scholarly journals The cardiac response of the crab Chasmagnathus granulatus as an index of sensory perception

2008 ◽  
Vol 212 (2) ◽  
pp. 313-324 ◽  
Author(s):  
A. Burnovicz ◽  
D. Oliva ◽  
G. Hermitte
Keyword(s):  
Sensory Perception ◽  
Cardiac Response ◽  
Chasmagnathus Granulatus

The Influence of Emotionally Relevant Context on the Evoked Cardiac Response Triggered by an Irrelevant Stimulus

2003 ◽  
Vol 17 (2) ◽  
pp. 61-68 ◽  
Author(s):  
Michal Kuniecki ◽  
Robert Barry ◽  
Jan Kaiser
Keyword(s):  
Task Performance ◽  
Auditory Stimulus ◽  
Irrelevant Stimulus ◽  
Cardiac Response ◽  
Mental Task ◽  
Negative Valence ◽  
Cardiac Deceleration ◽  
Relevant Context ◽  
Stimulus Valence ◽  
Affective Stimulus

Abstract The effect of stimulus valence was examined in the evoked cardiac response (ECR) elicited by the exposition of neutral and negative slides as well as by an innocuous auditory stimulus presented on the affective foregrounds generated by the slides. The exposition of the aversive slide produced prolonged cardiac deceleration in comparison with the neutral slide. Similar prolonged deceleration accompanied exposition of the neutral auditory stimulus on the negative visual foreground in comparison with the neutral foreground. We interpret these results as an autonomic correlate of extended stimulus processing associated with the affective stimulus. The initial deceleration response, covering two or three slower heart beats, may be prolonged for several seconds before HR reaches the baseline level again. In such a case the evoked cardiac deceleration can be functionally divided into two parts: the reflexive bradycardia (ECR1) elicited by neutral stimuli and a late decelerative component (LDC). We can speculate that the latter is associated with an additional voluntary continuation of processing of the stimulus. This must involve some cognitive aspect different from the mental task performance which leads to the accelerative ECR2, and we suggest that processing of a stimulus with negative valence is involved in generating the LDC.

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.

J. Brodsky vs G. Sapgir: the Ways to Fill the Emptiness

2020 ◽  
pp. 23-37
Author(s):  
Irina Plekhanova
Keyword(s):  
Sensory Perception ◽  
Discrete Dynamics ◽  
Mental Task ◽  
Creative Life

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).

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