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1
de Freitas, Elizabeth, David Rousell, and Nils Jäger. "Relational architectures and wearable space: Smart schools and the politics of ubiquitous sensation." Research in Education 107, no. 1 (November 15, 2019): 10–32. http://dx.doi.org/10.1177/0034523719883667.
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This paper undertakes an analysis of the “smart school” as a building that both senses and manages bodies through sensory data. The authors argue that smart schools produce a situation of ubiquitous sensation in which learning environments are continuously sensed, regulated, and controlled through complex sensory ecosystems and data infrastructures. This includes the consideration of ethical and political issues associated with the collection of biometric and environmental data in schools and the implications for the design and operation of learning environments which are increasingly regulated through decentralized sensor networks. Working through a relational and adaptive theory of architecture, the authors explore ways of intervening in smart schools through the reconceptualization of sensor technologies as “atmospheric media” that operate within a distributed ecology of sensation that exceeds the limited bandwidth of the human senses. Drawing on recent projects in contemporary art, architecture, and interaction design, the authors discuss specific architectural interventions that foreground the atmospheric qualities and ethical problematics of sensor technologies in school buildings.
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Mohamed, Essam Metwally. "The Relationship Between Interior Architecture and Music." Modern Applied Science 12, no. 10 (September 27, 2018): 86. http://dx.doi.org/10.5539/mas.v12n10p86.
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There is no doubt that there is a calculated relationship between architecture and music. If music is the translation of emotion, this emotion has been reflected in the architectural character and the arts of building and shaping its style. And the music of primitive tribes and barbaric peoples represented by the drums of homogeneous repetitions reflected on their buildings and primitive character or their huts identical and compact without compatibility or homogeneity. The rural music of each country, which is characterized by simple melodies and monotonous tones belonging to the living nature and sprouts from its land, we find a reflection of the buildings that are characterized by simplicity and calm and building materials derived from the surrounding nature.
The Harmonized melodies and the continuous repetition of original tones and their background can easily be read or heard on the facades of the Islamic style buildings in the continuous surface repetition of contracts and decorations
The change of the personality of Arab architecture from one country to another and the change of the form of contracts and domes, has found a similarity in the changing personality of contemporary music.
Every modern development in architecture and its character is recorded by the music and its character. The more the cultures of the peoples are merged, the more modern the modern architecture, which occupies its place in the different countries, resonates with contemporary world music and converges with the civil affinity and culture of the peoples.
"Architecture is music embodied in the place," says Hassan Fathi. "Music is an architecture embodied in time"
Studying the relationship between interior architecture and music enables us to "enjoy" it by using our senses to "see what we listen to" and "hear what we see" achieve greater levels of experience. I think this is what the "normal" people do, and they use their senses to live life differently than they did before.
Through practical experiments for students of Design 2, the music has been transformed into an interior design through the sensation, sensation and impression of the music in the same designer to translate these feelings into design forms and stereoscopic elements with materials, colors and reflections that express these feelings and the emotional state raised by this music.
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García Nofuentes, Juan, and Roser Martínez Ramos e Iruela. "Essence-Temporality Paradigm." Estoa, no. 15 (2019): 79–93. http://dx.doi.org/10.18537/est.v008.n015.a07.
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The «tobacco curing houses» scattered across the landscape of the Vega of Granada, mean something more than the memory of a marginal, beautiful and forgotten architecture. These simple models of industrial architecture that pursue the «essence», turn into light and sensations sieves, that can be pierced by senses owing to a drilled and protagonist epidermis, with great expectations of giving shelter to the most unlike uses. From the inquiry into the infallibility of the architectural fact, coming from the observation of «permanent qualities», foreign to styles, uses, economy, social conditions or culture, which make architecture an eternal demand, the «invariants» that are being discovered from the inductive analysis of models of the embryonic architecture of this peculiar inherited heritage, are revealed, in a constant intertextual exercise.
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Watkins, Liz. "Unsettling Perception: Screening Surveillance and the Body in Red Road." Paragraph 38, no. 1 (March 2015): 101–17. http://dx.doi.org/10.3366/para.2015.0149.
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The association of colour, sensation and the body, which is noted by Jacqueline Lichtenstein and Merleau-Ponty through their insights on colour as the disturbing of structure and form, offers a way in which to foreground a series of questions about embodiment and the discourse of vision. An analysis of the chromatics of Red Road (Dir. Andrea Arnold, UK/Denmark, 2006), which features a female protagonist who works as a surveillance officer in a CCTV control room, offers a way to echo and disrupt the ‘mechanisms and techniques of reality-control’ (de Lauretis 1984, 84) and to challenge what constitutes socially acceptable bodies and the cinematic institution of the image of woman. In Red Road the legible architecture of the film image emerges through the myriad colours of light reflected by a camera lens and the effacement of details in areas affected by shadow and variations in focus. The camera is almost always in motion and responsive to the gestures of the protagonist's body, signalling the potential of the chromatics of Red Road to trouble the structures of seeing familiar to cinematic representation. Colour and perception remain open to contingency and change, fostering alternative subject positions that trace the interrelations of the body — its senses and sensations — and the discourse of vision. The unsettling of perception refigures the encounter between the self and others through the imaginary or fictional worlds that remind us of the uncertainties and vulnerability of such interactions.
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Kozbagarova, Nina Zh, and Bogdan Ya Tamara. "Role of architectural and landscape means in increasing the artistic potential of the urban environment of monocities in Kazakhstan." Urban construction and architecture 12, no. 3 (October 18, 2022): 143–48. http://dx.doi.org/10.17673/vestnik.2022.03.20.
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The emotional component in the formation of a comfortable environment of urban space is considered. The influence of architectural and landscape means on improving the qualitative potential of the functional and spatial organization of the living environment of small towns is shown. Investigated eco-reconstruction, connection with the natural environment inside the city. The five main human sensory senses, their influence on the perception of the environment are considered. The sensation of the inhabitants of the rhythm of the urban environment, the perception of the compositional qualities of the space created by the architect through the combination of all sensory qualities is shown. The problem of de-urbanization and depressiveness of small single-industry towns of Kazakhstan is noted.
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ÖZKAN ÜSTÜN, Gizem, and Pınar DİNÇ KALAYCI. "‘TRANS-’ APPROACH TO ARCHITECTURE AND MUSIC INTERACTION: THE RELATIONSHIP BETWEEN MARCOS NOVAK’S LIQUID ARCHITECTURE AND MUSIC." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 21 (2020): 0. http://dx.doi.org/10.17365/tmd.2020.21.3.
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Aim: The aim of this research is to identify the Novak’s relationship of ‘liquid architecture and music’ as an approach that diverges from the architecture music relationships that have been built throughout the historical process. Method: In describing the approach, initially, the intellectual and critical foundations and features of liquid architecture were emphasized, and subsequently, its relationship with music was discussed through case studies in comparison to the current relationship between architecture and music. Results: When the current relationships of the architecture and music are evaluated, the attitude apart from the arising sensations and affections doesn’t exist within the relationship of liquid architecture and music. Liquid architecture, which has characteristics such as continuity, timelessness, plurality, poetry and obscurity, acquires the characteristics of the individual varying based on his/her body, senses, perceptions, and emotions as the way of producing architecture. It is claimed that the liquidity approach will influence music and architecture in different ways than is known, and that music will transform into a new form of architecture, while architecture becoming a new form of music. In this context, it extends ‘beyond (trans-)’ the limits of current approaches. Conclusion: The sixth category of methodical approaches in architecture music interaction can be defined as the relationship of liquid architecture and music. The way it relates to music and the way it produces architecture also suggests a direction of development to concrete architecture and virtually warns about renewing its theory and tools.
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Vojnović-Ćalić, Tijana, Katja Vaghi, and Anja Ohliger. "A somatic approach as transgression in teaching architecture: A small house conversion project." SAJ - Serbian Architectural Journal 14, no. 3 (2022): 217–42. http://dx.doi.org/10.5937/saj2203217v.
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We perceive the world mostly with our vision, undervaluing all the other senses that can participate in a better understanding of our immediate surroundings. A comprehensive and subjective perception is especially relevant for those who take an active part in creating our environment - namely, architects. As educators, the authors took it upon themselves to awaken, through practical experience, a deeper awareness of the spatial environment in first-semester architecture students, with a design project of a small house conversion. This was achieved through an interdisciplinary, embodied approach, i.e. sets of somatic exercises within an exploratory workshop, which motivated the students to reconnect with bodily sensations which stay unnoticed or that they usually take for granted. They gained knowledge on how to comprehend with their bodies and critically approach spatial situations, search for inspiration in unconventional places and apply spontaneity and their corporeal experience in their own designs. The body was recognised as the place for potential creative and productive transgressions during the process.
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Perez, Katia. "Volta à infância: leitura des-verbal e formação de sentidos nos ambientes de trabalho de empresas de tecnologia." Las Relaciones Públicas en el nuevo milenio: retos y oportunidades 10, no. 20 (December 22, 2020): 201–22. http://dx.doi.org/10.5783/rirp-20-2020-11-201-222.
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Nowadays, references to childhood can be easily perceived in workplace, especially in companies that take as a model the innovative, relaxed offices in Silicon Valley, California (USA). Both the architecture and the decoration of these workplaces suggest new senses, different from those formed in traditional offices. The employees of these companies, in turn, construct imaginary representations about the office - and, consequently, about the company - using all this shown material, in addition to their own experiences, memories, sensations and affections. In these communicational interactions, the highlight is the non-verbal language (Ferrara, 2001), where that childhood symbolic objects produce senses (Orlandi, 2012), suggest interpretations (Santaella, 2008) and create emotional bonds (Silva, 2012) in everyday work life. Studying these relationships that involve all the human senses in the communication process within organizations is the main theme in this article. As the objective of this research, we seek to understand how these organizational discourses are constructed in order to involve employees emotionally using their own experiences, recovered by childhood symbolic objects. Summing up: how are these shown discourses, involving childhood memories, in the work routine, materialized? As corpus of our research, we chose to observe and analyze the workplace of three multinationals from technology sector, represented by their Brazilian offices: Google-Belo Horizonte, in Minas Gerais, OLX-Rio de Janeiro and LinkedIn-São Paulo. The material for analysis was collected from images available on the corporate websites of these companies and on the websites of the architecture firms responsible for the architectural projects created for these offices. Collected data as well as its organization and analysis were based on Lucrécia Ferrara's proposal of reading non verbal messages, contextualizing in time and space each researched places, searching for "estrangement" - non-homogeneous elements or situations - and find out the "dominant" - the conflicting element in the observed environment (Ferrara, 2001). The non-verbal reading are based on the memories recovered not only by the act of seeing something, but also for hearing, smell, taste and touch. And these memories can be used to create new sensations and emotions - positive ones - for new perceptions of the corporate 'world'. In the three companies researched, which hired architects and decorators to transform the work space according to the companies' world headquarters guidelines, we found the non-homogeneous in the office organization itself. In this innovative interior, the presence of childhood symbols appear as dominant. This is the case of the Google-Belo Horizons popcorn cart, the giant slide at OLX-Rio de Janeiro and elements such as a swing at LinkedIn-São Paulo. We understand that employees' perceptions of childhood symbols refer to distant and pleasurable memories, brought by remembrance to other contexts and situations. And these memories and feelings are activated not only by the sight of these objects, but also by smell, taste - like as the popcorn cart - and by touch - as in the act of slipping or rocking. It is essential to highlight that mental and symbolic representations have an emotional charge brought about by specific moments, lived in certain contexts and recovered by memory through associations by similarity. This reading of the non-verbal material transfers the happy memories of employees to the workplace, to the company, and can contribute to the formation of meanings of pleasure and well-being for corporate world. The bridge between employees and the organization, for this image formation, is the symbolic material.
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Zimmermann, Tanja. "Objects of Embodiment: A “Post-Material Turn” in Exhibiting Lost Material Culture." Ikonotheka, no. 29 (September 16, 2020): 249–74. http://dx.doi.org/10.31338/2657-6015ik.29.1.
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Exhibiting lost material culture goes beyond documenting, preserving, reconstructing, and staging material traces of the past. Museums, possessing modest collections of original historical objects, have to search for new ways of exhibiting material culture thereby replacing facts (original objects, documents, documentary media) by bodily experience similar to that evoked by mystical religious art addressing different human senses beyond the vision. Bodily sensations can be evoked by ambiences, following expressionist or constructivist architecture, by sculptural displays in tradition of the avant-garde, by soundscapes and large scale image projections evoking illusion and immersion. The “post-material turn” comprises thus not only virtual culture, but also new material approaches to the memory of the past, shifting from original historical artifacts to reproductions and substitutes, evoking an intense bodily experience. Although history gets space for embodiment, such ambiences evoke a strong sense of loss, because they avoid immediate contact with traces of the past by virtual and material “doubles”. The “post-material turn” will be discussed with the example of The Jewish Museum and Tolerance Center in Moscow, relating it to other contemporary “postdocumentary” and “post-factual” phenomena in memorial culture.
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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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Sanders, John T. "Retinae don't see." Behavioral and Brain Sciences 27, no. 6 (December 2004): 890–91. http://dx.doi.org/10.1017/s0140525x04250208.
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Sensation should indeed be understood globally: some infant behaviors do not make sense on the model of separate senses; neonates of all species lack time to learn about the world by triangulating among different senses. Considerations of natural selection favor a global understanding; and the global interpretation is not as opposed to traditional work on sensation as might seem.
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Koloiz, Zhanna. "Gustatory names as fragments of biblical gluttony." Philological Review, no. 2 (December 10, 2022): 36–43. http://dx.doi.org/10.31499/2415-8828.2.2022.268646.
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The article clarifies the essence of the concept of biblical gluttony. It is proposed to distinguish between original and translated biblical gluttony. The original biblical gluttony is interpreted as a set of nominative units, the form of expression and content plan of which is a specific code of the food culture of the respective ethno-community and which reflect the identity of a certain conceptual picture of the world. It is emphasized that in the translated text, the conceptual picture of the biblical world is to some extent transformed, adapted to the culture of the ethnic community in whose language the translation was made. This gave reason to partially modify the very definition of the concept of biblical gluttony: a set of nominative units manifested in the biblical translation, adapted to specific alien realities of sacred (treasured) reality in the field of nutrition (in the broadest sense).
The corpus of biblical gluttony is represented through the nominative units of the nuclear and peripheral zones. Emphasis is placed on problematic aspects of the classification of units of the peripheral zone, in particular, taking into account perceptual characteristics. Unconscious sensory perception is reflected in the semantics of perception of the cognitive experience of different ethnic communities, outlines different perceptual modes and ways of linguistic objectification.
Sensory vocabulary is being updated, which illustrates certain sensations that are localized in the mind through the senses – sight, hearing, smell, touch, taste. Special attention is paid to the latter and the expediency of using the terminological combination gustative names is substantiated. The specificity of gustatives is revealed through the analysis of the most basic attributes used in the translated text and adapted for the perception of the native speaker of the Ukrainian language. Attention is drawn to the explicit and implicit designation of taste qualities, the use of gustatory names in a direct and figurative sense.
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Al-Khafaji, Ahmed S., Nadia A. Al-Salam, and Tuqa R. Alrobaee. "The Cognition Role to Understanding Planning and Architectural Production." Civil Engineering Journal 7, no. 7 (July 1, 2021): 1125–35. http://dx.doi.org/10.28991/cej-2021-03091715.
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This paper focuses on the concept of cognition and its clarification in the light of Islamic epistemology. Knowledge passes through two essential parts: conception and assent. Conception explains simple knowledge, while assent explains knowledge involving a judgment. The paper proceeded with the identification of the problem of relationship blurring between cognition and knowledge. The external and inner senses have explained the relationship between the stages of knowledge and cognition. The external senses receive stimuli and form primary conceptions. These conceptions transfer to the first part of the inner senses, which is common sense; it collects the sensations and transmits them to pictorial power. Secondary conceptions are formed, accompanied by feeling. Then, the estimative power role emerges in imparting meaning to be stored in memory, here knowledge is suspicion, and the perception is achieved. Finally, the images reach the thinking power to impart the specific meaning of the image, which constitutes cognition. Using the Hagia Sophia Case Study, the paper reached important indices in clarifying the cognition stages and understanding of planning and architectural production. These indices were represented by: color, scale, lighting, the harmony of the building with its surroundings, and the meanings associated with cultural, social, and civilized values. Doi: 10.28991/cej-2021-03091715 Full Text: PDF
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Sincar, Cerasela Dorina, Camelia Ana Grigore, Silvia Martu, Liliana Lacramioara Pavel, Alina Calin, Alina Plesea Condratovici, and Bianca Ioana Chesaru. "Chemical Senses Taste Sensation and Chemical Composition." Materiale Plastice 54, no. 1 (March 30, 2017): 172–74. http://dx.doi.org/10.37358/mp.17.1.4810.
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Taste and smell are chemical senses, which means that the receptors (chemoreceptors) of these senses respond to chemical stimuli. In order for a substance to produce a taste sensation, it should be ingested in a solution or subsequently dissolved in saliva; a solid substance put in the mouth perfectly dry is tasteless. Therefore, taste receptors or taste buds occur only on wet surfaces, more precisely in the oral cavity in land vertebrates; however, in aquatic animals, these receptors are scattered all over the body. There are functionally different types of receptors for each of the primary tastes and the distribution of each type is not even on the surface of the tongue mucosa. The sweet and sour sensitive buds are located mainly on the tip of the tongue, those sensitive to acids are located on the sides of the tongue and those stimulated by the bitter taste are located towards the back of the tongue and in the epiglottis area. Taste may be generated by substances which touch the taste buds through the blood; thus, histamine injected intravenously causes a metallic taste, glucin a sweet taste, whereas jaundice may trigger a bitter taste due to the big concentration of gallbladder constituents in the blood.
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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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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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Shakya, Sudha. "COLOR VISION DEFECT: COLOR BLINDNESS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3619.
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Humans have many types of sensations such as sight, hearing, touch, smell, taste etc. They originate from stimulants, which a person receives from their external environment, stimulate the stimulating senses i.e. eye, ear, skin, nose and tongue, and produce different sensations. According to Eiseneck (1972), "sensation is a mental process that is no longer divisible." It is produced by external stimuli that affect the senses, and its intensity depends on the stimulus, and its properties depend on the nature of the senses. Apart from these five sensations, there are other sensations such as incidental sensation, static sensation and motion sensation.
मानव में कई प्रकार की संवेदनाएं होती हैं जैसे दृष्टि, श्रवण, स्पर्श, गंध, स्वाद आदि। इनकी उत्पत्ति उद्दीपकों से होती है, जिसे व्यक्ति अपने बाह्य पर्यावरण से ग्रहण करता है, यह उद्दीपक ज्ञानेन्द्रियों अर्थात आंख, कान, त्वचा, नाक और जिव्हा को उद्दीप्त करते हैं, और विभिन्न संवेदना को उत्पन्न करते हैं। आइजनेक (1972) के अनुसार ‘‘ संवेदना एक मानसिक प्रक्रम है जो आगे विभाजन योग्य नहीं होता। यह ज्ञानेन्द्रियों को प्रभावित करने वाली बाह्य उत्तेजना द्वारा उत्पादित होता है, तथा इसकी तीव्रता उत्तेजना पर निर्भर करती है, और इसके गुण ज्ञानेन्द्रिय की प्रकृति पर निर्भर करते हैं। इन पांच संवेदनाओं के अतिरिक्त अन्य संवेदना भी है जैसे आंगिक संवेदना, स्थैतिक संवेदना तथा गति संवेदना।
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Paterson, Mark. "Architecture of Sensation." Body & Society 23, no. 1 (September 23, 2016): 3–35. http://dx.doi.org/10.1177/1357034x16662324.
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Recent social theory that stresses the ‘nonrepresentational’, the ‘more-than visual’, and the relationship between affect and sensation have tended to assume some kind of break or rupture from historical antecedents. Especially since the contributions of Crary and Jay in the 1990s, when it comes to perceiving the built environment the complexities of sensation have been partially obscured by the dominance of a static model of vision as the principal organizing modality. This article returns to some prior historical articulations of the significance of motility in perception, retracing pathways across art history, architectural theory and the history of neuroscience to argue for an alternative model based on the movement of the eye. Along with subsystems that deal with balance and orientation, I offer parallels between spatial motifs of the interior spaces of the body – labyrinths, vestibules, chambers – and those in artefacts and the built environment that contribute to the heightened physicality of the oculomotor subject.
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Goyel, Vinita, Aman Jain, Shivani Mathur, Vinod Sachdev, and Shambhavi Singh. "Exploring the Effect on 5 Senses in Children under Nitrous Oxide Sedation." Journal of Evolution of Medical and Dental Sciences 10, no. 38 (September 20, 2021): 3365–69. http://dx.doi.org/10.14260/jemds/2021/683.
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BACKGROUND Sensation and perception are two separate processes that are very closely related. Sensation is the input about the outside world obtained by our sensory receptors while perception is the difficult system by which the brain selects, organizes and interprets these sensations. Effects of nitrous oxide on the sensation and perception has not been unturned although role in physiological, anxiolytic, behavioural, psychomotor and analgesic parameters have been examined in both children and adults. The human senses have long been unnoticed, despite their responsiveness being of great importance. The purpose of this study was to evaluate the effectiveness of nitrous oxide inhalation sedation on 5 senses i.e. sight, hearing, touch, smell and taste at different titrations of nitrous oxide and oxygen. METHODS 7 to 12 years old children with Frankl’s behaviour rating score of 2, 3 and 4 with no prior dental experience and requiring dental treatment under nitrous oxide sedation who were systemically healthy were included in the study. The 5 senses (i.e. hearing, touch, smell, taste and vision) were evaluated with different materials at 4 different titration levels to evaluate the effect of nitrous oxide on the 5 senses T0: 100 % oxygen, T1: 30 % nitrous oxide, T2: 50 % nitrous oxide, T3: 100 % oxygen. RESULTS The results of the present study depicted that there is significant difference in the perception of various senses at different concentrations of nitrous oxide and also when compared to baseline values. It was observed that the patient regained the normal perception in 5 minutes after 100 % oxygen post-operatively. CONCLUSIONS Nitrous oxide is found to depress/relax one’s senses too. KEY WORDS Vision, Smell, Taste, Touch, Sound, Perception, Consciousness, Nitrous Oxide Sedation, Oxygen, Behaviour
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MacIsaac, D. Gregory. "Non enim ab hiis que sensus est iudicare sensum.Sensation and Thought in Theaetetus, Plotinus and Proclus." International Journal of the Platonic Tradition 8, no. 2 (August 20, 2014): 192–230. http://dx.doi.org/10.1163/18725473-12341287.
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I examine the relation between sensation and discursive thought (dianoia) in Plato, Plotinus, and Proclus. InTheaetetus, a soul whose highest faculty was sensation would have no unified experience of the sensible world, lacking universal ideas to give order to the sensible flux. It is implied that such universals are grasped by the soul’s thinking. In Plotinus the soul is not passive when it senses the world, but as thelogosof all things it thinks the world through its own forms.Proclus argues against the derivation of universallogoifrom the senses, which alone can’t make the sensible world comprehensible. At most they give a record of the original sense-impression in its particularity. The soul’s own projected logoi give the sensible world stability. For Proclus, bare sensation does not depend on thought, but a unified experience of the sense-world depends on its paradigmaticlogoiin our souls.
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Saxena, Karan Kumar, and Dr Vandana Sehgal. "Experiencing Architecture through Senses." International Journal of Research Publication and Reviews 5, no. 4 (April 28, 2024): 9218–23. http://dx.doi.org/10.55248/gengpi.5.0424.1113.
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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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Costantini, Mariaconcetta. "Science, Sexuality and Sensation Novels: Pleasures of the Senses." Women's Writing 20, no. 2 (March 2013): 268–70. http://dx.doi.org/10.1080/09699082.2013.773785.
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Howes, David. "Multisensory Anthropology." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 17–28. http://dx.doi.org/10.1146/annurev-anthro-102218-011324.
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The senses are made, not given. Multisensory anthropology focuses on the variable boundaries, differential elaboration, and many different ways of combining the senses across (and within) cultures. Its methodology is grounded in “participant sensation,” or sensing—and making sense—along with others, also known as sensory ethnography. This review article traces the sensualization of anthropological theory and practice since the early 1990s, showing how the concept of sensory mediation has steadily supplanted the prior concern with representation. It concludes with a discussion of how the senses are engaged in filmmaking, multispecies ethnography, and material culture studies as well as in achieving social justice.
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Daly, Nicholas. "Railway Novels: Sensation Fiction and the Modernization of the Senses." ELH 66, no. 2 (1999): 461–87. http://dx.doi.org/10.1353/elh.1999.0013.
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Stephens, Elizabeth. "Sensation machine: Film, phenomenology and the training of the senses." Continuum 26, no. 4 (July 27, 2012): 529–39. http://dx.doi.org/10.1080/10304312.2012.698033.
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TAPKI, Sinem. "SENSATIONS IN URBAN SPACE: SENSATIONAL ANALYSIS OF THE YELDEĞİRMENİ AREA." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 26 (2022): 0. http://dx.doi.org/10.17365/tmd.2022.turkey.26.03.
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Aim: This research aims to examine the forms and features of understanding and grasping urban space through the senses. In the study, unlike the eye-centred paradigm, it discusses the importance of understanding urban space, not only with the sense of sight, but also with other senses, and its importance in making sense of it. Method: Between January and September 2021, Kadıköy Yeldeğirmeni, Rıhtım Avenue, Karakolhane Street and İskele Street were experienced and sensory analysis of these experienced axes was made.The sensations felt were evaluated using graphical expression in the computer environment. During the sensory analysis, no instrument was used to measure the intensity of the sensations, and the experiencing body was taken as the basis. The scale showing the intensity of the sensations is subjective, and the interval regions in the diagrams are not a mathematical value, but the experienced area. Results: According to the sensory analysis, the sensations and dominant sensations on the three axes differ. The factors that create each sensation are also different. It was determined that sound, motion and visual sensations were dominant in İskele Street, sound sensation in Rıhtım Street, and sound and smell sensation in Karakolhane Street. In this study, in which the eye-centred paradigm was questioned, it was noted that urban space can be grasped with multi-sensational perception. Although visual sense is dominant today, urban experiences consist of the sum of sight, smell, sound, muscle-balance and touch senses. The fact that visuality comes to the fore in the representation of sensations also shows the need for new studies to be done.
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Terada, Kazunori, Akinori Kumazaki, Daisuke Miyata, and Akira Ito. "Haptic Length Display Based on Cutaneous-Proprioceptive Integration." Journal of Robotics and Mechatronics 18, no. 4 (August 20, 2006): 489–98. http://dx.doi.org/10.20965/jrm.2006.p0489.
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When a human recognizes length of an object while exploring it with an index finger, both proprioception and cutaneous sensation provide information for estimating the length of the object. We studied the contribution of cutaneous sensation and proprioception to the subjective estimation of object length, developing an apparatus for investigating the human cutaneous-proprioceptive integration using velocity dependency of cutaneous and proprioceptive length perception. We conducted four experiments. In experiment 1, 12 subjects estimated object length passively, using cutaneous sensation only via the index finger. In experiment 2, ten subjects estimated the distance if index finger traveled passively without cutaneous sensation. In experiment 3, subjects used both cutaneous and proprioceptive sensation to estimate the object length. The results showed that using both senses simultaneously improves length perception. In experiment 4, 17 subjects estimated object length moving the index finger passively but with the cutaneous sensation and proprioception differing in perceived length. The results showed that subjects relied on the greater sensation if proprioceptive and cutaneous sensations were discrepant.
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Desmawati, Alina, and Muhammad Hasan. "The Concept of Pain in Orthodontic Care." Crown: Journal of Dentistry and Health Research 1, no. 2 (December 21, 2023): 50–53. http://dx.doi.org/10.59345/crown.v1i2.89.
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Pain is a subjective sensation that plays a crucial role in physiological illnesses. Orthodontic tooth movement frequently results in pain, serving as a major obstacle for individuals contemplating orthodontic treatment. Moreover, it is a key determinant leading to the cessation of treatment. This review aims to elucidate the notion of pain associated with orthodontic therapy. Nociception, a complex neurophysiological process, involves four component processes: transduction, transmission, modulation, and perception. During nociception, the central nervous system (cortex cerebri) senses the sensation of pain as powerful peripheral stimuli occur.
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Liu, Xiaoxiao, Yukari Nagai, Kumi Yabuuchi, and Xiuxia Cui. "USE INTERACTIVE MEDIA TO ENHANCE CREATIVITY OF DESIGNERS BY STIMULATING THE SENSES IN THE CONTEXT OF ART DESIGN EDUCATION." Proceedings of the Design Society 1 (July 27, 2021): 3319–28. http://dx.doi.org/10.1017/pds.2021.593.
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AbstractCreativity is very important for designers, and methods to stimulate designers' creativity are the long-term focus of art design education. The senses are an important channel for designers to receive information and define core issues. Stimulating the designer's senses can help enhance their perception and creativity, and is of great benefit for the quality and efficiency of the design outcome. Today's interactive media technology provides more possibilities and advantages for designers' perception and sensation. The purpose of this research is to explore a way to stimulate the designer's senses through the use of interactive media, thereby improving the designer's design thinking and creativity, and providing designers with innovative design support. By means of interactive ground projection and experiments, and discussion of the advantages of interactive media to stimulate designers' senses, this research proposes innovations in art design educational media, which is valuable for the training and learning of designers and the development of virtual education environment in the future.
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Story, Gina M., and Robert W. Gereau. "Numbing the Senses: Role of TRPA1 in Mechanical and Cold Sensation." Neuron 50, no. 2 (April 2006): 177–80. http://dx.doi.org/10.1016/j.neuron.2006.04.009.
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Latuny, Marsiano Rocky, and Handry Rochmad Dwi Happy. "Synesthesia and the Experience of the Art of Photography." Jurnal Desain Komunikasi Visual Asia 7, no. 01 (February 28, 2023): 45. http://dx.doi.org/10.32815/jeskovsia.v7i01.913.
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Photography is one branch of a large grouping in the arts, apart from design and painting. As a field of art, photography certainly has its own aesthetic concept, even the aesthetic concept is closely related to "feeling", an abstract concept regarding the process of absorbing something in human beings that cannot even be fully described. Understanding the concept of aesthetics is a dialectical process related to other issues such as philosophy, social, politics, culture, and economics so that the values of goodness and truth often appear in a variety of aesthetic discussions. The development of an approach to the concept of the creation process that involves the audience and seeks to provide various stimuli for the five senses requires the ability to process other senses, namely connecting the five senses. The concept related to this is known as synaesthesia (synesthesia), a concept where the five senses work together at the same time when responding to a stimulus so that it will cause a sensation that exceeds the expression of one of the five senses. Understanding aesthetics with these various approaches is an active appreciation process that aims to uncover new discourse possibilities in the development of photography.
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Vandierendonck, André, and Koen Van Der Goten. "Sensation of Resistor-Induced Warmth in Blind Persons." Perceptual and Motor Skills 78, no. 3 (June 1994): 727–36. http://dx.doi.org/10.1177/003151259407800309.
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It is commonly believed that the human sense of warmth is inferior in spatiotemporal acuity to the tactile senses. However, little or no evidence is available about the active feeling of warmth. We investigated the ability of people to detect in an active way small changes of warmth on very small areas (2-mm × 2-mm resistors). To that end, a new procedure was developed to measure perception of warmth. The results indicate that people who are able to detect the warmth stimuli perceive small incremental changes and that detection performance improves as stimulus intensity increases. Male subjects seem to be less sensitive than female subjects at lower levels of stimulation, but this relationship is reversed at higher levels of stimulation.
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Kobayashi, S. "The five senses and fiber.2.Material feeling sensation and its measurement." Sen'i Kikai Gakkaishi (Journal of the Textile Machinery Society of Japan) 44, no. 9 (1991): P403—P409. http://dx.doi.org/10.4188/transjtmsj.44.9_p403.
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Smith, Roger. "“The Sixth Sense”: Towards a History of Muscular Sensation." Gesnerus 68, no. 2 (November 11, 2011): 218–71. http://dx.doi.org/10.1163/22977953-06802004.
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This paper outlines the history of knowledge about the muscular sense and provides a bibliographic resource for further research. A range of different topics, questions and approaches have interrelated throughout this history, and the discussion clarifies this rather than presenting detailed research in any one area. P art I relates the origin of belief in a muscular sense to empiricist accounts of the contribution of the senses to knowledge from Locke, via the idéologues and other authors, to the second half of the nineteenth century. Analysis paid much attention to touch, first in the context of the theory of vision and then in its own right, which led to naming a distinct muscular sense. From 1800 to the present, there was much debate, the main lines of which this paper introduces, about the nature and function of what turned out to be a complex sense. A number of influential psycho-physiologists, notably Alexander Bain and Herbert Spencer, thought this sense the most primitive and primary of all, the origin of knowledge of world, causation and self as an active subject. Part II relates accounts of the muscular sense to the development of nervous physiology and of psychology. In the decades before 1900, t he developing separation of philosophy, psychology and physiology as specialised disciplines divided up questions which earlier writers had discussed under the umbrella heading of muscular sensation. The term ‘kinaesthesia’ came in 1880 and ‘proprio-ception’ in 1906. There was, all the same, a lasting interest in the argument that touch and muscular sensation are intrinsic to the existence of embodied being in the way the other senses are not. In the wider culture – the arts, sport, the psychophysiology of labour and so on – there were many ways in which people expressed appreciation of the importance of what the anatomist Charles Bell had called ‘the sixth sense’.
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Shimizu, Shunji, Shuichi Ino, Takeshi Tsuruga, Tohru Ifukube Yuichi Wakisaka, and Takashi Izumi. "Evaluation of a New Force Display using Metal Hydride Alloys." Journal of Robotics and Mechatronics 9, no. 1 (February 20, 1997): 14–23. http://dx.doi.org/10.20965/jrm.1997.p0014.
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It is an important study subject today to develop the method of realizing harmonious sensation feedback to humans not only in the remote manipulation of robots but also in human interface in general. Many study reports on such sensation feedback are available in the fields of visual and acoustic senses, but very few are available in the fields of force and tactile senses. This paper reports on the design, experimental fabrication and evaluates the usefulness of a new force display using a metal hydride (MH) actuator. The actuator made by the MH alloys is one of a few actuators suitable for putting on human. At first, the differential limen for applied force in human was investigated to obtain the design indices of the force display. Then, two types of experiments were carried out to evaluate the availability of the display. The experiments verified that the experimentally fabricated force display is fully capable of displaying continuous force variations on the sensation levels of about 3.5-15.6dB [S.L.] of force. It also verified that the difference between the force that acted on an arm when the arm actually lifted a real object of 20N and the force that was displayed by the force display and sensed to be equivalent to the force of the real object was smaller than the differential limen, indicating that this force display is capable of giving approximately the same force information as real objects to human. As a result, it was verified that the force display using MH actuators is useful.
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Lin, Jingjing. "“Blossoming” Under a Glass: Interpreting the Sensory Depiction of Elizabeth Bishop’s “Poetic Map” from the Humanist-geographical Perspective." BCP Education & Psychology 10 (August 16, 2023): 75–83. http://dx.doi.org/10.54691/bcpep.v10i.5205.
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Elizabeth Bishop (1911-1979) is arguably one of the most outstanding American poets in the 20th century, with a fetish about maps and landscapes as her as poetica. In her literary mapping of the poetic landscapes, a clever operation of human sensorium is notable. To examine the specific roles senses, play in the construction of Bishop’s “poetic map”, this article analyzes the depiction of three couples of senses—sight and hearing, movement and touch, smell and taste—in six of Elizabeth Bishop’s representative poems under the framework of Yi-fu Tuan’s humanist geography. By interpreting in the three main sections the metaphorical relationships between maps and different senses, it penetrates into the natural, spatial, and humanistic attributes of Bishop’s “poetic map”, and finds out that while feeling about geographic scenery with her outer senses, Bishop contemplates in her inner sensation in a humanistic way, and keeps questioning human being’s meaning in the environment. Based on these analyses, this paper adds a sensory perspective into the spatial/geographical study on Elizabeth Bishop, and tries to respond to the topic of man-environment relationship in the nature writing in contemporary literature.
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Kearney, Richard. "Philosophies of Touch: from Aristotle to Phenomenology." Research in Phenomenology 50, no. 3 (October 14, 2020): 300–316. http://dx.doi.org/10.1163/15691640-12341453.
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Abstract This essay explores Aristotle’s discovery of touch as the most universal and philosophical of the senses. It analyses his central insight in the De Anima that tactile flesh is a “medium not an organ,” unpacking both its metaphysical and ethical implications. The essay concludes with a discussion of how contemporary phenomenology—from Husserl to Merleau-Ponty and Irigaray—re-describes Aristotle’s seminal intuition regarding the model of “double reversible sensation.”
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Culbertson, Heather, Samuel B. Schorr, and Allison M. Okamura. "Haptics: The Present and Future of Artificial Touch Sensation." Annual Review of Control, Robotics, and Autonomous Systems 1, no. 1 (May 28, 2018): 385–409. http://dx.doi.org/10.1146/annurev-control-060117-105043.
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This article reviews the technology behind creating artificial touch sensations and the relevant aspects of human touch. We focus on the design and control of haptic devices and discuss the best practices for generating distinct and effective touch sensations. Artificial haptic sensations can present information to users, help them complete a task, augment or replace the other senses, and add immersiveness and realism to virtual interactions. We examine these applications in the context of different haptic feedback modalities and the forms that haptic devices can take. We discuss the prior work, limitations, and design considerations of each feedback modality and individual haptic technology. We also address the need to consider the neuroscience and perception behind the human sense of touch in the design and control of haptic devices.
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Balode, Linda. "THE HEALING GARDENS AND PARKS OF SENSES." Latgale National Economy Research 1, no. 5 (October 21, 2013): 7. http://dx.doi.org/10.17770/lner2013vol1.5.1148.
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Health gardens therapy is a relatively new discipline of landscape science of which many fields of research are still undiscovered. While researching the international scientific literature the more underlying theories of the health gardens need to be considered as well. In Latvia the development of senses gardens has not been enough explored. Purpose: Based on the international sensation, treatment and therapy garden studies establish perspectives for sustainable development of therapy gardens in Latvia. Materials and Methods: Summarize literature on the impact of the Latvian rehabilitation centre and medical treatment worldwide on people as well as to study information used in the Latvian statistical data bases, historical papers, scientific research literature, publications, documents, and electronic resources analysis. To explore health and rehabilitation garden sustainable development and to create new opportunities to improve their residents’ mental health. Such garden visits not only develop feelings and senses of a small child or a teenage, but also enable residents of any age with various disabilities to spend their free time interactively. Perhaps such gardens make it possible to build self-confidence in people and underpin their social inclusion.
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Wu, Chunsheng, Ya-Wen Du, Liquan Huang, Yaron Ben-Shoshan Galeczki, Ayana Dagan-Wiener, Michael Naim, Masha Niv, and Ping Wang. "Biomimetic Sensors for the Senses: Towards Better Understanding of Taste and Odor Sensation." Sensors 17, no. 12 (December 11, 2017): 2881. http://dx.doi.org/10.3390/s17122881.
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Nisa, Akhtar Un, Saifullah Samo, Raheel Ahmed Nizamani, Areesha Irfan, Zuha Anjum, and Laveet Kumar. "Design and Implementation of Force Sensation and Feedback Systems for Telepresence Robotic Arm." Journal of Robotics and Control (JRC) 3, no. 5 (September 1, 2022): 710–15. http://dx.doi.org/10.18196/jrc.v3i5.15959.
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Humans put their own lives aside to save other human’s life and perform risky and dangerous activities. The risk can be reduced by using new technologies. This research study focuses on telepresence and teleoperation systems with motion and force control systems that replace humans in hazardous workspaces. In telepresence, the system helps humans to visualize the environment in real-time. In teleoperation, the system provides sensation to assist human beings in performing out-of-reach and dangerous operations safely as in real, providing a shadow hand to the operator. In this study, a system is developed that consists of a slave robotic arm and a master wearable device with bidirectional communication between the robotic arm and operator (master wearable device). It also presents a gesture-controlled robotic arm that uses sensors to read and translate human arm movements as commands. The slave robotic arm, senses applied force on an object and a master wearable device develops the force according to sensed force, in a result operator senses/feels the same object in the control room at distance. The slave robotic arm also mimics the operator arm to reach the proper position of an object. Several experiments were conducted with untrained personnel and satisfactory results were yielded, which showed that the motion and force replication is 90-95% accurate.
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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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Stillman, Jennifer A. "Gustation: Intersensory Experience Par Excellence." Perception 31, no. 12 (December 2002): 1491–500. http://dx.doi.org/10.1068/p3284.
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On the face of it, basic tactile sensation might seem the only essential sensory requirement for the delivery of foods and beverages to the digestive system. In practice, however, the appropriate delivery of raw materials for the maintenance and repair of the body requires complex sensory and cognitive processes, such that flavour sensation arguably constitutes the pre-eminent example of an integrated multicomponent perceptual experience. To raise the profile of the chemical senses amongst researchers in other perceptual domains, I review here the contribution of various sense modalities to the flavour of foods and beverages. Further, in the light of these multisensory inputs, the physiological and psychophysical research summarised in this paper invites optimism that novel ways will be found to intervene when nutritional status is compromised either by specific dietary restraints, or by taste and smell disorders.
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Betbeze, Anna. "Touching Feeling Transmission." TDR: The Drama Review 65, no. 1 (March 2021): 2. http://dx.doi.org/10.1017/s1054204320000027.
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Touch Workshop is a multimodal set of experiments that untangle the ideological orientation of the senses, organized around proprioceptive sensation and arriving at inverted performances. The project builds on the tactile research of Czech polymath Jan Švankmajer, his response to the censorship of his work in the 1970s. With Covid-19 a pervasive reality, touch is limited and vision dominates. How can the tactile imagination respond in the absence of tactile freedom? How do we transfer and transmit feeling, touching those outside of our time-space?
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Zeković, Staša, and Marko Mihajlović. "Can new technologies replace the experience that cultural heritage sites and museums essentially offer?" SAJ - Serbian Architectural Journal 15, no. 3 (2023): 332–47. http://dx.doi.org/10.5937/saj2303332z.
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When visiting cultural heritage sites and museums, we rely on our senses in perceiving the world around us, especially architectural and artistic sensations. Even though empirical foundation can often be deceitful, it represents the stimulus we form a response to and what ultimately becomes our memory of the space. With our whole world being constantly digitalised, especially during the COVID-19 pandemic, our personal and work relationships mostly became linked to technology. The aim of this paper is to question new technologies' use (Virtual Reality, Augmented Reality, Natural Interaction, Metaverse), values and dangers recently underlined in the public discourse, as well as whether heritage sites and their users thrive in virtual surroundings at all. Using the Stimulus-Organism-Response model, this paper investigates whether the past still has a future in the traditional, formal sense. The main question is: What is the cultural significance of heritage in a virtual world and is digital heritage possible, or is this an oxymoron? The conclusion suggests that new technologies' use should be carefully and moderately carried out and limited to several situations.
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Gawlak, Agata, Magda Matuszewska, Agnieszka Ptak, and Magdalena Priefer. "Perception and functionality of space in view of potential and dysfunction of senses." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, no. 2 (June 30, 2020): 7–16. http://dx.doi.org/10.35784/teka.2415.
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This article is of an illustrative nature. It is intended to juxtapose the possible options of architectural perception and the potential capabilities and dysfunctions of senses. It is, further, aimed at highlighting the co-dependence of the perception of architecture on mental and physical abilities of man (its observer and user).
The way space is perceived is dictated by the perceptual capabilities of our senses. Understanding the physiology and the role of the senses can sensitise the designers to the fact that the users’ responses to his/her works might diverge from the perceptual processes in the brain of the creator him/herself. More importantly, architecture itself can generate sensory feedback and exert a therapeutic effect in view of sensory dysfunctions.
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Lua Coello, Jacqueline, Andrea Peñafiel Luna, Gerardo Fernández Soto, and Franklin Cashabamba Padilla. "Sensory stimulation of taste and smell in older adults: a literature review." Sapienza: International Journal of Interdisciplinary Studies 4, SI1 (September 30, 2023): e23045. http://dx.doi.org/10.51798/sijis.v4isi1.706.
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The sensory stimulation of smell and taste are very important. Now is the time to pay more attention to it, since its correct functionality is essential for life, health and safety of people, especially in old age. At this stage, is when these senses are deteriorating, possibly due to decreased production of receptor cells. Therefore, the objective of this article is to identify existing methods for sensory stimulation, physiology and evaluation of the chemo-sensory senses: taste, smell and everything that contributes to the knowledge, approach and intervention of these senses. Documentary design was applied, with reference review in databases such as: MEDLINE, LILACS, SciELO, Springer, Elsevier, EBSCO and Google Scholar. Descriptors in Health Sciences (DeCS) were used: Aged, Taste perception, Sense of Smell, Sensation. The search included the languages: English, Portuguese and Spanish. The references have been published in the last 6 years. That is, from 2017 to 2022, 30 articles were included since they met the inclusion and exclusion criteria. The results obtained were: identification of physiology, evaluation methods, diagnosis, and stimulation. They have been implemented and have been shown to be suitable for exploring, analyzing and improving functionality. In conclusion, diagnostic tests and sensory stimulation methods are suitable for application in elderly people.
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Seemungal, Barry M. "The Components of Vestibular Cognition — Motion Versus Spatial Perception." Multisensory Research 28, no. 5-6 (2015): 507–24. http://dx.doi.org/10.1163/22134808-00002507.
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Vestibular cognition can be divided into two main functions — a primary vestibular sensation of self-motion and a derived sensation of spatial orientation. Although the vestibular system requires calibration from other senses for optimal functioning, both vestibular spatial and vestibular motion perception are typically employed when navigating without vision. A recent important finding is the cerebellar mediation of the uncoupling of reflex (i.e., the vestibular-ocular reflex) from vestibular motion perception (Perceptuo-Reflex Uncoupling). The brain regions that mediate vestibular motion and vestibular spatial perception is an area of on-going research activity. However, there is data to support the notion that vestibular motion perception is mediated by multiple brain regions. In contrast, vestibular spatial perception appears to be mediated by posterior brain areas although currently the exact locus is unclear. I will discuss the experimental evidence that support this functional dichotomy in vestibular cognition (i.e., motion processingvs.spatial orientation). Along the way I will highlight relevant practical technical tips in testing vestibular cognition.
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Lee, Sanghak, Kitae Kim, Yong J. Hyun, and Byungho Park. "From Sensation to Emotion: A Neuromarketing Study of Sport Sponsorship Effects." Sport Marketing Quarterly 33, no. 2 (June 2024): 99–115. http://dx.doi.org/10.32731/smq.2024.a929608.
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Abstract: This study investigated the sport sponsorship effects by applying the traditional response hierarchy models. Measured by a neuromarketing technique (i.e., electroencephalogram [EEG]), the study analyzed how sport fans' sensation and emotion influence sponsorship effects. The Korea Republic National Football Team's A match videos were shown as experiment stimuli to manipulate participants' arousal and emotion in the experiment. Based on alpha blocking and hemispheric laterality theories, the current study found that alpha blocking occurred when participants were exposed to sensational senses (e.g., scoring goals) and that left frontal alpha dominance (LFAD) was reported when participants watched their supporting team's winning games and had positive emotions. However, alpha blocking by brand recall and LFAD by brand attitude were insignificant. These findings support the use of neuromarketing and traditional response hierarchy models in understanding the effects of sport sponsorship. Managerial implications and study limitations will be discussed.