Sentiment | EPFL Graph Search

Le sentiment est la composante de l'émotion qui implique les fonctions cognitives de l'organisme, la manière d'apprécier. Le sentiment est à l'origine d'une connaissance immédiate ou d'une simple impression. Il renvoie à la perception de l'état physiologique du moment. Le sens psychologique de sentiment qui comprend un état affectif est à distinguer du sens propre de la sensibilité. thumb|280px|Sensitive (M. Blay, 1910). Mode de raisonnement Le sentiment est un élément très fort dans les modes de pensée, au point qu'il apparaît dominant dans certains raisonnements. *« Tout notre raisonnement se réduit à céder au sentiment. Mais la fantaisie est semblable et contraire au sentiment ; de sorte qu'on ne peut distinguer entre ces contraires. L'un dit que mon sentiment est fantaisie, l'autre que sa fantaisie est sentiment. Il faudrait avoir une règle. La raison s'offre mais elle est ployable à tous sens.» Blaise Pascal. Citations diverses

Anne Lagardère.
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Changing motor perception by sensorimotor conflicts and body ownership

Olaf Blanke, Natalia Fernandez, Joan Llobera Mahy, Roy Salomon, Michiel van Elk

Experimentally induced sensorimotor conflicts can result in a loss of the feeling of control over a movement (sense of agency). These findings are typically interpreted in terms of a forward model in which the predicted sensory consequences of the movement are compared with the observed sensory consequences. In the present study we investigated whether a mismatch between movements and their observed sensory consequences does not only result in a reduced feeling of agency, but may affect motor perception as well. Visual feedback of participants' finger movements was manipulated using virtual reality to be anatomically congruent or incongruent to the performed movement. Participants made a motor perception judgment (i.e. which finger did you move?) or a visual perceptual judgment (i.e. which finger did you see moving?). Subjective measures of agency and body ownership were also collected. Seeing movements that were visually incongruent to the performed movement resulted in a lower accuracy for motor perception judgments, but not visual perceptual judgments. This effect was modified by rotating the virtual hand (Exp.2), but not by passively induced movements (Exp.3). Hence, sensorimotor conflicts can modulate the perception of one's motor actions, causing viewed "alien actions" to be felt as one's own.

Nature Publishing Group2016

Embodied space in architecture, cognitive neuroscience, and virtual reality

Isabella Maria Pasqualini

Recent findings in cognitive neuroscience enable improved understanding of embodiment and egocentric space in architecture. From a historical perspective the human body has been inferred as a reference in the debate of architectonic proportion. It was suggested that architectonic form moulds the subjective experience of the environment in contingency with skilful articulation of geometrical proportions in a three-dimensional construct. Modern science recalls several notions of how perception, thought and action are embodied. Embodiment and the sense of body ownership as such have been linked to multisensory and own-body processing, allowing for a relationship between aspects of the self to the conception of architectonic space and theory. Investigations about multisensory integration of architectonic space and its relation to own-body processing may therefore provide scientific insight to metaphorical and functional associations with the human bodily experience of architectonic space and its digital representation including perspective and immersive virtual reality. Attempts to sketch an interaction between architecture and cognitive neuroscience may bring about a design discipline based on multisensory own-body processing with permeable borders to contemporary science and technologies. This PhD thesis introduces digital space and cognitive neuroscience to the investigation of embodiment in architecture using techniques from immersive virtual reality and cognitive psychology. Here, three experimental studies using immersive virtual reality were based on the phenomenology of own-body perception introducing parameters from architecture. With such setups we tested whether bodily self-consciousness may be associated to architecture through a visuo-tactile conflict, and, whether changes in the architectonic space modulate bodily self-consciousness. Our results relate bodily self-consciousness with architecture specific perceptions, as well as bodily stability. Also, we observed perceptual changes related to visual perspective. We discuss such findings with regard to bodily feelings and perceived geometry through a critical confrontation with notions of embodiment in architecture.

EPFL2012

A Motion Capture Study to Measure the Feeling of Synchrony in Romantic Couples and in Professional Musicians

Joan Llobera Mahy, Pierre Magistretti, Delphine Preissmann

The feeling of synchrony is fundamental for most social activities and prosocial behaviors. However, little is known about the behavioral correlates of this feeling and its modulation by intergroup differences. We previously showed that the subjective feeling of synchrony in subjects involved in a mirror imitation task was modulated by objective behavioral measures, as well as contextual factors such as task difficulty and duration of the task performance. In the present study, we extended our methodology to investigate possible interindividual differences. We hypothesized that being in a romantic relationship or being a professional musician can modulate both implicit and explicit synchronization and the feeling of synchrony as well as the ability to detect synchrony from a third person perspective. Contrary to our hypothesis, we did not find significant differences between people in a romantic relationship and control subjects. However, we observed differences between musicians and control subjects. For the implicit synchrony (spontaneous synchronization during walking), the results revealed that musicians that had never met before spontaneously synchronized their movements earlier among themselves than control subjects, but not better than people sharing a romantic relationship. Moreover, in explicit behavioral synchronization tasks (mirror game), musicians reported earlier feeling of synchrony and had less speed errors than control subjects. This was in interaction with tasks difficulty as these differences appeared only in tasks with intermediate difficulty. Finally, when subjects had to judge synchrony from a third person perspective, musicians had a better performance to identify if they were present or not in the videos. Taken together, our results suggest that being a professional musician can play a role in the feeling of synchrony and its underlying mechanisms.

Frontiers Research Foundation2016