Impact of crema on the aroma release and the in-mouth sensory perception of espresso coffee

2012 ◽  
Vol 3 (9) ◽  
pp. 923 ◽  
Author(s):  
D. Barron ◽  
N. Pineau ◽  
W. Matthey-Doret ◽  
S. Ali ◽  
J. Sudre ◽  
...  
Keyword(s):  
Sensory Perception ◽  
Aroma Release ◽  
Espresso Coffee

scholarly journals Aroma release and sensory perception of fruit candies model systems

2011 ◽  
Vol 1 ◽  
pp. 1509-1515 ◽  
Author(s):  
Pierpaolo Piccone ◽  
Simon L. Rastelli ◽  
Paola Pittia
Keyword(s):  
Sensory Perception ◽  
Model Systems ◽  
Aroma Release

scholarly journals Yogurts enriched with milk proteins: Texture properties, aroma release and sensory perception

2020 ◽  
Vol 98 ◽  
pp. 140-149 ◽  
Author(s):  
Hanna Lesme ◽  
Cécile Rannou ◽  
Marie-Hélène Famelart ◽  
Saïd Bouhallab ◽  
Carole Prost
Keyword(s):  
Milk Proteins ◽  
Sensory Perception ◽  
Aroma Release ◽  
Texture Properties

scholarly journals Impact of Fruit Piece Structure in Yogurts on the Dynamics of Aroma Release and Sensory Perception

Molecules ◽  
2013 ◽  
Vol 18 (5) ◽  
pp. 6035-6056 ◽  
Author(s):  
Joshua Mesurolle ◽  
Anne Saint-Eve ◽  
Isabelle Déléris ◽  
Isabelle Souchon
Keyword(s):  
Sensory Perception ◽  
Aroma Release

In Vivo Aroma Release and Dynamic Sensory Perception of Composite Foods

2021 ◽  
Vol 69 (35) ◽  
pp. 10260-10271
Author(s):  
Arianne van Eck ◽  
Michele Pedrotti ◽  
Rutger Brouwer ◽  
Arpavee Supapong ◽  
Vincenzo Fogliano ◽  
...  
Keyword(s):  
Sensory Perception ◽  
Aroma Release

Review of Extra-sensory perception.

1934 ◽  
Vol 29 (3) ◽  
pp. 350-352 ◽  
Author(s):  
George Van Ness Dearborn
Keyword(s):  
Sensory Perception

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

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.

Der fliegende Pfeil

2010 ◽  
Vol 55 (1) ◽  
pp. 69-89
Author(s):  
Katharina Münchberg
Keyword(s):  
Lyric Poetry ◽  
Modern Art ◽  
Sensory Perception ◽  
Spatial Change ◽  
Modern Age ◽  
Time Space

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.

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