Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-10-05T14:17:21Z No. of bitstreams: 1 ANDRÉ LUIZ ALMEIDA OURIQUES - DISSERTAÇÃO PPGH 2013..pdf: 9342648 bytes, checksum: 53928a61b61dc568ce5c68f95735eb14 (MD5) / Made available in DSpace on 2018-10-05T14:17:21Z (GMT). No. of bitstreams: 1 ANDRÉ LUIZ ALMEIDA OURIQUES - DISSERTAÇÃO PPGH 2013..pdf: 9342648 bytes, checksum: 53928a61b61dc568ce5c68f95735eb14 (MD5) Previous issue date: 2013-05 / Capes / O objetivo deste trabalho consiste em analisar de que forma a sinestesia ou o uso dos cinco sentidos, influenciaram as escolhas criativas do escritor José Lins do Rego nas obras Menino de Engenho, Doidinho e Banguê, publicadas respectivamente em 1932, 1933 e 1934. Assim sendo, perceberemos como se constrói sua narratividade, que se relaciona sempre com a construção de espaços, sendo os cinco sentidos o fio condutor de tais tramas literárias. Compartilhando com uma concepção de literatura que a considera como mantendo vínculos com o mundo vivido, a pesquisa historiciza a forma como os sujeitos históricos da Várzea do Paraíba construíram, perceberam e significaram os espaços do mundo dos engenhos de maneira sensível e sinestésica, entendendo que a literatura é sempre a ressignificação ou representação de representações já elaboradas em um dado tempo, tal como aponta Clifford Geertz e Paul Ricoeur, onde ancoraremos teoricamente este estudo ora em questão. / Th is work aims to analyze how synesthesia or the use of the five senses has influenced the creative choices of the writer José Lins do Rego in his literary works, such as Menino de Engenho, Doidinho and Banguê, publiched in 1932, 1933 and 1934 respectively. This way, we realize how his narrative is created in relation to the construction of the spaces, having the five senses as an important element of these literary works. We chose the literary conception that is linked with the real world in relation to the five senses. The present research historicizes how historical subjects of the Lowland Paraíba built, and realized the spaces meant the world of gadgets in a sensitive manner, having literature as a reframing or representation of elaborated representations in a specific time, as Clifford Geertz and Paul Ricoeur, pointed; according to their points of view we support theoretically our study

Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2016-02-16T11:56:45Z No. of bitstreams: 1 arquivototal.pdf: 9737010 bytes, checksum: 8586130ef80e52bdb69af30741fde0a4 (MD5) / Made available in DSpace on 2016-02-16T11:56:45Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 9737010 bytes, checksum: 8586130ef80e52bdb69af30741fde0a4 (MD5) Previous issue date: 2015-08-25 / Today, one of the key points for the development of computer systems is the solution for user interaction. Graphical user interfaces, direct manipulation, virtual reality and tangible user interfaces are examples of this evolution. So, the search for new forms of interaction that allows interaction models that can araouse atraction on the user, is an area of constant study. So, the use of synesthesia is proposed as an approach to the user interface. Synaesthesia is the unique feeling resulting from the mutual responses of different kinds of human senses thus can enhance human ability to cognize information. This rare ability allows people to hear colors, taste sounds, among other mixtures of senses. From an analysis of related work on synesthesia in computer systems, it was possible to establish that there is a lack of a process for desing interfaces with more general synesthetic features and testing the applications with real users. Thus a method was developed which adapts to the synesthetic interface features and validated by developing an application, the Genius Vibe. The results showed that the process model has adapted well to the desing of the interface and through testing with real users was realized that synesthesia caused more attractiveness in the interface. / Hoje em dia, um dos pontos chave para a desenvolvimento de sistemas computacionais é a solução para a interação com o usuário. Interfaces gráficas de usuário, manipulação direta, realidade virtual e interfaces de usuário tangíveis são exemplos dessa evolução. Então, a busca por novas formas de interação que permitam modelos de interação que consigam despertar a atração do usuário é uma área de constante estudo. Neste sentido, propõe-se o uso da sinestesia como uma abordagem para a interface de usuário. Sinestesia é um sentimento único resultante de respostas mútuas de diferentes tipos de sentidos humanos que podem aumentar a habilidade humana de reconhecer informações. Esta habilidade rara permite que pessoas possam ouvir cores, sentir o sabor de sons, entre outras misturas de sentidos. A partir de uma análise de trabalhos correlatos sobre a sinestesia em sistemas computacionais, foi possível estabelecer que existe uma falta de um processo para o desing de interfaces com caracterísitcas sinestésicas mais generalista e testes com usuários reais. Desta forma foi desenvolvido um processo que se adapta as características sinestésicas da interface e validado através do desenvolvimento de uma aplicação, o Genius Vibe. Os resultados mostraram que o modelo de processo se adaptou bem ao desing da interface e através de testes com usuários reais percebeu-se que a sinestesia fez com que a interface fosse mais atrativa.

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2008. / This thesis is informed by the assumption that the senses, in their manner of functioning, may have much to teach us about creativity and the dangers of categorization. Sound, as component of at least one of our senses, hearing, the only sense with an executive component, the voice, offers a particularly rich source for theoretical investigation. Western culture has, since the Renaissance, been dominated by the sense of vision as the distancing agent that enables the objectification that has resulted in scientific advances to our benefit, but also to our detriment in its constant reductionist impulse. This western history, dominated by the eye, must be acknowledged by us as visual artists, but, in our current globalized era, sound and hearing may possibly suggest an extended paradigm more appropriate for us to function in. Sound, through movement, is proposed as a medium that shapes the structure of materials, including the earth, by that means linking it to visual art and the ways in which it has dealt with earth and landscape throughout the centuries. Sound is also proposed as an inherently relational and social phenomenon able to be incorporated into the work of visual artists to great effect in an age moving toward intersubjectivity. Sound contributes also its other side, silence, which I present as an active space of co-existence, in which gathering may take place and through which a more subtle understanding of dialogue may be achieved.

Although many researchers investigate the senses separately, most people have a coherent conscious experience of the world that is not divided into separate perceptions of vision, hearing, or other senses. The brain integrates the information received from our senses into a unified representation of the world around us. Previous research has demonstrated that what people perceive with one sense can influence their perception of stimuli with the other senses (Roffler & Butler, 1968; Marks, 2000). The current set of studies was designed to illuminate the associations between musical pitch and visuospatial motion. The first two experiments with infants revealed that 11-month-old infants are sensitive to associations between ascending and descending musical pitch and the direction of an object’s motion. Additionally, two more experiments with infants revealed that infants of the same age do not show the associations of rightward motion with ascending pitch and leftward motion with descending pitch that adults have demonstrated in some experiments (Eitan & Granot, 2006). The fifth experiment tested the influence of ascending and descending musical stimuli on making a visuospatial motion to a target location. Adult subjects demonstrated faster reaction times when using a trackball to move a cursor to a target location on a computer screen when the direction of the target was congruent with the musical stimulus to which they were listening. The effect was stronger for vertical target locations than for horizontal target locations. The results of these studies indicate that both infants and adults are sensitive to associations between musical pitch and visuospatial motion in the vertical plane, and adults may also make associations between musical pitch and visuospatial motion in the horizontal plane. / text

Orientador: Martha Herr / Banca: Yara Borges Caznok / Banca: Luciano Simões / Resumo: Este é um estudo analítico/interpretativo sobre o Ciclo de Portinari, um conjunto de oito canções para vozes femininas (soprano e mezzo soprano) e piano, do compositor João Guilherme Ripper (1959-), com textos por Cândido Portinari (1903-1962). Considerando a interação entre os textos literário e musical, típica do gênero "canção", e as relações sensoriais decorrentes da escuta e interpretação musical, a intenção é investigar o tratamento musical do compositor para os textos do artista. Procuraremos estabelecer aproximações entre o texto literário e as artes visuais, identificar analiticamente elementos musicais usados para reforçar o sentido do texto e estabelecer possíveis contribuições para a interpretação na transmissão desses elementos ao público, visando demonstrar experiências multissensoriais justificadas por conceitos de interdisciplinaridade e/ou sinestesia. / Abstract: This is this an analytical/interpretative study of the Ciclo Portinari, a set of eight songs for female voices (soprano and mezzo soprano) and piano, by composer João Guilherme Ripper (1959-), with texts by Cândido Portinari (1903-1962). Considering the interaction between the literary and musical texts, typical to the genre "song", and sensory relations arising from listening and musical interpretation, the intention is to investigate the composer's musical treatment of the artist's texts. We will seek to establish approximations between the literary text and the Visual Arts, identify analytically musical elements used to strengthen the sense of the text and establish possible contributions for interpretation in the transmission of these elements to the public, aiming to demonstrate multi-sensorial experiences justified by concepts of interdisciplinarity and/or synesthesia. / Mestre

Under flera generationer har människan försökt tolka relationen mellan bild och ljud. Finns det en vetenskaplig koppling mellan ljusets frekvens och ljudets frekvens? Kan man uppleva båda modaliteter samtidigt? En liten procent av jordens befolkning kan uppleva denna symbios av modaliteter, en sinnenas union där hjärnan korskopplar två eller flera sinnen, denna funktionsvariation kallas för synestesi. Den digitala utvecklingen har möjliggjort denna korskoppling där man med nummer som material kan gestalta synestesi och skapa och uppleva flera modaliteter i symbios. Detta kandidatarbete syftar på att med hjälp av kinesonisk interaktion undersöka relationen mellan kropp, bild och ljud, hur man med kroppen som verktyg kan sammanväva och skapa bild och ljud samtidigt på ett naturligt och organiskt sätt. Genom etnografiska observationer, fokusgrupper och frågeformulär har vi undersökt olika funktioner som kan bidra till känslan av att ljudet känns naturligt till kroppsliga rörelser och visuell stimuli. Genom agentiell realism har vi sedan förankrat vår kunskap och de beslut vi tagit som designers för att presentera det ramverk vi föreslår för att skapa en multimodal upplevelse där kropp, ljud och bild möts. / For generations humans have strived to interpret the relationships between picture and sound. Is there a scientific connection between the lightwave-spectrum and the sound-frequency domain? Is it possible to experience both modalities at once? A fraction of the population can experience a symbiosis of these modalities, a union of the senses where the brain cross connects two or more, seemingly unrelated senses. This variation of sensory function is known as synesthesia. The rapid development in digital media has enabled this cross connection through numbers, creating a form of art where sound triggers or generates visual elements or vice versa. This bachelor thesis is aimed towards examining the relationship between picture, sound, bodily interaction and how we can weave these modalities together to create visual and sonic elements in real time in a natural and organic fashion through the concept of kinesonic interaction. We have through ethnographic observation, focus groups and questionnaires examined various functions which contributes to the sensation of embodied sound, retaining a natural feeling towards the body movements and visual cues. We’ve anchored our research, knowledge and decisions as designers in agential realism to present a framework which we suggest creates an intertwining multimodal experience where body, sound and picture meet.

The Greek term synaesthesia, which literally translates into 'perceiving together,' is known among most literary critics as the mixing of sensations. The term is applied in literature to the description of one kind of sensation in terms of another. For instance: 'hearing' a color or 'seeing' a 'smell.' That is, the description of sounds in terms of colors such as a "blue note;" of colors in terms of sound such as "loud shirt;" of sound in terms of taste such as "how sweet the sound;" and of colors in terms of temperature such as a "cool green." Although synaesthesia has been used by a variety of poets throughout the centuries, my focus will be on its use in the poetry of John Keats and Emily Dickinson. While critics and scholars have considered this subject before, normally it is approached in terms of its specific meaning within a particular poem. In contrast, I argue that Keats and Dickinson employ synaesthesia to crystallize a poetic perspective, a literary world view, and that this perspective significantly pertains to a variety of gender issues in the nineteenth century. Consequently, I contend that both poets were dealing with the large theme of an imaginative poetic world in which synaesthesia transmutes and synthesizes gender so that a "blue note," male and female, are radically the same and yet "other." After reviewing the scholarship of synaesthesia in Keats's and Dickinson's poetry, I will analyze a series of poems that illustrate my thesis, fleshing out the implications of a gender synthesis that makes us see both poets challenging and subverting the gendered commonplaces of the 19th century. / by Lindsay Lucky-Medford. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Made available in DSpace on 2016-10-13T14:10:02Z (GMT). No. of bitstreams: 1 Mirella Cais Jeccic de Oliveira.pdf: 2171164 bytes, checksum: cdb6b86963b6778b129d92ee54a6d116 (MD5) Previous issue date: 2016-02-16 / Companies need to innovate continuously to maintain market leadership. When the market is overloaded, the challenge is to create innovative products to attract and satisfy consumers. The overall objective of this study is to understand the behavior of consumers of red wine, coffee and beef based on sensory perception, when subjected to stimuli with attributes so when stimulated with different products and different stages of consumption. Consumers in different countries tested the chosen products. First, it conducted a quantitative study in Italy explored with red wine and the possible variations of sensory perceptions of the product through the five senses. The second study was qualitative and performed with form of coffee to address different consumer perceptions of the same age from different nationalities. Finally, the third study was qualitative and performed with beef in Boutique meat with consumers in São Paulo. The results showed that sensory analysis is an important indicator of food quality and therefore can create differentiation through improved sensory characteristics and improve the communication on the sensory attributes to consumers. There was no difference between the perceptions of consumers in different countries. The theoretical contribution of the study was to cover the gap theme sensory analysis. / As empresas se mantém em contínua inovação para manterem a liderança no mercado. Quando o mercado está sobrecarregado o desafio consiste na criação de produtos inovadores para atrair e satisfazer consumidores. O objetivo geral desse estudo é de entender o comportamento dos consumidores de vinho tinto, café e carne bovina com base na percepção sensorial, quando submetidos a estímulos com atributos, ou seja, quando estimulados com diferentes produtos e em diferentes fases de consumo. Os produtos escolhidos foram testados por consumidores de diferentes países. Em primeiro lugar, foi realizado um estudo quantitativo na Itália com vinho tinto e as possíveis variações de percepções sensoriais do produto através dos cinco sentidos. O segundo estudo foi qualitativo e realizado com café de forma a analisar as diferentes percepções dos consumidores de mesma faixa etária de diversas nacionalidades. E, por fim, o terceiro estudo foi qualitativo e realizado com carne bovina em Boutique de carne, com consumidores do município de São Paulo. Os resultados concluíram que a análise sensorial é um importante indicador de qualidade dos alimentos e que, portanto, pode-se criar a diferenciação pela melhoria das características sensoriais bem como melhorar a comunicação sobre os atributos sensoriais para os consumidores. Não houve diferença entre a percepção sensorial dos consumidores de países distintos. A contribuição do estudo foi de cobrir a lacuna do tema análise sensorial, aplicar e comparar diferentes alimentos.

Made available in DSpace on 2016-04-26T18:14:57Z (GMT). No. of bitstreams: 1 Juliana da Silva de Paula.pdf: 797008 bytes, checksum: fa3d34a7bfc6777c07f7b267749a7fe7 (MD5) Previous issue date: 2015-02-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this work, we analyze synaesthetic evocations in lyrics of songs from Brazilian Folk Music. We started from the hypothesis that along with the current technological advancements and the confluence of media, we confront ourselves with syncretic feelings which can be surprised, under synaesthetic effects, on the discourse of the songs. The corpus of the research is constituted of the analysis of six lyrics from songs that, in their composition, evoke a mixture of the senses (sound, sight, touch, smell and taste). The theoretical reference involves conceptual definitions about what synaesthesia is and distinguishes this fenomenon from synaesthetic evocations, this one concerning language and poetry, while synaesthesia itself is closer to scientific questions and evidences. The authors used to treat synaesthesia were Simon Baron Cohen and John Harrison, Sérgio Roclaw Basbaum and Antônio Roberto Chiachiri Filho. Regarding the caracteristics and peculiarities of musical language, we used contributions from authors as Oliver Sacks, Murray Schafer and Jota Moraes. To treat the semiotic issues in the analyses of the songs, we count on the authors Lucia Santaella and Luiz Tatit, among others. The textual analyses were concieved under the Peircean semiotic concept, more especifically through the categories of firstness, secondness and thirdness and through trichotomy representamen, object and interpretant. More than classfications, we understand the lyrics of theses songs through meaning relations that emanate from the inner of verbal aspects and poetics, and, therefore, we mainly kept on those constructions that produce synaesthetic evocations, in other words, the ones that bring to memory the presence of feelings to compose a wide range of significations. Under the light of these significations, the analyses are based on the construction of interpretations that also value the global sense through observation of specific elements (concerning the five senses) and also the song as a whole, capable of communicating and conducting to the most miscellaneous sensible experiences / No presente trabalho analisamos evocações sinestésicas em letras de canções da Música Popular Brasileira. Partimos da hipótese de que com os avanços atuais da tecnologia e a confluência das mídias nos defrontamos cada vez mais com sentidos sincréticos que podem ser surpreendidos, sob a forma de efeitos sinestésicos, no discurso das canções. O corpus da pesquisa constitui-se da análise de seis letras de canções que, em suas composições, evocam a mistura dos sentidos (audição, visão, paladar, olfato e tato). O referencial teórico envolve as definições conceituais acerca do que é sinestesia e diferencia este fenômeno da evocação sinestésica, este último mais voltado às questões da linguagem e da poesia, enquanto a sinestesia propriamente dita está mais próxima das questões e comprovações científicas. Os autores utilizados para tratar de sinestesia foram: Simon Baron Cohen e John Harrison, Sérgio Roclaw Basbaum e Antônio Roberto Chiachiri Filho. Para abordar as características e peculiaridades da linguagem musical, utilizamos as contribuições dos autores Oliver Sacks, Murray Schafer e Jota Moraes. Para tratar a questão semiótica nas análises das canções, valemo-nos dos autores Lucia Santaella e Luiz Tatit, dentre outros. As análises textuais realizadas foram pautadas pelo modelo da semiótica peirceana, mais especificamente pelas categorias da primeiridade, secundidade e terceiridade e pela tricotomia representamem, objeto e interpretante. Mais do que classificações, compreendemos as letras das canções por meio das relações de significado que emanam do interior dos aspectos verbais e poéticos, e, portanto, nos detivemos sobretudo naquelas construções que produzem evocações sinestésicas, ou seja, que trazem à memória a presença dos sentidos para compor um amplo leque de significações. À luz destas significações, as análises estão pautadas na construção de interpretações que valorizam também o sentido global, por meio da observação de elementos específicos (no tocante aos cinco sentidos) e também da canção como um todo, capaz de comunicar e de conduzir às mais variadas experiências sencientes

Made available in DSpace on 2016-04-26T18:17:18Z (GMT). No. of bitstreams: 1 Antonio Roberto Chiachiri Filho.pdf: 25092050 bytes, checksum: dfeddcfab2dd5391319985ff762374b6 (MD5) Previous issue date: 2008-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the context of communication and culture, this study is focused on the resources used by photographers specialized in gastronomic photography. The so mentioned resources are responsible for the effects of synesthetic suggestion produced in the message recipient, to the extent of exciting their appetite at times more strongly than a real dish would do. The aim of this work is to show how a flat and bidimentional sign can be able to do this. We are aware that, in this domain, photographic scenario actually concerns a number of simulating resources and powers capable of insinuating delights, triggering and even intensifying psychophysical effects, such as whetting the appetite and stimulating the senses, also causing in an interpreter physical reactions (biophysical, neurosensory, behavioral, etc), such as salivating or imaginably tasting the unique flavor of a certain food according to their previous gustatory background. Based on interviews carried out with professionals working in the production and preparation of gastronomic photography, on analyses of three photographic reproductions from press media specialized in gastronomy and also on bibliographical studies, we believe that this research, carried out under the perspective of Charles Sanders Peirce s semiotics, based on an analysis method taken from Lucia Santaella s work and studies on synesthesia phenomenon, can contribute to the comprehension of a still unexplored aspect of the art of photographic communication, namely, trying to understand how the language of this type of sign, through which gustatory pleasures are evoked by visual message, is structured and works / No contexto da comunicação e cultura, esta pesquisa está voltada para os recursos utilizados pelos fotógrafos especializados na fotografia gastronômica, recursos estes responsáveis pelos efeitos de sugestão sinestésica produzidos no receptor, a ponto de excitar-lhe o apetite por vezes de modo mais intenso do que um prato o faria. Pretendemos mostrar como um signo chapado, bidimensional, pode dar conta disso. Sabemos que o cenário fotográfico, neste domínio, na realidade, envolve uma série de recursos e de poderes simuladores capazes de insinuar delícias, engatilhar e mesmo intensificar efeitos psicofísicos como o despertar do apetite, aguçar os sentidos desencadeando num intérprete, também, reações fisiológicas (biofísicas, neurossensoriais, comportamentais etc), tais como salivar ou empreender imaginativamente o sabor peculiar daquele alimento segundo seu prévio repertório sígnico gustativo. Por meio de entrevistas realizadas com profissionais de produção e elaboração fotográfica gastronômica, análises de três reproduções fotográficas de mídias impressas especializadas em gastronomia e estudos bibliográficos, cremos que esta pesquisa, elaborada à luz da semiótica de Charles Sanders Peirce, apoiada em uma metodologia de análise extraída da obra de Lucia Santaella e em estudos sobre o fenômeno da sinestesia, poderá contribuir para a compreensão de um aspecto ainda pouco explorado da arte da comunicação fotográfica, a saber, o de tentar perceber como se estrutura e age a linguagem deste tipo de signo, por meio do qual os prazeres gustativos são evocados pela mensagem visual