Senses and Beyond: The Encyclopedia of Perception." Reference & User Services Quarterly 56, no. 4 (June 21, 2017): 303. http://dx.doi.org/10.5860/rusq.56.4.303a.

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The 219 entries in this book are a limited, eclectic collection of common and uncommon terms, complex concepts, physical locations, medical diagnoses, and a few persons and associations related to some aspect of perception. These entries are not grouped into the five senses (sight, hearing, taste, smell, and touch), which would have been useful to those wanting to understand one of the senses. The only sense that has an entry titled with its common name is touch, though smell, sight, and hearing have “See” references in the index. “Taste Aversion,” “Taste Bud,” and “Taste System” are entry terms.

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San Roque, Lila, Kobin H. Kendrick, Elisabeth Norcliffe, Penelope Brown, Rebecca Defina, Mark Dingemanse, Tyko Dirksmeyer, et al. "Vision verbs dominate in conversation across cultures, but the ranking of non-visual verbs varies." Cognitive Linguistics 26, no. 1 (February 1, 2015): 31–60. http://dx.doi.org/10.1515/cog-2014-0089.

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AbstractTo what extent does perceptual language reflect universals of experience and cognition, and to what extent is it shaped by particular cultural preoccupations? This paper investigates the universality~relativity of perceptual language by examining the use of basic perception terms in spontaneous conversation across 13 diverse languages and cultures. We analyze the frequency of perception words to test two universalist hypotheses: that sight is always a dominant sense, and that the relative ranking of the senses will be the same across different cultures. We find that references to sight outstrip references to the other senses, suggesting a pan-human preoccupation with visual phenomena. However, the relative frequency of the other senses was found to vary cross-linguistically. Cultural relativity was conspicuous as exemplified by the high ranking of smell in Semai, an Aslian language. Together these results suggest a place for both universal constraints and cultural shaping of the language of perception.

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Turnacker, Katalin. "Harmony of Senses – 3D Documentaries of Herzog and Wenders." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (September 1, 2014): 97–111. http://dx.doi.org/10.2478/ausfm-2014-0028.

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Abstract The two still active great artists of the new German cinema, Werner Herzog and Wim Wenders, presented their 3D documentaries on the 2011 Berlinale. This coincidence, not to be neglected in itself, is more than a mere experimentation with the new technology. Indeed, it much rather reveals the complexity of perceptions coming into action during the film experience and their relationship with the onlooker. It highlights the process in which the viewer involuntarily, thoughtlessly relates to their own sensory experience. Following their feature films grounded on the visuality of the cinema experience indicative of the German New Wave, the two directors now created a documentary which draws on the synthesis of various senses and a viewer’s position focusing on perception and interpretation. This paper proposes to analyze how the harmony of senses happens on various levels, from the application of visible, audible, tangible subject motifs and modes of expression asking for various forms of perception, and all the way to the directorial perspective focusing on the viewer’s engagement.

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Azevedo, Albert Lengruber de, Sílvia Teresa Carvalho de Araújo, Paulo Sergio da Silva, Rosane Mara Pontes de Oliveira, and Virginia Faria Damasio Dutra. "Nursing students’ sense perception of communication in psychiatric hospital." Revista Brasileira de Enfermagem 71, suppl 5 (2018): 2280–86. http://dx.doi.org/10.1590/0034-7167-2017-0957.

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ABSTRACT Objective: to analyze the sense perception of nursing students in the learning of communication in a psychiatric hospital. Method: qualitative, exploratory and descriptive, from representative drawings of the communication perceived by the body senses of 23 nursing students, and recorded enunciation of the remarkable experiences after the end of the practical activities. The data were analyzed according to thematic content. Results: the heart captures perceptions, favoring interpersonal relationships; smelling shows care lacking in hospitalization; vision monopolizes the impressions of reality, making the movements static; hearing is exercised in the amplitude to listen; touching demarcates limitations of contact and interaction; and tasting, as social sense, seeks to overcome the obstacles to take care. Conclusion: the learning of communication was significant, making the psychiatric hospital a space to listen to what is inside, to find in the emotions and rationalities the sensations that can be inside and outside the tension nodes that interfere in the perceptions.

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Faruque, Muhammad Umar. "The Internal Senses in Nemesius, Plotinus and Galen: the Beginning of an Idea." Journal of Ancient Philosophy 10, no. 2 (November 1, 2016): 119. http://dx.doi.org/10.11606/issn.1981-9471.v10i2p119-139.

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This study traces the notion of the internal senses in three ancient authors, namely Nemesius, Plotinus and Galen. It begins with Nemesius, and then by going backward ends with Galen. The textual evidence investigated in this study shows clearly that Galen, after acknowledging the Platonic tripartite soul, locates the various dunameis of the soul in the brain. The “localization” theory of Galen plays a crucial role in paving the way for the foundation of the internal senses, which both Plotinus and Nemesius adapted. Just as with the external senses one can locate various sense-organs in different parts of the body, viz., touch, smell, sight etc., so too with the internal senses, thanks to Galen, one is able to locate them in various organs of the body. Thus philosophers are able to explain the role of all these different (internal) senses in their account of sense-perception.

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23

Wu, Li Xin, and Guo Zhu Cheng. "Study on Driver’s Safety Sense Rule Based on Perception Speed at Daytime and Night." Advanced Materials Research 461 (February 2012): 128–31. http://dx.doi.org/10.4028/www.scientific.net/amr.461.128.

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In order to ensure traffic safety on freeway, speed limit is necessary. Driver’s safety sense to different speed is not same, so it should be considered by speed limit standard. Through field experiment, the data of driver’s perception speed at daytime and night were obtained. The data at daytime and night were compared. The deviations of perception speed were analyzed under different conditions of driving speed and highway alignment at daytime and night. Driver’s safety senses were classified as four levels of very safe, safe, dangerous and very dangerous. The relation between driver’s safety sense level and perception speed was analyzed. It shows that driver’s perception speed corresponding different safety sense level at daytime and night are also different.

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Armstrong, Tim. "The Senses of Modernism: Technology, Perception and Aesthetics (review)." Modernism/modernity 10, no. 2 (2003): 396–98. http://dx.doi.org/10.1353/mod.2003.0032.

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Katz, Barry. "The Senses of Modernism: Technology, Perception, and Aesthetics (review)." Technology and Culture 44, no. 4 (2003): 855–56. http://dx.doi.org/10.1353/tech.2003.0169.

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McWilliams, Dean. "The Senses of Modernism: Technology, Perception and Aesthetics (review)." Comparative Literature Studies 41, no. 3 (2004): 443–46. http://dx.doi.org/10.1353/cls.2004.0034.

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van Wassenhove, Virginie, Dean V. Buonomano, Shinsuke Shimojo, and Ladan Shams. "Distortions of Subjective Time Perception Within and Across Senses." PLoS ONE 3, no. 1 (January 16, 2008): e1437. http://dx.doi.org/10.1371/journal.pone.0001437.

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Petty, Karis Jade. "Beyond the senses: perception, the environment, and vision impairment." Journal of the Royal Anthropological Institute 27, no. 2 (March 31, 2021): 285–302. http://dx.doi.org/10.1111/1467-9655.13490.

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Baumgartner, Elisabeth, Christiane B. Wiebel, and Karl R. Gegenfurtner. "Visual and Haptic Representations of Material Properties." Multisensory Research 26, no. 5 (2013): 429–55. http://dx.doi.org/10.1163/22134808-00002429.

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Research on material perception has received an increasing amount of attention recently. Clearly, both the visual and the haptic sense play important roles in the perception of materials, yet it is still unclear how both senses compare in material perception tasks. Here, we set out to investigate the degree of correspondence between the visual and the haptic representations of different materials. We asked participants to both categorize and rate 84 different materials for several material properties. In the haptic case, participants were blindfolded and asked to assess the materials based on haptic exploration. In the visual condition, participants assessed the stimuli based on their visual impressions only. While categorization performance was less consistent in the haptic condition than in the visual one, ratings correlated highly between the visual and the haptic modality. PCA revealed that all material samples were similarly organized within the perceptual space in both modalities. Moreover, in both senses the first two principal components were dominated by hardness and roughness. These are two material features that are fundamental for the haptic sense. We conclude that although the haptic sense seems to be crucial for material perception, the information it can gather alone might not be quite fine-grained and rich enough for perfect material recognition.

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Nuessel, Frank. "Sensory representation in literature." Semiotica 2018, no. 222 (April 25, 2018): 101–12. http://dx.doi.org/10.1515/sem-2016-0200.

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AbstractThe five senses (vision, audition, touch, olfaction, gustation) constitute the essence of our ability to interact with the external world and make sense of it. This contact is transmitted through various sensory organs and the information for each sense is transmitted to and translated in various parts of the brain. The anatomical and physiological aspects of this external-internal interface are complex. Likewise, the philosophical approaches to this world-body communication and comprehension involves at least two perspectives, namely, the rationalist viewpoint (perception is brain-determined) and empirical (perception is externally acquired). This essay discusses how creative writers re-create sensory experience in their texts. It will examine each of the five senses and the strategies employed by authors to stimulate and arouse memories of previous reader experience both synchronically and diachronically. Writer and reader co-create and co-participate in this process.

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van Putten, Saskia. "Perception verbs and the conceptualization of the senses: The case of Avatime." Linguistics 58, no. 2 (April 26, 2020): 1–38. http://dx.doi.org/10.1515/ling-2020-0039.

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AbstractLanguages differ in their number of basic verbs that describe perceptual experience. Some languages have only two such verbs: one for visual perception and another for non-visual perception. How do speakers of these languages conceptualize sensory perception? To shed light on this question, this paper investigates the perception verbs mɔ̀ ‘see’ and nu ‘hear/feel/taste/smell’ in Avatime (Kwa, Niger-Congo). These verbs are studied together with the constructions in which they occur, using both translated data and spontaneous discourse. Both perception meanings and meanings outside the domain of perception are taken into account. The detailed picture that emerges shows some previously undocumented patterns of perception encoding and enriches our understanding of the conceptualization of the senses more generally.

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Spence, Charles. "Attending to the Chemical Senses." Multisensory Research 32, no. 7 (2019): 635–64. http://dx.doi.org/10.1163/22134808-20191468.

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Abstract Theorizing around the topic of attention and its role in human information processing largely emerged out of research on the so-called spatial senses: vision, audition, and to a lesser extent, touch. Thus far, the chemical senses have received far less research interest (or should that be attention) from those experimental psychologists and cognitive neuroscientists interested in the topic. Nevertheless, this review highlights the key role that attentional selection also plays in chemosensory information processing and awareness. Indeed, many of the same theoretical approaches/experimental paradigms that were originally developed in the context of the spatial senses, can be (and in some cases already have been) extended to provide a useful framework for thinking about the perception of taste/flavour. Furthermore, a number of those creative individuals interested in modifying the perception of taste/flavour by manipulating product-extrinsic cues (such as, for example, music in the case of sonic seasoning) are increasingly looking to attentional accounts in order to help explain the empirical phenomena that they are starting to uncover. However, separate from its role in explaining sonic seasoning, gaining a better understanding of the role of attentional distraction in modulating our eating/drinking behaviours really ought to be a topic of growing societal concern. This is because distracted diners (e.g., those who eat while watching TV, fiddling with a mobile device or smartphone, or even while driving) consume significantly more than those who mindfully pay attention to the sensations associated with eating and drinking.

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Maria Ugolini, Marta, Chiara Rossato, and Claudio Baccarani. "A five-senses perspective to quality in hospitals." TQM Journal 26, no. 3 (April 8, 2014): 284–99. http://dx.doi.org/10.1108/tqm-01-2014-0010.

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Purpose – The purpose of this paper is to report on research on the sensory perceptions that patients and bystanders experience during hospitalisation. Sight, hearing, smell, taste and touch influence both clinical outcomes and satisfaction. The paper offers suggestions to hospital management on ways to improve receivers’ sensory perceptions. Design/methodology/approach – Considering services as social interactions, a subjectivist view of reality is adopted and, accordingly, a qualitative research approach implemented. Data are collected through participant observation. Desk activity includes reasoned literature review, categorisation and model adaptation. Findings – A simplified system model for service provision in the hospital ward is proposed. A management tool is provided in the form of a check list that the ward management can employ to assess its service-provision system from a five-senses perspective. Research limitations/implications – The paper is affected by judgements subject to cultural biases. The validity of the management tool is still to be tested. Practical implications – Once up and running, the model and the check list will be able to guide health managers towards improvements of satisfaction, clinical outcomes and working environment. Originality/value – The paper represents an original effort to adapt tools already used in the commercial field to influence health service receivers’ perceptions positively. While the positive results of improvements to a single sensory perception have been well documented, an integrated approach has not been put forward previously in the health industry.

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Zuo, Ya. "ZHANG ZAI'S (1020–1077) CRITIQUE OF THE SENSES." Journal of Chinese History 3, no. 1 (June 27, 2018): 83–111. http://dx.doi.org/10.1017/jch.2018.17.

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AbstractOften termed aswenjian zhizhi聞見之知 (knowing from hearing and seeing), sensory knowing was a prominent topic in Song (960–1279) writings. Zhang Zai 張載 (1020–1077) developed a systematic critique of sense perception in the broad context of learning. While endorsing its utility, Zhang considered this way of knowing to be partial, superficial, and prone to error. He located the source of sensory errors inside the human body, arguing that the sense organs’ vulnerability to pathological changes constituted the cause for perceptual fallibility. This line of argument had solid corroborating evidence in contemporaneous medical knowledge, a field of study Zhang was interested in pursuing. In sum, Zhang's critique demonstrated the importance of the senses and the different ways in which middle-period Chinese literati conceptualized the problem of perception in comparison with Western epistemological traditions.

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Dunbar, Maureen E., and Jacqueline J. Shade. "Exploring the Links between Sensation & Perception." American Biology Teacher 83, no. 6 (August 1, 2021): 377–81. http://dx.doi.org/10.1525/abt.2021.83.6.377.

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In a traditional anatomy and physiology lab, the general senses – temperature, pain, touch, pressure, vibration, and proprioception – and the special senses – olfaction (smell), vision, gustation (taste), hearing, and equilibrium – are typically taught in isolation. In reality, information derived from these individual senses interacts to produce the complex sensory experience that constitutes perception. To introduce students to the concept of multisensory integration, a crossmodal perception lab was developed. In this lab, students explore how vision impacts olfaction and how vision and olfaction interact to impact flavor perception. Students are required to perform a series of multisensory tasks that focus on the interaction of multiple sensory inputs and their impact on flavor and scent perception. Additionally, students develop their own hypothesis as to which sensory modalities they believe will best assist them in correctly identifying the flavor of a candy: taste alone, taste paired with scent, or taste paired with vision. Together these experiments give students an appreciation for multisensory integration while also encouraging them to actively engage in the scientific method. They are then asked to hypothesize the possible outcome of one last experiment after collecting and assessing data from the prior tasks.

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Van Alphen, Ernst. "Attention for Distraction: Modernity, Modernism and Perception." Text Matters, no. 7 (October 16, 2017): 87–97. http://dx.doi.org/10.1515/texmat-2017-0005.

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Particularly in the latter half of the nineteenth century sensorial experiences changed at breakneck speed. Social and technological developments of modernity like the industrial revolution, rapid urban expansion, the advance of capitalism and the invention of new technologies transformed the field of the senses. Instead of attentiveness, distraction became prevalent. It is not only Baudelaire who addressed these transformations in his poems, but they can also be recognized in the works of novelist Gustave Flaubert and painter Edward Munch. By means of the work of William James, Walter Benjamin, Siegfried Kracauer and Georg Simmel, the repercussions of this crisis of the senses for subjectivity will be discussed.

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McMichael, Kipp, and Geoffrey Bingham. "Functional separation of the senses is a requirement of perception/action research." Behavioral and Brain Sciences 24, no. 2 (April 2001): 227–28. http://dx.doi.org/10.1017/s0140525x01383942.

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Stoffregen & Bardy's arguments against separation of the senses fail to consider the functional differences between the kinds of information potentially available in the structured energy arrays that correspond to the traditional senses. Since most perception/action research pursues a strategy of information perturbation presupposing differential contributions from the various ambient arrays, the global array hypothesis can only be extended and tested by analyses that consider the functional aspects along which the senses can, in fact, be separated.

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Warwick-Evans, Lawrence. "Multi-sensory processing facilitates perception but direct perception of global invariants remains unproven." Behavioral and Brain Sciences 27, no. 6 (December 2004): 891–92. http://dx.doi.org/10.1017/s0140525x04260204.

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The existence of sensory convergence does not establish that the senses function as a single unified perceptual system. Reality is fully specified only by a one:many mapping onto the totality of energy arrays, and these provide alternative frames of reference for movement. It is therefore possible that higher order crossmodal relationships are detected by skilled perceivers, but this has not been confirmed empirically.

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Brenner, Eli, and Jeroen B. J. Smeets. "We are better off without perfect perception." Behavioral and Brain Sciences 24, no. 2 (April 2001): 215–16. http://dx.doi.org/10.1017/s0140525x01243945.

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Stoffregen & Bardy's target article is based on the assumption that our senses' ultimate purpose is to provide us with perfect information about the outside world. We argue that it is often more important that information be available quickly than that it be perfect. Consequently our nervous system processes different aspects of information about our surrounding as separately as possible. The separation is not between the senses, but between separate aspects of our surrounding. This results in inconsistencies between judgments: sometimes because different frames of reference are used. Such inconsistencies are fundamental to the way the information is picked up, however, and hence cannot be avoided with clearer instructions to the subjects.

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Pedro, Rui Manuel Mendonça. "Senses, Emotions and Memories in Tourism Experience: A Review." Revista Rosa dos Ventos - Turismo e Hospitalidade 13, no. 2 (April 18, 2021): 538–63. http://dx.doi.org/10.18226/21789061.v13i2p538.

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Today, memorable experiences are the leading economic value proposition that the tourism industry holds. This article aims to theoretically investigate the relationship between the senses, emotions and memories in the tourist experience and present a conceptual model about the senses, emotions and memories in the tourism experience establishment. Based on the literature review, we concluded that the construction of the tourism experience is the result of multi-sensory stimuli and perception, positive emotions, high emotional states, surprising events, extraordinary moments and pleasant and positive memories. It was also found that the senses, emotions and memories have a sequential relationship in the tourism experience establishment. We also concluded that the senses paly a important role in the experiential stimuli perception, the emotional states are vital to the stimuli interpretation and meaning achievement and memories are essential to coding, storage and anticipation the experiential information.

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Harutyunyan, Narine. "Perception of the World through the Prism of Culture." Armenian Folia Anglistika 9, no. 1-2 (11) (October 15, 2013): 130–33. http://dx.doi.org/10.46991/afa/2013.9.1-2.130.

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The world is not perceived as static. It is in constant movement and is described by religious beliefs, cultural traditions, moral values and a system of stereotypes. While perceiving the world man creates cognitive patterns which, together with individual meanings, reflect common underlying features of the world perception among different people. Among the standards that might describe and characterize the world are: visual images, smells and scents, i.e. perceptions received through different senses.

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Suárez-Toste, Ernesto. "Babel of the senses." Food and terminology 23, no. 1 (November 10, 2017): 89–112. http://dx.doi.org/10.1075/term.23.1.04sua.

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Of all the varieties of sensory experience, wine appreciation seems to be one of the most rewarding yet also one of the most challenging to verbalize. This is largely due to a lack of scientific terminology capable of describing sensory impressions (in turn related to how little is known about human perception). Wine language is highly unspecific and figurative, depending on a weakly standardized community practice rather than a solid and comprehensive range of descriptors. In this paper I study figurative language and verbal creativity in a corpus of 12,000 English and Spanish wine reviews by focusing specifically on metaphor and synesthesia as the resources that best exemplify (and often manage to overcome) many of the genre’s shortcomings. In addition to the discussion of quantitative results, a case study in synesthesia is offered as illustration of the genre’s complexities, complemented by a contrastive discussion of how similar difficulties are handled in different ways in English and Spanish.

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Zhang, Lan, Guowen Huang, Yongtao Li, and Shitai Bao. "A Psychological Perception Mechanism and Factor Analysis in Landsenses Ecology: A Case Study of Low-Carbon Harmonious Discourse." International Journal of Environmental Research and Public Health 18, no. 13 (June 28, 2021): 6914. http://dx.doi.org/10.3390/ijerph18136914.

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Landsenses ecology has been widely applied in research into sustainable consciousness and behavior and the notion of landsense creation realizes the unity of the macro physical senses and micro psychological perceptions. However, a great deal of current research about landsenses ecology has concentrated on the dimension of the physical senses, while there have been relatively few studies on the dimension of its psychological perception. This paper begins by clarifying the concept of self and explaining out that the psychological perception mechanism of landsense creation represents a process of guiding people to know themselves and realize their ecological self. It then utilizes the example of low-carbon discourse to explore the factors contributing to the resonance of ecological self-vision. Our results show that the perceived self-efficacy, environmental concern and environmental knowledge triggered by ecological discourse are the main factors contributing to the resonance of sustainable vision, thus clarifying the indicators of landsenses ecology at the level of psychological perception. Our purpose is to effectively guide the landsense creation of harmonious discourse and promote people to engage in potentially more sustainable behavior.

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Jansegers, Marlies, Clara Vanderschueren, and Renata Enghels. "The polysemy of the Spanish verb sentir: A behavioral profile analysis." Cognitive Linguistics 26, no. 3 (August 1, 2015): 381–421. http://dx.doi.org/10.1515/cog-2014-0055.

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AbstractThis study investigates the intricate polysemy of the Spanish perception verb sentir (‘feel’) which, analogous to the more-studied visual perception verbs ver (‘see’) and mirar (‘look’), also displays an ample gamut of semantic uses in various syntactic environments. The investigation is based on a corpus-based behavioral profile (BP) analysis. Besides its methodological merits as a quantitative, systematic and verifiable approach to the study of meaning and to polysemy in particular, the BP analysis offers qualitative usage-based evidence for cognitive linguistic theorizing. With regard to the polysemy of sentir, the following questions were addressed: (1) What is the prototype of each cluster of senses? (2) How are the different senses structured: how many senses should be distinguished – i.e., which senses cluster together and which senses should be kept separately? (3) Which senses are more related to each other and which are highly distinguishable? (4) What morphosyntactic variables make them more or less distinguishable? The results show that two significant meaning clusters can be distinguished, which coincide with the division between the middle voice uses (sentirse) and the other uses (sentir). Within these clusters, a number of meaningful subclusters emerge, which seem to coincide largely with the more general semantic categories of physical, cognitive and emotional perception.

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Nanay, Bence. "Sensory Substitution and Multimodal Mental Imagery." Perception 46, no. 9 (April 11, 2017): 1014–26. http://dx.doi.org/10.1177/0301006617699225.

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Many philosophers use findings about sensory substitution devices in the grand debate about how we should individuate the senses. The big question is this: Is “vision” assisted by (tactile) sensory substitution really vision? Or is it tactile perception? Or some sui generis novel form of perception? My claim is that sensory substitution assisted “vision” is neither vision nor tactile perception, because it is not perception at all. It is mental imagery: visual mental imagery triggered by tactile sensory stimulation. But it is a special form of mental imagery that is triggered by corresponding sensory stimulation in a different sense modality, which I call “multimodal mental imagery.”

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GAUKER, Christopher. "WHAT DO YOUR SENSES SAY? ON BURGE’S THEORY OF PERCEPTION." Grazer Philosophische Studien 85, no. 1 (2012): 311–23. http://dx.doi.org/10.1163/9789401208338_016.

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Rodriguez, Raul, and Benjamin T. Crane. "Effect of timing delay between visual and vestibular stimuli on heading perception." Journal of Neurophysiology 126, no. 1 (July 1, 2021): 304–12. http://dx.doi.org/10.1152/jn.00351.2020.

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The effect of timing on visual-inertial integration on heading perception has not been previously examined. This study finds that visual headings influence inertial heading perception when timing differences are within 250 ms. This suggests visual-inertial stimuli can be integrated over a wider range than reported for visual-auditory integration and may be due to the unique nature of inertial sensation, which can only sense acceleration while the visual system senses position but encodes velocity.

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Lautner, Peter. "Methods in examining Sense-perception : John Philoponus and Ps.-Simplicius." Dossier 64, no. 3 (July 14, 2009): 651–61. http://dx.doi.org/10.7202/037697ar.

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Abstract The paper discusses the methods applied by Philoponus and Pseudo-Simplicius in commenting on Aristotle’s theory of sense-perception, and indicates their differences. Philoponus frequently employs medical theories and empirical material, mostly taken from Aristotle, to highlight not only the activities of the particular senses, but also a certain kind of awareness and the way we experience our inner states. By contrast, his Athenian contemporary Pseudo-Simplicius disregards such aspects altogether. His method is deductive : He relies on some general thesis, partly taken from Iamblichus, from which to derive theses on sense-perception. The emphasis falls on Philoponus’ doctrine since his reliance on medical views leads to an interesting blend of Platonic and medical/empirical theories.

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Houston, Stephen, and Karl Taube. "An Archaeology of the Senses: Perception and Cultural Expression in Ancient Mesoamerica." Cambridge Archaeological Journal 10, no. 2 (October 2000): 261–94. http://dx.doi.org/10.1017/s095977430000010x.

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The ancient Maya and other Mesoamerican peoples showed an intense interest in invoking the senses, especially hearing, sight, and smell. The senses were flagged by graphic devices of synaesthetic or cross-sensory intent; writing and speech scrolls triggered sound, sightlines the acts and consequences of seeing, and flowery ornament indicated both scent and soul essence. As conceived anciently, the senses were projective and procreative, involving the notion of unity and shared essence in material and incorporeal realms. Among the Maya, spaces could be injected with moral and hierarchical valuation through visual fields known as y-ichnal. The inner mind extended to encompass outer worlds, in strong parallel to concepts of monism. From such evidence arises the possibility of reconstructing the phenomenology of ancient Mesoamericans.

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Saviello, Julia. "Tobacco’s Appeal to the Senses and the Early Modern Smoker’s Still Life." Ikonotheka, no. 29 (September 16, 2020): 123–50. http://dx.doi.org/10.31338/2657-6015ik.29.4.

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Smell and taste – of the five senses these are the two most strongly stimulated by smoking tobacco. The article presents an in-depth analysis of the reflection of both these forms of sensory perception in textual and visual sources concerning the early consumption of the herb. In a first step, tobacco’s changing reception, first as medicine and then as stimulant, is traced through the years of its increasing distribution in Europe, starting in the middle of the 16th century. As this overview reveals, at that time the still little known substance gave rise to new forms of sense perception. Following recent studies on smell and gustation, which have stressed the need to take into account the interactions between these senses, the article probes the manifold stimulation of the senses by tobacco with reference to allegorical representations and genre scenes addressing the five senses. The smoking of tobacco was thematized in both of these art forms as a means of visualizing either smell or taste. Yet, these depictions show no indication of any deliberate engagement with the exchange of sense data between mouth and nose. The question posed at the end of this paper is whether this holds true also for early smoker’s still lifes. In the so-called toebakjes or rookertjes, a subgenre of stilllife painting that, like tobacco, was still a novelty at the beginning of the 17th century, various smoking paraphernalia – such as rolled or cut tobacco, pipes and tins – are arrayed with various kinds of foods and drinks. Finally, the article addresses a selection of such smoker’s still lifes, using the toebakje by Pieter Claesz., probably the first of its kind, as a starting point and the work by Georg Flegel as a comparative example. Through their selection of objects, both offer a complex image of how tobacco engages different senses.

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