Organ Of Touch Research Articles

STUDY OF PHYSICO-CHEMICAL INDICATORS AND MINERAL COMPOSITION OF TOMATO POMACE FOR ENRICHMENT OF MEAT PRODUCTS

The combination of raw materials from meat products and vegetables is becoming one of the modern trends in meat industry technology in order to develop functional products. Using the example of meat products, developers in the food industry have decided that it is advisable to develop functional products by replacing meat and other raw materials with vegetable raw materials. Vegetables and their secondary products containing valuable bioactive components belong to the latter. For example, for the preparation of functional products with increased nutritional value, secondary tomato pomace can be used after drying and grinding, since they contain bioactive components. After a series of experiments on the dependence of physico-chemical characteristics on the drying temperature, the optimal drying temperature of tomato pomace was set at 400C. Water content - (5.1%), active and titrated acidity - (4.43 and 6.5%, respectively), AW -(0.44), ability to absorb water - (2.40), sugar content - (56.2), dietary fiber - (16.6), as well as according to the assessment by the organs of touch in dried samples at 400 C was the best. In conclusion, what is worth mentioned that Kazakhstan does not provide for deep waste-free processing of plant raw materials and their waste, and therefore practically valuable ingredients of fruits and vegetables, including tomatoes, are not used. Obtaining methods for processing waste fruits and vegetables, including tomato pomace, should give a new impetus to the progress of science and trending technologies in the food and processing industries of the country.

Primordial Haptics, 1925–1935: Hands, Tools and the Psychotechnics of Prehistory

‘Psychotechnics’, Weimar Germany’s science du jour, typically is framed as a symptom of ‘technological media’ – obscuring the persistent significance of ‘dexterity’, ‘skill’ and ‘manual labour’ at the time. More broadly, there is a tendency to construe ‘the haptic’ as predominantly a casualty of modernity: skilled hands replaced by conveyor belts; skilled hands defended by the rearguard actions of arts-and-crafts movements; skilled hands destroyed by industrialized warfare. Drawing on contemporary investigations into the ‘organ of touch’, this essay aims to complicate this picture by reconstructing the proto-ergonomic project of Friedrich Herig, a German engineer, amateur prehistorian and expert on craft labour who rose to distinction in the 1920s as a designer of ‘ideal’ hand tools. Herig’s eclectic sources of inspiration reveal that matters of ‘touch’, far from obsolete, were intimately bound up with matters of tools – their design, uses and putative origins – and thus, with matters of (manual) labour.

L’organe du toucher et la neurologie du racisme : l’origine tactile de la couleur de la peau chez Claude-Nicolas Le Cat

The Organ of Touch and the Neurology of Racism: Claude-Nicolas Le Cat and the Tactile Origin of Skin Color This article aims to explore the way in which the sense of touch is analysed by the physician Claude-Nicolas Le Cat (1700-1768) in his Treatise on the color of human skin (1765), a work which testifies to the fruitful synergy between medicine and philosophy in eighteenth-century France. By the convergence of two canonical questions of early-modern biological thought - the epistemological value of touch and the question of skin colour - Le Cat’s work succeeds in drawing original conclusions both from a strictly physiological perspective and from a wider anthropological and philosophical perspective. Concerning the first aspect, Le Cat introduces a « neurological » explanation of the colour of the skin (which allows him to solve even the enigma of albinism) which opposes the most established pathological paradigm. Concerning the second aspect, the « normalisation » of the explanation of blackness, makes possible by Le Cat’s theory of touch, fits into a complex phenomenon, typical of the eighteenth century, namely the questioning of European society through the moral designation of the Other.

Building a Communication Model amongst the Blind: An Ethnographic Study in the Blind Rehabilitation Center ‘Wyata Guna’, Bandung, Indonesia

The reality of blindness is a unique phenomenon rarely studied in the discipline of communication. It is consequential in the absence of a special communication model for the blind. This research reveals the phenomenon and constructs a communication model amongst the blind. The qualitative research with this ethnographic tradition was conducted at the Blind Rehabilitation Center (it will hereafter be abbreviated as BRC) Wyata Guna, Bandung, West Java, Indonesia. The results show that the blind people only rely on verbal or vocal communication and nonverbal communication in the form of touch, both in sending and in receiving messages to and from their other visually challenged. The blind’s touch communication is determined by three goals, i.e. touch for mobility, touch as a friendship expression and a romantic touch for those who are dating their fellows. This research results in the communication model that exists amongst the blind as an effort to fill the void of communication models that are dominated by models with the perspective of communication of physically normal people. The model shows the dynamic of communication amongst the blind by maximising their sense organs of hearing, touch, smell and taste.

Mole senses.

Many people are familiar with the meandering tunnels of moles, far fewer are familiar with the creatures that made them. Such secrecy is, of course, one of the great benefits of burrowing through the earth where few predators can follow. But it's not the only benefit. Soil contains a smorgasbord of nutritious invertebrate prey - hence all the tunneling. In fact the richness of the soil niche has given rise to a diversity of mole species that could be said to resemble the evolutionary diversification of bats, though on a smaller scale. In both cases, mammals have evolved a suite of unique anatomical traits (coincidentally involving modification of the forelimb) that allows them to exploit a huge resource of invertebrate prey that is largely inaccessible to their competitors. For bats the thin, delicate wings were the key innovation, for moles the forelimbs have undergone a similarly dramatic structural shift, but in the opposite direction - the bones have become short, stout, and powerful to act as shovels.

Association of diabetes and hypertension with elderly skin changes

<p class="abstract"><strong>Background:</strong> The skin is the largest organ of the human body that fulfils multiple essential tasks. It forms the boundary between the inside and outside. It provides protection against mechanical and chemical threats, it provides innate and adaptive immune defences, it enables thermoregulation and vitamin D production, and it acts as the sensory organ of touch. Aging population is susceptible to many cutaneous and systemic diseases, simultaneously leading to impairment of quality of life in them.</p><p class="abstract"><strong>Methods:</strong> A cross sectional study was carried on patients above 60 years of age who visited the dermatology OPD at rural tertiary care centre from November 2016 to May 2017.<strong></strong></p><p class="abstract"><strong>Results:</strong> Total 540 geriatric patients with dermatosis were registered under the study, of these 203 patients had one or more systemic diseases. Hypertension (70.9%) was the commonest disease, followed by diabetes (32.5%).</p><p class="abstract"><strong>Conclusions:</strong> Skin diseases cause considerable morbidity in elderly, particularly if associated with other comorbid conditions, so health promotion and education can do much to reduce the risk.</p><p class="abstract"> </p>

Aristotle on the Organ and Medium of Touch

Aristotle identifies the eye as the organ of sight, the ear as the organ of hearing, and the nose as the organ of smell. However, rather than identify the flesh as the organ of touch and that particular bit of flesh, the tongue, as the organ of taste, Aristotle makes what he admits to be the surprising claim that the organ of both touch and taste is located further inward (near the heart). The flesh is merely the medium that comes between the sense organ and their respective sense objects. Focusing on the sense of touch in particular, I consider what reasons Aristotle offers in support of this claim. After carefully wading through De Anima 2.11, I argue that the only argument that Aristotle offers there relies on an assumption about the unity of the senses that provides as much support for alternative views about the organ and medium of touch as it does for the view that Aristotle endorses.

Figures of Feeling in Honoré de Balzac's La Peau de chagrin

In this article, I read Balzac's La Peau de chagrin as a novel of feeling, in which Raphael's act of telling his life story entails a sensory encounter with the narrative self. Beginning with the novel's emblematic epigraph, then following through a series of significant encounters within it, I show that Raphael, by putting his life into narrative, is forced to come upon himself as narrative object. Examining these encounters first through the vector of physiognomy, then through twentieth-century theories of play, and always paying particular attention to the visual aspects of touch and feeling, I read them as moments of corporeal mimesis which cast Raphael in a thing- or object-like state. This spectacle of mimesis, in which subject is cast as object, is aptly figured by the magical piece of skin at the novel's centre, the organ of touch, shrinking at the expression of desire and thus functioning as a visual measure for the compromised narrative life.

The Semantic Conditionality of the Regional Perception of Space: Perceptual-spatial Connection of Functionally Integrated Elements of Culture

Search for new mythological and philosophical establishments in modified geopolitical conditions make another treatment to the phenomenon of space, perception and his refer to human civilization. The magnitude and intenseness are taking place in our society of social and economic processes; they determine an essential increase of role of the human factor for successful conclusion of the initiated reforms. The humanity always aspires to fill the world around of objects. There are complicated and monumental things like a town, and there are relatively simple and not great, for example, picture. The whole world of objects stays in space, if it was created and functionally-integrated by person, or uncreated, natural. This article reviews a problem of the connection of objective elements of culture in the space of the world. Talking about any subject of art, we are thinking it in the field positioned in a certain space. Moreover, it touches not only visual subjects but also things are perceived by organs of smell, touch and taste. All things are thought wrapped up in space. Herewith, socio-psychological inquiries of communication, including investigation of cognitive processes of each other, assume particularly important significance. Since ancient times, people were interested in a question what is the phenomenon of space? If it has something absolutely empty or it is some ethereal body. If it’s possible to exist without objects or it appears especial in time when objects appear. What is the first: body or space? DOI: 10.5901/mjss.2015.v6n6s3p36

Ten Canoes and the Ethnographic Photographs of Donald Thomson: ‘Animate Thought’ and ‘the Light of the World’

This article explores the genesis of the film Ten Canoes in the photographs taken by anthropologist Donald Thomson, in Arnhem Land, in the 1930s. Thomson’s images profoundly informed the look and content of the film, and the paper traces this genealogy in order to identify a ‘cultural imaginary’ at work in the film. I argue that a close study of Thomson’s original photographs reveals an approach to photography and to culture that dramatically exceeds the boundaries of the detached anthropological/scientific gaze. Thomson’s vision is a highly tactile one. His images are as much an encounter with the light of the world as they are a document of a time, an environment and a culture; his lens is as much an organ of touch as an instrument of observation. In a remarkable example of what Tim Ingold has called ‘animate thought’, Thomson uses the materiality of photography to make manifest a life-world in which reeds, water and sky are as animate as human figures. Not easily accessible to established criteria for analysing ethnographic images, such as questions of self-reflexivity, Thomson’s polycentric images profoundly challenge the humanist assumptions of many contemporary approaches to reading images. This insight raises new questions about both ethnographic photography and the relationship between the photographs and Ten Canoes.

Aristotle on the Organ of Touch

Aristotle on the Organ of Touch

FUNCTION OF SENSE ORGANS TO THE FEEDING BEHAVIOR OF JUVENILES CHINESE STURGEON CAPTURED FROM THE YANGTZE ESTUARY

Chinese sturgeon,Acipenser sinensis,is an endangered anadromous species that currently only remains in the main stream of the Yangtze River and the coastal China Seas.It spawns in the upper Yangtze River and grows in ocean,and it is one of the largest fish to enter fresh water,with the maximum of 400 cm total length and 450 kg body weight.As a result of habitat alteration and overfishing,population of this species have greatly declined in abundance.Thus,this species has been listed as one of the China's national protected wild animals in category I in 1988,and listed in the IUCN's Red List in 1997.The Yangtze Estuary is the only passage for Chinese sturgeon migrating between fresh water and ocean,and also the important feeding ground for the young Chinese sturgeon when they pass through the estuarine area from May to August every year.In order to protect this species,the Yangtze Estuarine Nature Reserve(area,274km2) for young Chinese sturgeon was established in 2002,and this area has been listed as Important International Wetland by the Convention on Wetlands of International Importance Especially as Waterfowl Habitat in 2008.However,most aspects of the early life history of Chinese sturgeon in the wild have not been investigated.The objective of this study was to document the function of sense organs to feeding behavior of Chinese sturgeon juveniles,and to use this information to provide guidance for the conservation of feeding ground of young Chinese sturgeon in the Yangtze estuarine area,and also to provide guidance for the improvement of aquaculture techniques of young Chinese sturgeon.63 fishes(20.0±3.5cm of total length,69±15.7g of body weight) for this experiment were collected using gill nets from the Yangtze Estuary from May to June,2006.Collected fishes were accommodated in tanks for 2 weeks before experiment.By means of surgical sense excision of vision,smell,touch,electricity,and lateral line,respectively,the function of specific sense organs to feeding behavior was studied.Six experimental groups and one control group were designed.Experiment lasted for 5 days,and water temperature of experimental tanks was controlled between 24.5—27.0℃.The experimental results showed that there was no significant difference in food intake rates between tested groups(respective excision of vision,lateral line and electrosensory) and control group(p0.05).Food intake rate of tested group that sense of smell was excised was only 34.76% of that of control group,and food intake rate of tested group that sense of touch was excised was 73.80% of that of control group.Food intake rate of tested group that sense of smell and chin barbell were excised in the same time was only 17.01% of that of control group.Therefore,it is may conclude that sense organs of smell and touch of young Chinese sturgeon played an important role in feeding behavior.

Contac/Improv

In On On Touching-Jean-Luc Nancy, Derrida complains that despite his efforts to wriggle free of it, Merleau-Ponty remained enthralled by a humanist, intuitionist tradition.1 According to Derrida, this tradition is dominated not simply by the familiar dangers of a presentist metaphysics of sight. It is marked, too, by a solid privilege of a particular conception of touch-what Derrida calls a "haptocentric" tradition (OT, 41). "Haptocentrism" reduces the multiple aporias of touch brilliantly analyzed by Aristotle in De Anima to an anthropology of the hand as "the" organ of touch.2 While the critique of the metaphysics of sight aims at subject-object relations, Derrida's critique of haptics aims at apperception, "the feeling that one feels," especially as this is cast as a mode of self-reflection governed by the human hand associated with human making and mastery. Derrida's deconstruction of haptics aims to unsettle any notion of "the" body, or "my" body, indeed, any "proper" body such mastery might underwrite. Instead, along with Nancy, Derrida endorses a view of the body or flesh as multiple and fluid points of contact, a view that seeks to reconfigure oppositions between integrity and alterity.3 Now Derrida admits that "The [haptic] tradition becomes complicated, with the risk of being interrupted, in Merleau-Ponty' (OT, 41).". Yet according to Derrida, this "risked" interuption never fully comes to pass. For instead of drawing radical conclusions from Husserl's novel appach to touch, Derrida claims that Merleau-Ponty "seems to reinstate a symmetry that Husserl challenges between the touching-touchable and the seeing-visible" (ibid). By doing so, Merleau-Ponty appears to lose even the slender ground Husserl had gained, thereby lapsing into a new, even more virulent form of intuitionism. Undergirding this intuitionism, again according to Derrida, is a metaphorical displacement, parallelism, and/or hierarchy among the senses. Such displacement, parallelism, or hierarchy permits the scopic and haptic to be superimposed, thereby reinforcing rather than rejecting an ideal of mastery that would braid the subjective and the self-reflexive and render axiomatic what both philosophical and common language cling to as the ideal of intuition: the eye that sees is the eye that grasps, be-holds (hence com-prehend, con-cept, be-griff, and so forth). Thus precisely where the reach of sight-based intuitionism faltered in Husserl-the juncture where the eidetic constitution of objects gives way to touch and the passage to alterity this allows-Merleau-Ponty's alleged hierarchy, displacement, or parallelism consolidates a scopic/haptic alliance that leaves no space for alterity, rejoinder. But is this the best way to understand Merleau-Ponty's remarkable "chiasm" between touching and seeing in The Visible and the Invisible? Derrida himself points to an alternative possibility present already in The Phenomenology of Perception and, on my reading, gaining strength (albeit not under this name) in Merleau-Ponty's late work. This possibility is of a synaesthetic relation between senses, a relation that resists consolidation and instead engenders multiple possibilities of sensibility and a fecundity of the flesh. Is it right to say, with Derrida, that this thought remains merely latent in Merleau-Ponty, stalled by an assumption of unity and an inability to shake off the burden of intuitionism? Or is it better, meaning at least equally warranted while more richly layered, to read the clues provided in Merleau-Ponty's posthumously published notes as pointing in the direction of a radicalization of his early thought that all perception is synaesthetic and an extension of this insight to the relation to the other?4 To pursue this question, I want to focus on three of Derrida's criticisms of Merleau-Ponty. First, that Merleau-Ponty misreads Husserl's exemplary phenomenological approach to the other, and ends up reducing the other to an object of intuition. …

Kindling and Ash: Radical Aestheticism in Keats and Shelley

1. of / With my unlidded I TAKE THE TITLE OF MY OPENING SECTION FROM KEATS'S SONG OF FOUR Fairies, and specifically from its rhapsody on flame. While spirits of air and water are left their own delights, Dusketha, spirit of earth, promises join Salamander, spirit of in congress, be bedded in flames (93): Sprite of fire! I follow thee [and] / at thy desire, / Touch of / With my unlidded (80, 84-86). (1) In an otherwise unremarkable poem, these remarkable lines on supreme of spirits also propose an allegory of reading that at first sight can only appear be an allegory of blindness: by promise recorded in these lines make eyes into organs of touch, Dusketha guarantees in process deprive them of sight. But something is gained by such self-blinding; for it is only by searing touch of eyes that this encounter with the of fire can be consummated. What, moreover, is pulse of fire other than its beat, its metrics? Thus, press bare unlidded fire's is read a reading which blinds on contact. Once this reading is bedded, it promises give desire a voice, become a speaking, a poetics of tongued flames. The poem does not pursue further ramifications of this conjunction. But since Keats often plays with in his poems, Dusketha's lines announce an incendiary poetics that I would like explore in their more detailed and adventurous forms. This entails turning from very of fire figures that we might read without same fear of blindness, figures that lend this lyric illusion of a history, figures that transform into a narrative of burning--namely, figures of kindling and ash, fire's origin and outcome, cause and consequence. To be bedded in flames is thus point from kindling of spirit of ashes of its result. To kindle means, of course, set on ignite. Figuratively, it can mean inflame, excite, animate. And, as is often case in Shelley's poetry, it can also take an intransitive form, as in to take fire, commence burning. As a noun, kindling means either act of causing burn, or material, easily lighted, that starts a fire. Ashes are earthly or mineral residue left when combustible material is thoroughly burned. Ashes are cinders, signs and traces of a burning. I am interested in ways in which ashes are textual residue, signs and traces of what I am calling a which is kindled at certain critical instances in poetry of both Shelley and Keats. This radical aestheticism is not reducible aestheticisms that we have come associate with or assign Pater, for a radical aestheticism is nothing that can be espoused. (2) But these days nothing is less likely be espoused than an aestheticism of any sort. In fact, if there is one thing in fractured field of what used be called literary studies that a conservative humanist, a critical Marxist, a rhetorically oriented deconstructive critic, and a practitioner of cultural studies can actually agree on, it is likely be a rejection of aestheticism. It is certainly ironic--perhaps even symptomatically so--that major critical currents of late twentieth-century literary analysis can find agreement in an aversion aestheticism, even as they often ascribe an aestheticism their various opponents. Critical approaches as divergent and even irreconcilable as structuralist poetics and hermenuetics, feminism and New Criticism, myth criticism and New Historicism could all be said share this aversion aestheticism. Conservative critics continue oppose it on basis of many of same moral and ethical objections raised against it at end of nineteenth century. …

The use of a vibrotactile sensor as an artificial sense of touch for tissues of the head and neck

SummaryDespite unquestionable advantages for the patient, minimally invasive surgery (MIS) brings an almost complete loss of the sensory qualities familiar to the surgeon from classic macroscopic surgery. This handicap of MIS is most dramatically exemplified by the loss of the natural sense of touch. The reimplementation of the sense of touch would clearly reduce the present limitations of MIS and possibly expand its spectrum of indications. We evaluated a vibrotactile sensor as an artificial organ of touch for minimally-invasive otorhinolaryngology and head and neck surgery (ORL-HNS). In general, two technical principles are available to artificially transmit tactile information from inside the patienťs body to the surgeon. First, tissue hardness can be measured by static compression and, second, tissue stiffness can be determined by its dynamic resonance. We implemented the latter technique for use in minimally invasive ORL-HNS. As a first approach, normative data were obtained by measuring the impedance of intraoperatively resected soft tissues and bony structures from the skulls of cadavers. Characteristic resonance frequencies were detected for normal soft tissues ranging from 16 Hz for tonsils to 30 Hz for mucosa. In a pathological situation, resonance frequencies even allow the discrimination of healthy tissue from infiltrating carcinoma in hypopharyngeal mucosa. For normal bony structures from cadavers, resonance frequencies increased with thickness, ranging from 240 Hz to 320 Hz for the ethmoid septi, and from 780 Hz to 930 Hz for the frontal skull base. The introduction of this artificial tactile sense to minimally invasive procedures in ORL–HNS would enable the surgeon to differentiate between critical anatomical structures and normal and pathological tissues. Thus, the technology presented here has the potential to reduce complication rates in MIS and to possibly expand its range of indications.

Sensory innervation of the hairy skin (light- and electronmicroscopic study.

The sense of touch develops early in phylogeny and is one of the most important senses for the survival of the animal. Touch organs of hairy skin in mammals include the so-called "Haarscheiben" (also Pinkus corpuscles) and all types of hair follicles with their nerve endings. The touch organs of the skin consist of a mechanical transducing component and the sensory component. The epithelium and its derivatives like hair follicles and sebaceous glands are the mechanical transducing component transmitting the mechanical forces like pressure or touch to the second component--the sensory nerve endings. In mammalian hairy skin all sinus and guard hairs and many vellus hairs are touch organs. The sinus hair is a typical example of a touch organ. All mammals except humans are equipped with these highly differentiated touch organs. The hair follicle is almost completely embedded in a blood sinus and equipped with more than 2,000 sensory nerve endings. All sinus and guard hairs are equipped with free nerve endings (nociceptors), Merkel nerve endings (slowly adapting [SA I] mechanoreceptor units-pressure detectors), palisades of lanceolate nerve endings (velocity detectors), and pilo-Ruffini corpuscles (tension receptors). In most of the sinus hairs lamellated corpuscles of Pacini type could be found (rapidly adapting receptors-acceleration detectors). Most vellus hairs are equipped with free and lanceolate nerve endings. Some of the vellus hairs of the upper portion of the body (head, upper extremity) are innervated by Merkel nerve endings. The presence of pilo-Ruffini nerve endings in vellus hairs is very unusual.

Sensory innervation of the hairy skin (light-and electronmicroscopic study)

The sense of touch develops early in phylogeny and is one of the most important senses for the survival of the animal. Touch organs of hairy skin in mammals include the so-called “Haarscheiben” (also Pinkus corpuscles) and all types of hair follicles with their nerve endings. The touch organs of the skin consist of a mechanical transducing component and the sensory component. The epithelium and its derivatives like hair follicles and sebaceous glands are the mechanical transducing component transmitting the mechanical forces like pressure or touch to the second component—the sensory nerve endings. In mammalian hairy skin all sinus and guard hairs and many vellus hairs are touch organs.The sinus hair is a typical example of a touch organ. All mammals except humans are equipped with these highly differentiated touch organs. The hair follicle is almost completely embedded in a blood sinus and equipped with more than 2,000 sensory nerve endings. All sinus and guard hairs are equipped with free nerve endings (nociceptors), Merkel nerve endings (slowly adapting [SAI] mechanoreceptor units-pressure detectors), palisades of lanceolate nerve endings (velocity detectors), and pilo-Ruffini corpuscles (tension receptors). In most of the sinus hairs lamellated corpuscles of Pacini type could be found (rapidly adapting receptors-acceleration detectors).Most vellus hairs are equipped with free and lanceolate nerve endings. Some of the vellus hairs of the upper portion of the body (head, upper extremity) are innervated by Merkel nerve endings. The presence of pilo-Ruffini nerve endings in vellus hairs is very unusual.

Touch Organs in the Hairy and Glabrous Skin of Some Mammals (an Ultrastructural Comparison)

Touch organs of the skin in mammals consist of a mechanical transducting component and a sensory component. In the hairy skin, examples of these mechanical transducting components can be seen in the epithelium of hair follicles, and in the hairless skin in the epidermal papillae of the cone skin or the epidermal ridges of the ridges skin. In hairy skin all sinus and guards hairs and most of the vellus hairs are touch organs. The sinus and guard hairs are equiped with Merkel endings, free nerve endings, palisades of lanceolate nerve endings and pilo-Ruffini complexes. The total number of nerve endings varies in guard hairs between 50-200 and between 500-2000 in sinus hairs depending on the size of the follicle. The skin surrounding the body orifices, glabrous skin of the tip of the nose and skin of the finger tips is rich in touch organs. Touch organs of the cone skin known as Eimer organs consist of free nerve endings and of Merkel endings innervating the epidermal cone. Below these cones, the papillary layer shows small lamellated corpuscles and also free nerve endings. In the ridge skin epithelial ridges and crypts, the corresponding dermal papillae, their blood vessels and nervous elements together form the touch organs. In the basal layer of the glandular ridge up to 10 Merkel nerve endings are visible. In young individuals the connective tissue papilla of each crypt shows one Meissner corpuscle and several free nerve endings.

On the Denticles of the Sublingua in <i>Galago crassicaudatus</i> E. Geoffrey, 1812 (Primates, Prosimiae, Lorisiformes)

The denticles of the sublinguae of Galago crassicaudatus and G. senegalensis are studied histologically. There are, at the oral end of the sublingua, main or primary denticles which bear on their surface the much smaller secondary denticles. Spine-like small denticles occur on the surface of the ventromedian keel also. The structure of the primary denticles is the same as of the secondary ones. The rigidity of the denticles is due to the filling of the vessels with blood. It is suggested that the denticles act as sense organs of touch as well as papillae operariae. In the latter functions they clean the lower procumbent incisors like a toothbrush.

On the Problem of the History and Theory of Scientific Thought

The entire history of scientific and philosophical knowledge testifies that the significant difference between idealism and materialism does not lie in the alleged fact that materialism denies and idealism recognizes the significance of reason, i.e., the utilization in cognition of abstract (concepts, categories, laws of logic, etc.). Democritus' atoms, with all their geometrical and other attributes, are so small that they cannot be perceived either with the help, or by means, of an apparatus of hearing or organs of touch. Democritus arrived at the idea of his atoms by the very same way in which Plato and Aristotle arrived at their ideas and which they contrasted to matter taken as nonbeing or pure possibility. It is no accident that his work is titled Of Ideas. Democritus' atoms, Plato's ideas, Aristotle's forms, and later Leibniz' monads, Kant's consciousness in general, and Hegel's world spirit are universal concepts, categories, or logical constructs. And, consequently, t...