Titlebook: (Syn)aesthetics; Redefining Visceral Josephine Machon Book 2009 Palgrave Macmillan, a division of Macmillan Publishers Limited 2009 aesthe

ED431

書目名稱(Syn)aesthetics影響因子(影響力)




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書目名稱(Syn)aesthetics網(wǎng)絡(luò)公開度




書目名稱(Syn)aesthetics網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱(Syn)aesthetics被引頻次




書目名稱(Syn)aesthetics被引頻次學(xué)科排名




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書目名稱(Syn)aesthetics年度引用學(xué)科排名




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書目名稱(Syn)aesthetics讀者反饋學(xué)科排名

ALIEN

Patrick Damme,Dirk Habich,Wolfgang Lehnernt via the recreation of visceral experience.. Impossible to define as a genre due to the fluidity of forms explored, this performance style places emphasis on the human body as a primary force of signification and utilizes the ever-increasing possibilities in design and technology. In addition to t

整頓

Two Phase User Driven Schema Matchingl term to define a neurological condition where a fusing of sensations occurs when one sense is stimulated which automatically and simultaneously causes a stimulation in another of the senses. An individual may perceive scents or words for certain colours, or a word as a particular smell, or experie

巫婆

octogenarian

Vangelis Banos,Yannis Manolopoulosf a corporeal memory. Put simply, we . the performance in the moment and recall these feelings in subsequent interpretation. The nature of such appreciation engages a double-edged making-sense/sense-making process. This can affect an ineffable quality; a (syn)aesthetic-sense. The (syn)aesthetic styl

Fibrinogen

Cost Model for Pregel on GraphXnating in an auditorium. When you’re sat in an auditorium, the primary thing that is accessed is your mind and you respond cerebrally. Punchdrunk resists that by allowing the body to become empowered because the audience have to make physical decisions and choices, and in doing that they make some s

incisive

雪上輕舟飛過

Jan Sedmidubsky,Pavel Zezula,Jan Svecs and generations of information, cultural, educational, religious, political and so on. Then with each generation the body transforms, takes that information and responds to the environment that we live in. For me, everything that you expose to it, particularly as a child, is crucial. That is where

Feature

abysmal

Michael Shekelyan,Anton Dign?s,Johann Gamperhat you’re actually doing it as a play. It’s very difficult to disassociate myself now from what we ended up with, and how easy and simple it seems in a way. To start with the main drive that we all had was to understand as much as we could. We cut it up into sections and we titled each section. The