Stärkta kundrelationer är viktigt för ett företags lönsamhet och när individuella upplevelser efterfrågas i allt större utsträckning behöver företag utveckla och differentiera sig genom Unique Selling Proposition. Allt mer forskning tyder på att utnyttjandet av de fem sinnena i företagets verksamhet samt marknadsföring kan vara nyckeln till differentiering. Det har blivit viktigare att ge konsumenterna en individuell och skräddarsydd upplevelse där sinnena har fått en allt större betydelse.Syftet med denna undersökning är att undersöka och analysera utnyttjandet av sinnesupplevelsen i marknadsföringen där vi har genomfört en fallstudie på SPA-hotellet Yasuragi. Vi delar även upp konsumentgruppen i två delar, affärsgäster och privatgäster, för att jämföra upplevelse och mottagandet av marknadsföringen. För att svara på syftet har författarna genomfört en enkätundersökning, en deltagande observation på Yasuragi och fyra djupintervjuer samt en mailintervju. Den teoretiska referensramen, empirin och analysen är uppdelad i tre delar utifrån begreppen Sinnesmarknadsföring, Upplevelser och konsumtion.Undersökningen har visat att Yasuragi har alla förutsättningar att arbeta med sinnesmarknadsföring då turismprodukten berör alla de fem sinnena. SPA-hotellet skulle kunna arbeta mer medvetet med denna form av marknadsföring då de nu sker mindre planerat. Som det ser ut just nu sker det ingen större differentiering i marknadsföringen mot affärsgäster och privatgäster. För att lyckas med sinnesmarknadsföring måste fokus ligga på att förmedla känslan och upplevelsen av en produkt/tjänst istället för själva fysiska produkten. Yasuragi måste förmedla sin sinnesupplevelse redan i marknadsföringen där de kan ge ett smakprov av upplevelsen.Genom att beröra så många sinnen som möjligt hos en individ ökar dess intresse samt involvering av en produkt/tjänst vilket också påverkar konsumentbeteendet. Genom vår egen framtagna modell kan man se att ett företags Unique Selling Proposition bör vara så anpassad som möjligt till de fem sinnena för att skapa en total sinnesupplevelse. Sinnesupplevelsen bör sedan marknadsföras till individen för att individen ska utföra ett köp. Sinnesmarknadsföring kan alltså bidra till en starkare relation mellan kund och företag samt till en mer lönsam verksamhet. / Strong customer relationships are important to a company 's profitability and when the demand for individual experiences increase it requires companies to develop and differentiate themselves through Unique Selling Proposition . Growing body of research suggests that the use of the five senses in the business and marketing can be the key to differentiation. It has become more important to provide consumers with an individual and tailor-made experience in which the senses have become increasingly important.The purpose of this study is to examine and analyze the utilization of sensory experience in marketing where we have conducted a case study on SPA hotel Yasuragi. We also divide the consumer group into two parts, the business guests and private guests, to compare the experience and the outcome of marketing. To answer this purpose, we have conducted a survey, a participant observation at Yasuragi and four in-depth interviews and a mail interview. The theoretical framework, empirical data and analysis is divided into three parts based on the concepts of Sensory Marketing, Experiences and Consumption.The study has shown that Yasuragi has every opportunity to work with sensory marketing as the tourism product stimulates all five senses. Yasuragi would be able to work more consciously with this form of marketing as it now occurs less planned. As it stands right now, there is not much differentiation in marketing to business guests and private guests. To succeed in sensory marketing focus must be on to convey the feeling and experience of a product / service instead of the actual physical product. Yasuragi must convey their sensory experience already in marketing where they can provide a taste of the experience.Touching as many senses as possible in an individual increases its interest and involvement of a product / service which also affects consumer behaviour. Through our own designed model, one can see that a company's Unique Selling Proposition should be as accessible as possible to the five senses to create a total sensory experience. Sensory experience should then be marketed to the individual who most likely will purchase. Sensory Marketing can also contribute to a stronger relationship between customer and company, as well as to a more profitable business.

The contact-making process of teachers with learners, who present with sensory processing disorder (SPD), has an impact on the learners’ functioning in the classroom. In this study the researcher explored how teachers made contact with these learners by using their senses to accommodate the learners’ unique contact-making style. The involved occupational therapists selected teachers, who taught learners who received occupational therapy for SPD in the age group 7-12 years. The selected teachers participated in unstructured interviews. The case study was used as research method and aimed at gaining deeper insight into and understanding of the teachers’ understanding of and contact-making process with learners with SPD. Erikson’s developmental theory was integrated with the Gestalt theoretical perspective, with focus on the relevant age group. The researcher became aware of contact-making interruptions that occurred during the contact- making process between the teachers and learners with SPD. These interruptions occurred because the teachers did not fully understand the contact-making processes and needs of the learners with SPD. The mentioned contact-making interruptions may occur in various forms. The contact-making interruptions were used by the learners to protect themselves and for organismic self-regulation. During the unstructured interviews the teachers became aware of the importance of the way that they made contact with learners who present with SPD, but they lacked training in the appropriate teaching techniques. The results indicated that teachers needed knowledge about SPD and skills to facilitate and accommodate learners with SPD and to approach them according to their uniqueness. Recommendations were formulated to enhance the teachers’ knowledge about SPD and support the teachers to try other strategies in the classroom to improve the contact-making process with learners who present with SPD. The recommendations made by the researcher were done in support of teachers in order to make sufficient contact with learners who present with SPD, and in doing so, to promote the holistic development of these learners. It is important that teachers are aware of the possible contact-making interruptions used by learners who present with SPD, in order to creatively adjust their own contact-making process and to retry to make and maintain good contact with involved learners by using different senses. This study is a first step in more effective service rendering to learners with SPD, by clarifying issues and shedding light on how teachers cope with this challenge. / Thesis (MA (Psychology))--North-West University, Potchefstroom Campus, 2013.

The contact-making process of teachers with learners, who present with sensory processing disorder (SPD), has an impact on the learners’ functioning in the classroom. In this study the researcher explored how teachers made contact with these learners by using their senses to accommodate the learners’ unique contact-making style. The involved occupational therapists selected teachers, who taught learners who received occupational therapy for SPD in the age group 7-12 years. The selected teachers participated in unstructured interviews. The case study was used as research method and aimed at gaining deeper insight into and understanding of the teachers’ understanding of and contact-making process with learners with SPD. Erikson’s developmental theory was integrated with the Gestalt theoretical perspective, with focus on the relevant age group. The researcher became aware of contact-making interruptions that occurred during the contact- making process between the teachers and learners with SPD. These interruptions occurred because the teachers did not fully understand the contact-making processes and needs of the learners with SPD. The mentioned contact-making interruptions may occur in various forms. The contact-making interruptions were used by the learners to protect themselves and for organismic self-regulation. During the unstructured interviews the teachers became aware of the importance of the way that they made contact with learners who present with SPD, but they lacked training in the appropriate teaching techniques. The results indicated that teachers needed knowledge about SPD and skills to facilitate and accommodate learners with SPD and to approach them according to their uniqueness. Recommendations were formulated to enhance the teachers’ knowledge about SPD and support the teachers to try other strategies in the classroom to improve the contact-making process with learners who present with SPD. The recommendations made by the researcher were done in support of teachers in order to make sufficient contact with learners who present with SPD, and in doing so, to promote the holistic development of these learners. It is important that teachers are aware of the possible contact-making interruptions used by learners who present with SPD, in order to creatively adjust their own contact-making process and to retry to make and maintain good contact with involved learners by using different senses. This study is a first step in more effective service rendering to learners with SPD, by clarifying issues and shedding light on how teachers cope with this challenge. / Thesis (MA (Psychology))--North-West University, Potchefstroom Campus, 2013.

The following work is an attempt to feed a dynamic concept of the body into contemporary morphogenetic design procedures in order to confront critiques that topological design processes produce architectural form that is too abstract. This begins with an understanding of the body schema; the open and continuously variable relationships between the various modes of sensation and perception that can only be described in topological terms. Similar to how active matter is instrumentalized in avant-garde practice and cutting edge research towards self-organization and morphogenesis, an active body schema has the potential to be instrumentalized towards design that aims to exploit the potential performance and openness of the body when confronted with architecture, moving away from mechanistic, representational notions of function. The work follows a procedure wherein conceptual research engages physical phenomena that are abstracted into diagrams then organized into material systems or abstract machines. These machines are intended to be mobilized and consolidated to engage specific issues of program and type and further refined to be deployed upon a specific site. This morphological process of machining architecture aims to move toward a seamless exchange between research and design that effectively instrumentalizes the dynamic body schema into a design process engaging architecture of performance. Perhaps, in terms of the body, morphogenetic design produces architecture that is not abstract enough.

Deafferented cortical visual areas exhibit topographical plasticity such that their constituent neural populations adapt to the loss of sensory input through the expansion and eventual remapping of receptive fields to new regions of space. Such representational plasticity is most compelling in the long-term (months or years) but begins within seconds of retinal deafferentation (short-term plasticity). The neural mechanism proposed to underlie topographical plasticity is one of disinhibition whereby long-range horizontal inputs are "unmasked" by a reduction in local inhibitory drive. In this dissertation, four experiments investigated the neural mechanisms of short-term visual plasticity and disinhibition in humans using a combination of psychophysics and event-related potentials (ERPs). Short-term visual plasticity was induced using a stimulus-induced analog of retinal deafferentation known as an artifical scotoma. Artificial scotomas provide a useful paradigm for the study of short-term plasticity as they induce disinhibition but are temporary and reversible. Experiment 1 measured contrast response functions from within the boundaries of an artificial scotoma and evaluated them relative to a sham control condition. Changes in the contrast response function suggest that disinhibition can be conceived of in terms of two dependent but separable processes: receptive field expansion and unrestricted neural gain. A two-process model of disinhibition is proposed. A complementary ERP study (Experiment 2) recorded visual evoked potentials elicited by probes appearing within the boundaries of an artificial scotoma. Results revealed a neural correlate of disinhibition consistent with origins in striate and extrastriate visual areas. Experiment 3 and 4 were exploratory examinations of the representation of space surrounding an artificial scotoma and revealed a neural correlate of invading activity from normal cortex. Together, the results of these four studies strengthen the understanding of the neural mechanisms that underlie short-term plasticity and provide a conceptual framework for their evaluation.

Title from first page of PDF document. Includes bibliographical references (p. 69-73).

Academisch proefschrift - Amsterdam. / Issued also without thesis statement.

This study examines the interaction between portraits by the exponent of French colourist painting Nicolas de Largillierre (1656–1745) and elite spectatorship in the early eighteenth century as enactment of the idea of painting as an art of pleasing the eye. As developed in the theory of art of Roger de Piles (1635–1709), the idea of painting as an art of pleasing the eye coexisted with the classicist view, which in turn emphasised the potential of painting to communicate discursive meanings and hence to engage the mind. The idea of painting as an art of pleasing the eye was associated with a taste that valued the pictorial effects of painting and related to the ideal of honnêteté, which expanded on the art of pleasing in polite society by means of external appearances as a sign of social distinction. The aim of the study is to explore how portraits by Nicolas de Largillierre address the spectator and how such paintings might have come to have meaning for spectators in the early eighteenth century. To do this, the study takes a performative approach and defines meaning as a product of the interplay of pictorial effects and spectatorial response, progressing from the initial encounter throughout the sustained exploration of the paintings. Building on close analyses of selected paintings and readings of texts that bear on issues of pictorial imitation, spectatorship and social interaction, the study brings into focus the interplay of cognitive and sensory activities, including verbal articulation and bodily movement, which come into play in the production of meanings through the act of spectatorial experience. The study also emphasises the interplay of the mimetic and the material aspects of the paintings as an important bearer of meanings and identifies several interrelated sites of tension in which the pictorial effectiveness of the portraits resides. The study concludes by suggesting that to infer such meanings, the spectator should be prepared to respond to the address of the paintings actively, by engaging the mind, the senses and the body. Such an interpretation of the interaction between portrait paintings and spectators proposes a complex view of the ways in which artistic and spectatorial practices in the early eighteenth century might have interacted to create meanings while reproducing at the same time social and aesthetic conventions and ideals, such as the art of pleasing the eye. / <p>Fulltexten går inte att ladda ned eller att skriva ut pga upphovsrättslliga skäl. Går endast att läsa på skärmen.</p>

Cette thèse propose une étude des modes d’incorporation des savoir-faire au sein du Théâtre du Mouvement, une compagnie de mime contemporain dirigée par Claire Heggen et Yves Marc en Île-de-France. En s’appuyant sur une littérature en études théâtrales et danse, en ethnologie, ainsi que sur des données en physiologie et sciences de la motricité, elle interroge plus particulièrement la transmission de compétences sensorielles en son sein. La première partie présente le cadre épistémologique et méthodologique de la recherche menée, privilégiant un mode de connaissance micrologique ainsi qu’une approche ethnographique. La seconde partie traite successivement des modes d’affinement des sensibilités kinesthésiques et proprioceptives – insistant sur une connaissance globale de soi et l’incorporation de principes issus de la technique du mime corporel d’Etienne Decroux (1898-1991) –, des sensibilités visuelles et tactiles, mettant en lumière la transmission d’une technicité sensorielle. Enfin, une troisième partie, à travers les portraits de trois femmes artistes, formées dans la compagnie et considérées comme expertes, postule le partage d’une culture sensible au sein du groupe d’artistes considéré.Cette recherche se veut une contribution aux connaissances sur la formation de l’acteur dans le domaine des Arts du Mime et du Geste aujourd’hui en France, ainsi qu’un apport à une ethnographie des techniques sensorielles et de leur transmission dans le cadre des pratiques artistiques. / This thesis proposes a study of the expertise within Théâtre du Mouvement, a contemporary mime company co-directed by Claire Heggen and Yves Marc in France. Based on performing arts studies, ethnology, as well as data in physiology and movement science, it specifically concerns the transmission of sensory skills. The first part presents the epistemological and methodological framework of the research, favoring a mode of micrological knowledge and an ethnographic approach. The second part deals successively with refining kinesthetic and proprioceptive sensitivities – insisting on a global self-knowledge and the incorporation of the principles of mime developed by Etienne Decroux (1898-1991) – visual and tactile sensitivities, highlighting the transmission of sensory expertise. Finally, the third part, through the portraits of three woman artists, experts from the company, postulates the sharing of a sensitive culture in the group of artists. This research is a contribution to the actor’s learning in “Arts du Mime et du Geste” in France today, as well as a contribution to an ethnography of sensory techniques and their transmission within performing arts.

This study describes three case studies with three children diagnosed with Asperger's Syndrome, the focus of the dissertation being the sensory processing issues that these children experience, the limited intervention regarding this subject, and the possible emotional connotations that may accompany these difficulties. In the study, three children partook in six Gestalt Play Therapy sessions, where sensory stimulants were utilised as a medium of expression. The data was analysed, with the emphasis on the children's responses to the sensory work and the emotions that could be linked to this experience. A detailed description of the sessions is provided. It was found that these children were able to make use of the Gestalt Play Therapy setting, along with the sensory work, as a means of emotional expression. / Social Work / M. Diac. (Play Therapy)