Thesis--University of Wisconsin. / Microfilm-xerography. Ann Arbor, Mich. : University Microfilms, 1972.--21 cm. Description based on print version record. Includes bibliographical references (leaves 311-323).

M.Com. (Industrial Psychology) / Traditional experimental psychology and cognitive science have regarded the mind as an abstract information processor that places little importance on the connections to the surrounding environment (Bilda, Candy, & Edmonds, 2007). Contemporary research into the functioning of the mind, however, has discovered the essential role that the body plays in constructing perceptual and mental processes. This is known as embodied cognition, which holds that cognitive processes and even intelligence are deeply embedded in the body’s interactions with the environment, as a result of sensory motor activity (Barsalou, 2008; Jostmann, Lakens, & Schubert, 2009; Smith & Gasser, 2005; Wilson, 2002). As such, even haptic sensations such as touch could have an effect on the way individuals perceive and process information. Touch may even have an effect on the way people judge themselves (Ackerman, Nocera, & Bargh, 2010). This is the focus of the current study. The work of Ackerman and et al. (2010) is a recent and seminal study that also provides the guidance for this particular study, which aims to determine whether haptic sensations (in particular the touch sensation of the physical questionnaire) have an effect on the self-judgements of individuals completing a personality questionnaire. In this chapter the following will be considered: the background and rationale for the study; a problem statement presented in the form of a research question; research objectives; and an overview of the metatheory that forms the basis of the study. The latter will also be linked to the rationale of this study.

Behavioral and physiological responses were monitored while extreme high (n=l6) and low (n=15) scorers on the Sensation Seeking Scale were presented 10 tones at 60, 80, and 100 dB. In general, no compelling behavioral or physiological differences between the groups were found. Initially, there were no differences between the groups on the behavioral variables. The low sensation seeking subjects reported lower verbal ratings of pleasure and higher verbal ratings of stress than did the high sensationsseeking subjects as a result of increased stimulation. Although these results provide support for the hypothesis that high sensation seeking individuals prefer higher levels of stimulation, the interpretation of these data is not that clear-cut since the ratings were done over the blocks. As a result it is not clear whether the subjects are rating their response to the tones, the cummulative effect of isolation, or what. Although a "biological basis" of sensation seeking has been proposed, the present empirical data do not support this notion. Of the number of physiological variables, the only significant physiological group difference to emerge was with vasomotor activity, with the low sensationsseeking subjects being generally more responsive. Although not significant, the high sensation seeking subjects did display the predicted larger skin conductance orienting response on the first presentation of the novel stimuli. The general pattern of increased skin conductance, heart rate acceleration, and vasoconstriction in response to stimulation suggests that the experimental procedure had similar effects on "both groups. Further research with vasomotor activity may clarify the physiological basis of the sensation seeking dimension; however, at this point, the "biological "basis of sensation seeking remains unclear. / Arts, Faculty of / Psychology, Department of / Graduate

Horseradish peroxidase (HRP) was applied to the rostral end of sectioned hepatic vagi (HV) . Subsequently, a count of HRP—labeled cells in the nodose ganglia (NDG) yielded an estimate of the minimum number of afferent fibers in the HV of 139. HHP labeled cells were found only in the left NDG and were diffusely spread throughout the ganglia. No HRP labeling was found in areas of the brain previously reported to contain vagal afferent projections. In three cases small numbers of HRP labeled cell bodies were seen in the dorsal motor nucleus (DMN) . The NDG were organized with cell bodies on the sides and their processes and fibers of passage in the center. The NDG have an apparent population of two cell types; large sensory neurons and smaller glial cells. However, the possibility of a population of smaller sensory cells is discussed. An average of total sensory cell counts for three NDG yielded an estimate of 9115 sensory cells.

No description available.

A lexicon describing the sensory perception of carbonated water was developed. Temporal aspects and differing ingestion conditions were investigated for Bite and Burn sensation using time-intensity (T-I). Four CO₂ levels (0, 1.7, 2.8, and 4.6 volumes) at 3°C and 10°C were tested. Trained panelists used a 16-pt category scale for evaluation in the first study. One swallow (15 ml) and four continuous swallows were evaluated by trained subjects using T-I in the subsequent studies. Lexicon included: salty, sour, bitter, cooling, astringency, bubbly, bubble size, bubble sound, gas expansion feeling, bite, burn, and numbing. Descriptor ratings, except cooling, increased as CO₂ level increased. Bubble size and bubble sound were rated higher for 10°C. Cooling, bite, burn, and numbing were rated higher for 3°C . Descriptors were divided into cooling, taste (salty, sour, bitter, astringency), trigeminal (bite, burn, and numbing), and mechanoreception descriptors (bubbly, bubble size, bubble sound, gas expansion feeling) based on PCA. Average temporal curves for Bite and Burn demonstrated that Burn sensation (steep linear rise and long-lived exponential decay slope) was similar to previously investigated irritants while Bite (steep linear rise and decay slopes, and relatively short duration) was unlike other irritants. Sensations were qualitatively and quantitatively different. Intensity and duration of Bite and Burn were concentration dependent. Cold temperature enhanced perception. Possible psychological habituation or desensitization was observed. Most T-I parameters were correlated for both Bite and Burn. These included CO₂ level dependent and CO₂ level independent parameters. Considerable subject variability was found. Increased exposure to CO₂ solution and increased cooling with ingestion of four continuous swallows was compared to one swallow. T-I curves for Bite (four swallows) were of higher intensity, longer duration, and developed maximum intensity plateaus. Those for Burn exhibited higher maximum intensities. At four swallows, T-I parameter correlations were strengthened, subject variability reduced and replication reproducibility improved by ease of rating afforded subjects by higher intensity sensations. Increased oral CO₂ perception with higher CO₂ levels and enhancement by cold temperature was reconfirmed. Beginnings of maximum intensity, Duration, and reaction time perceptual terminal thresholds were seen for the highest 3°C, CO₂ level. High CO₂ concentration, cold temperature, and exposure time induced these effects. / Graduation date: 1993

The importance of touch-related sensations as a kinesthetic perceptual system through the observation of the subject/object phenomenon is explored through defining aspects of movement learning experiences associated with dance training.

This dissertation examines the impact of electronic sound technology on theories and practices of listening in Paris since 1945. It focusses on experimental work, carried out by musicians and medical professionals and designed with the express purpose of transforming the minds, bodies, and experiences of listening subjects in order to produce “experimental listeners.” Why did the senses become a target of manipulation at this particular moment, and how was technology used and abused for these ends? What kinds of changes to human beings, permanent or otherwise, was sound technology imagined to produce? And on what grounds were such experimental activities legitimized? To answer these questions in high definition, the story follows two main protagonists: otolaryngologist Alfred Tomatis and composer Pierre Schaeffer. Chapter 1 provides a launch pad into the world of Tomatis’s unconventional listening therapy by focusing on the invention in 1953 of the Electronic Ear, a device that could be described as an experiment in sensory prosthetics. Chapter 2 looks at Schaeffer’s experimental research into listening—through his “sound objects”—where his ultimate goal was to establish an entirely new musical culture based upon a new sensibility of sound awoken by the novel sound technologies of his day. The third chapter dissects Tomatis’s unlikely “postmortem” analysis of Enrico Caruso’s ears. Under the microscope in Chapter 4 is Schaeffer’s practical relationship with his public and his theoretical understanding of the mass media. Combining musicology with the history of the senses, science studies, and sound studies, and drawing on archival research, I excavate the material and epistemological resources mobilized by these experimenters to make malleable the sense of sound: not only resources broadly understood as “scientific” (mainstream medicine, cybernetics, information theory, acoustics) but also those often considered less so (psychoanalysis, alternative medicine, mysticism, and a panoply of spiritual beliefs). The project scrutinizes attempts to transform lived experience using electronic sound production technology; more broadly, it explores the meaning of the technological itself and its capacity to contain strange hybrid machines caught between fact and fiction, science and magic, human and non-human, matter and spirit, and certainty and wonder.

Signals for each of the five tastes have previously been shown to be processed by distinct labeled lines from taste receptor cells (TRCs) on the tongue to the ganglion neurons that innervate them. Furthermore, different tastes have been shown to be represented by distinct neurons in the taste cortex. We recorded calcium activity using fiber photometry from genetically defined populations in the mouse rostral nucleus of the solitary tract (rNST), the first brain station receiving taste signals from the tongue. We found that Somatostatin- (Sst) expressing cells respond exclusively to bitter chemicals while Calretinin- (Calb2) expressing cells respond exclusively to sweet chemicals. Immunostaining and viral strategies demonstrated that Sst and Calb2 mark distinct neuronal populations in the rNST. We then showed that optogenetic activation of Sst and Calb2 cells elicits prototypical bitter and sweet behaviors, respectively and demonstrate that ablation of these cells strongly impairs aversion to bitter tastants and attraction to sweet tastants, respectively. These findings reveal how taste information is propagated into the brain.

University of Technology, Sydney. Faculty of Humanities and Social Sciences. / It is the intention of this Doctor of Creative Arts to convey the complexity of viewing art in museums. Concentrating on both the physical and cultural contexts of art, I focus specifically on Italian museums that house artworks of the Renaissance. I argue that the viewing experience in these museums is formed at the intersection of cultures, histories, the past and the present, art and the subjectivity of the viewer's own gaze. In this project the personal, physical, cerebral, sensorial and temporal experiences of art are central to my concerns. The structure of this DCA combines my photographic art practice with this written reflection. I work with both the visual and the textual to most appropriately and effectively express my concerns with the Renaissance and Italian museums. In a peculiar act of doubling, I am making art about the experience of viewing it, and through image-making I am able both to explore and to comment more profoundly on the experience of these museums. While my research and writing at times responds to these images, it also inspires them. Here I integrate the past, history and art, with contemporary theories that are relevant in the study ofvision and today's art viewing, and rely on numerous writers across the broad .fields of visual arts, art history and theory, museology, historiography and cultural tourism. In surveying these extensive interwoven disciplines I engage with the magnitude of the social, historical and theoretical studies that converge in the museum viewer's field of vision. Beyond the glorious artworks themselves Italian Renaissance museums exhibit a dense visual and historic culture that provides an enriched viewing environment. They paradoxically intersect 'high' art with a phenomenal popularity that appears ever-expanding through endless reproductions and representations via modern technologies. Through examining these museums with their multiple histories and contexts I hope to argue for a slower, more considered engagement with art, that encourages the viewer to experience the sensual as well as the intellectual aspects that this opulent environment offers.