Combination Of Sensations Research Articles

An Event Detection Mechanism with Deep Feature Extraction and Optimal Loss Function Based XGBoost Classifier

Purpose: Interoceptions are a combination of sensation, integration, and interpretation of internal bodily signals. Interoceptions are bidirectionally related to the human being mental and physiological health, and well-being. Sleep and different interoceptive modalities are proven to share common relations. Heartbeat Evoked Potential (HEP) is known as a robust readout to interoceptive processes. In this study, we focused on the relation between HEP modulations and sleep-related disorders. Materials and Methods: We investigated four different sleep-related disorders, including insomnia, rapid eye movement behavior disorder, periodic limb movements and nocturnal frontal lobe epilepsy, and provided HEP signals of multiple Electroencephalogram (EEG) channels over the right hemisphere to compare these disorders with the control group. Here, we investigated and compared the results of 35 subjects, including seven subjects for the control group and seven subjects for each of above-mentioned sleep disorders. Results: By comparing HEP responses of the control group with sleep-related patients’ groups, statistically significant HEP differences were detected over right hemisphere EEG channels, including FP2, F4, C4, P4, and O2 channels. These significant differences were also observed over the grand average HEP amplitude activity of channels over the right hemisphere in the sleep-related disorders as well. Conclusion: Our results between the control group and groups of patients suffering from sleep-related disorders demonstrated that during different stages of sleep, HEPs show significant differences over multiple right hemisphere EEG channels. Interestingly, by comparing different sleep disorders with each other, we observed that each of these HEP differences’ patterns over specific channels and during certain sleep stages bear considerable resemblances to each other.

Investigation of Heartbeat Evoked Potential (HEP) Response During Different Stages of Sleep in Sleep Disorders

Purpose: Interoceptions are a combination of sensation, integration, and interpretation of internal bodily signals. Interoceptions are bidirectionally related to the human being mental and physiological health, and well-being. Sleep and different interoceptive modalities are proven to share common relations. Heartbeat Evoked Potential (HEP) is known as a robust readout to interoceptive processes. In this study, we focused on the relation between HEP modulations and sleep-related disorders. Materials and Methods: We investigated four different sleep-related disorders, including insomnia, rapid eye movement behavior disorder, periodic limb movements and nocturnal frontal lobe epilepsy, and provided HEP signals of multiple Electroencephalogram (EEG) channels over the right hemisphere to compare these disorders with the control group. Here, we investigated and compared the results of 35 subjects, including seven subjects for the control group and seven subjects for each of above-mentioned sleep disorders. Results: By comparing HEP responses of the control group with sleep-related patients’ groups, statistically significant HEP differences were detected over right hemisphere EEG channels, including FP2, F4, C4, P4, and O2 channels. These significant differences were also observed over the grand average HEP amplitude activity of channels over the right hemisphere in the sleep-related disorders as well. Conclusion: Our results between the control group and groups of patients suffering from sleep-related disorders demonstrated that during different stages of sleep, HEPs show significant differences over multiple right hemisphere EEG channels. Interestingly, by comparing different sleep disorders with each other, we observed that each of these HEP differences’ patterns over specific channels and during certain sleep stages bear considerable resemblances to each other.

Comparative Spatial Intimacies and the Affective Geography of Home: Imaginaries and Sense-Regimes in the Soviet-Era Baltics

This essay investigates Soviet-era homesites in the Baltic states as combinations of home imaginaries and people’s affective, sensorial relationship to the materiality of their home space. The aspect of relationality is foregrounded: the primary level of meaning-making as regards one’s quotidian home life, the article suggests, takes place at the level of comparative spatial intimacies—that is, in relation to one’s own bodily movement in space and the objects, locations, impressions, but also the ideas, norms, and values encountered and embedded in these movements. Home experience unfolds on the scene of comparative studies, where different homes form dialogues and chains of movement in space. Both intimacies and imaginaries emerge as multiscalar, being deeply personal and closely family related, but also generational and class related, and including also transnational and/or officially endorsed ideas and values. The scene of comparative intimacies is exemplified on the basis of three homesites: Soviet prefab apartment buildings, pre-Soviet farm homes, and Soviet-era summer homes. The common homing model in the Soviet-era Baltics included at least two, if not three homely sites: while most people lived in urban environments, summer vacations were typically spent in a pre-Soviet farm home or in a recently built summer home. Of these different homescapes, each supported their inhabitants’ identities in their own specific ways, each offered a different regime of spatial sensibilities, a different combination of sensations, relationscapes, and imaginaries. The essay accommodates methods of geopoetics and includes analysis of fictional texts, life writing, and the embodied presence of the author.

Acting Out Euclidean Transformations

In this paper, I share an activity that reinforces students’ understanding of translations, reflections, and rotations via body movement. As a result of this activity, students gain a different perspective compared to previous explorations on paper, communicate mathematics, and visualize transformations as rigid motions on the plane. Furthermore, the combination of sensation and perception helped some students assess whether their work was correct.

La douleur morale : historique et devenir d’un concept clinique

Psychological pain has been a major clinical concept in French psychiatry since the beginning of the 19th century. Pain is currently defined as an unpleasant emotional and sensorial experience, which can have a real or potential physiological cause and which may result from a number of factors including either a disease process, suffering, or causing pain behaviors. Nonetheless, pain without physical pain has continued to baffle the medical community and practitioners, particularly given the apparent lack of physiological signs in brain tissue. Some of France's prodigious medical minds have tackled this question over the years. Pierre-Jean-Georges Cabanis, greatly influenced psychiatric thinking with his distinction between the physical and psychological (“moral” in French) dimensions of mental pathologies. He defined the psychological dimension as a combination of sensations, perceptions and impressions from which thoughts are formed. Others, such as Laurent Cerise, described the moral dimension as being composed of intellectual and emotional thought processes, which pre-dated the modern-day understanding of cognitive processes. As far as we know today, the concept of psychological pain (douleur morale) has been developed by Joseph Guislain; he even proposed that the causes of insanity are a blend of cerebral, intellectual and psychological aspects, of which psychological pain could be the root cause. Later, Jules Séglas helped to reinforce the link between psychological pain and melancholia, by proposing that the non-delirious form of melancholia is a direct result of extreme psychological pain, which invades all aspects of the individual's consciousness. A relationship between the intensity of psychological pain and suicidal tendencies was thus established by the end of the 19th century. For Henri Ey, psychological pain is almost the foundation of melancholia sickness. These days, modern French nosography evokes psychological pain in the description of certain depressive disorders. However, International classifications such as the DSM-5 and ICD-10 do not qualify psychological pain as diagnostic criteria for depression (nor as a specifier for melancholic features), yet there are indeed references to “clinically significant distress” in major depressive episodes, and suicidal thinking linked to emotional states perceived as unending and excruciatingly painful. Consequently, these varying levels of conceptualization of psychological pain may have impeded its acceptance within the international psychiatric community as a distinct concept with its own well-defined specification. Nevertheless, recent literature research has shown an emergence of similar notions, including psychological suffering, moral pain, psychache, psychological pain, emotional pain, psychic pain, or mental pain. It now appears critical on an international scale to develop a clear definition for psychological pain in order to develop common ground for future research and, perhaps most importantly, to better understand suicidal tendencies in psychiatric patients, young and old alike. And finally, with the rapid development of modern neuro-science and brain imaging, scientists may now be capable of demystifying this subjective experience of psychological pain through objective data – thus rendering “visible” what was up to now “invisible” (Michel Foucault).

Cinema and Sensation: Contemporary French Film and Cinematic Corporeality1.This article is part of a larger research project published in 2007 by Edinburgh University Press as a monograph entitled Cinema and Sensation: French Film and the Art of Transgression.

One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices (and, by extension, of theoretical approaches) that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema offers a point in case: a large collection of recently released French films typify this willingness to explore cinema's unique capacity to move us both viscerally and intellectually. In turn, the article suggests that such films, envisaged as forms of embodied thought, offer alternative ways, beyond that of mere appropriation and consumption, of envisaging the relationship of subjects to art, and, by extension, of subjects to objective world.