Overview of sensory perception

2012 ◽  
pp. 3-23 ◽  
Author(s):  
W.L.P. Bredie ◽  
P. Møller
Keyword(s):  
1934 ◽  
Vol 29 (3) ◽  
pp. 350-352 ◽  
Author(s):  
George Van Ness Dearborn
Keyword(s):  

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.


2010 ◽  
Vol 55 (1) ◽  
pp. 69-89
Author(s):  
Katharina Münchberg

Die Kunst der Moderne, insbesondere die Lyrik, entwickelt eine eigene ästhetische Konzeption der Bewegung, die mit der klassischen Vorstellung der Bewegung als räumlicher Veränderung eines Körpers in der Zeit bricht. Baudelaires À une Passante, Rimbauds Bateauivre und Paul Valérys Le Cimetière marin sind drei paradigmatische Texte der französischen Moderne, in denen Bewegung als zeiträumliches Kontinuum reflektiert und in der Dynamik der Sprache materialisiert wird. Die moderne Kunst, so erweist sich, ist selbst Bewegung und stiftet Bewegung. Sie wird zu einer Kunst des Werdens, nicht der Substanz, zu einer Kunst der reinen sinnlichen Wahrnehmung, nicht des Begriffes, zu einer Kunst der diskontinuierlichen Erlebnisse, nicht der Erfahrung.<br><br>The art of the modern age, particularly the lyric poetry, develops an own aesthetic conception of the movement which breaks with the classic idea of the movement as a spatial change of a body in time. Baudelaires À une Passante, Rimbauds Bateau ivre and Paul Valérys Le Cimetière Marin are three paradigmatic texts of the French modern age, in which movement is reflected as a time-space-continuum and materialized in the dynamic of language. Modern art is itself movement and causes movement. It becomes an art of the development, not sub- stance, an art of pure sensory perception, not concept, an art of discontinuous adventures, not experience.


Author(s):  
Irina Plekhanova

The goal of comparison of J. Brodsky’s and G. Sapgir’s ideas is to show the variety of the creative life search in the poetry of the late third of the XX century. The contribution of poetry to the XX century paradigm of uncertainty –from the relativistic physics to axiology – is to fill the emptiness. The existential and mental task is to poetically feel the transcendent deeper and bring it closer via «blending ethics with metaphysics». The contrast of the artistic systems is described as a controversy between the apolloniс and dionysian, mediumistic and voluntarist principles of creation. Brodsky’s neoclassicism is comparable to Sapgir’s discrete dynamics – both poets perceived the otherness via sharp perception of life in its dialogue with the emptiness. Poetry was seen as an adequate way to achieve transcendent knowledge; creative life was looking for the images convincing that one recognized the otherness in the form of the emptiness and for the means to transmit one’s perceptions about it. The dialogue with the emptiness is presented as a visionary intrusion into otherness and a search for resonance with it. Brodsky’s contemplation sees the transition as immersion into the multidimensionality; chrono-sensory perception unfolds metaphorically. Sapgir’s mystical propensity is sensual, it engages readers in the reflection through performances, spontaneous associations open the emptiness as the fullness. The authenticity of the cognition is felt by the poets in flesh, viscerally (anxiety, vertigo, exertion, pain).


Author(s):  
Daniel Leech-Wilkinson

The concept of shape is widely used by musicians in talking and thinking about performance, yet the mechanisms that afford links between music and shape are little understood. Work on the psychodynamics of everyday life by Daniel Stern and on embodiment by Mark Johnson suggests relationships between the multiple dynamics of musical sound and the dynamics of feeling and motion. Recent work on multisensory and precognitive sensory perception and on the role of bimodal neurons in the sensorimotor system helps to explain how shape, as a percept representing changing quantity in any sensory mode, may be invoked by dynamic processes at many stages of perception and cognition. These processes enable ‘shape’ to do flexible and useful work for musicians needing to describe the quality of musical phenomena that are fundamental to everyday musical practice and yet too complex to calculate during performance.


2012 ◽  
Vol 24 (9) ◽  
pp. 1867-1883 ◽  
Author(s):  
Bradley R. Buchsbaum ◽  
Sabrina Lemire-Rodger ◽  
Candice Fang ◽  
Hervé Abdi

When we have a rich and vivid memory for a past experience, it often feels like we are transported back in time to witness once again this event. Indeed, a perfect memory would exactly mimic the experiential quality of direct sensory perception. We used fMRI and multivoxel pattern analysis to map and quantify the similarity between patterns of activation evoked by direct perception of a diverse set of short video clips and the vivid remembering, with closed eyes, of these clips. We found that the patterns of distributed brain activation during vivid memory mimicked the patterns evoked during sensory perception. Using whole-brain patterns of activation evoked by perception of the videos, we were able to accurately classify brain patterns that were elicited when participants tried to vividly recall those same videos. A discriminant analysis of the activation patterns associated with each video revealed a high degree (explaining over 80% of the variance) of shared representational similarity between perception and memory. These results show that complex, multifeatured memory involves a partial reinstatement of the whole pattern of brain activity that is evoked during initial perception of the stimulus.


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