Academic literature on the topic 'Sensorial Experience'

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Journal articles on the topic "Sensorial Experience"

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Dinvaut, Annemarie. "Croquages de langue en formation d’enseignants." Voix Plurielles 11, no. 1 (2014): 75–88. http://dx.doi.org/10.26522/vp.v11i1.919.

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Le sensoriel et l’expression plastique sont-ils des outils de formation pertinents pour aller à la rencontre de l’altérité et de la diversité linguistique et culturelle ? Nous nous proposons de répondre à cette question en analysant des productions d’étudiants : ceux-ci rendent compte de leur fréquentation d’une langue par une création plastique qui privilégie les aspects sensoriels de cette expérience. Ce double processus les amène à une réflexion métalinguistique et à une posture d’accueil du plurilinguisme.
 
 We sketch our languages and develop teaching skills
 
 Abstract: Are sensorial and plastic activities appropriate tools to develop language awareness and intercultural skills, in a college of education? To answer this question, we ask students to express their sensorial and affective experience of a language they choose: scrutinizing their productions enables us to see the impact of this activity, regarding their metalinguistic reflection and their receptiveness to linguistic and cultural plurality.
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Rathod, Madhura. "RICH SENSORIAL EXPERIENCE OF ARCHITECTURE." International Journal of Advanced Research 5, no. 12 (2017): 1529–36. http://dx.doi.org/10.21474/ijar01/6116.

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Vidauskytė, Lina. "RELIGINĖ PATIRTIS: HIEROFANIJA AR HIEROFONIJA?" Religija ir kultūra 10 (January 1, 2012): 105–13. http://dx.doi.org/10.15388/relig.2012.0.2737.

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Oralinėje tradicijoje žmogaus sensorika yra orientuota kitaip, nei vizualinėje kultūroje. Pirmenybė yra teikiama balsui, akustinėms, ritminėms audialinės juslės savybėms. Ši sensorinė kombinacija veikia visose srityse, nes tokia yra būtinybė. Religijoje balsas taip pat atlieka lemiamą vaidmenį. Dievas kreipiasi į žmogų, kaip ir žmogus kreipiasi į Dievą. Tačiau ši kadaise pamatinė audialinė religinė patirtis buvo išstumta rašto kultūros. Straipsnyje keliamas religijotyroje plačiai vartojamos sąvokos „hierofanija“ adekvatumo įvardijant religinės patirties specifiką klausimas.Pagrindiniai žodžiai: hierofanija, hierofonija, oralumas, balsas, šventybė. RELIGIOUS EXPERIENCE: HIEROPHANY OR HIEROPHONY Lina Vidauskytė SummaryThe human sensorial system in oral society and tradition is oriented differently than in visual culture. Priority is given to voice and to the rhythmical property of the auratic organ of sense. Such sensorial combination is necessary in all areas of oral society and its culture. Voice plays one of the most important roles in religion. God addresses the human, and the human appeals to God. Yet this basic auratic religious experience was displaced by written culture. Thus, the main question of this paper is the suitability of term “hierophany” (which is widely used in religious studies) for naming the specificity of religious experience.Keywords: hierophany, hierophony, orality, voice, sacrum.
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Dalmoro, Marlon, Giuliana Isabella, Stefânia Ordovás de Almeida, and João Pedro dos Santos Fleck. "Developing a holistic understanding of consumers’ experiences." European Journal of Marketing 53, no. 10 (2019): 2054–79. http://dx.doi.org/10.1108/ejm-10-2016-0586.

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Purpose This paper aims to investigate how the physical and sensory environmental triggers interact with subjective consumer evaluations in the production of shopping experiences, an under-investigated theme, despite its relevance. Design/methodology/approach An interpretative multi-method approach was used by combining video observation with camera eyeglasses and in-depth interviews with 30 customers of a department store. Findings Results offer a holistic framework with four-dimensional axial combination involving physical comfort, psychological comfort, physical product evaluation and sensorial product evaluation. Based on this framework, results highlight the role of comfort and products in producing shopping experience in ordinary store visits. Research limitations/implications The findings contribute both to consumer experience studies and to the retail marketing literature in shading a light on experience production in ordinary store visits. Specifically, we detail these visits not as a static response to a given environment stimulus, but as a simultaneous objective and subjective combination able to produce experience. Practical implications The results encourage managers to understand the experience production not just as an outcome of managerially influenced elements, like décor or odor. It involves considering subjective elements in the design of consumers’ physical and sensorial retail experiences. Originality/value Adopting an innovative method of empirical data collection, results generated a framework that integrates the objective shopping environment and subjective consumer responses. This research considers the role of comfort and product features and quality both physically and sensorially to develop experiences in a holistic manner in ordinary shopping visits.
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Hrga, Iztok, and Tjaša Frumen. "Costume as a shared sensorial experience." Studies in Costume & Performance 6, no. 2 (2021): 217–31. http://dx.doi.org/10.1386/scp_00048_1.

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This research report discusses the creation of a costume for the spectator that stimulates sensorial experiences of internalized feelings. Under the project title Sense my Thoughts, we constructed two wearable prototypes: one for the performer and the other one for the spectator. Wearable electronics embedded both in the performer’s and the spectator’s garments allow the spectator to become directly connected with the performer’s emotional experience through costume. This enables the spectators to identify with the onstage character through a personal connection and immerse themselves in the performance on a multi-sensorial level. The goal of our practice-as-research was to design wearables that measure and transmit the performer’s biometric data in a sensorial format, which the spectator would be able to feel on/in their own body in real time. We assembled one garment that captures performer’s input data, such as brainwaves, heartbeat and breathing, and interpret them as different emotional states. We then connected it wirelessly to another garment that we named the spectator’s costume, which receives the performer’s data and activates hidden vibrational motors, speakers, heaters and coolers as various combinations of physical stimuli. In this article, we focus on the latter garment and explain how the spectator’s costume can become an agent of the wearer’s empathic engagement through stimulating the suggestion of the performer’s embodied experiences. The work presented here is still in an early stage of development and, therefore, the conclusions are based on small-scale prototype research.
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Almeida, Brenda Caroline Silva de, Luzia Iara Pfeifer, and Lucieny Almohalha. "Perfil sensorial de crianças pequenas com histórico de prematuridade/Sensory profile of young children with a history of prematuriy." Revista Interinstitucional Brasileira de Terapia Ocupacional - REVISBRATO 6, no. 3 (2022): 1075–88. http://dx.doi.org/10.47222/2526-3544.rbto47403.

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Introdução: O bebê prematuro é considerado de alto risco para atrasos no desenvolvimento, uma vez que está exposto a fatores biológicos e/ou ambientais, muitas vezes, pouco congruentes com sua maturidade neurobiológica. Objetivo: Descrever o perfil sensorial, identificar as respostas aos estímulos sensoriais e os padrões sensoriais de crianças pequenas com histórico de prematuridade. Método: Estudo exploratório-descritivo, realizado com 43 pais de crianças com idade entre 7 e 35 meses, que apresentaram histórico de prematuridade com ou sem comorbidades, utilizando um roteiro semiestruturado, elaborado pelas pesquisadoras, com perguntas relacionadas à história pregressa e atual dos bebês e de seus pais; e o Toddler Sensory Profile 2, que auxilia na determinação das repostas sensoriais e delineia o padrão do perfil sensorial de crianças com idade entre 7 e 35 meses. Resultados: A maioria das crianças era do sexo masculino (53,5%) e menores de 18 meses de idade corrigida (69,7%). As maiores frequências de respostas foram classificadas como a maioria das crianças nas áreas sensoriais dos processamentos: geral (55,8%), auditivo (41,9%), visual (60,5%), tátil (51,2%), do movimento (39,5%), oral (58,1%) e nas respostas comportamentais associadas (41,9%). O mesmo ocorreu referente aos quadrantes em procura (69,7%); evita (51,2%); sensibilidade (46,5%); e registro (60,5%) Conclusão: Os resultados demonstram que a maioria das crianças pequenas avaliadas apresenta respostas dentro do esperado em todas as áreas sensoriais e nos quadrantes, entretanto, algumas apresentaram alterações de repostas (hiper ou hipo), o que justifica a importância do rastreio sensorial em crianças pequenas com histórico de prematuridade para acompanhamento precoce.Palavras-chave: Desenvolvimento infantil; Processamento sensorial; Bebê prematuro Abstract Introduction: The baby prematurely is considered at risk for developmental delays since it is exposed to biological and/or environmental factors that are often not congruent with its neurobiological maturity. Objective: To identify and to describe the responses to sensory stimuli and the sensory patterns of young children with a history of prematurity. Method: Exploratory-descriptive study, carried out with 43 parents of children aged between 7 and 35 months who had a history of prematurity with or without comorbidities. It was used a semi-structured questionnaire, prepared by the researchers, with questions related to the past and current history of the children and their parents; and the Toddler Sensory Profile 2, which helps to determine sensory responses and outlines the pattern of the sensory profile of children aged 7 to 35 months. Results: Most children were male (53.5%) and younger than 18 months corrected age (69.7%). The highest frequencies of responses were classified just like the majority of children in the sensory areas: general processing (55.8%), auditory (41.9%), visual (60.5%), tactile (51.2%), movement (39.5%), oral (58.1%) and associated behavioral responses (41.9%). The same occurred regarding the quadrants in seeking (69.7%); avoiding (51.2%); sensitivity (46.5%) and registration (60.5. Conclusion: The results demonstrate that most of the young children evaluated presented responses within the expected in all sensory areas and in the quadrants, however, some of them presented alterations in responses (hyper or hypo). This fact justify the needs of sensory screening and early intervention for young children with a history of prematurity.Keywords: Occupational Therapy. Cognition. Memory. Personal Narrative. Life Experience ResumenIntroducción: El bebé prematuro es considerado de alto riesgo para retrasos en el desarrollo, ya que están expuestos a factores biológicos y/o ambientales que muchas veces son incongruentes con su madurez neurobiológica. Objetivo Describir el perfil sensorial, identificar respuestas a estímulos sensoriales y patrones sensoriales de niños pequeños con antecedentes de prematuridad. Método: Estudio exploratorio-descriptivo, realizado con 43 padres de niños de 7 a 35 meses de edad con antecedentes de prematuridad con o sin comorbilidades, utilizando un guión semiestructurado elaborado por las investigadoras con preguntas relacionadas con la historia pasada y actual de los bebés y sus padres; y el Toddler Sensory Profile 2, que ayuda a determinar las respuestas sensoriales y describe el patrón del perfil sensorial de los niños de entre 7 y 35 meses. Resultados: La mayoría de los niños eran del sexo masculino (53.5%) y menores de 18 meses de edad corregida (69.7%). Las mayores frecuencias de respuestas se clasificaron como la mayoría de los niños en las áreas sensoriales de procesamiento: general (55.8 %), auditiva (41.9 %), visual (60.5 %), táctil (51.2 %), de movimiento (39.5 %), oral (58.1 %) y en las respuestas comportamentales asociadas (41.9%). Lo mismo ocurrió respecto a los cuadrantes de búsqueda (69.7%); evitar (51.2%); sensibilidad (46.5%) y registro (60.5%). Conclusión: Los resultados demuestran que la mayoría de los niños pequeños evaluados presentaron respuestas dentro de lo esperado en todas las áreas sensoriales y en los cuadrantes, sin embargo, algunos mostraron alteraciones en las respuestas (hiper o hipo), lo que justifica la importancia del tamizaje sensorial en niños pequeños con antecedentes de prematuridad, para un acompañamiento temprano.Palabras clave: Desarrollo infantil; Procesamiento sensorial; Bebé prematuro
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Izzah, Nurul, Suwandi Sumartias, and Susie Perbawasari. "Enhancing Brand Loyalty: From Sensorial Experience to Affective Experience." Jurnal Komunikasi Ikatan Sarjana Komunikasi Indonesia 8, no. 2 (2023): 426–36. http://dx.doi.org/10.25008/jkiski.v8i2.915.

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This research discusses a café in Makassar city called Pyur For You café, which provides an exciting experience to its consumers. This research analyzes how brand loyalty can form through sensory experience and affective experience. This research is a qualitative case study with informants from Pyur For You café consumers selected randomly and met directly in the café area. This research involved three consumers who have come to the café repeatedly and recommended the café to their relatives. From the findings of this research, consumers of Pyur For You cafe have received a sensory experience in the cafe area through their sight, smell, taste, and hearing. After receiving a sensory experience, it successfully forms a compelling consumer experience. Sensory experience and affective experience then become variables that help to increase brand loyalty. However, its application can still be maximized again.
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차은지 and 한정엽. "Virtual Reality contents : a full sensorial experience." Journal of Korea Intitute of Spatial Design 11, no. 5 (2016): 9–17. http://dx.doi.org/10.35216/kisd.2016.11.5.9.

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Price, Katherine. "Embodied Experience." Ethnographic Encounters Journal 13, no. 1 (2025): 48–52. https://doi.org/10.15664/eej.v13.i0.2921.

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In this essay, the author explores the anthropological method of autoethnography during a walk along East Sands. Focusing on the sensorial experience, the article draws connections between the senses and memory. With these findings, the author analyzes the idea of the ‘field’ and how these interactions influenced their experience with the ‘field.’
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Paramita, Kristanti Dewi, Resza Riskiyanto, and Arnis Rochma Harani. "Exhibiting Material Localities Through Embodied Sensorial Performance." Journal of Architectural Design and Urbanism 7, no. 1 (2025): 31–40. https://doi.org/10.14710/jadu.v7i1.25323.

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This study investigates the embodied sensorial performance in material exhibition design as a way to enhance visitors’ experience about local cultures. Exhibitions and installations designed in museum or gallery context often incorporate a sensorial approach to increase engagement and to cater specific needs of society. This study takes particular interest in expanding such discussion, highlighting how a sensorial approach can be used in a more active way to experience localities, particularly in relation with food material.The study explores such sensorial aspects through reflecting towards an exhibition event conducted by the Indonesian Architect Association Central Java titled Rumarasa, an exhibition that explores the sensorial narrative of Indonesian spices. The exhibition consists of three particular stages that activate the overall senses that construct the experience of spices in Indonesia. The first stage consists of the visual stages of the spices, displaying the form and origin of spices in an interactive way. The next stage requires the visitors to touch the spices, inviting the visitors to experience the spice using their tactile, olfactory, and auditory senses. The third stage highlights how the spice can be used as a medium of creative play, transforming the spice as colouring material with different gradients. Through these stages, the sensorial journey constructs the overall local narrative of Indonesian spices, understanding the origin, building the intimacy, and enabling transformation of material. In conclusion, this study contributes to expanding the sensory experience as an approach to design cultural exhibitions, enabling an active and deep experience of locality.
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Dissertations / Theses on the topic "Sensorial Experience"

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JALAL, LANA DALAWR. "QUALITY OF EXPERIENCE METHODS AND MODELS FOR MULTI-SENSORIAL MEDIA." Doctoral thesis, Università degli Studi di Cagliari, 2019. http://hdl.handle.net/11584/260391.

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In this work, the evaluation of the Quality of Experience (QoE), i.e., “the degree of delight or annoyance of the user of an application or service” for multi-sensorial media has been investigated. An IoT based architecture for multi-sensorial media delivery to TV users in a home entertainment scenario proposed and the synchronization requirement between media and devices analyzed and the architecture of the system defined accordingly. Furthermore, a prototype is implemented in a real smart home scenario with real customary devices, which allowed a subjective test measurement campaign to assess the QoE of the users and the feasibility of the proposed multi-sensorial media TV service. The users’ perception of multi-sensorial media analyzed, in particular the influence of three sensory effects (i.e., airflow, vibration, and light) on user enjoyment, annoyance, emotions, and if the user like to experience additional sensory effects when viewing multi-sensory content. Furthermore investigate if multi-sensorial media can enhance the user sense of reality, as well the audiovisual content, and which effect has the highest impact on user experience for an IoT based multi-sensorial media in smart home. Finally a novel parametric model suitable for the estimation of the QoE for multi-sensorial media TV in smart home proposed. The proposed model can be used by TV service providers to predict the enhancement produced by adding the effects to conventional TV services and plan for delivery multi-sensorial media as new advanced TV service. The parameter estimation of the model relies on Particle Swarm Optimization (PSO) which has been successfully applied to the optimization of nonlinear problems. A comparative analysis of the performance and the models’ prediction accuracies of the proposed model with the state of the art model for the QoE have been carried out based on the same MOS dataset to assess the effectiveness of the former with respect to the latter.
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CRABTREE, BENJAMIN S. "CORPOREAL NARRATIVES: ARCHITECTURE OF EXPERIENCE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147897305.

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Eriksson, Elin, and Niklas Larsson. "A Multi-Sensory Brand-Experience : Sensorial interplay and its impact on consumers' touch behaviour." Thesis, Linnéuniversitetet, Ekonomihögskolan, ELNU, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12153.

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The purpose of this thesis is to explore to what extent different styling elements can be used within a retail store and how sensorial cues can affect customers buying behaviour by creating a multi-sensory brand-experience. Further, this project aims at contributing to the development of new knowledge regarding a multi-sensory brand-experience through the performance of an experiment. A quantitative research method with a deductive research approach has been used for this study, where theoretical concepts have been described and from which a number of hypotheses have derived as means to test the theoretical framework. In order to test our hypotheses, a research strategy in the form of experiments has been performed in the computer department at Media Markt, Kalmar. General assumptions have then been drawn from the analysis of the results in order to provide sound recommendations for marketers regarding sensory marketing in general and foremost the multi-sensory brand-experience.   The result of our study shows that it is beneficial for marketers to use styling elements and sensorial cues as means to connect with customers and enhance their emotional response. The study also shows that a combination of the sensorial cues of sight and sound together contributes to an experience that is positive and memorable for the customers. Additionally, the results of this study shows that a combination of these sensory cues leads to a change in customers behaviour and create approach behaviour through awareness of products that otherwise could be missed.
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Inglis, Grant. "Discovering How To RE|Move: A secondary sensorial circulation system for the University of Cincinnati." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397234170.

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Mendes, Inês Jardim de Gouveia. "Projetar com luz : a luz como directriz na concepção espacial do Centro de Dia do Casal Novo." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/8952.

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KRIVANKA, SARAH M. "SENSITIVE MATERIAL." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179208847.

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Källeskog, Jessika. "Boundaries of Matter : The experience of space and object through the abstract to the tangible." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4101.

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Boundaries and Matter - The intangible and the corporeal A space dedicated to contemplation in a public realm With a philosophical approach to the topics I aim to absorb the dynamics in the meeting between the intangible and the physical. In the urban contemporary environment that we live in I see a need for a physical context that contrasts the flow of information and inputs that we are exposed to.From this point of view I have created a concept of a space for contemplation, as a reply for both visual as well as mental boundaries that connects both the abstraction of the mind to the corporeal. The perception of our surroundings is an acknowledgment and a consciousness of our senses. In our everyday life we are constantly surrounded by a flow of impressions. To contrast this I have created a space where you can calmly travel inward & outwards without being disturbed by the constant flow of information. This project departs as a statement towards the intense frequency of information inputs in our contemporary surrounding, the stressful act to manage our mental boundaries for what we let in and what we leave out. Through this project I wanted to define the abstract spectra of inspirations in the design-process of how I relate to form and the surroundings. Mapping it, formulate and gestalt it. Defining the boundaries to what I see as the scenery of the project. Taking the broad turns of the process leading me to collect bits and pieces from various sources and apply these thoughts in a secondary phase to the actually form-giving. Turning the abstract ideas to a space and an object, interpret in two different manners to a pavilion for contemplation and an idea of seating furniture. Throughout the process I balance the two poles through reflection from a philosophical angle that I follow up with the sensibility for the tactile sensors in how one perceive a physical object. Leading through historical values and ideas tied towards the spatial dimensions and the various scales in handling space and object. Using the materiality to create a connection to the body and wrapping up to embrace as a protective shield around the body. With the gestalt of a boundless space within given dimensions that are not obvious or sharply defined, to instead become an extension of your mind and body. As you become the centre of the space, your thoughts are the boundaries and the spatial dimensions are framing the action.
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Mendoza, Zoila. "the strength of the sounding paths: the Walk and Music in Qoyllurit’i." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/80639.

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En este trabajo exploro la relación intrínseca que existe para los pobladores del distrito de Pomacanchi, Cusco, entre el caminar al santuario del Señor de Qoyllurit’i y la música que los acompaña. Mi atención se centra en la relación con la melodía chakiri wayri y, en menor medida, con la del alawaru. En esta relación intrínseca entre música y camino se revela, por un lado, la primacía que para los pobladores andinos tiene la unidad de lo visual y lo auditivo en los procesos cognitivos. Por otro, al explorar esta relación en el contexto de la caminata, una tercera dimensión sensorial clave en dichos procesos cognitivos también aparece claramente. Se trata del sentido de la cinestesia o sensación del movimiento. En otras palabras, la unidad de lo visual, lo sonoro y el movimiento es lo que hace de la participación en la fiesta en honor al Señor de Qoyllurit’i una experiencia única e imborrable. La obvia primacía de la unidad de los tres sentidos en la experiencia de peregrinación de los pomacanchinos al Señor de Qoyllurit’i no es única o exclusiva de este contexto festivo o de este pueblo. Simplemente esta experiencia nos permite analizar más de cerca un fenómeno que creo extendido en los Andes.<br>Here I explore the intrinsic relationship that for the people of the district of Pomacanchi (Cusco) exists between walking to the sanctuary of the Lord of Qoyllurit’i and the music that accompanies them. My attention focuses on the relationship with the  chakiri wayri melody and to a lesser extent with that called alawaru. In this intrinsic relationship between music and the walk, on the one hand, the primacy of the unity of the visual and the auditory in the Andean cognitive processes reveals itself. On the other hand, in exploring this relationship in the context of the walk a third sensorial dimension key to such cognitive processes appears clearly. It is the sense of kinesthesia or sensation of movement. In other words. The unity of the visual, the auditory and the kinesthetic is what makes the participation in the fiesta of the Lord of Qoyllurit’i a unique and unforgettable experience. The obvious primacy of the unity of these three senses in the experience of pilgrimage of the people of Pomacanchi to the sanctuary of the Lord of Qoyllurit’i is not unique or exclusive of this festive context or of Pomacanchi. Simply, this experience allows us to analyze more closely a phenomenon that I believe to be spread in the Andes.
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Martínez, Rosalía. "Music, movements and colors in Andean fiesta. Bolivian examples." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/79171.

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En la fiesta andina, la música suele tanto oírse como verse. Esta dimensión multisensorial de la situación musical no es únicamente el resultado de una yuxtaposición de elementos sonoros y visuales. el análisis de las articulaciones que los campesinos indígenas de la zona de sucre (Bolivia) construyen entre sonidos, movimientos y colores revela la presencia de organizaciones singulares de la experiencia sensible que se caracterizan tanto por su espesor sensorial como por la manera en la cual se encuentran conectadas con otros campos del conocimiento. Estas formas de intersección culturalmente elaboradas implican el cuerpo mismo de los músicos, generando nuevas configuraciones perceptivas.<br>In the Andean fiesta music is as much intended to be seen as it is to be heard. The multisensorial aspect of musical performance is not just a matter of the juxtaposition of sounds and sights. The analysis of the articulations that indigenous peasants of sucre (Bolivia) construct among sounds, movements and colors reveals an original organization of sensitive experience that is as much characterized by its sensory depth as it is by the ways it is linked to other domains of knowledge. The forms of culturally elaborated intersections that occur in the body of the musician lead to new perceptive configurations.
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Delemazure, Olivier, Olivier Mallégol, and Vincent Laplanche. "The effect of the senses on consumers experience in clothing stores." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-75540.

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This research explores the sensory marketing and more specifically the effect of the senses on consumers experience in the clothing distribution sector. The purpose of this paper is to understand if all the senses have an effect on the customer experience in clothing stores. To do this a primary quantitative data has been collected through a questionnaire from clothing store customers to assess the effect of different senses on their consumer experiences. The results obtained by the analyzing of the questionnaire through regression analysis concluded that there are two senses that really stand out of the lot, firstly the smell then secondly the sight.
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Books on the topic "Sensorial Experience"

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Quinn, Mary B. Sense and Spectacle in the Age of Philip IV. Amsterdam University Press, 2024. https://doi.org/10.5117/9789048563050.

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This book accounts for the outpouring of celebrations in the Habsburg Empire upon the 1657 birth of Felipe Próspero, heir to Philip IV of Spain. These celebrations allow us to interrogate the shifting uses of performance in the empire’s center and periphery. Such spectacles could work to contain and manipulate public sentiment, but at other moments they questioned sanctioned power structures. A study of zarzuela texts, opera libretti, notated music, paintings, poems, and historical documents shows that an array of people took advantage of this festive moment to question the empire’s policies in surprising ways. Sensorial experience played a crucial role during these celebrations. For its part, the Crown engaged a variety of senses, especially sight, sound, and smell, in order to augment the impact of royal spectacles. But simultaneously, those who questioned the Crown also did so through an engagement of the sensorial world.
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Puentes, Óscar Quintero. Ángeles de la Recoleta: Una experiencia sensorial : fotografías. Universidad Pedagógica y Tecnológica de Colombia, 2010.

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Margot, Patrick. Symphony of the Difference: The Sensorial and Neurological Distinctions Synesthetes Experience. Independently Published, 2022.

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Senses in Interior Design: Sensorial Expressions and Experiences. Manchester University Press, 2023.

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Senses in Interior Design: Sensorial Expressions and Experiences. Manchester University Press, 2023.

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Senses in Interior Design: Sensorial Expressions and Experiences. Manchester University Press, 2023.

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elhariry, yasser, ed. Sounds Senses. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856882.001.0001.

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Sounds Senses is about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound studies, it dismantles the retinal paradigms and oculocentrism of francophone postcolonial studies. By shifting the sensory hermeneutics of perception from the visual, the textual, and the graphemic to the sonic, the auditory, and the phonemic, the book places cultural production that privileges or otherwise exaggerates æstheticized sensorial experiences at the forefront of francophone postcolonialism. In the process, it introduces two primary theoretical thrusts—the unheard and the unintegrated—to the project of analyzing, extending, and rejuvenating francophone postcolonial studies. The book reevaluates francophone culture in relation to sound and the experience of sound, situating it along the fluid axes of paralingual utterance, audio-vision, voice, and narrative speakers. Through a range of case studies focusing on parafrancophonics, poetry, world music, cinema, the graphic novel, popular speech phenomenæ, and the poetics and politics of transcolonial identification, Sounds Senses demonstrates how francophone postcolonial culture is satiated with a glut of unexplored sonic significance.
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Sensorium: Embodied Experience, Technology, and Contemporary Art. The MIT Press, 2006.

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Pinto-Coelho, Zara, ed. The City of the Senses, the Senses in the City. UMinho Editora/CECS, 2022. http://dx.doi.org/10.21814/uminho.ed.51.

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Urban-oriented sensory analysis has a long tradition within the social sciences. However, in communication and cultural studies research, the sensorial orientation is still incipient. This publication is part of an ongoing call by Passeio, the platform for the study of art and urban culture of the Communication and Society Research Centre, for an organicist vision of the city, underlining the need to re-signify the role of the senses in the experience of everyday contemporary urban life. This book includes theoretical and/or empirical contributions from researchers in sociology, communication and cultural studies, who explore three fundamental questions: (a) the effects of the tourist era under the COVID-19 pandemic, (b) the role of music in the production of places and socialities; and (c) the importance of ambiances in the constitution of a carnal relationship with the city.
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Baird, J. A., and April Pudsey, eds. Housing in the Ancient Mediterranean World. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108954983.

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One of the greatest benefits of studying the ancient Greek and Roman past is the ability to utilise different forms of evidence, in particular both written and archaeological sources. The contributors to this volume employ this evidence to examine ancient housing, and what might be learned of identities, families, and societies, but they also use it as a methodological locus from which to interrogate the complex relationship between different types of sources. Chapters range from the recreation of the house as it was conceived in Homeric poetry, to the decipherment of a painted Greek lekythos to build up a picture of household activities, to the conjuring of the sensorial experience of a house in Pompeii. Together, they present a rich tapestry which demonstrates what can be gained for our understanding of ancient housing from examining the interplay between the words of ancient texts and the walls of archaeological evidence.
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Book chapters on the topic "Sensorial Experience"

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Mengozzi, Chiara. "Letting the Planet Speak: Nonhuman Voices Through Narrative, Sound Art, and Technology." In Palgrave Studies in Otherness and Communication. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-73386-4_5.

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AbstractThe habitability of the planet Earth depends on countless organisms, entities, and processes, most of which lie beyond our immediate experience. Several literary critics have praised performative and sound art for its striking ability, compared to literary works, to bring the biotic and abiotic components of the Earth system into our perceptual and sensorial realm, without projecting human meanings onto them. But how does this sensorial experience translate into ecological-oriented political action?Comparing some important examples of sound art and narrative works, this chapter (i) analyzes the artistic and technological devices that enable the transformative processes of the Anthropocene to become tangible to human senses; (ii) demonstrates the insufficiency of immersive knowledge experiences as tools for triggering ecological awareness and forms of eco-responsible politics; and, finally, (iii) argues for the need to articulate, through narrative, the problems of perception with those of representation and advocacy.
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Katajala-Peltomaa, Sari. "From Lived Reality to a Cultural Script: Punishment Miracles as an Experience." In Palgrave Studies in the History of Experience. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-92140-8_2.

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AbstractIn this chapter the various levels of experience are scrutinized within the context of interaction with a saint, namely Saint Birgitta of Sweden. The focus lies on a case of a punishment miracle leading to demonic possession and eventually conversion to penance. The chapter combines the analysis of intimate sensorial elements, embodied enculturation, and a production of a cultural script scrutinizing how a model for experiencing was produced in the context of Vadstena Abbey’s miracle recording and later preaching.
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Barbosa-Fohrmann, Ana Paula. "Chapter 2: The Sensorial Experience of the Self with Alzheimer's." In Narrating Experiences of Alzheimer's Through the Arts. transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839466803-005.

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Fabbris, Luigi, and Alfonso Piscitelli. "Cultural and sensorial correlates of Trebbiano wine consumption." In Proceedings e report. Firenze University Press and Genova University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0106-3.12.

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In this paper we highlight the sensorial and cultural correlates of the consumption of Trebbiano wine produced in the Abruzzo region, Italy. The data have been collected through a questionnaire survey on a sample of 48 adults. The sample was conveniently selected among the participants at a scientific meeting held in Pescara in September 2018. The survey was part of a complex sensorial experiment concerning the preference of this white wine with respect to a series of other regional white wines. The collected data on Trebbiano wine consumption have been analysed through a path analytic regression model in which consumption was the criterion variable, while cultural and sensorial variables, on the one hand, and wine expertise and drinking habits, on the other, were the variables mediating the respondents’ disposition towards this type of wine. The analysis showed that two thirds of the respondents frequently or occasionally used to consume the topical wine. The frequency of consumption was strictly influenced by the relevance the respondents conferred to this wine when put in competition with other wines during an outdoor dinner. The consumers who particularly appreciated it were wine experts (sommeliers, wine course attendants, wine producers) and other wine consumers able to recognise the intrinsic characteristics of a wine thanks to the sensorial skills (for smell and aroma evaluation) they developed through long experience and specific learning.
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Fabbris, Luigi, and Alfonso Piscitelli. "Experience, sensorial skills and personality qualifying a wine consumer as an expert." In Proceedings e report. Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-461-8.43.

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This paper analyses the characteristics of wine consumers that may qualify them as wine experts. The wine evaluation expertise of consumers, as measured by various degrees of self-perceived ability, is hypothesised to causally depend on cognitive and non-cognitive characteristics of wine experience, on sensorial skills relevant for wine assessment and on wine consumption-related personality aspects. Our work consisted in measuring and analysing the relationships between the self-assessment of the ability to wine assessment given by a convenience sample of consumers and the qualification of their consumption experience and training (ranging from “simple” consumer to producer/seller to professional sommeliers), their sensorial (olfactory, flavour) skills and enogastronomic culture. Wine culture is defined as the capacity to harmonise wine and food and conceive wine as a nutritional, social and health-related means. The analysed data refer to a tasting experiment held as a social activity during a scientific meeting in Pescara, Italy, in 2018. The sample of wine assessors who filled in the evaluation questionnaire included both meeting participants and people belonging to AIS-Abruzzo, the regional association of chartered sommeliers. The data collected at wine tasters showed that there were strong relationships between the self-evaluation as wine expert and the consumption experience, the assessment skills, and the wine consumption “culture”. The relationships differed according to age, activity and length of wine consumption experience of the assessors.
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De Rosa, Annalinda, and Laura Galluzzo. "Aesthetics of Design for Social Innovation. Pathways for a Dialogue with Everyday Aesthetics." In Springer Series in Design and Innovation. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_46.

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AbstractThe paper presents “ADESSO - Aesthetics of Design for Social Innovation”, foundational research that aims at investigating the sensorial insights and the aesthetic experience related to services, relationships, environments, communication strategies, and spaces within Design for Social Innovation approaches, highlighting the impact on processes and outcomes.As Design for Social Innovation deals with all that design branches can do to promote and support social changes towards social and environmental sustainability, such processes are usually typified by a strong dematerialization of the design object itself: they own a relational and dialogical perspective. As the object itself of the design process has constantly been expanded, mainly towards its intangibility, the focus on the value generated by the experience of artefacts and places has found its area of investigation. Also, a decreased authorship has progressively turned the designer’s role into participatory-design-led practices. Indeed, Design Aesthetics has mainly dealt with product design and the related sensorial involvements, and no specific studies have so far included Design for Social Innovation.Focusing on these three principal axes of change for design research, ADESSO starts by investigating the aesthetic experience generated throughout sustainable and participative cases, stressing the importance of differential contributions to the whole process.
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Mondada, Lorenza. "Chapter 11. From the sensing body to language, and back." In Pragmatics and Translation. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/pbns.337.11mon.

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Tasting sessions are an exemplary setting to investigate how participants choose descriptors for expressing sensorial judgments, based upon their own sensorial experience, as well as on existing available terminologies in different languages. On the basis of video-recorded tasting sessions of amateurs and professionals, the study shows how participants navigate between different types of descriptions – vocalizations, lexical descriptors, and clausal descriptions – in different languages, within ordinary vs specialized professional repertoires. Based on multimodal conversation analysis and ethnomethodology, the study reveals how they establish the interactional semantics of the descriptors in both a situated and a standardized/standardizing way, and they establish the (un)translatability of these descriptors. Different conceptions of translation and translatability are discussed, contributing to a pragmatic of translation sensu latu.
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Ahn, Sunghee. "Sensorial Sensory Gaps in XR: A Relational Process Model for Immersive Experience." In Lecture Notes in Computer Science. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-93160-4_16.

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Desille, Amandine. "On the Use of Visual Methods to Understand Local Immigration Politics." In IMISCOE Research Series. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_4.

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AbstractIn this chapter, I present the making of an ethnographic film, which I filmed during a research project in geography carried out from 2013 to 2017 and entitled Victory Day. The chapter provides a reflection on the use of film to capture political actions, specifically the ones targeting immigrant groups. It also shows the extent to which filmmaking relates to experiences of the participants involved, and to the sensorial experience of a place. With this, it builds on previous works that have highlighted the potential of moving images to represent the sensory, experiences and intersubjectivities. Finally, it tackles the ethics of working in conflict cities, and even more specifically, when participants take a hawkish stand in that conflict.
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Gu, Sijia, Yue Lu, Yuwei Kong, Jiale Huang, and Weishun Xu. "Diversifying Emotional Experience by Layered Interfaces in Affective Interactive Installations." In Proceedings of the 2021 DigitalFUTURES. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5983-6_21.

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AbstractThis paper aims to improve users’ experience in affective interactive installations through the diversification of interfaces. With logically organized hierarchical experience, diverse interfaces with emotion data as inputs enhance users’ emotional interaction to be more natural and immersive. By using facial affect detection technology, an installation with diverse input interfaces was tested with an organic formal setting. Mechanical flowers and support structure based on the organic form were deployed as its physical output for a multitude of sensorial dimensions. With actions of the mechanical flowers, such as blooming, closing, rotating, glowing and blinking, a layered experiential sequence was created and the atmosphere of the installation was evaluated to be more engaging. In this way, the layered complexity of information was transferred to users’ immersive emotional experience. We believe that the practices in this work can contribute to deeper emotional engagement with users and add new layers of emotional interactivity.
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Conference papers on the topic "Sensorial Experience"

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Luís-Ferreira, Fernando, João Sarraipa, and Gary McManus. "Sensorial Experience Extensions in Learning Environments." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-71983.

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Emerging technologies are providing a wide range of benefits for people in their different activities. That fact ranges from daily life activities, to business, teaching or simply for recreation. In what concerns to people with special needs there is a wide range of devices and applications that can be of use in addressing those needs and the will to progress in life. Observing in perspective, the support provided by technology can be seen as augmenting our sensorial experience by providing additional information as in the case of virtual reality and augmented reality. The devices provide additional information for what people sense, adding information and enlarging the sensorial experience while mounting additional information. This paper describes a strategy to extend, thru common use technology, the awareness of people with limited sensorial experience, aligning with other emergent technologies widely applicable to different situations while keeping a focus on teaching environments. That includes sensory devices like the Leap Motion device and 3D printed materials, which combined provide new opportunities for blind people to sense and retrieve new information.
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de Oliveira Santos, Maiara, Marcelo dos Santos Forcato, and Anelise Guadagnin Dalberto. "SENSORIAL EXPERIENCE APPLIED TO PRODUCT DESIGN TEACHING." In 10th International Conference on Education and New Learning Technologies. IATED, 2018. http://dx.doi.org/10.21125/edulearn.2018.2635.

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Durão, Maria João, and Glen A. Robertson. "Embodied Space: a Sensorial Approach to Spatial Experience." In SPACE, PROPULSION & ENERGY SCIENCES INTERNATIONAL FORUM: SPESIF-2009. AIP, 2009. http://dx.doi.org/10.1063/1.3115544.

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Yuan, Zhenhui, Gheorghita Ghinea, and Gabriel-Miro Muntean. "Quality of experience study for multiple sensorial media delivery." In 2014 International Wireless Communications and Mobile Computing Conference (IWCMC). IEEE, 2014. http://dx.doi.org/10.1109/iwcmc.2014.6906515.

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Kurvinen, E. "Session details: Stigma and the sensorial experience of objects." In DPPI03: Conference on Designing Pleasurable Products and Interfaces 2003. ACM, 2003. http://dx.doi.org/10.1145/3245038.

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Hornsby, Adrian, and Rod Walsh. "Attaching the Value of Sensorial Experience to Pervasive Multimedia Applications." In 2010 7th IEEE Consumer Communications and Networking Conference (CCNC). IEEE, 2010. http://dx.doi.org/10.1109/ccnc.2010.5421685.

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Boukouvala, Niki. "From wine tasting to materials sensorial perception: A framework for materials experience." In DRS2022: Bilbao. Design Research Society, 2022. http://dx.doi.org/10.21606/drs.2022.460.

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Abudayyeh, Rana. "PATTERNED: Sensorial Material Effects and the Learning Machine." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.30.

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Patterns, murals, reliefs, and various types of surface articulations have long been an integral part of design. Attitudes towards surface are reflective of a broader climate of spatial production, gauging the necessity and commodity of agglomeration within spaces specifically, and the agency of liminal territories within architecture at large. Commonly deposited on surfaces within prized programs (such as churches, palaces, and mosques), patterns and their respective aggregations reference through their inscriptions deities and assert the influence of various authorities. They are also telling of traditions of making and craft, both analog and digital. Whether such formations assume anthropomorphic qualities or are fashioned around pure geometry and repetition, the agency of surface articulation remains a present yet often contested area in design.1 The resilience of patterns and their resurgence in the digital age is a testament to their impact on our spatial experience.2 From primitive markings to the most complex formal plasticity of fabricated assemblages, topical material applications are intrinsic to asserting value and identity to the spatial volume. Heterotopias by nature, patterns alter and augment the space of occupation. They cater to a different formal metabolism characterized by a unique receptiveness to the users, thus, introducing friction to interior and exterior territories. Now more than ever, the need for this friction between surfaces and their occupants is essential in an era ubiquitous with the flatness of virtual imagery3 and an overall contextual banality.
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Balaminutti, Lara D., and Rachel Zuanon. "Sensorial Design applied to teaching-learning in Artistic Drawing." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.133.

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The present research focuses on the Sensorial Design approach applied to the teaching-learning of artistic drawing. The Sensorial Design is subsidized by the SEE BEYOND method [LIMA JR. G.C.; ZUANON, R. 2017-2019], which is based on cognitive-behavioral neuroscience and neuroeducation studies to develop and apply didactic-pedagogical and didactic-andragogics resources aimed at teaching and learning of Design by students with and without visual impairment. In this approach, the practice of drawing is understood as an intrinsic element to the mental mechanisms of human beings and acting in their sensorimotor, cognitive and behavioral evolution. This is because through the lines, textures, colors and other compositional elements present in the drawing practice, it is possible to elaborate or express affections and materialize emotions, sensations and thoughts, which are experienced in the mind and experienced in the body as a whole. From this understanding, the approach between the fields of artistic drawing and cognitive-behavioral neuroscience is natural. In the context of higher education, specifically in Visual Arts, the cooperation between the fields of drawing, neuroscience and neuroeducation is shown to be capable of equipping educators with pedagogical practices that contribute to the formation of contemporary artists, especially with regard to the achievement of a poetic-artistic and authorial project expression. The activities carried out from the practical approach of Sensorial Design seek to question the protagonism of vision by sensitizing and enhancing the other senses. In this process, hearing, tasting, smelling, and touching also gain prominence in the formation of mental images, unlike other teaching-learning methods in which this protagonism focuses only on vision. The Sensorial Design approach is developed in the context of higher education in Visual Arts and applied in the Artistic Drawing I and II disciplines, which are part of the Visual Arts undergraduate course’s curriculum at the University of Campinas, since 2019. Through of student’s somatosensory and sensorimotor stimulations, the classes address several thematic axes fundamental to the field of artistic drawing practice, which are at the base of most artistic drawing teaching programs in Brazil for example: line, contour, filling, figure, ground, movement and rhythm. From this global stimulation of the senses, students are encouraged to expand their perceptive limits and their creative processes while expanding their sensory repertoires. Furthermore, the Sensorial Design approach corroborates the rupture of pre-established visual compositional patterns and, consequently, the reach of an authorial poetic-artistic expressiveness. It is important to highlight that in the period prior to the COVID-19 pandemic, all activities carried out with students took place in the face-to-face education context, and the drawing practice happened mostly through analogical instruments and mediums. With the pandemic already unleashed, such activities were adapted for distance education, in order to preserve their original characteristics, especially with regard to ensuring the application of somatosensory and sensorimotor stimulation in the students. The experience acquired along this methodological adaptation process (from face-to-face to distance education) has indicated relevant contributions to increment this approach in the post-pandemic context, e.g. to increase the number of digital media resources applied in the Sensorial Design practice, which point out to the formulation of a hybrid learning-teaching method (physical-digital).
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Vellingiri, Shanthi, and Prabhakaran Balakrishnan. "Modeling User Quality of Experience (QoE) through Position Discrepancy in Multi-Sensorial, Immersive, Collaborative Environments." In MMSys'17: Multimedia Systems Conference 2017. ACM, 2017. http://dx.doi.org/10.1145/3083187.3084018.

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Reports on the topic "Sensorial Experience"

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Mills, Kathy, Elizabeth Heck, Alinta Brown, Patricia Funnell, and Lesley Friend. Senses together : Multimodal literacy learning in primary education : Final project report. Institute for Learning Sciences and Teacher Education, Australian Catholic University, 2023. http://dx.doi.org/10.24268/acu.8zy8y.

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[Executive summary] Literacy studies have traditionally focussed on the seen. The other senses are typically under-recognised in literacy studies and research, where the visual sense has been previously prioritised. However, spoken and written language, images, gestures, touch, movement, and sound are part of everyday literacy practices. Communication is no longer focussed on visual texts but is a multisensory experience. Effective communication depends then on sensory orchestration, which unifies the body and its senses. Understanding sensory orchestration is crucial to literacy learning in the 21st century where the combination of multisensory practices is both digital and multimodal. Unfortunately, while multimodal literacy has become an increasing focus in school curriculum, research has still largely remained focussed on the visual. The Sensory Orchestration for Multimodal Literacy Learning in Primary Education project, led by ARC Future Fellow Professor Kathy Mills, sought to address this research deficit. In addressing this gap, the project built an evidence base for understanding how students become critical users of sensory techniques to communicate through digital, virtual, and augmented-reality texts. The project has contributed to the development of new multimodal literacy programs and a next-generation approach to multimodality through the utilisation of innovative sensorial education programs in various educational environments including primary schools, digital labs, and art museums.
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Rodriguez Chaparro, David Osvaldo, and Alejandro Zamorano Arancibia. Fundamentos de estética odontológica. Universidad Autónoma de Chile, 2022. http://dx.doi.org/10.32457/12728/10161202268.

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El concepto de estética en odontología ha recibido una fuerte atención desde la aparición de materiales que fueron capaces de reproducir las propiedades ópticas de los tejidos que restauraban, es así como la aparición de las resinas acrílicas y luego de los composites, fue generando un cambio, tanto en las posibilidades que tenían los clínicos, como en las expectativas de los pacientes, que fueron aumentando cada vez mas. En este aspecto, recordemos que hace algunos años, una restauración metálica era perfectamente validada en el sector anterior y hoy en día es prácticamente inconcebible. Se hace necesario definir el concepto de estética y situarlo en el contexto de la odontología, si bien es cierto que tiene muchas definiciones, una de ellas podría ser que “es la ciencia que trata del conocimiento sensorial que llega a la atención de lo bello y se expresan las imágenes del arte” o que es “una teoría sobre el juicio basada en la experiencia”, para nosotros desde el punto de vista odontológico lo que nos interesa es definirla como la “capacidad para percibir lo bello”, si lo queremos llevar a una definición elemental para la odontología podríamos hablar de que es el proceso por el cual nosotros captamos un objeto a través de lo órganos de los sentidos y mediante un proceso interno realizamos un juicio que nos permite contrastar lo que captamos con nuestras experiencias previas y nuestro acerbo cultural para poder definirlo como un objeto bello.
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