scholarly journals Profundidade: uma dimensão vivida pelo corpo

Revista Prumo ◽  
2021 ◽  
Vol 6 (9) ◽  
Author(s):  
Yasmin Elganim Vieira
Keyword(s):  
Opposite Direction ◽  
The Body ◽  
Spatial Extension ◽  
Paul Cezanne ◽  
Subjective Level

Este artigo discute a profundidade numa direção oposta à sua objetividade. Não se trata de discorrê-la como uma habituada coordenada do espaço ou como um parâmetro referente à extensão espacial. Desdobra-se aqui a profundidade num nível subjetivo: como uma dimensão vivida pelo corpo. À luz da fenomenologia do filósofo Maurice Merleau-Ponty (1908–1961) e de sua análise dos planos pictóricos do artista Paul Cézanne (1938–1906), enunciam-se algumas considerações sobre a existência da profundidade como uma dimensão que estrutura a relação CORPO-ESPAÇO. A profundidade subjetiva se torna potencialidade para a disciplina da arquitetura ao ser responsável pelo engajamento corpóreo. Palavras-chave: Profundidade; Fenomenologia; Merleau-Ponty; Cézanne; Relação CORPO-ESPAÇO. Abstract This article discusses depth in an opposite direction to its objectivity. It is not a matter of discussing it as a familiar coordinate of space or as a parameter referring to spatial extension. In this article, depth is unfolded on a subjective level: as a dimension lived by the body. Based on the phenomenology of the French philosopher Maurice Merleau-Ponty (1908–1961) and on his analysis of the pictorial planes of Paul Cézanne (1938–1906), some considerations are made about the existence of depth as a dimension that structures the body in the space. Subjective depth becomes a potentiality for the discipline of architecture by attributing plasticity to the BODY-SPACE relationship and by being responsible for corporeal engagement. Keywords: Depth; Phenomenology; Merleau-Ponty; Cézanne; BODY-SPACE relationship

scholarly journals XXVII. On the nature of the force producing the motion of a body exposed to rays of heat and light

1876 ◽  
Vol 166 ◽  
pp. 715-724 ◽  
Keyword(s):  
Opposite Direction ◽  
Mechanical Action ◽  
The Body

Mr . Crookes has lately drawn attention to the mechanical action of a source of light on delicately suspended bodies in vacuo . I have made a few experiments which will, I think, throw some light on the cause of these phenomena, and assist us in the explanation of the manifold and striking experiments made by Mr. Crookes. Whenever we observe a force tending to drive a body in a certain direction we are sure to find a force equal in amount acting in the opposite direction on the body or on the bodies from which the force emanates. It was with the view of finding the seat of this reaction that I have made the experiments described in these pages.

scholarly journals Apesar da noite: a materialidade da figura humana em Philippe Grandrieux

2016 ◽  
Vol 14 (28) ◽  
pp. 155
Author(s):  
Edson Pereira da Costa Júnior
Keyword(s):  
The Body ◽  
Pablo Picasso ◽  
Pictorial Space ◽  
Paul Cezanne ◽  
Human Figure

No cinema de Philippe Grandrieux, o interesse em valorizar a presença da figura humana coexiste com um espaço pictórico crepuscular, na iminência de desaparecer na escuridão. Cria-se um regime aparentemente contraditório: o corpo ganha peso, materialidade, apesar do risco de sua diluição na imagem. Tendo isso em vista, o artigo discute como a modulação do negrume contribui para a sublimação visual e a restituição sensorial da figura humana em seus filmes, com foco em Sombra (Sombre, 1998) e mais brevemente em White epilepsy (2012). A partir do cotejo com as artes plásticas, sobretudo com obras de Pablo Picasso e de Paul Cézanne, busca-se pensar as particularidades de um programa que evoca o corpo a partir das sugestões espaciais e da circularidade na imagem.palavras-chave: figura humana; sombra; presença; cinema; pintura AbstractIn Philippe Grandrieux’s cinema, the interest in representing the presence of human figure coexists with a twilight pictorial space on the brink of fading into darkness. Therefore, we recognize a contradictory situation:  the body gets materiality in spite of his possibility of dissolves in the image. In view of the above, the paper aims to discuss how the shadow contributes to a visual sublimation and a sensory restitution of human figure in Grandrieux’s cinema, especially in Sombre (1998) and briefly in White epilepsy (2012). In relation with plastic art, notably the works of Pablo Picasso and Paul Cézanne, we intend to discuss the specificities of a formal proposition that seeks to evoke the body by space indices and by the circularity in the image.keywords: human figure; shadow; presence; cinema; painting 

scholarly journals Studies in Animal Locomotion

1939 ◽  
Vol 16 (1) ◽  
pp. 9-17
Author(s):  
J. GRAY
Keyword(s):  
Opposite Direction ◽  
Slow Rate ◽  
The Body ◽  
Rapid Rate ◽  
Animal Locomotion ◽  
Longitudinal Muscles ◽  
Anterior Direction

1. Ambulation in Nereis involves two phenomena: (a) the spread, at a rapid rate, of an ambulatory pattern over the segments of the body, the pattern being propagated (during forward progression) from the anterior end of the animal towards the tail; (b) the transmission of this pattern, at a relatively slow rate, in an anterior direction. 2. During rapid ambulation, the activity of the parapodia is co-ordinated with that of the longitudinal muscles and progression is, largely, attributable to these muscles. Since one side of each segment is fixed to the ground when the underlying longitudinal muscles are fully relaxed, it follows that the animal must progress in the direction in which the muscular waves travel over the body, and not, as in the case of the earthworm, in the opposite direction. 3. The mechanism of swimming is described.

Visual Scanning in the Desert Locust Schistocerca Gregaria Forskål

1959 ◽  
Vol 36 (3) ◽  
pp. 512-525 ◽  
Author(s):  
G. K. WALLACE
Keyword(s):  
Visual Field ◽  
Opposite Direction ◽  
Schistocerca Gregaria ◽  
Distance Estimation ◽  
The Body ◽  
Desert Locust ◽  
Visual Scanning

1. This paper describes a lateral swaying movement performed by desert locust nymphs. This movement is called ‘peering’. 2. The angle through which the body moves is influenced by the position of objects in the visual field, showing that the movement is related to vision. 3. When given a choice of two objects at different distances the nymphs show a preference for the nearer one. The estimation of the relative distances of the two objects is not achieved by a binocular method nor is it based on the angle subtended by the objects. 4. An experiment is described in which an object is moved while the insect is peering. If the object is moved in the opposite direction to the insect's motion the insect jumps short of the object. This seems to support the hypothesis that one of the functions of peering is to estimate distance by the extent of the movement over the retina of an object's image. 5. This method of distance estimation is discussed with relation to the binocular method. 6. It is suggested that in some cases the peering observed may represent a preliminary scanning of the visual field and may provide information about the finer details of the field.

Instructions, Illusory Self-Tilt and the Rod-and-Frame Test

1979 ◽  
Vol 31 (1) ◽  
pp. 155-165 ◽  
Author(s):  
Eric Sigman ◽  
Donald R. Goodenough ◽  
Michael Flannagan
Keyword(s):  
Opposite Direction ◽  
Test Performance ◽  
The Body ◽  
Body Midline ◽  
Adjustment Error ◽  
Gravitational Vertical ◽  
Rod And Frame Test ◽  
Rod And Frame

If an illusion of self-tilt is involved in rod-and-frame test performance, then instructions to adjust the rod to the body midline (egocentric instructions) should result in less rod adjustment error than the standard instructions for the rod-and-frame test to adjust the rod to the gravitational vertical. Two experiments were designed to examine this possibility. The results of the first experiment indicate that the tilted rod-and-frame display induces an illusion of self-tilt in the opposite direction. Significant differences between instructional conditions were found in the second experiment as expected. Other rod-and-frame studies are discussed in view of these findings.

scholarly journals Metabolic Shifts as the Hallmark of Most Common Diseases: The Quest for the Underlying Unity

2021 ◽  
Vol 22 (8) ◽  
pp. 3972
Author(s):  
Laurent Schwartz ◽  
Marc Henry ◽  
Khalid O. Alfarouk ◽  
Stephan J. Reshkin ◽  
Miroslav Radman
Keyword(s):  
Immune Response ◽  
Opposite Direction ◽  
Warburg Effect ◽  
Modern Medicine ◽  
The Body ◽  
Common Diseases ◽  
Age Related ◽  
Old Drugs

A hyper-specialization characterizes modern medicine with the consequence of classifying the various diseases of the body into unrelated categories. Such a broad diversification of medicine goes in the opposite direction of physics, which eagerly looks for unification. We argue that unification should also apply to medicine. In accordance with the second principle of thermodynamics, the cell must release its entropy either in the form of heat (catabolism) or biomass (anabolism). There is a decreased flow of entropy outside the body due to an age-related reduction in mitochondrial entropy yield resulting in increased release of entropy in the form of biomass. This shift toward anabolism has been known in oncology as Warburg-effect. The shift toward anabolism has been reported in most diseases. This quest for a single framework is reinforced by the fact that inflammation (also called the immune response) is involved in nearly every disease. This strongly suggests that despite their apparent disparity, there is an underlying unity in the diseases. This also offers guidelines for the repurposing of old drugs.

scholarly journals Perception of Tactile Distance on the Back

Perception ◽  
2021 ◽  
pp. 030100662110253
Author(s):  
Anabela Nicula ◽  
Matthew R. Longo
Keyword(s):  
Body Length ◽  
Opposite Direction ◽  
Spatial Representation ◽  
Distance Perception ◽  
The Body ◽  
Body Width ◽  
Left Hand ◽  
Lower Back

The perceived distance between two touches is anisotropic on many parts of the body. Generally, tactile distances oriented across body width are perceived as larger than distances oriented along body length, though the magnitude of such biases differs substantially across the body. In this study, we investigated tactile distance perception on the back. Participants made verbal estimates of the perceived distance between pairs of touches oriented either across body width or along body length on (a) the left hand, (b) the left upper back, and (c) the left lower back. There were clear tactile distance anisotropies on the hand and upper back, with distances oriented across body width overestimated relative to those along body length/height, consistent with previous results. On the lower back, however, an anisotropy in exactly the opposite direction was found. These results provide further evidence that tactile distance anisotropies vary systematically across the body and suggest that the spatial representation of touch on the lower back may differ qualitatively from that on other regions of the body.

scholarly journals II. On the nature of the force producing the motion of a body exposed to rays of heat and light

1876 ◽  
Vol 24 (164-170) ◽  
pp. 391-392 ◽  
Keyword(s):  
Opposite Direction ◽  
Mechanical Action ◽  
The Body

Mr. Crookes has lately drawn attention to the mechanical action of a source of light on delicately suspended bodies vacuo ; I have made a few experiments which will, I think, throw some light on the cause of the phenomenon, and assist us in the explanation of the manifold and striking experiments made by Mr. Crookes. Whenever we observe a force tending to drive a body in a certain direction, we are sure to find a force equal in amount acting in the opposite direction on the body from which the force emanates. It was with the view of finding the seat of this reaction that I have made a few experiments.

The Objection from Touch: Sensation, Extension, and the Soul in Augustine’s The Quantity of the Soul

2020 ◽  
pp. 1-28
Author(s):  
Blake D. Dutton
Keyword(s):  
The Body ◽  
Tactile Sensation ◽  
Spatial Extension ◽  
Touch Sensation

Abstract In The Quantity of the Soul, Augustine puts forward the view that the soul is immaterial and that its quantity (quantitas) must be understood in terms of power rather than spatial extension. Against this view, his friend and interlocutor Evodius raises an important objection, The Objection from Touch, which argues that the soul’s exercise of tactile sensation requires that it be extended through the parts of the body. This paper examines Evodius’s objection and Augustine’s response to it. Particular attention is given to certain features of Augustine’s theory of sensation that this exchange reveals, especially his view that the eyes undergo passion-at-a-distance or are acted on at a place where they are not present.

Axial Synergies Under Microgravity Conditions

1993 ◽  
Vol 3 (3) ◽  
pp. 275-287
Author(s):  
J. Massion ◽  
V. Gurfinkel ◽  
M. Lipshits ◽  
A. Obadia ◽  
K. Popov
Keyword(s):  
Opposite Direction ◽  
Kinematic Analysis ◽  
Center Of Mass ◽  
The Body ◽  
Adaptive Changes ◽  
Trunk Movements ◽  
Microgravity Conditions ◽  
Mass Position

Fast forward and backward upper trunk movements were analyzed and compared under microgravity and under preflight and postflight conditions. The kinematic analysis showed that the upper trunk movements were accompanied by hip and knee movements in the opposite direction both under microgravity and under normal gravitational conditions. This suggests that the center of mass position with respect to the feet is still regulated under microgravity when the feet are attached to the floor. The EMG analysis during backward movements shows that under preflight conditions a set of muscles (ErSp, BF, Sol) in the back of the body are activated early on. Under microgravity, the early Sol activation was replaced by an early TA activation, which was still present at the first postflight recording and was then replaced by the early Sol activation observed under preflight conditions. This finding shows that the EMG pattern underlying the axial synergies is flexible and that adaptive changes take place both under microgravity and after return to Earth.

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