Modal Structuralism and Color

2021 ◽  
pp. 226-246
Author(s):  
Joseph Mendola
Keyword(s):  
Phenomenal Consciousness ◽  
Sensory Experience ◽  
Modal Structure ◽  
Sensory Experiences ◽  
Core Idea ◽  
Basic Features

It is like something to have sensory experiences, and differences in this what-it’s-like, in this phenomenal consciousness, are called differences in “qualia.” Exploration of the modal structure of the superworld in earlier chapters is necessary groundwork for a plausible and novel account of how our neurophysiology is sufficient to account for the kinds of nonveridical qualia involved in our sensory experience, a physicalist account of at least the basic features of the naïve experience explored in this book. That is the focus of this chapter. Its core idea is that the apparent modal structure of such qualia as those involved in our experience is due to the actual modal structure of the neurophysiology that constitutes that experience. This chapter develops an initial sketch of this idea by treating the case of color. The robustly metaphysical modal structure apparently present in our experience of color is in fact a reflection of the much more mundane difference between activated and merely potentiated features of our neurophysiology.

scholarly journals Australian Smokers’ Sensory Experiences and Beliefs Associated with Menthol and Non-Menthol Cigarettes

2021 ◽  
Vol 18 (11) ◽  
pp. 5501
Author(s):  
Serafino Mancuso ◽  
Emily Brennan ◽  
Kimberley Dunstone ◽  
Amanda Vittiglia ◽  
Sarah Durkin ◽  
...  
Keyword(s):  
Sensory Experience ◽  
Tobacco Products ◽  
Sensory Experiences ◽  
Online Panel ◽  
Menthol Cigarettes ◽  
Sensory Effects ◽  
New Information ◽  
Level Of Risk

Many current smokers incorrectly believe that menthol cigarettes are less harmful, likely due to the biological and sensory effects of menthol, which can lead smokers to have favourable sensory experiences. In this study, we measured the extent to which Australian smokers associate certain sensory experiences with smoking menthol and non-menthol cigarettes, and their beliefs about how damaging and enjoyable they find cigarettes with each of these sensory experiences. A sample of 999 Australian 18–69-year-old weekly smokers was recruited from a non-probability online panel; this study focuses on the 245 respondents who currently smoked menthol cigarettes at least once per week. Current menthol smokers were four to nine times more likely to experience menthol rather than non-menthol cigarettes as having favourable sensory experiences, including feeling smooth, being soothing on the throat, fresh-tasting and clean-feeling. Menthol smokers perceived cigarettes with these favourable sensations as less damaging and more enjoyable than cigarettes with the opposite more aversive sensory experience. Efforts to correct these misperceptions about risk will likely require messages that provide new information to help smokers understand that these sensations do not indicate a lower level of risk. Banning menthol in tobacco products—as has recently been done in some nations—would also be a timely and justified strategy for protecting consumers.

How words for sensory experiences become terms

Terminology ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 9-37 ◽  
Author(s):  
Danièle Dubois
Keyword(s):  
Psychological Theory ◽  
Sensory Experience ◽  
Meaning Construction ◽  
Shared Experience ◽  
Content Type ◽  
Sensory Experiences ◽  
Natural Categories ◽  
Complex Process ◽  
Intersubjective Experience ◽  
Double Nature

Given the double nature of experiencing food as individual as well as shared experience and knowledge, the question is how to connect the observed variability of expressing such a sensory experience with a normalized requirement for developing (food) terminology. On the basis of descriptions of food experiences in actual practices involving the way food is consumed, evaluated and expressed by individuals – experts or not – in all their diversity, we propose to contribute cognitive (psychological and linguistic) expertise to terminology research. We analyze terms as cognitive units, defined within a psychological theory of natural categories as acts of meaning. In tracking the processes of terminological meaning construction in discourse we find intersubjective experience within the complex process of terminologization.

scholarly journals Image Sensory Experience of Artistic Design Based on the Role of Omnidirectional Vision Sensors

2021 ◽  
Vol 2021 ◽  
pp. 1-10
Author(s):  
Zhen Tong
Keyword(s):  
Detection Rate ◽  
Information Dissemination ◽  
Sensory Experience ◽  
Image Texture ◽  
Omnidirectional Vision ◽  
Wide Field ◽  
Vision Sensor ◽  
Visual Sensor ◽  
Sensory Experiences ◽  
Art Design

As a sensor with a wide field of view, the panoramic vision sensor is efficient and convenient in perceiving the characteristic information of the surrounding environment and plays an important role in the experience of artistic design of images. The transformation of visual and other sensory experiences in art design is to integrate sound, image, texture, taste, and smell with each other through reasonable rules, to create more excellent crossborder art design works. To improve the sensory experience that art design works bring to the audience, the combination of vision and other sensory experiences can maximize the advantages of multiple information dissemination methods and combine the omnidirectional visual sensor with the sensory experience of art design images. In the method part, this article introduces the omnidirectional vision sensor, art design image, and sensory experience modes and content and introduces the hyperbolic concave mirror theory and the Micusik perspective projection imaging model. In the experimental part, the experimental environment, experimental objects, and experimental procedures of this article are introduced. In the analysis part, this article analyzes the six aspects of image database dependency test, performance, comparison of different distortion types, false detection rate and missing detection rate, algorithm time-consuming comparison, sensory experience analysis, and feature point screening. Among the feelings of the art design image, for the first image, 87.21% of the audience’s feelings are happy, indicating that the main idea of this image can bring joy to people. In the second image, the audience’s feelings are mostly sad. For the third image, more than half of the audience’s feelings are melancholy. For the fourth image, 69.34% of the audience’s inner feelings are calm. It explains that the difference in the content of art design images can bring different sensory experiences to people.

Dual effect of sensory experience: engagement vs diversive exploration

2019 ◽  
Vol 48 (2) ◽  
pp. 128-151
Author(s):  
Margarita Lashkova ◽  
Carmen Antón ◽  
Carmen Camarero
Keyword(s):  
Sensory Experience ◽  
Hierarchical Regression ◽  
Online Questionnaire ◽  
Dual Effect ◽  
Content Type ◽  
Sensory Experiences ◽  
Shopping Experience ◽  
Negative Effect ◽  
E Mail ◽  
Positive Effect

Purpose The purpose of this paper is to examine the dual effect of sensory experiences on customer behaviour in the context of retailing. Based on the theoretical framework of the optimal stimulation level theory, the authors propose that sensory experiences reinforce satisfaction, engagement and loyalty, but increase customers’ diversive exploration and curiosity for other experiences and may eventually led to reduced loyalty. Design/methodology/approach A self-administrated online questionnaire was distributed via e-mail to 1,000 households in a Spanish town, and 325 usable responses of supermarket customers were collected. The hypothesised relationships were tested using the partial least squares approach. The analysis is extended with an experiment in online fashion stores that explores whether a varied sensory experience reinforces consumers’ diversive exploration. In total, 68 students participated in the study. Hierarchical regression analysis is performed to analyse the results of the experiment. Findings Findings support the notion that a pleasant sensory experience increases customer satisfaction and therefore their engagement and behavioural loyalty (exclusivity) towards the retailer whilst also generating more ambitious consumer expectations vis-à-vis the shopping experience and thus encouraging them to search for new retailers and, so, to be less loyal. Research limitations/implications This research warns of the risk of increasing customer’s expectations and reducing their loyalty; hence satisfaction is not enough. Retailers should consider offering new experiences and surprise customers every so often, attempting to curtail the effect of satiation or the effect of over-arousal. Originality/value The novelty of this study is the proposal of a twofold effect of sensory experience on loyalty, a positive effect, through satisfaction, and a negative effect, through the search for new experiences.

scholarly journals Situated Embodiment: When Physical Weight Does and Does Not Inform Judgments of Importance

2020 ◽  
pp. 194855062097196
Author(s):  
David J. Hauser ◽  
Norbert Schwarz
Keyword(s):  
Sensory Information ◽  
Sensory Experience ◽  
Logic Of Knowledge ◽  
Sensory Experiences ◽  
Knowledge Accessibility ◽  
Judgment Study ◽  
Bodily Sensations ◽  
The Impact

Bodily sensations impact metaphorically related judgments. Are such effects obligatory or do they follow the logic of knowledge accessibility? If the latter, the impact of sensory information should be moderated by the accessibility of the related metaphor at the time of sensory experience. We manipulated whether “importance” was on participants’ minds when they held a physically heavy versus light book. Participants held the book while making an importance judgment versus returned it before making the judgment (Study 1) or learned prior to holding the book that the study was about “importance evaluations” versus “graphics evaluations” (Study 2). In both studies, the same book was judged more important when its heft was increased but only when importance was on participants’ minds at the time of sensory experience. We conclude that sensory experiences only impact metaphorically related judgments when the applicable metaphor is highly accessible at the time of experience.

The Metaphysics of Sensory Experience

2021 ◽  
Author(s):  
David Papineau
Keyword(s):  
High School Students ◽  
Perceptual Experience ◽  
Sensory Experience ◽  
Qualitative Theory ◽  
School Students ◽  
Sensory Experiences ◽  
History Of ◽  
The Rich ◽  
Essential Connection ◽  
The Mind

What are the materials of conscious perceptual experience? What is going on when we are consciously aware of a visual scene, or hear sounds, or otherwise enjoy sensory experience? In The Metaphysics of Sensory Experience David Papineau exposes the flaws in contemporary answers to this central philosophical question and defends a new alternative. Contemporary theories of perceptual experience all hold that conscious experiences reach out into the world beyond the mind. According to naïve realism, experiences literally incorporate perceived facts, while representationalism holds that experiences contain ordinary properties of the kind possessed by physical objects. These ideas might seem attractive at first sight, but Papineau shows that they do not stand up to examination. Instead Papineau argues for a purely qualitative account of sensory experience. Conscious sensory experiences are intrinsic states of people with no essential connection to external circumstances or represented properties. This might run counter to initial intuition, but Papineau shows that it is the only view that fits the facts. He develops this qualitative theory in detail, showing how it can accommodate the rich structure of sensory experience. Papineau’s qualitative account has respectable antecedents in the history of philosophy, and is also probably the view adopted by most non-specialists, be they reflective high school students, practising neuroscientists, or philosophers working outside the philosophy of perception. By placing the qualitative theory on a firm footing, Papineau shows all those curious about experience that they need not be restricted to the options on the contemporary philosophical menu.

Understanding the sensory characteristics of edible insects to promote entomophagy: A projective sensory experience among consumers

2021 ◽  
pp. 223-227
Author(s):  
Alfonso Piscitelli ◽  
Roberto Fasanelli ◽  
Elena Cuomo ◽  
Ida Galli
Keyword(s):  
Sensory Experience ◽  
Sensory Characteristics ◽  
Edible Insects ◽  
Check List ◽  
Edible Insect ◽  
Sensory Experiences ◽  
Olfactory Sensation ◽  
Step Procedure ◽  
On Line ◽  
Insects As Food

In recent years, a remarkable number of studies have investigated sensory characteristics, such as flavor and texture, of edible insect and insect-based foods, their contribution to consumers’ attitudes toward edible insects are important in consumer appeal and their willingness to try eating insects in the future. This paper addresses the problem of describing the sensory characteristics aof edible insect and insect-based foods in terms of preferences. To this end, we conducted a study to explore the representations of sensory experiences related to an insect-based dish involving a voluntary sample of 154 consumers. The quasi-experiment, which we have called projective sensory experience (PSE), follows a two-step procedure. In the first step, we asked the participants to imagine tasting an insect-based dish and then to rate, from 1 (imperceptible) up to 10 (very perceptible), the following taste-olfactory sensations: Sapidity, Bitter tendency, Acidity, Sweet, Spiciness, Aroma, Greasiness-Unctuosity, Succulence, Sweet, Fatness, Persistence. In the second step, we asked our interviewees to indicate, through a specific check-list, which was the most disturbing and least disturbing taste-olfactory sensation imagined. We collected data from May to July 2020 by using an anonymous on-line questionnaire. Results could help understand the sensory characteristics of “insects as food” that should be used or avoided, for example, in communication aimed at promoting familiarity with edible insects and improving the acceptability of insects as a novel food.

Sensory Experience AS Method

2019 ◽  
pp. 52-68
Author(s):  
Kelvin E. Y. Low ◽  
Noorman Abdullah
Keyword(s):  
Sensory Experience ◽  
Ethnographic Research ◽  
Calibration Data ◽  
Sensory Experiences ◽  
Sensory Learning ◽  
Methodological Tool

The researcher’s body and sensory faculties are both experientially involved in interactional field settings. Drawing on their research, the authors sketch out three sensory encounters informed by theoretical and methodological debates pertaining to subjectivity and intersubjectivity. Dealing with issues of race, gender, and heritage, the authors demonstrate how their bodies as researchers go through processes of sensory learning and calibration. Data are collectively generated along with respondents during fieldwork. In the discussion, the authors provide a lens through which corporeal and sensory experiences can be deployed as an important methodological tool in the generation and theorization of data in ethnographic research.

Dramatherapy in a nursing home: Exploring resonances between sensory experience and embodied interaction in people with dementia through the use of fairy tales

Dramatherapy ◽  
2019 ◽  
Vol 40 (2) ◽  
pp. 81-94
Author(s):  
Beatrice Scott
Keyword(s):  
Nursing Home ◽  
Fairy Tales ◽  
Qualitative Methodology ◽  
Continuing Professional Development ◽  
Well Being ◽  
Sensory Experience ◽  
Small Scale ◽  
Sensory Experiences ◽  
People With Dementia ◽  
Spontaneous Interaction

This small-scale research study explores resonances engendered by sensory experience in people with dementia and discusses the key role interaction plays in their care. It was inspired by a spontaneous interaction from a client with severe dementia. Parlett and Deardon’s qualitative methodology of illuminative evaluation was employed within a structure delineated by Meekums and Payne and Grainger with the aim of developing understanding of the use of Dramatherapy in this context. The Dramatherapist assumed the role of practitioner-researcher within a person-centred paradigm. An eclectic redevelopmental model of Dramatherapy using fairy tales and song was underpinned by Jennings’s model of embodiment, projection and role (EPR) with the aim of supporting the well-being of the clients through creating interactive opportunities. Key findings showed that Dramatherapy methods enabled interaction contained in a model of practice that held meaning for the clients. Sensory experiences brought aspects of self into embodied being and a more positive state was noted after the sessions by the carers which, in some, had a lasting effect. Data were gathered from fieldwork during 12 session of 60 minutes held over 6 months with three residents at any one time and included verbal feedback from the clients, verbal and written feedback from the nursing home and questionnaires to participants attending a Continuing Professional Development (CPD) day where the Dramatherapist presented preliminary findings. The study shows there is room for this theme to be developed in Dramatherapy practice and research with this marginalised population.

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