A presente dissertação apresenta a sensação na arte e no ensino. As vias escolhidas são a da pintura modernista, a da sala de aula e a da construção da casa: a vida de professora-artista-mulher. A Pintura tida como arte e filosofia, seus procedimentos, as cores e os traços, a composição. A sala de aula como espaço da aprendizagem e local de provocação de fissuras na instituição. A casa como lugar de fluxos intensos, do bando, da composição de um território. A sensação como vibração que está na obra e nos corpos. Os blocos de sensação como apresentação das forças sentidas pelo ser. Compreendendo a sensação como via da aprendizagem, este trabalho percorre seu olhar pelos caminhos da Filosofia da Diferença. Através dos autores Deleuze, Guattari, Nietzsche, Gomes, Bergson, entre outros e de pintores e suas obras, como Matisse, Klee, Kandinski, entre tantos mais. Em meio à vida, nos territórios da arte, da escola e da casa. Nos espaços do Observatório da Educação, do atelier da pintora, da casa e da sala de aula. O trabalho apresenta a ideia que aprender é pensar, e que em arte, se aprende pela sensação. / This dissertation aims at presenting the sensation in Arts and teaching. The means chosen were the modernist painting, the classroom and the building of the house: portraits of life of the teacher-artist-woman. The paintings regarded as art and philosophy, its proceedings, its colors and traces, the composition. The classroom considered as a learning environment and an institutional fissure provoking place. The house accounted as an area of intense flux, of the pack, of a territory composition. The sensation believed as a vibration which is in the piece and in the bodies. Blocks of sensations held as presentation of the forces sensed by the being. Regarding this sensation as a learning means, this work deals with the Philosophy of the Difference traits, Authors such as Deleuze, Guattari, Nietzsche, Gomes, Bergson, amongst others and pieces by painters like Matisse, Klee, Kandinski and several others were studied. Amongst life, artistic territories of the school and the house and in the environment of the “Observatório da Educação”, in the painter’s workshop, in the house and in the classroom, the idea that learning is thinking and that in Arts learning happens though sensation.

Response characteristics and tactile coding capacities of single neurons of the dorsal column nuclei (DCN), and the dorsal horn, in particular, neurons of the spinocervical tract (SCT), were investigated in anaesthetized cats. Purely dynamically-sensitive tactile neurons of the DCN could be divided into two classes, one associated with hair follicle afferent (HFA) input, the other with Pacinian corpuscle (PC) input. The HFA-related class was most sensitive to low-frequency (&lt50 Hz) vibration, had phaselocked responses to vibration frequencies up to ~75 Hz and had a graded response output as a function of vibrotactile intensity changes. PC-related neurons had broader vibrotactile sensitivity, extending to ~300 Hz with tightest phaselocking between 50 and 200 Hz. The SCT neurons in the lumbar dorsal horn had tactile receptive fields on the hairy skin of the hindlimb and a very limited capacity to signal, in a graded way, the intensity parameter of the vibrotactile stimulus. Furthermore, because of their inability to respond on a cycle-by-cycle pattern at vibration frequencies above 5-10 Hz, these neurons were unable to provide any useful signal of vibration frequency beyond ~5-10 Hz, in contrast to DCN neurons. In the parallel human psychophysical study, the capacity for vibrotactile frequency detection and discrimination was examined in five subjects in glabrous and hairy skin. The vibrotactile detection threshold values obtained at four standard frequencies of 20, 50, 100 and 200 Hz were markedly higher on the hairy skin than on the glabrous skin. The discrimination task was examined by means of a two-alternative, forced-choice psychophysical procedure. Measures of the discriminable frequency increment (?????) and the Weber Fraction (????? / ??), revealed similar capacities for frequency discrimination at the two different skin sites at the standard frequencies of 20, 100 and 200 Hz, but an equivocal difference at 50 Hz. Cutaneous local anaesthesia in the dorsal forearm produced a marked impairment in vibrotactile detection and discrimination at the low frequencies of 20 and 50 Hz but little effect at higher frequencies, confirming that vibrotactile detection and discrimination in hairy skin depend upon superficial receptors at low vibrotactile frequencies, but depend on deep, probably Pacinian corpuscle receptors for high frequencies.

Consists of twenty nine papers previously published in various journals. / Includes bibliographical references. / 1 v. (various pagings) : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Physical, chemical, and neurophysiological processes responsible for fabric-evoked discomfort, itch and prickle sensation, and skin rash are defined. / Thesis (M.D.)--University of Adelaide, Dept. of Physiology, 1995?

Objectives: To describe the relationship between sensorimotor function and walking in incomplete SCI. Methods: 25 subjects were assessed using Lower Extremity Motor (LEMS) and Pinprick (LEPS) scores, and 7 walking measures: FIM-Locomotor Score, Assistive Device Score, Walking Index for SCI, 10-metre Walk Test (10mWT), Timed Up and Go (TUG), Six-Minute Walk Test (6MWT) and Walking Mobility Scale. Results: Walking and sensorimotor function varied between subjects. Walking measures significantly correlated with LEMS and individual leg muscles but not LEPS. 21/22 ambulatory subjects had LEMS threshold>20. Non-ambulatory subjects didn’t achieve threshold. Not all subjects completed all walking measures: 10mWT: n=19; TUG: n=14, 6MWT: n=13. Most walking measures were significantly related. 10mWT and 6MWT were highly correlated. Subjects walking0.95 m/s didn’t reach predicted 6MWT. Conclusion: Lower extremity strength is important for walking and should be further examined with other factors in a range of subjects across different measures to fully understand these relationships.

Objectives: To describe the relationship between sensorimotor function and walking in incomplete SCI. Methods: 25 subjects were assessed using Lower Extremity Motor (LEMS) and Pinprick (LEPS) scores, and 7 walking measures: FIM-Locomotor Score, Assistive Device Score, Walking Index for SCI, 10-metre Walk Test (10mWT), Timed Up and Go (TUG), Six-Minute Walk Test (6MWT) and Walking Mobility Scale. Results: Walking and sensorimotor function varied between subjects. Walking measures significantly correlated with LEMS and individual leg muscles but not LEPS. 21/22 ambulatory subjects had LEMS threshold>20. Non-ambulatory subjects didn’t achieve threshold. Not all subjects completed all walking measures: 10mWT: n=19; TUG: n=14, 6MWT: n=13. Most walking measures were significantly related. 10mWT and 6MWT were highly correlated. Subjects walking0.95 m/s didn’t reach predicted 6MWT. Conclusion: Lower extremity strength is important for walking and should be further examined with other factors in a range of subjects across different measures to fully understand these relationships.

Ce mémoire porte sur le corps, tel qu'il se manifeste au cours de la performance, et sa dimension phénoménale - corps de chair dont le rapport au monde se constitue par une expérience sensorielle, motrice et perceptuelle. Il questionne la manière dont cette nature phénoménale du corps de l'artiste apparaît dans certaines œuvres du mouvement performatif des années 1970 à 1980, ainsi que la façon dont celle-ci affecte et détermine l'expérience esthétique du récepteur. Son principal objectif est de placer au premier plan le corps phénoménal de l'artiste tel qu'il est mis en scène à travers un peu plus d'une quinzaine d'œuvres performatives et le corps phénoménal du spectateur tel qu'il se trouve sollicité par ces œuvres. La méthodologie adoptée consiste en l'élaboration d'un cadre théorique multidisciplinaire permettant, d'une part, de définir la dimension phénoménale du corps et de l'exposer plus précisément par l'analyse de performances préalablement regroupées en catégories fondées sur la base d'une parenté d'actions, et d'autre part, de rendre compte de l'expérience esthétique du spectateur et de la manière dont la spécificité des œuvres performatives interpelle ses sens et sa perception. Cette démarche analytique montre qu'au cours du déroulement de l'œuvre, l'artiste présente un corps dont la nature est sensorielle et perceptuelle en sollicitant par ses actions un ou plusieurs espaces sensori-perceptifs. La sollicitation de ces espaces contribue à définir à la fois les spécificités de l'œuvre et le type d'expérience esthétique vécue par le récepteur. En ce sens, la prise en considération du corps phénoménal de l'artiste et de celui du spectateur fournit de précieux indices quant à l'expérience sensorielle et perceptuelle, mais aussi affective, qu'ils sont susceptibles de faire de l'art de performance. Ainsi, ce travail participe aux réflexions liées au corps, à sa nature phénoménale et aux théories de la réception, tout comme il apporte des hypothèses et interprétations nouvelles au discours consacré au mouvement performatif. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : corps, perception, performance, phénoménologie, sensation

Although recent studies have begun to examine potential factors that might affect sexual appeals effectiveness, many questions remain unexplored. Based on previous studies relevant to sexual appeals, this study firstly distinguishes and explores two types of sexual appeals: implicit and explicit. Furthermore, this study compares the effects of two types of sexual appeals when product types are considered. In addition, sensation seeking is also incorporated into this research to examine how it may sway the effectiveness of the sexual appeals. The present study uses experimental design to investigate the advertising effects of different types of sexual appeals (non-sexual appeal vs. explicit appeal vs. implicit appeal) and product type (sex-related vs.non sex-related). A 3X3 factorial design is conducted. The ad effects are measured by purchase intention and attitude toward the brand to observe the response under different scenarios. The results indicate that when a sex-related product is promoted, sexual appeals are more effective than non-sexual appeals. There is an interaction effect between sexual appeal and product type. To be specific, the explicit sexual appeal is more effective than the implicit sexual appeal when a sex-related product is promoted. However, such superior effects disappear as it turns to non sex-related product promotion. Additionally, for individuals with higher sensation seeking, the explicit sexual appeal is more effective than the implicit sexual appeal when the product is related to sex. On the opposite, for those with median degree of sensation seeking, the implicit appeal is more effective than the explicit appeal to promote the product which is not sex-related. Finally, for those with low degree of sensation seeking, there is no difference in advertising effectiveness between explicit and implicit appeal. According to these findings, this study suggests that marketers should consider not only the product they promote but also the sensation seeking of the target consumers before choosing an appropriate sexual appeal to maximize the advertising effects.

Issued also as Thesis (Ph. D.)--Columbia University. / Bibliography: p. 79-81.

Thesis (MA)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, August 2001. / Includes bibliographical references. Also available on the Internet.