scholarly journals Corpi annidati

2021 ◽  
pp. 139-158
Author(s):  
Sarah Robinson
Keyword(s):  
Visual Perception ◽  
Spatial Cognition ◽  
Sense Of Place ◽  
Body Schema ◽  
Personal Space ◽  
Haptic System ◽  
The Senses

We are bodies start from other bodies. Yet, we rarely consider how our bodies extend into our surroundings. Discusses our body schema, peripersonal and extra personal space. Considers buildings as extensions of our bodies and minds and develops the con-cept of nested bodies that engage the senses, spatial cognition and a sense of place, audi-tory system and acoustic architecture, the haptic system and texture, tasting, smelling and the imagination, visual perception and chronobiology, atmospheric space.

scholarly journals PSYCHOLOGICAL NEEDS FOR SENSE OF PLACE AND PERSONAL SPACE IN PUBLIC AREA

2020 ◽  
Vol 5 (2) ◽  
pp. 77-83
Author(s):  
P.Meena Kumari
Keyword(s):  
Built Environment ◽  
Sense Of Place ◽  
Personal Space ◽  
Psychological Needs ◽  
Behavioral Pattern ◽  
Social Scientists ◽  
The People ◽  
Depth Study ◽  
Public Area ◽  
And Behavior

Environmental phycology and behavior in built environment is the field that interests the social scientists and environmental designers for many years. In-depth study and research finding are conducted and have discussed in detail the philosophy and the abstract theories on concept of privacy, personal space, sense of place by the people in a given built environment. As per Roger Barker (1951) statement, the paper proposes that the ecological environment does not demand much but permits some behavioral pattern to take place naturally and elucidate that the built environment tends to act as a catalyst in providing space for the users to perform but also act as a despot in making the users to alter their needs and behavior to the built setting. The paper also touches on the important issues in understanding, and translation of these psychological and behavioral theories and concepts into the real tangible substantial world that the architects and designers can imply upon. The fundamental primal need of people to have personal space and a sense of place in public area is reviewed in this paper and concludes for a cohesive way to achieve this ,by means of participation, cooperation and understanding among designers and environmental psychologists with the people.

scholarly journals NON-VISUAL PERCEPTION OF LANDSCAPE – USE OF HEARING AND OTHER SENSES IN THE PERCEPTION OF SELECTED SPACES IN THE CITY OF POZNAŃ

2013 ◽  
Vol 9 (2) ◽  
pp. 68-79
Author(s):  
Magdalena Szczepańska ◽  
Agnieszka Wilkaniec ◽  
Daria Łabędzka ◽  
Joanna Micińska
Keyword(s):  
Visual Perception ◽  
Decisive Role ◽  
The Other ◽  
Sense Of Smell ◽  
Landscape Use ◽  
The Senses ◽  
Questionnaire Method ◽  
The City

Perception of landscape is associated with the perception of space first of all by the sense of sight. Visual perception is supplemented by sensations collected by the other senses. The aim of the conducted investigations was to identify landscapes in the city of Poznań perceived both positively and negatively, using the senses of hearing, smell and touch. The questionnaire method was applied in this study. It was determined that for most respondents a decisive role in the perception of landscape, apart from sight, was played by the sense of smell and hearing.

scholarly journals Descartes on the Errors of the Senses

2016 ◽  
Vol 78 ◽  
pp. 73-108
Author(s):  
Sarah Patterson
Keyword(s):  
Visual Perception ◽  
Size And Shape ◽  
New Science ◽  
Natural Tendency ◽  
Innate Ideas ◽  
The Senses ◽  
Sceptical Argument

AbstractDescartes first invokes the errors of the senses in the Meditations to generate doubt; he suggests that because the senses sometimes deceive, we have reason not to trust them. This use of sensory error to fuel a sceptical argument fits a traditional interpretation of the Meditations as a work concerned with finding a form of certainty that is proof against any sceptical doubt. If we focus instead on Descartes's aim of using the Meditations to lay foundations for his new science, his appeals to sensory error take on a different aspect. Descartes's new science is based on ideas innate in the intellect, ideas that are validated by the benevolence of our creator. Appeals to sensory error are useful to him in undermining our naïve faith in the senses and guiding us to an appreciation of innate ideas. However, the errors of the senses pose problems in the context of Descartes's appeals to God's goodness to validate innate ideas and natural propensities to belief. A natural tendency to sensory error is hard to reconcile with the benevolence of our creator. This paper explores Descartes's responses to the problems of theodicy posed by various forms of sensory error. It argues that natural judgements involved in our visual perception of distance, size and shape pose a problem of error that resists his usual solutions.

II Landscape and Aesthetics

2009 ◽  
Vol 39 ◽  
pp. 16-30
Author(s):  
Diana Spencer
Keyword(s):  
Sense Of Place ◽  
Natural Environment ◽  
Ideal Point ◽  
Human Existence ◽  
Main Issue ◽  
Locus Amoenus ◽  
The Senses ◽  
Point Of Departure ◽  
Locus Classicus

Defining a space as landscape suggests that it is visually distinctive and interesting, that it attracts the eye, and engages the senses and faculties. Agriculture (or productivity) can be one important feature of what makes space into land and divides it up into -scapes and territories, but it is not always the main issue. Typically, classical texts featuring something akin to our ‘landscape’ showcase the natural environment supporting, threatening, or ornamenting human existence. So at the beginning of the Graeco–Roman tradition we see that the landscapes of Homeric epic, or pastoral verse (for example, the Hellenistic poets Bion and Theocritus), gain order and meaning from the inclusion of human figures, but they also contribute atmosphere and a distinctive sense of place that enriches the stories that play out against them. Chapter I introduced one particularly delightful and hugely popular topographic trope: an idyllic space where sensory and aesthetic qualities encourage harmony between humans and nature. The locus classicus or touchstone for this locus amoenus is Plato's dialogue Phaedrus. Famously, this dialogue riffs on a very specific landscape scene, one which was to have an intense and far-reaching effect on subsequent landscape discourse, and which provides an ideal point of departure.

Spatial and Sensory Aspects of Battle in Biblical and Ancient near Eastern Texts

2019 ◽  
Vol 49 (2) ◽  
pp. 82-87
Author(s):  
Victor H. Matthews
Keyword(s):  
Sensory Evaluation ◽  
Sense Of Place ◽  
Extra Dimension ◽  
Near Eastern ◽  
Human Emotions ◽  
The Senses ◽  
The Impact

The intent here is to combine spatial and sensory evaluation of biblical and ancient Near Eastern texts that describe events leading up to, during, and after a battle. Drawing on both factors adds an extra dimension that considers the sense of place, the effect of geo-spatiality on human communities, and the role that the senses play in eliciting human emotions and actions. Use of comparative textual materials demonstrates the universality of these experiences and the impact that the senses have on them.

scholarly journals Floating in Space: DisEmbodied Experiences of Being Held Tightly by the Vast Emptiness in Turrell’s 'Perfectly Clear'

2019 ◽  
Vol 2 (2) ◽  
Author(s):  
Naomi P. Bennett
Keyword(s):  
Visual Perception ◽  
Contemporary Art ◽  
Personal Narrative ◽  
Physical Body ◽  
Art Installation ◽  
Solid Ground ◽  
Field Of Vision ◽  
The Senses ◽  
Museum Of Contemporary Art ◽  
As If

I stand floating in space, my eyes seeing only a vast expanse in the nothingness in which my body is suspended. Even as I feel my feet firmly planted on solid ground, a rush of strobing lights encompasses my field of vision, creating a sense of being un-stuck, a loss of physical placement that feels perfectly clear, perfectly safe, as if being held tightly by nothing at all. In January 2018, I stepped through the entrance into James Turrell’s Perfectly Clear, an immersive art installation at the Massachusetts Museum of Contemporary Art in North Adams, MA. Using personal narrative and scholarly accounts, this article examines experiences disembodiment and touch within Turrell’s Perfectly Clear. Using Maurice Merleau-Ponty’s theories of the embodied subject as an active co-creator of their situated reality, Brian Massumi’s writings on visual perception and the co-functioning of the senses, and James Elkins’ theory of sight as a transactional act of metamorphosis, I examine Perfectly Clear as a form of what I describe as disembodiment-embodiment, allowing the audience-participant to experience a sense of intimate embrace that challenges commonly held preconceptions of touch, sight, and the feeling of ones’ physical body in space.

scholarly journals Auditory-Visual Interactions in the Blind with Artificial Vision: Are Multisensory Perceptions Restored After Decades of Blindness?

2019 ◽  
Author(s):  
Noelle R. B. Stiles ◽  
Vivek R. Patel ◽  
James D. Weiland
Keyword(s):  
Visual Perception ◽  
Visual Processing ◽  
Visual Motion ◽  
Interaction Strength ◽  
Retinal Prosthesis ◽  
Artificial Vision ◽  
Retinal Prostheses ◽  
Natural Vision ◽  
Visual Interactions ◽  
The Senses

AbstractIn the sighted, auditory and visual perception typically interact strongly and influence each other significantly. Blindness acquired in adulthood alters these multisensory pathways. During blindness, it has been shown that the senses functionally reorganize, enabling visual cortex to be recruited for auditory processing. It is yet unknown whether this reorganization is permanent, or whether auditory-visual interactions can be re-established in cases of partial visual recovery.Retinal prostheses restore visual perception to the late blind and provide an opportunity to determine if these auditory-visual connections and interactions are still viable after years of plasticity and neglect. We tested Argus II retinal prosthesis patients (N = 7) for an auditory-visual illusion, the ventriloquist effect, in which the perceived location of an auditory stimulus is modified by the presence of a visual stimulus. Prosthetically-restored visual perception significantly modified patients’ auditory perceptions, comparable to results with sighted control participants (N = 10). Furthermore, the auditory-visual interaction strength in retinal prosthesis patients exhibited a significant partial anti-correlation with patient age, as well as a significant partial correlation with duration of prosthesis use.These results indicate that auditory-visual interactions can be restored after decades of blindness, and that auditory-visual processing pathways and regions can be re-engaged. Furthermore, they indicate the resilience of multimodal interactions to plasticity during blindness, and that this plasticity can either be partially reversed or at least does not prevent auditory-visual interactions. Finally, this study provides hope for the restoration of sensory perception, complete with multisensory integration, even after years of visual deprivation.SignificanceRetinal prostheses restore visual perception to the blind by means of an implanted retinal stimulator wirelessly connected to a camera mounted on glasses. Individuals with prosthetic vision can locate and identify simple objects, and identify the direction of visual motion. A key question is whether this prosthetic vision will interact with the other senses, such as audition, in the same way that natural vision does. We found that artificial vision, like natural vision, can alter auditory localization. This suggests that the brain processes prosthetic vision similarly to natural vision despite altered visual processing in the retina. In addition, it implies that reorganization of the senses during blindness may be reversible, allowing for the rehabilitation of crossmodal interactions after visual restoration.

scholarly journals Perception verbs and the conceptualization of the senses: The case of Avatime

Linguistics ◽  
2020 ◽  
Vol 58 (2) ◽  
pp. 1-38
Author(s):  
Saskia van Putten
Keyword(s):  
Visual Perception ◽  
Perceptual Experience ◽  
Sensory Perception ◽  
Perception Verbs ◽  
The Senses ◽  
Detailed Picture ◽  
Shed Light

AbstractLanguages differ in their number of basic verbs that describe perceptual experience. Some languages have only two such verbs: one for visual perception and another for non-visual perception. How do speakers of these languages conceptualize sensory perception? To shed light on this question, this paper investigates the perception verbs mɔ̀ ‘see’ and nu ‘hear/feel/taste/smell’ in Avatime (Kwa, Niger-Congo). These verbs are studied together with the constructions in which they occur, using both translated data and spontaneous discourse. Both perception meanings and meanings outside the domain of perception are taken into account. The detailed picture that emerges shows some previously undocumented patterns of perception encoding and enriches our understanding of the conceptualization of the senses more generally.

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