More Posts from Ritasakano and Others
<p>Para os meus netos. Quando do término da minha graduação elaborei algumas peças em feltro para auxiliar a alfabetização de crianças. <br> Bem, pensei que usariam com meus futuros alunos. Só pensei, pois não os tive. Quanto aos projetos os acumulei e não parei de cultivar a minha mente e furar os meus dedos.<br> Voltei a eles, com pontos e linhas coloridas. <br> São para os meus netos.
> Livro em feltro Bebê e as formas geométricas. Baseado no livro o Bebê maluquinho de Ziraldo.
Como as pessoas a nossa volta nos marcam. Interessante o uso de cores, uma vez que a energia que nos envolve tem amplitudes diferentes, portanto podemos representá-la pelo expectro de cores.
“Throwback 2019”
Visit Instagram Profile > Hisa instagram
Olfactory perception influenced by background and semantic information
When two people smell the same thing, they can have remarkably different reactions, depending on their cultural background. Researchers at the Neuro have found that even when two cultures share the same language and many traditions, their reactions to the same smells can be different.
In a partnership with researchers from the Lyon Neuroscience Research Centre in France, clinical neuropsychologist Jelena Djordjevic and her group at the Montreal Neurological Institute tested subjects in Quebec for their subjective impressions of different scents, while their collaborators in France did the same with French subjects. They selected six scents: anise, lavender, maple, wintergreen, rose and strawberry.
Participants were asked to smell each scent first without knowing what the scent is, then again after being told its name. The subjects rated the scent on pleasantness, intensity, familiarity, and edibility. The scientists also measured the subjects’ non-verbal reactions to each scent, including sniffing, activity of facial muscles, respiration and heart rate.
The researchers found significant differences between ratings of the same odours among the French and French-Canadian subjects. For example, the French gave wintergreen much lower pleasantness ratings than French-Canadians. In France, wintergreen is used more in medicinal products than in Canada, where it is found more in candy. Canadians were more familiar with scents of maple and wintergreen than the French, while in turn people from France were more familiar with the scent of lavender. When asked to describe odours, Canadians were better at describing maple and wintergreen, while people from France were better at describing lavender. Anise was rated similarly in two cultures but was described more often as “licorice” in Quebec and as “anise” in France.
Providing the names of the odours to subjects increased their ratings of familiarity, pleasantness and edibility. Furthermore, cultural differences disappeared or decreased when the names were provided. This was true even for the non-verbal reactions to scents. The findings suggest that mental representations activated by odour names are more similar between cultures than the mental representations activated by sensory information alone. Cultural differences in perception of odours are subtle, and are easily reduced by the mere presence of odour names.
The results were published in the journal Chemical Senses.
This study reinforces the idea that our brain’s processing of odour is not simply its reaction to the chemical compounds that make up the scent. It is influenced both by our previous experience with the scent and our knowledge of what the scent is.
While previous studies have come to similar conclusions, this study is unique in that it compared two cultures which share the same language and have similar traditions. This eliminated the possibility of language being a cause of the different reactions between groups.
“In psychology, we call these effects ‘top-down influences’ and we were excited to further develop our understanding of them”, says Djordjevic. “Even basic processes, such as smelling a scent, are influenced by where we come from and what we know. The sense of smell occupies a very old part of our brain. Studying this old sensory system helps us understand how we have evolved as a species. Furthermore, olfactory loss is common in normal aging and also in many neurological conditions. Studying these disorders can provide us with clues about the disease mechanisms and possible ways to treat them.”
Doha uma jóia no deserto!!
Livro em feltro baseado no Bebê maluquinho do Ziraldo.
Kimono. Taisho to early Showa period (1912-1939), Japan. A fine rinzu (damask) silk kimono featuring carp created with metallic thread weaving. Silk lining. This kimono reflects the experimentation with tradition during the Taisho period and early Showa period; the artist in this example has taken the traditional auspicious carp motif, placing them under bold lavender color bands running in parallel angles, to produce a ‘modern’ graphic result. The Kimono Gallery
A set of Japanese iron armor, Kofun period, 5th century AD.
Currently on display at the Tokyo National Museum.
Shibori kimono. Taisho period (1912-1926), Japan. The Kimono Gallery. A silk shibori kimono featuring large ‘yabane’ (arrow-feather) motifs of shibori with silk and metallic thread embroidery highlights. This kimono is patterned entirely in fine shibori (tie-die). The arrow feather (yabane) motif first became fashionable in Japan as early as the Heian era – initially with martial connotations – and during the Edo era it was often used on kimono for ladies in waiting. The motif was very popular on schoolgirl and teacher kasuri (ikat) kimonos of the mid to late Meiji period. During the Taisho and early Showa periods the yabane was a popular woman’s kimono motif, created via shibori, stenciling, or yuzen-dyeing. The arrow-feather motifs were most often vertical, but sometimes created at an angle, as in this example. The Yabane pattern, like most geometric motifs, is all-season, however, it has an auspicious association with weddings – like an arrow shot from a bow a bride does not return to her parents’ house. This kimono would have been very expensive to create - the shibori work itself would have taken a few months to complete. The white silk embroidery on the two arrow-feather motifs situated on lower left of the kimono is very visible from a distance, and provides a tasteful change from the other plainer motifs. The motifs are randomly scattered throughout the kimono 'canvas’, resulting in a casual relaxed atmosphere. The “speckled” appearance of the yellow background color is an accomplished effect: many thousands of tie-dye knots were once placed here to be able to achieve the slightly puckered yellow dots on black background speckled look.
