The measurement of sensory intensity has had a long history, attracting the attention of investigators from many disciplines including physiology, psychology, physics, mathematics, philosophy, and even chemistry. While there has been a continuing doubt by some that sensation has the properties necessary for measurement, experiments designed to obtain estimates of sensory intensity have found that a general rule applies: Equal stimulus ratios produce equal sensory ratios. Theories concerning the basis for this simple psychophysical rule are (...) discussed, with emphasis given to the physical correlate theory, which considers judgments of subjective magnitudes to be based upon estimates of physical dimensions that vary regularly with changes in degree of stimulation. For the most thoroughly investigated sensory scales, brightness and loudness, the physical correlate is considered to be distance. Our “tacit knowledge” of the sensory effects of changing distance plays an essential role in matching motor activities to environmental conditions and in ensuring accurate perceptual evaluations through brightness and loudness constancies. In psychophysical experiments, subjects apparently use this same tacit knowledge when required to estimate relative subjective magnitudes. The evidence related to the physical correlate theory is summarized, and it is concluded that, while under appropriate conditions we demonstrate considerable skill in evaluating environmental relationships, we are quite unable to estimate the neurophysiological nature or quantity of sensory response. A psychophysics devoted to studying conditions required for accuracy and conditions producing errors in the perception of environmental relationships would seem to be more valuable than one devoted to subjective magnitudes. (shrink)

Pain is commonly explained in terms of the perceptual activity of a distinct sensory modality, the function of which is to enable us to perceive actual or potential damage to the body. However, the characterization of pain experience in terms of a distinct sensory modality with such content is problematic. I argue that pain is better explained as occupying a different role in relation to perception: to indicate when the stimuli that are sensed in perceiving anything by means (...) of a sensory modality exceed a significant level of intensity. Viewing the system underlying pain experience as an integral and functionally integrated feature of all the senses provides a new perspective on the diverse forms of pain, what it is like to experience pain and the contrasting natures of pain and pleasure. (shrink)

In recent years, calls have been made to address the relative dearth of qualitative sociological investigation into the sensory dimensions of embodiment, including within physical cultures. This article contributes to a small, innovative and developing literature utilizing sociological phenomenology to examine sensuous embodiment. Drawing upon data from three research projects, here we explore some of the ‘sensuousities’ of ‘intense embodiment’ experiences as a distance-running-woman and a boxing-woman, respectively. Our analysis addresses the relatively unexplored haptic senses, particularly the ‘touch’ of (...) heat. Heat has been argued to constitute a specific sensory mode, a trans-boundary sense. Our findings suggest that ‘lived’ heat, in our own physical-cultural experiences, has highly proprioceptive elements and is experienced as both a form of touch and as a distinct perceptual mode, dependent upon context. Our analysis coheres around two key themes that emerged as salient: (1) warming up, and (2) thermoregulation, which in lived experience were encountered as strongly interwoven. (shrink)

This chapter has three sections. The first introduces Brentano’s view of sensations by presenting the intentional features of sensations irreducible to features of the sensory objects. The second presents Brentano’s view of sensory objects —which include sensory qualities— and the features of sensations that such objects allow to explain, such as their intensity. The third section presents Brentano’s approach to sensory pleasures and pains, which combines both appeal to specific modes of reference and to specific (...) sensory qualities. (shrink)

This article analyses an important category from Deleuze's philosophy – the notion of intensity – and explores its significance for Deleuze and the ways it can be used to think about poetic cinema. I use the concept of the intensive-image to define a cinematic style that dissipates narrative action in favour of more contemplative and sensory experiences, hence films that are able to turn onscreen reality into purely affective phenomena. The notion of intensity, I argue, does not (...) allow us to reply easily to the question about representation (i.e., “what is the film about?”), mainly because its images are indeterminate and flowing, combined in a multiple manner that excludes any simple reduction to signification. The general argument that follows, illustrated by a careful reading of key poetic texts, is that the focus on the intensive-image inspires readers to reconsider Deleuze's classification of the cinema into two separate periods as well as to understand the ways in which intensity finds expression in films that produce problems, displacements and provocations. In the words of Pasolini, this is the poetic film tradition which must be placed diachronically in relation to the language of the film narrative, a diachronism that, he says, would appear destined to be always more pronounced. In the last section of this article, I look at Luis Buñuel's Un Chien Andalou (1929) as an early case of the poetic image and draw on key theorists and filmmakers who have discussed the cinema's power of affection and intensity. (shrink)

Immanuel Kant’s theory of imagination is a surprisingly fruitful nexus of explanation for the prima facie disparate characteristics of autism spectrum disorder (ASD), especially the sub-spectrum best characterized by the Sensory Integration (SI) and Intense World (IW) theories of ASD. According to the psychological theories that underpin these approaches to autism, upstream effects of sensory processing atypicalities explain a cascade of downstream effects that have been characterized in the diagnostic triad, e.g., poor sensory integration contributes to weak (...) central coherence, which in turn contributes to difficulty participating in a back and forth conversation. To see why Kant’s theory of imagination might be useful, consider that ASD is neither a sensory disorder nor an intellectual disorder per se. Cognitive dysfunction is a common comorbidity of ASD, not a characteristic of it. If we exclude sense and intellect, what’s left? According to Kant, imagination is a synthesizing faculty that mediates between sense and understanding. It does so by transforming intuition from the canonic and vital senses. The uses of imagination include our spatially formative, temporally associative, and communicatively affinitive production, where affinitive production includes sympathy and fantasy. Imagination is thus the faculty of sensory integration, embodied subjectivity, empathy, mindreading, and social cooperation. The wide range of how autism presents and how it is experienced can thus be understood in terms of the atypical development of specific functions of imagination. Kant’s theory of imagination provides a new perspective on how to organize our understanding of autism at the psychological level, one that makes sense of how some of the disparate characteristic phenomena of autism are systematically related and which might lead to novel predictions, research targets, or intervention recommendations. (shrink)

Predictable somatosensory feedback leads to a reduction in tactile sensitivity. This phenomenon, called tactile suppression, relies on a mechanism that uses an efference copy of motor commands to help select relevant aspects of incoming sensory signals. We investigated whether tactile suppression is modulated by the task-relevancy of the predicted consequences of movement and the intensity of related somatosensory feedback signals. Participants reached to a target region in the air in front of a screen; visual or tactile feedback indicated (...) the reach was successful. Furthermore, tactile feedback intensity varied across two groups of participants. We measured tactile suppression by comparing detection thresholds for a probing vibration applied to the finger either early or late during reach and at rest. As expected, we found an overall decrease in late-reach suppression, as no touch was involved at the end of the reach. We observed an increase in the degree of tactile suppression when strong tactile feedback was given at the end of the reach, compared to when weak tactile feedback or visual feedback was given. Our results suggest that the extent of tactile suppression can be adapted to different demands of somatosensory processing. Downregulation of this mechanism is invoked only when the consequences of missing a weak movement sequence are severe for the task. The decisive factor for the presence of tactile suppression seems not to be the predicted action effect as such, but the need to detect and process anticipated feedback signals occurring during movement. (shrink)

In the first Critique, Kant attempts to prove what we can call the "Principle of Intensive Magnitudes," according to which every possible object of experience will possess a determinate "degree" of reality. Curiously, Kant argues for this principle by inferring from a psychological premise about internal sensations (they have intensive magnitudes) to a metaphysical thesis about external objects (they also have intensive magnitudes). Most commentators dismiss the argument as a failure. In this article I give a reconstruction of Kant's argument (...) that attempts to rehabilitate the argument back into his broader transcendental theory of experience. I argue that we can make sense of the argument's central inference by appeal to Kant's theory of empirical intuition and by an analysis of the way in which Kant thinks sensory matter constitutes our most basic representations of objects. (shrink)

Background: The COVID-19 pandemic severely strained the already unprepared Italian healthcare system. This had repercussions on healthcare workers, stemming, in particular, from a lack of clear guidelines, adequate protective equipment, and professional preparedness. Such conditions were especially prevalent in Northern Italy.Objectives: This study aimed to examine COVID-19-related professional and psychoemotional stress among nurses and doctors in two hospitals in Northern Italy, along with the worst critical incidents affecting healthcare personnel. A parallel objective was to elicit healthcare professionals' opinions about what (...) changes are needed in the healthcare system's operations, as well as about the relational/emotional skills that are needed to better manage relationships with patients in emergency situations.Participants: Snowball sampling was used to recruit participants and yielded 17 hospital professionals: six nurses and 11 doctors. Three of these professionals worked in intensive care and the others in different wards. All had close contact with COVID-19 patients.Methods: The study employed a qualitative research design, using in-depth interviews of ~60 min each that were conducted via Skype video calls. The interviews were recorded and transcribed, then analysed. The qualitative analysis employed mixed methods to identify the most relevant and recursive themes from the interviews.Results: Four fundamental themes emerged from our analysis of the interview texts: disorganisation and psychoemotional stress; urgency and critical incidents; everything surreal; and disruptions in empathetic relationships with patients.Conclusions: Through our analysis of the interview narratives, we found that systematic and in-depth psychological training is needed to prepare professionals for altered relationships with patients in emergencies; use of exceptional medical equipment; elaboration of new bioethical models suitable for disasters and pandemics; and engagement with the themes of death and dying. (shrink)

Health care providers are expected both to relieve pain and to provide anticipatory guidance regarding how much a procedure is going to hurt. Fulfilling those expectations is complicated by the cognitive modulation of pain perception. Warning people to expect pain or setting expectations for pain relief not only influences their subjective experience, but it also alters how nociceptive stimuli are processed throughout the sensory and discriminative pathways in the brain. In light of this, I reconsider the characterization of placebo (...) analgesia as pharmacologically inert and the use of it as deceptive. I show that placebo analgesia exploits the same physical mechanisms as proven analgesics and argue that it should be utilized to relieve pain. Additionally, I describe factors to help identify situations in which clinicians have the obligation to disclose the potential for pain coupled with ways of mitigating the risk of high-intensity pain by setting positive expectations. (shrink)

To cause pain, it is not enough to deliver a dose of noxious stimulation. Pain requires the interaction of sensory processing, emotion, and cognition. In this paper, I focus on the role of cognition in the felt intensity of pain. I provide evidence for the cognitive modulation of pain. In particular, I show that attention and expectation can influence the experience of pain intensity. I also consider the mechanisms that underlie the cognitive effects on pain. I show (...) that all the proposed mechanisms of pain modulation affirm the view that cognition impacts the sensory and discriminative aspects of pain. I conclude that pain perception is a cognitively penetrated phenomenon. (shrink)

Descartes and the Puzzle of Sensory Representation is an intensely polemical attack on many recent expositions of sensory representation in Descartes, and a defense of De Rosa’s own Descriptive-Causal Account of Sensory Representation. For Descartes, she says, there are two kinds of ideas, sensible and intelligible, both of which have presentational and referential content. The presentational content of sensible ideas consists of touches, tastes, sounds, odors, and colored visual images that are obscure and confused, in that there (...) is nothing like these sensible ideas in the material world. The presentational content of intelligible ideas, on the other hand, is clear and distinct, in that it consists of geometric representations of material bodies that do exist in the world outside the mind. Thus, whenever one has a clear and distinct intelligible perception of a material body that exists outside the mind, one also has at the same time an obscure and confused sensible image of that body as hard, sweet, squeaky, odiferous, and colored. Nothing like these sensible images actually exists in bodies. De Rosa says that the role of sensible imagery is to individuate and differentiate material bodies from one another, which would be difficult to do for. (shrink)

The effects of handling on the exploratory activity of rats in settings varying in level of sensory stimulation1 This study tests the assumptions of need for stimulation theory. According the main hypothesis of this theory, the stimulus seeking activity of an organism in an unfamiliar environment is affected by two main temperamental traits: emotional reactivity and need for stimulation. In a familiar setting, the influence of emotional reactivity disappears, while the need for stimulation persists. Two experiments were run in (...) which animals' emotionality was manipulated by means of presence or absence of handling and the level of environmental stimulation was manipulated by varying the intensity of light to which the animals were exposed. Sixty male Wistar rats were tested in the first experiment. Stimulus seeking activity was registered in the Skinner-type chambers where animals could switch the light on by every head dip into one of two holes, the so-called experimental hole. Animals were tested in five 30-minute sessions repeated every 48 hours. As predicted, the effect of emotionality on exploration emerged at the beginning of the experiment, whereas the effect of the level of environmental stimulation on the total number of head-dips emerged in all the experimental sessions. The second experiment involved 40 rats and followed a similar design, but the stimulus seeking activity was measured in the situation where the animals could switch the light off by dipping their heads into the experimental hole. Contrary to predictions, the experimental factors had no significant effect on the animals' stimulus seeking activity. Only the results of the first experiment confirm the assumptions of need for stimulation theory. (shrink)

High noise levels may have an adverse effect on the normal cochlea function and lead to significant hearing loss. Clinically, exposure to high intensity impulse noise produces a wide range of audiometric effects which may result in long term or even irreversible symptoms. Nevertheless, there is sometimes a spontaneous rebound recovery of the auditory function. This phenomenon was previously studied in the vision, another sensory function. It was called the visual survival attractor.In view of the importance that the (...) sensory organs have for the brain, and in particular in its function of recognising and dealing with its environment, it was interesting to know whether this survival attractor concept already described for vision occurs more generally in all the sensory functions. With this in mind we present here the results of a new study, this time on hearing. (shrink)

The aim of this study was to investigate the association between temperament and social support and the level of quantitatively rated PTSD symptoms in a sample of HIV+ and HIV/aids men and women. A total of 310 men and women, including 182 HIV+ and 128 HIV/aids, were studied. Social support was assessed with the Berlin Social Support Scales. Temperament was assessed with the Formal Characteristics of Behaviour - Temperament Inventory. Intensity of PTSD symptoms was assessed with the PTSDF. The (...) best predictors of intensity of PTSD symptoms in HIV+ participants were support seeking and sensory sensitivity. Support seeking was positively associated, and sensory sensitivity was negatively associated with intensity of PTSD symptoms. (shrink)

Oxytocin (OT) is one of the most intensively researched neuropeptides during the three past decades. In benign social contexts, OT exerts a range of desirable socioemotional, stress-reducing, and immunoregulatory effects in mammals and humans and influences mammalian parenting. Consequentially, research in potential pharmacological applications of OT toward human social deficits/disorders and physical illness has increased substantially. Regrettably, the results from the administration of exogenous OT are still relatively inconclusive. Research in rodent maternal developmental programming has demonstrated the susceptibility of offspring (...) endogenous OT systems to maternal somatosensory stimulation, with consequences for behavioral, epigenetic, cognitive, and neurological outcomes. A translation of this animal research into practically feasible human parenting recommendations has yet to happen, despite the significant prevention potential implied by the maternal developmental programming research. Extended physical contact with full-term healthy infants in the months following birth (infant carrying) might constitute the human equivalent of those specific rodent maternal behaviors, found to positively influence emerging OT systems. Findings from both OT and maternal programming research parallel those found for infants exposed to such extended parental physical contact, whether through skin-to-skin contact or infant carrying. Clinical support of parents to engage in extended physical contact represents a feasible intervention to create optimum conditions for the development of infant OT systems, with potential beneficial long-term health effects. (shrink)

The intrinsic value of even the simplest hedonic sensations, sensations of physical pleasure and pain, is not quantifiable. It is not quantifiable because, in contrast to their duration, their intensity is not quantifiable. This is because sensory intensities do not have even a rough position on the same scale as their physical stimuli have a more precise position, as the durations of sensations have a rough location in time in which their stimuli have a more precise location. Consequently, (...) there is an argument which demonstrates the non-transitivity of the relation of sameness as regards sensory intensity, but which is not applicable to their duration. This non-transitivity rules out the existence of a numerical scale along which sensory intensity can be even roughly plotted. (shrink)

Individual experience is subjective: We can describe experiences, but we cannot share them directly. Thus, many investigators favour threshold measures of experience , while suprathreshold methods are met with scepticism. We believe that suprathreshold measures are useful, as they reveal group differences in sensation that cannot be observed with thresholds. These differences, however, are distorted when scales are used incorrectly. Of particular interest, oral sensory intensity predicts long-term health outcomes ; these findings are validated by robust differences in (...) oral anatomy, suggesting that valid suprathreshold comparisons convey accurate and meaningful differences in experience. (shrink)

Using Brehm's (1999) intensity of emotion paradigm, we investigated whether basic positive or negative affect operates like a motivational state. We focused on one of the most basic affects, the sensory affect experienced when eating food. Participants tasted a delicious chocolate truffle (Study 1) or some bitter chocolate (Study 2) and were exposed to either a weak, moderately strong, or a very strong reason for feeling an opposing-valence affect or to no reason. In line with the predictions, the (...) affect that participants reported in response to chocolate functioned like a motivational state as its intensity was a cubic function of the importance of the reason for feeling an opposing affect. We discussed the implications of these findings for the conceptualisation of affect and consider several applications for food advertising and consumer rating research. (shrink)

[Comment, pp 759-780] Lockhead (1992) [Target Article] is undoubtedly right to attack so-called intensity scaling or the estimation of subjective magnitudes as an invalid perversion of tasks requiring quantitative judgments of aspects of objects, stuffs, and situations. He goes too far, however, in claiming that feature scales do not exist... ... A perceived physical pattern (sensory feature or channel) and the cognitive process that integrates it with its context are characterized by determining to which particular combination of specified (...) stimulus patterns the response is most sensitive. This is the principle of causal system analysis that is at the basis of all theory-building science. (shrink)

Purpose: Sensory feedback for prosthetics is an important issue. The area of forearm stump skin that has evoked tactile sensation of fingers is defined as the projected finger map, and the area close to the PFM region that does not have ETS is defined as the non-projected finger map. Previous studies have confirmed that ETS can restore the tactile pathway of the lost finger, which was induced by stimulation of transcutaneous electrical nerve stimulation on the end of stump skin. (...) This study aims to reveal EEG features between the PFM and the NPFM regions of the stumps under the same TENS stimulation condition.Methods: The PFM and NPFM regions of the two subjects were stimulated with the same intensity of TENS, respectively. TENS as target stimuli are modulated according to the Oddball paradigm to evoke the P300 components.Result: The PFM regions of both subjects were able to elicit P300 components, while their NPFM regions were not able to elicit P300 components. However, this P300 appears early and has continuous positive peaks in front of it.Discussion: N30 and P300 can prove that the two subjects with PFM can perceive and recognize ETS. The heteromorphisms of the P300 waveform may be related to the difficulty in subjects’ cognition of ETS or caused by the fusion of P150, P200, and P300. (shrink)

A sensory receptor, in any organism anywhere, is sensitive through time to some distribution - energy, motion, molecular shape - indeed, anything that can produce an effect. The sensitivity is rarely direct: for example, it may track changes in relative variation rather than the absolute change of state (as when the skin responds to colder and hotter instead of to cold and hot as such); it may track differing variations under different conditions (the eyes' dark-adaptation; adaptation to sound frequencies (...) can lower the difference threshold; the kinesthetic sense will shut down if a limb is held in a stationary position too long - the limb 'going to sleep'); it may be subject to distortion of the input from overloading (dazzle producing strong-after-images); it may not be confined to one channel of sensitivity (the retina is sensitive to pressure; the hands can feel some strong sound-vibrations, the tympanum of the ear records touch). Strictly speaking there is no limit as to what intensities and what ranges receptors could be sensitive. Sharks are sensitive to electrostatic fields, homing pigeons to magnetic fields; snakes to infra-red rays; bacteria to acid concentrations; perhaps there has even been a mutant organism sensitive to the passage of cosmic rays, even though that would hardly have bestowed any conceivable survival value. What is irrefutable is that individual receptors differ markedly from organism to organism, between different members of the species (one dog being better at tracing smells than another; one person being able to sense light-waves of 375 nanometres, another not; children able to hear 20,000 Hz, older persons not), and between receptors of the same kind within one organism (one eye being sensitive to 765 nm and the other not; one ear deaf to 15,000 Hz and over, the other not). There are also just-noticeable-differences (JND's), in that one person can see two shades of a colour where another sees only one; similarly with sounds. (shrink)

Pain is the most prominent member of a class of sensations known as bodily sensations, which includes itches, tickles, tingles, orgasms, and so on. Bodily sensations are typically attributed to bodily locations and appear to have features such as volume, intensity, duration, and so on, that are ordinarily attributed to physical objects or quantities. Yet these sensations are often thought to be logically private, subjective, self-intimating, and the source of incorrigible knowledge for those who have them. Hence there appear (...) to be reasons both for thinking that pains (along with other similar bodily sensations) are physical objects or conditions that we perceive in body parts, and for thinking that they are not. This apparent paradox is one of the main reasons why philosophers are especially interested in pain. One increasingly popular but still controversial way to deal with this apparent paradox is to defend a perceptual or representational view of pain, according to which feeling pain is in principle no different from undergoing other standard perceptual processes like seeing, hearing, touching, etc. But there are many who think that pains are not amenable to such a treatment. Although it was the treatment of pain as a sensory-discriminative experience that had dominated the philosophical discussions throughout most of the twentieth century, attention to pains’ affective-motivational dimension has gained prominence in recent years. (shrink)

Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection. She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic. By regarding our most cultured human accomplishments as (...) the result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, Félix Guattari, and Jakob von Uexküll, we are able to grasp art's deep animal lineage. Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change. (shrink)

Cinema, thought and time -- Deleuze's cinema books -- Technology -- Essences -- Space and time -- Bergson, time, and life -- The movement-image -- The history of time and space and the history of cinema -- The movement-image and semiotics -- Styles of sign -- The whole of movement -- Image and life -- Becoming-inhuman, becoming imperceptible -- The deduction of the movement-image -- Art and time -- Destruction of the sensory motor apparatus and the spiritual automaton -- (...) Time and money -- Art and history -- Monument -- Framing, territorialization, and the plane of composition -- Politics and the origin of meaning -- Transcending life and the genesis of sense -- Beyond symbolic and imaginary -- Shit and money -- Exchange, gift, and theft -- The fiction of mind -- Collective investment and group fantasy -- The time of man -- The intense germinal influx. (shrink)

Based on sensory integration theory, six fabric samples containing tactile and visual stimuli were selected using the sensory perceptions of designers and combined with balls. Experiments involving these toys were implemented with 15 families with preschool-aged high-functioning autistic children. The results showed that loose sequin , which possessed equal tactile and visual intensities, was strongly correlated with frequent smiling/laughing and high enjoyment levels. The fabric provided a loose tactile sensation regarding surface interweave uniformity and a bright visual sensation (...) regarding visually perceived luster; suede exhibited a greater tactile intensity than visual intensity and was correlated with eye contact and activity response. This fabric possessed a smooth visual sensation regarding visually perceived smoothness; and loose sequin , which possessed equal tactile and visual intensities, was highly correlated with finger pointing and initiation. This fabric offered a thin tactile sensation regarding surface interweave thickness and a bright visual sensation regarding visually perceived luster. We suggest applying fabrics to composite toys. Specifically, loose sequin can be used initially to encourage autistic children to interact; subsequently, suede can enable sustained parent-child interaction. The experimental results provide a reference for establishing an innovative toy-design method for autistic children. Keywords: autism; sensory integration theory; parent-child interaction; toys. (shrink)

Based on sensory integration theory, six fabric samples containing tactile and visual stimuli were selected using the sensory perceptions of designers and combined with balls. Experiments involving these toys were implemented with 15 families with preschool-aged high-functioning autistic children. The results showed that loose sequin, which possessed equal tactile and visual intensities, was strongly correlated with frequent smiling/laughing and high enjoyment levels. The fabric provided a loose tactile sensation regarding surface interweave uniformity and a bright visual sensation regarding (...) visually perceived luster; suede exhibited a greater tactile intensity than visual intensity and was correlated with eye contact and activity response. This fabric possessed a smooth visual sensation regarding visually perceived smoothness; and loose sequin, which possessed equal tactile and visual intensities, was highly correlated with finger pointing and initiation. This fabric offered a thin tactile sensation regarding surface interweave thickness and a bright visual sensation regarding visually perceived luster. We suggest applying fabrics to composite toys. Specifically, loose sequin can be used initially to encourage autistic children to interact; subsequently, suede can enable sustained parent-child interaction. The experimental results provide a reference for establishing an innovative toy-design method for autistic children. Keywords: autism; sensory integration theory; parent-child interaction; toys. (shrink)

When you suffer a pain are you suffering a sensation? An emotion? An aversion? Pain typically has all three components, and others too. There is indeed a distinct sensory system devoted to pain, with its own nociceptors and pathways. As a species of somesthesis, pain has a distinctive sensory organization and its own special sensory qualities. I think it is fair to call it a distinct sensory modality, devoted to nociceptive somesthetic discrimination. But the typical pain (...) kicks off other processes too. For one it can grab your attention in a distinctive way, alerting you to its presence and sometimes obliging you to focus attention on the damaged member. Intense pain can eliminate your ability to think about anything else. Pain typically has direct and immediate motivational consequences: one wants it to stop, has an incentive to do whatever one can to reduce it, and is gratified by its termination. As these desires and motives collide with neural reality, emotional components of mental anguish, anxiety, and dread arise. The suffering involved in suffering from pain has multiple strands: it is not just the painfulness of the sensation, or the frustration of the desire that it end, but also the anguish over the possibility that it will never end, and the impossibility, if the pain is sufficiently intense, of focusing one’s attention on anything else. (shrink)

Recent work in computational and cognitive neuroscience depicts the brain as an ever‐active prediction machine: an inner engine continuously striving to anticipate the incoming sensory barrage. I briefly introduce this class of models before contrasting two ways of understanding the implied vision of mind. One way (Conservative Predictive Processing) depicts the predictive mind as an insulated inner arena populated by representations so rich and reconstructive as to enable the organism to ‘throw away the world’. The other (Radical Predictive Processing) (...) stresses the use of fast and frugal, action‐involving solutions of the kind highlighted by much work in robotics and embodied cognition. But it goes further, by showing how predictive schemes can combine frugal and more knowledge‐intensive strategies, switching between them fluently and continuously as task and context dictate. I end by exploring some parallels with work in enactivism, and by noting a certain ambivalence concerning internal representations and their role in the predictive mind. (shrink)

This article analyses the skills and knowledges involved in multiplayer first-person shooting games, specifically Call of Duty 4 for the Xbox 360 games console. In doing so, it argues that the environments of first-person shooting games are designed to be intense spaces that produce captivated subjects – users who play attentively for long periods of time. Developing Heidegger’s concept of attunement and Stiegler’s account of retention, the article unpacks the somatic and sensory skills involved in videogame play and discusses (...) how videogame environments cultivate a sense of captivation. In conclusion the article reflects on the politics of captivation for the bodies that engage with these games through the idea of vulnerability as an ‘opening of the body’s capacity for sense’. (shrink)

Annotation. In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; (...) and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)

Female competition generally takes nonviolent form, but includes intense verbal and nonverbal harassment that has profound social and physiological consequences. The evolutionary ecological model of competitive reproductive suppression in human females, might profitably be applied to explain a range of contemporary phenomena, including anorexia.

Our visual experience of the world is one of diverse objects and events, each with particular colors, shapes, and motions. This experience is so coherent, so immediate, and so effortless that it seems to result from a single system that lets us experience everything in our field of view. But however appealing, this belief is mistaken: there are severe limits on what can be visually experienced. -/- For example, in a display for air-traffic control it is important to track all (...) moving items. For a single item, this can be done without problem. Three or four can also be tracked, although some degree of effort may be needed. As the number is increased further, accurate tracking becomes more and more difficult—and eventually, impossible. Performance is evidently affected by a factor within the observer which enables certain kinds of perception to occur, but is limited in some way. This factor is generally referred to as attention. -/- At various times, attention has been associated with clarity of perception, intensity of perception, consciousness, selection, or the allocation of a limited “resource” enabling various operations (see Hatfield, 1998). During the past several decades, considerable progress has been achieved by focusing on the idea of selection (Broadbent, 1982). In particular, attention can be productively viewed as contingently selective processing. This can be embodied in various ways by various processes—there need not be a single quantity identified with all forms of attention, or a single site where it operates (Allport, 1993; Tsotsos, 2011). Although “paying attention” is often considered to be a unitary operation, it may simply refer to the control of one or more selective processes, ideally in a co-ordinated way. While this view has some cost in terms of conceptual simplicity, it can help make sense of a large set of phenomena. -/- This article surveys several of the major issues in our understanding of attention and how it relates to perception. It focuses on vision, since many—if not all—considerations are similar for all sensory modalities, and the level of understanding achieved in this domain is currently the most advanced. (shrink)

Perception has been for philosophers in the last few decades an area of compelling interest and intense investigation. Developments in contemporary cognitive science and neuroscience has thrown up new information about the brain and new conceptions of how sensory information is processed and used. These new conceptions offer philosophers opportunities for reconceptualising the senses--what they tell us, how we use them, and the nature of the knowledge they give us. Today, the philosophy of perception resonates with ideas that had (...) not even been articulated in the 1970s and 1980s. This Handbook is a survey by leading philosophical thinkers of contemporary issues and new thinking in philosophy of perception. It includes sections on the history of the subject, introductions to contemporary issues in the epistemology, ontology and aesthetics of perception, treatments of the individual sense modalities and of the things we perceive by means of them, and a consideration of how perceptual information is integrated and consolidated. New analytic tools and applications to other areas of philosophy are discussed in depth. Each of the entries is written by a leading expert, some collaborating with younger figures; each seeks to introduce the reader to a broad range of issues. All contain new ideas on the topics covered; together they demonstrate the vigour and innovative zeal of a young field. (shrink)

Pain is often used as the paradigmatic example of a phenomenal kind with a phenomenal quality common and unique to its instantiations. Philosophers have intensely discussed the relation between the subjective feeling, which unites pains and distinguishes them from other experiences, and the phenomenal properties of sensory, affective, and evaluative character along which pains typically vary. At the center of this discussion is the question whether the phenomenal properties prove necessary and/or sufficient for pain. In the empirical literature, (...) class='Hi'>sensory, affective, and evaluative properties have played a decisive role in the investigation of psychophysical correspondence and clinical diagnostics. This paper addresses the outlined philosophical and empirical issues from a new perspective by constructing amultidimensional phenomenal spacefor pain. First, the paper will construe the phenomenal properties of pains in terms of a property space whosestructurereflects phenomenal similarities and dissimilarities by means of spatial distance. Second, philosophical debates on necessary and sufficient properties are reconsidered in terms of whether there is a phenomenal space formed of dimensions along which all and only pains vary. It is concluded that there is no space of this kind and, thus, that pain constitutes aprimitivephenomenal kind that cannot be analyzed entirely in terms of its varying phenomenal properties. Third, the paper addresses theutilityof continued reference to pain and its phenomenal properties in philosophical and scientific discourses. It is argued that numerous insights into the phenomenal structure of pain can be gained that have thus far received insufficient attention. (shrink)

On the face of it, suffering from the loss of a loved one and suffering from intense pain are very different things. What makes them both experiences of suffering? I argue it’s neither their unpleasantness nor the fact that we desire not to have such experiences. Rather, what we suffer from negatively transforms the way our situation as a whole appears to us. To cash this out, I introduce the notion of negative affective construal, which involves practically perceiving our situation (...) as calling for change, registering this perception with a felt desire for change, and believing that the change is not within our power. We (attitudinally) suffer when negative affective construal is pervasive, either because it colours a large swath of possibilities, as in the case of anxiety, or because it narrows our attention to what hurts, as in the case of grief. On this view, sensory or bodily suffering is a special case of attitudinal suffering: the unpleasantness of pain causes pervasive negative affective construal. Pain that doesn’t negatively transform our world doesn’t make for suffering. (shrink)

Table of Contents: Olivier Massin, 'Pleasure and Its Contraries'; Colin Klein, 'The Penumbral Theory of Masochistic Pleasure'; Siri Leknes and Brock Bastian, 'The Benefits of Pain'; Valerie Gray Hardcastle, 'Pleasure Gone Awry? A New Conceptualization of Chronic Pain and Addiction'; Richard Gray, 'Pain, Perception and the Sensory Modalities: Revisiting the Intensive Theory'; Jonathan Cohen and Matthew Fulkerson, Affect, Rationalization, and Motivation; Murat Aydede, 'How to Unify Theories of Sensory Pleasure: An Adverbialist Proposal'; Adam Shriver, 'The Asymmetrical Contributions of (...) Pleasure and Pain to Subjective Well-Being'. (shrink)

In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and (...) the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)