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.

Made available in DSpace on 2014-06-11T19:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-18Bitstream added on 2014-06-13T18:30:30Z : No. of bitstreams: 1 franceschini_sr_me_ia.pdf: 3443496 bytes, checksum: 1be3859e2ceca695db5f78f598fffb22 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / 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. / 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.

La synesthésie est un phénomène fascinant qui offre une opportunité privilégiée d'étudier chez les sujets sains les bases neurales de l'expérience subjective. Les synesthètes graphème-couleur (1 à 5 % de la population – qui ignorent le plus souvent l'être) associent arbitrairement et systématiquement une couleur spécifique à chaque lettre ou chiffre. Ce travail de thèse se focalise sur ces synesthésies et explore l'implication, dans l'expérience subjective de couleurs synesthésiques, des régions corticales qui sont actives lors de la perception des couleurs ‘réelles'. Dans une étude préalable réalisé par l'équipe d'accueil utilisant l'Imagerie par Résonance Magnétique (IRM) fonctionnelle, une telle implication des ‘aires de la couleur' n'a pas été observée (Hupé et al. 2012). Une analyse statistique ‘classique' (univariée) du traitement des données mesurées était utilisée.Cette thèse vise à déterminer si les couleurs synesthésiques reposent sur les réseaux neuronaux des couleurs réelles en utilisant une technique d'analyse statistique multivariée (MultiVoxel Pattern Analysis – MVPA). A la différence de l'analyse univariée elle se base sur des ensembles de voxels (les pixels en 3D qui composent les images acquises) et prend en compte leurs motifs d'activation correspondant spécifiquement à l'encodage d'une information donnée par le cerveau. Cet encodage est réalisé au niveau neuronal et l'IRMf en donne une quantification non-invasive et indirecte au travers des répercutions hémodynamiques induites par l'activation neuronale. Cette modélisation multivariée des données fait des MVPA une approche particulièrement adaptée à la mesure d'informations encodées finement de manière distribuée. Le but de ce travail est d'explorer son efficacité pour l'étude des synesthésies graphème-couleur où l'analyse classique n'a pas fourni de résultats robustes. En pratique, elle nécessite cependant l'utilisation de protocoles spécifiques, la maîtrise des nombreux paramètres qui influent radicalement sur son fonctionnement et l'utilisation conjointe de l'analyse univariée. Dans une première étape de cette thèse, nous avons évalué différents aspects méthodologiques qu'il est important de maîtriser afin d'obtenir des résultats robustes et une analyse fiable.Ensuite, nous avons comparé le traitement des couleurs réelles et synesthésiques chez deux groupes de 20 synesthètes et non synesthètes. Nous avons trouvé que le traitement des couleurs synesthésiques ne repose pas sur les réseaux neuronaux de traitement de la couleur réelle. Cela peut signifier que les bases neuronales des couleurs synesthésiques ne se situent ni dans les aires visuelles rétinotopiques ni dans les aires de l'expertise visuelle (les aires de la ‘voie ventrale'). Cela peut également signifier que, bien que ces aires soient impliquées, ce ne sont pas les réseaux neuronaux de traitement des couleurs réelles qui sont activés lors de la perception de couleurs synesthésique. D'un point de vue méthodologique, il est possible que les signaux mesurés par l'IRMf ne permettent pas d'observer ce codage partagé. Ces résultats posent donc la question des limites de l'interprétation des signaux mesurés en IRMf très indirectement liés à l'activité neuronale. L'identification des réseaux neuronaux impliqués dans l'expérience subjective des couleurs synesthésiques reste donc une problématique ouverte. / Synesthesia is a fascinating phenomenon that offers the opportunity to study the neural bases of subjective experiences in healthy subjects. Grapheme-color synesthetes (1 to 5 % of the population – who do not know it most of the time) arbitrarily and systematically associate a specific color to letters or digits. This PhD thesis work focuses on this type of synesthesia and explores whether common neural networks are involved both in ‘real' color perception and synesthetic color experience. In a previous study from the host team using functional Magnetic Resonance Imaging (MRI), no implication of ‘color areas' where found (Hupé et al., 2012). A standard (univariate) statistical analysis of the data processing was used.This PhD thesis aims at determining if synesthetic colors involve real color neural networks with the use of a multivariate statistical technique (Multivoxel Pattern Analysis – MVPA). Unlike univariate analysis it uses sets of voxels (the pixels in 3D forming the images) and take into account their patterns of activation linked to the encoding of specific information in the brain. This encoding is performed at the neuronal level and fMRI indirectly and non-invasively quantifies it through hemodynamic variations induced by the neuronal activity. MVPA is a particularly adapted approach to measure fine grained and distributed information encoding. The goal of the thesis is to explore its efficiency for the study of grapheme-color synesthesia for which standard analyses failed. In practice, it requires the use of specific protocols, mastering numerous parameters influencing the results and the joint use of univariate analysis. In the first step of this thesis, we evaluated different methodological aspects to optimize the processing chain in order to obtain robust and reliable results.Then, we compared the neural processing of real colors and synesthetic colors in 2 groups of synesthetes (n=20) and non synesthetes (n=20). We found that synesthetic colors processing does not share common neural networks with real color processing. This suggests that the neural bases of synesthetic colors are not localized in the retinotopic visual areas or in the visual expertise areas (the ‘ventral pathway' areas). This may also suggest that, although those areas are involved, different neural networks are implicated in real color and synesthetic color perception. These results raise the question of the limits of the interpretation of the signal measured by fMRI, indirectly linked to the neuronal activity. The identification of the neural networks involved in the subjective experience of synesthetic colors remains an open issue.

Under 2018–20 har jag under min masterutbildning i komposition inkluderat mina egna erfarenheter av synestesi och associerad synestesi i komponerandet och här även försökt att beskriva mina metoder för detta. Jag har försökt överföra upplevelser av text, färg, form och rörelse till musik. Detta är delvis inspirerat av pedagogen Gertrud Grunows arbete på Bauhaus för 100 år sedan men även av mina tidigare arbeten med kollage, grafiska partitur och dans. De ensembler jag skrivit för har varit mycket varierade idiomatiskt och storleksmässigt. För mig som komponist, sångare och improvisatör, men också pedagog är de synestetiska (associativa eller konkreta) metoderna en för mig oändlig källa till inspiration och ett praktiskt sätt att närma sig det kreativa arbetet. Min roll som utövande improvisationsmusiker är också en del av det, då improvisationen aktiverar så många delar av sinnet. Visuell, auditiv, kinestetisk och taktil inlärning påverkar hur vi förnimmer världen. Om du förstår individens unika perception får du större medkänsla och dessutom ett mindre prestationsladdat förhållande till ditt eget skapande. Det bild- eller textmaterial jag skapar hjälper mej att minnas mina grundidéer. Syftet med att vandra mellan olika medium, idiom och förnimmelser är att hitta ett sätt att komma kreativiteten nära – i smyg. / During the years 2018–20 I have included my own experiences of synesthesia and associated synesthesia in my composition processes, and in this essay I am describing the methods I have been using. I have tried to transform experiences of words, color, texture, form, and movement to music. This is, to some extent, inspired by the work of the pedagogue Gertrud Grunow at the Bauhaus art school in Germany 100 years ago, but also by my own earlier works with collages, graphic scores and dance. The ensembles I have been writing for have been varied idiomatically and in size. To me, as a composer, singer and improviser, but also as a pedagogue, synesthetic methods (both associative or concrete) are an endless source of inspiration and a practical way to approach the creative work. My role as a performing, improvising musician also takes a part of it since the improvisation activates so many different sections of the sensory system. Our different ways of learning, through the visual, audiative, kinesthetic and tactile, affect how we perceive the world. If you can learn to recognize different modes of individual perception, you will get a greater respect for your fellow humans, and also diminish the performance anxiety you might have in relation to the creativity. The texts and visual material I create in my processes help me to remember the original sources of inspiration. The purpose of wandering in between different media, idioms and sensations is to find practical ways to stealthily approach creativity. / <p>"From Ash to Birch" Lina Nyberg, KMH Symphony Orchestra, conducted by Simon Bång</p><p></p>

Numerical cognition has been shown to share many aspects of spatial cognition, both behavioural and neurological. However, it is unclear whether a particular type of spatial cognition, visuospatial mental imagery (VSMI), may play a role in symbolic numerical representation. In this thesis, I first show that mental rotation, a form of VSMI, is related to two measures of basic numerical representation. I then show that number-space synaesthesia (NSS), a rare type of VSMI involving visualised spatial layouts for numbers, does not show an advantage in mental rotation, but shows interference in number line mapping. I next present a study investigating links between NSS and the ability to learn novel numerical symbols. I demonstrate that NSS shows an advantage at learning novel numerals, and that transcranial random noise stimulation, which increases cortical excitability, confers broadly similar advantages that nonetheless differ in subtle ways. I present a study of transcranial alternating current stimulation on the same symbol learning paradigm, which fails to demonstrate effects. Lastly, I present data showing that strength of numerical representation in these newly-learnt symbols is correlated with a measure of mental rotation, and also with visual recognition ability for the symbols after, but not before, training. All together, these findings suggest that VSMI does indeed play a role in numerical cognition, and that it may do so from an early stage of learning symbolic numbers.

During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

根據國際咖啡組織的統計資料顯示，全球咖啡需求不斷增加，對台灣人而言，咖啡也與國人生活息息相關。隨著電子商務的蓬勃發展，許多產業已由傳統商店轉戰線上虛擬商店，在這樣的趨勢下，網頁刺激設計的重要性也越來越受到重視，特別是對於普遍、可替代性高，且相當重要的咖啡豆而言。 然而，目前網頁呈現之相關研究認為消費者實際感受普遍局限於視、聽兩覺，除了這兩種感官，其他感官無法在網頁被操控，因此本研究除了希望探討網頁刺激設計對消費者於線上購買咖啡豆時情緒、態度及購買意圖的影響外，還企圖利用不同的視、聽覺刺激的組合，確認那些組合最能激發消費者的聯覺想像。 本研究採用實驗室問卷調查法，利用影片聲音有無、類3D照片效果有無以及快慢音樂節奏等不同的視覺與聽覺刺激變數組合，設計出8個網頁，並收集共120位受測者，邀請每位受測者觀看各種不同網頁設計元素所組成的網站，並搭配問卷調查以獲得實驗數據。 經過實驗結果分析，本研究發現不同的感官刺激組合確實能為消費者內心狀態與購買意圖帶來不同的影響效果，其中，正向愉悅度、支配度與網頁態度，搭配負向激發度的情緒、狀態組合最能激發消費者購買意圖；而類3D照片搭配快音樂節奏的組合除了最能為消費者創造上述內心狀態組合外，同時也是最能激發消費者聯覺效果的網頁刺激設計元素組合。 以上研究結果於學術上突破了現有文獻認為網頁上只能帶給消費者視覺、聽覺刺激的限制，於實務上除了提供最佳網頁設計元素與情緒組合的建議外，也發現用成本較低的類3D圖片便可同時達到提升購買意圖以及聯覺效果的目的，幫助企業能在激烈的電子商務競爭中脫穎而出，跳脫原本的價格策略，改而使用網頁設計的差異化來提升銷售量。 / According to the statistical data of International Coffee Organization, the demand of coffee beans is increasing in the whole world. With the rapid development of electronic business, many industries tend to sell their products on the internet. And the importance of website stimulus design has been highly regarded, especially for those which are universal, highly substitutable, and highly valued coffee beans. However, most of the studies related to web design think that consumer perception is limited to visual and aural stimuli; all senses can’t be manipulated on the website except these two senses. This study has two goals. First, we attempt to measure the effects of website stimulus design on consumer emotion and the intention to purchase coffee beans. Second, we experiment with the combinations of different visual and aural stimuli to confirm which kind of combination is most effective to arouse consumer’s synesthesia. The study is conducted in the laboratory with questionnaires. Totally eight websites are designed with the presence or absence of video sound, quasi 3D or 2D photo, and music tempo speed. One hundred twenty (120) subjects are invited and asked to do the questionnaire after viewing these websites. The results of the experiment show that people’s organism and purchase intention are significantly affected by different website stimulus designs. Among them, the combination of positive pleasure, dominance and web attitude with negative arousal can bring consumers’ purchase intention most excitement. The combination of quasi 3D and fast-tempo music can not only help consumers to establish the internal state that we mentioned above, but also can arouse their synesthesia. In terms of the academic contribution, the results of this study break the limitation of existing literature stating that only visual and aural senses can be delivered on the website. As for the practical contribution, we not only offer the suggestion of best stimulus combination and emotional combination for a website, but also get the empirical support that sellers may increase consumers’ purchase intention and synesthesia at the same time with low-cost quasi 3D photos. The outcome of the study can help sellers stay ahead in the fierce competition in online shopping environment. Using website stimulus design can enhance sellers’ sales, rather than just using the price strategy.

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

Made available in DSpace on 2016-03-15T19:42:04Z (GMT). No. of bitstreams: 1 Angelo Dimitre Gomes Guedes.pdf: 2138760 bytes, checksum: 4c1a23b3bd1552de0d488a60bd3609d0 (MD5) Previous issue date: 2011-08-18 / Fundo Mackenzie de Pesquisa / The relationship between the visual, sonorous and verbal codes is a subject that has fascinated many artists and researchers. Wassily Kandinsky (1866-1944) has been responsible for one of the most respected works in this field. Poetry, synesthesia and sensitivity are hallmarks since his childhood. In the late nineteenth and early twentieth centuries, art showed signs of breaking with the representation of the outside world model. In this scenario, Kandinsky sought the inner/spiritual content of the art work: the inner sonority. Through inner sonority, different outward forms can achieve the same resonance in the soul of the viewer. In his book "Concerning the Spiritual in Art", published in 1914, Kandinsky set out the main concepts related to inner sonority. The author seemed to predict new directions for art, in which external values would be reduced and inner sonority amplified. This dissertation presents a reflection on this scenario. It points out the path traveled by Kandinsky in the development of his language, focusing on issues concerning relations between codes. It also sets out the main concepts presented in his book , presents the Monumental Art, concept created by Kandinsky, in which several codes are related, brings an analysis of parts of the scenic composition "The Yellow sound", that is an example of the Monumental Art. And finally, it presents an art essay written by the author of this dissertation, in which elements of visual, sonorous and verbal codes are related through inner sonority / A relação entre os códigos visual, sonoro e verbal é um tema que sempre fascinou diversos artistas e pesquisadores. Wassily Kandinsky (1866-1944) foi responsável por um dos mais conceituados trabalhos nesse campo. Poesia, sinestesia e sensibilidade são características marcantes desde a sua infância. No final do século XIX e início do século XX, a arte apresentava sinais de ruptura com o modelo de representação do mundo exterior. Em meio a esse cenário, Kandinsky buscou o conteúdo interior/espiritual de uma obra de arte: a sonoridade interior. Por meio dela, formas exteriores distintas podem atingir a mesma ressonância na alma do espectador. Em seu livro Do Espiritual na Arte , publicado em 1914, Kandinsky expôs os principais conceitos concernentes à sonoridade interior. O autor parecia profetizar novos rumos à Arte, nos quais os valores externos seriam reduzidos e a sonoridade interior amplificada. Esta dissertação apresenta uma reflexão sobre todo esse cenário. Aponta o trajeto percorrido por Kandinsky no desenvolvimento de sua linguagem, concentrando-se em assuntos concernentes a relações intercódigos. Expõe os principais conceitos apresentados no livro Do Espiritual na Arte . Apresenta a Arte Monumental, conceito criado por Kandinsky, no qual diversos códigos são relacionados. Analisa recortes da composição cênica A sonoridade amarela , exemplo de Arte Monumental. Apresenta um ensaio artístico criado pelo autor da presente dissertação, no qual são relacionados elementos dos códigos visual, sonoro e verbal, por meio da sonoridade interior