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Author: Fernando Cervero Publisher: MIT Press ISBN: 0262304503 Category : Health & Fitness Languages : en Pages : 189
Book Description
An expert explores the biological and emotional nature of pain: why it hurts and why some pain is good and some pain is bad. If you touch something hot, it hurts. You snatch your hand away from the hot thing immediately. Obviously. But what is really happening, biologically—and emotionally? In Understanding Pain, Fernando Cervero explores the mechanisms and the meaning of pain. When you touch something hot, your brain triggers a reflex action that causes you to withdraw your hand, protecting you from injury. That kind of pain, Cervero explains, is actually good for us; it acts as an alarm that warns us of danger and keeps us away from harm. But, Cervero tells us, not all pain is good for you. There is another kind of pain that is more like a curse: chronic pain that is not related to injury. This is the kind of pain that fills pain clinics and makes life miserable. Cervero describes current research into the mysteries of chronic pain and efforts to develop more effective treatments. Cervero reminds us that pain is the most common reason for people to seek medical attention, but that it remains a biological enigma. It is protective, but not always. Its effects are not only sensory but also emotional. There is no way to measure it objectively, no test that comes back positive for pain; the only way a medical professional can gauge pain is by listening to the patient's description of it. The idea of pain as a test of character or a punishment to be borne is changing; prevention and treatment of pain are increasingly important to researchers, clinicians, and patients. Cervero's account brings us closer to understanding the meaning of pain.
Author: Gianfranco Dioguardi Publisher: Chartridge Books Oxford ISBN: 1909287407 Category : Biography & Autobiography Languages : en Pages : 79
Book Description
A strange and anonymous pamphlet was published in 1740 and the ensuing quest to determine its authorship has, centuries later, given rise to a fascinating sequence of events. The protagonists are two celebrated economists - Keynes and Sraffa - as is David Hume, who is discovered to be the nameless author of the pamphlet. The episode isreconstructed here.
Author: Nicola Bruno Publisher: Oxford University Press ISBN: 0191038121 Category : Psychology Languages : en Pages : 472
Book Description
The world of perception is multisensory. Even a simple task such as judging the position of a light in a dark room depends not only on vision but also on sensory signals about the position of our body in space. Likewise, how we experience food depends on sensory signals originating from the mouth, but also from nose signals, and even vision and hearing. However, traditional books on perception still discuss each of the “senses” separately. This book takes a different stance: it defines perception as intrinsically multisensory from the start and examines multisensory interactions as key process behind how we perceive our own body, control its movements, perceive and recognise objects, respond to edible objects, perceive space, and perceive time. In addition, the book discusses multisensory processing in synaesthesia, multisensory attention, and the role of multisensory processing in learning. As an introduction to multisensory perception, this book is essential reading for students in psychology, philosophy, and neuroscience at the advanced undergraduate to postgraduate levels. As the chapters address topics that are often left out of standard textbooks, this book will also serve as a useful reference for specialist perception scientists and clinicians. Finally, as a monograph understandable to the educated non-specialist this book will also be of interest to professionals who need to take into account multisensory processing in domains such as, for instance, physiotherapy, neurological rehabilitation, human-computer interfaces, marketing, or the design of products and services.
Author: Lynn Miller Publisher: ISBN: Category : Languages : en Pages :
Book Description
The research for this project is embodied in a series of paintings, drawings, sculptures/installations and photographs which are reproduced in the Appendix, a selection of around 260 works executed in the period of the research from 2000-09. The exegesis, which accompanies the research, documents some of the process, thinking and speculative cultural background of the visual work. The writing is loosely structured around the bodies of work; but because the preoccupations of each work tend to overlap and interlock, there is necessarily a degree of weaving and interpenetrating thematic material. In the first chapter, 'Themes and method of the visual project-looking back in the context of the origin of the research', I contemplate the simple beginnings in my fascination with water and speculate on the miraculous phenomenon of visual sensation and its relationship to the content and motivation in my work. With reference to history I probe the rapture, which has pushed me, often compulsively, in the directions that I took. Simultaneously I seek relevance in artists, which let me be open and experimental in my process using materials disparate to my main medium of paint. In the second chapter, 'The fugitive zone of perceptual experience-gaps and enigmas', I describe and engage with the conundrums of nailing down the very different aspects of experience and cognition or the attempt at knowing what it is one has visually experienced. Words are at best a second hand kind of surmise or illustration, yet paradoxically necessary to exploring the differences between conception, perception and innovative synthesis (which seeks to respond to both in an amicable manner of process and method). The challenge is recognized at all times: to stop the process through a kind of conceptualizing or to remain in a dance between the two, which becomes a method in itself. In the third chapter, 'The agency of metaphor by making-subjective and inextricable', I broach the complicated question of art making. I discuss the evocative nature of subject matter and making subjective representational art. Sifting what attracts and inspires, I demonstrate how I allowed and encouraged myself to go iv outside the general form of my practice using materials as metaphor and paradigm for that which was pushing me to discover. The studio practice involves huge amounts of time, which are not necessarily guaranteed to be productive. In allowing these risks, the researcher needs to trust a practice, which I further discuss in the next chapter. In the fourth chapter, 'Curiosity in the process-adventure in living it', I consider the moment to moment surprise and new directions which I feel enrich the life of the artist even if the elements are ultimately left behind as a representation of that person. I seek to identify the cause and effect relationship between the proactive nature of studio research and the subsequent aesthetic experiences of the outcome. In the fifth chapter, under the title of 'Iridescence, association and closure-an obsessional dance with experience', I contemplate a kind of iridescence that happens in the mind as I either contemplate the difference between subject and object or engage in a studio contemplation process, which has me traversing in search of paradigms and metaphors for observed phenomena. I find that the closer I get to something, the more mysterious and elusive and abstract existing phenomena seem. It is finally in the painting itself that the test or evidence is fed back to me as I traverse the artistic processes that arise from seeing. In the sixth chapter, 'Toward a language of perception-contemplating the introversion of understanding experience', I examine further the role of perception in drawing and seek to find ways to talk about it and the relationship between movement and stasis, energy and expression, the constant flux between the appearance and existence of reality and the actuality of it. I examine cultural memory and the history of ideas, which pervades and even pollutes (perhaps nobly) while putting pressure on the work. The nature and structure of appearance are examined, where phenomena come together to make form, the foundation of imagery, where light reflects on something and changes the colour of that thing. With the seventh chapter, 'Closeness to experience-or is it just enigmatic?' I allow myself various conjectures concerning the phenomenology of imagination. I devote special attention to imagination as it is renewed in experience through subjective, developmental manipulation of ideas and materials and the ultimate meaning and significance assigned to them. In the eighth chapter, 'The role of the provisional', I seek to describe the territory that informed me and my research, along with examples of work from a broad v spectrum of other artists. These are represented in two - and three-dimensional meanderings, interwoven with speculation on the visual phenomena of seeing with all its mystery and at least unified by historical context. I show their expression of theme and variation in different modes with similar concerns. I include in this the synthesis of studio research from 2000-03 culminating in the sculpture Intersect, 2003. Notions on working outside or having the work informed by out-of-doors experience are returned to in the following chapter. In the ninth chapter, The conceptual en plein air', I attempt to make the case that when working en plein air one quickly realizes that there is a constant challenge to habitual thinking which rests in conceptual processes. I find that perceptual experience fully engaged with, has the potential of renewal, which can have a motivational focus. I explore the dialog between what we see as reality and appearance within the artistic process, thus clarifying the thinking of a representational artist who seeks to avoid a contrived style of expression. Finally, in the 'Conclusion', I sum up the case, especially with regard to the mood of the project as a whole, and look to see how these experiences have informed my final exhibition and the appendix enclosed as Volume II. Ideas are still being generated as I write for new works, for which I have to credit the research process, which I now appreciate with new transparency. The exegesis is structured in response to a synthesis of reading and studio research. It is a demonstration of the breadth of ideas, which the research context encouraged. This thesis presents a visual view of my studio process and the thoughts that arise as a consequence of reading and especially the awareness that arose while engaging in the process of making the work. Throughout, questions of method are tackled, given that all works in their origin and commencement are established in experiences very different to lexical processes: they are first perceptual and then related to aspects of feeling as it ignites thought and the subsequent actions of making the work, even though these processes may be unhappily conditioned by conceptual notions and the milieu that they exist in. Knowing which ideas remain pure in the phenomenological sense of original perception in the individual, and which are inevitably touched by cultural notions, is helpful in formulating new projects.
Author: Sergio Moravia Publisher: Cambridge University Press ISBN: 9780521405577 Category : Body, Mind & Spirit Languages : en Pages : 340
Book Description
Sergio Moravia's The Enigma of the Mind (originally published in Italian as L'enigma della mente) offers a broad and lucid critical and historical survey of one of the fundamental debates in the philosophy of mind - the relationship of mind and body. This problem continues to raise deep questions concerning the nature of man. The book has two central aims. First, Professor Moravia sketches the major recent contributions to the mind/body problem from philosophers of mind. Having established this framework Professor Moravia pursues his second aim - the articulation of a particular interpretation of the mental and the mind-body problem. The book's detailed and systematic treatment of this fundamental philosophical issue make it ideal for upper-level undergraduate and graduate courses in epistemology and the philosophy of mind. It should also prove provocative reading for psychologists and cognitive scientists.
Author: Jason Edwards Publisher: Peter Lang ISBN: 9783039110582 Category : Art Languages : en Pages : 356
Book Description
"The essays collected here derive from a two-day international and interdisciplinary conference, entitled 'Boxing Clever: A Centennial Re-Evaluation of Joseph Cornell', which was held at the AHRC Centre for the Studies of Surrealism and Its Legacies at the University of Essex between 17 and 19 September, 2003"--P. [9].
Author: Laura J. Speed Publisher: John Benjamins Publishing Company ISBN: 9027263043 Category : Language Arts & Disciplines Languages : en Pages : 382
Book Description
Metaphor allows us to think and talk about one thing in terms of another, ratcheting up our cognitive and expressive capacity. It gives us concrete terms for abstract phenomena, for example, ideas become things we can grasp or let go of. Perceptual experience—characterised as physical and relatively concrete—should be an ideal source domain in metaphor, and a less likely target. But is this the case across diverse languages? And are some sensory modalities perhaps more concrete than others? This volume presents critical new data on perception metaphors from over 40 languages, including many which are under-studied. Aside from the wealth of data from diverse languages—modern and historical; spoken and signed—a variety of methods (e.g., natural language corpora, experimental) and theoretical approaches are brought together. This collection highlights how perception metaphor can offer both a bedrock of common experience and a source of continuing innovation in human communication.
Author: Arthur Gilman Shapiro Publisher: Oxford University Press ISBN: 019979460X Category : Games & Activities Languages : en Pages : 833
Book Description
Visual illusions are compelling phenomena that draw attention to the brain's capacity to construct our perceptual world. The Compendium is a collection of over 100 chapters on visual illusions, written by the illusion creators or by vision scientists who have investigated mechanisms underlying the phenomena. --
Author: D. L. C. Maclachlan
Author: D. L. C. Maclachlan
Author: D. L. C. Maclachlan
Author: Fernando Cervero
Author: Gianfranco Dioguardi
Author: Nicola Bruno
Author: Lynn Miller
Author: Sergio Moravia
Author: Jason Edwards
Author: Laura J. Speed
Author: Arthur Gilman Shapiro