Embedded Files
9:40 hrs. (CDMX)
UTC/GMT-6horas
Bienvenida
José Darío Martínez Ezquerro
Sonia María Ruiz Cejudo
Gabriela Pérez-Acosta
Bruno Mesz
UIESSAE, IMSS y Centro de Ciencias de la Complejidad (C3-UNAM)
Facultad de Música, Universidad Nacional Autónoma de México (UNAM)
Instituto de Investigación en Arte y Cultura (IIAC), Universidad Nacional de Tres de Febrero
Comité Organizador
10:00 hrs. (CDMX)
17:00 hrs. (Lausanne)
Making Sense of our Senses | Haciendo sentido de nuestros sentidos
Micah M. Murray
Scientific and Academic Director, The Sense Innovation and Research Center
Lausanne University Hospital and University of Lausanne (Switzerland)
This talk provides an overview of our efforts to understand the multisensory nature of human cortices. First, a summary of how human brain imaging, mapping and stimulation have been innovated to document multisensory processes in human cortices is provided, followed by evidence of the behavioural and perceptual relevance of such processes. Next, the persistence of multisensory processes across time is demonstrated by documenting their contribution to memory functions. This is followed by demonstrations across infancy, childhood, adulthood, and ageing of how low-level multisensory processes scaffold and even predict the integrity of higher-level cognitive functions. Finally, the contributions of multisensory processes to the accessible and democratized rehabilitation of sensory loss is presented. Collectively, this work outlays a roadmap for the central role of multisensory processes across the lifespan in health and disease.
11:00 hrs. (CDMX)
17:00 hrs. (Oxford)
Gastrophysics: The new science of eating | Gastrofísica: La nueva ciencia de la alimentación
Charles Spence
Head of the Crossmodal Research Laboratory (CRL), Department of Experimental Psychology, Oxford University (UK)
Gastrophysics, the new science of eating, focuses attention on ‘the everything else’ apart from the food that nevertheless still influences the tasting experience, be it in the high-end restaurant or the home: Everything from the colour of the plate on which the food is served (and the gastroporn thereon), through the weight of the cutlery that is used to consume it (assuming that there is any, which can’t always be guaranteed these days), not to mention the music that happens to be playing in the background (sonic seasoning). Gastrophysics aims to bring the scientific approach, inspired by the latest insights from multisensory perception research concerning the roles of taste, smell, touch, sight and sound, together with the best in culinary artistry, in order to help design more engaging, more enjoyable, and more memorable experiences for diners in the future. I will describe a number of our recent attempts, using magic, visual illusions, and ASMR to deliver extraordinary tasting experiences to drinkers and diners.
Spence, C. (2017). Gastrophysics: The new science of eating. London, UK: Penguin; Winner of the 2019 Le Grand Prix de la Culture Gastronomique from Académie Internationale de la Gastronomie.
12:00 hrs. (CDMX)
19:00 hrs. (Aarhus)
Food and creativity | Comida y creatividad
Qian Janice Wang
Department of Food Science, Aarhus University (Denmark)
Creativity has been identified as one of the most valuable 21st century skills. However, the link between the chemical senses and creativity remains largely unexplored. This talk will address two fundamental questions in this area – 1) how can the experience of eating enhance creative thinking, and 2) how can we assess smell/taste creativity, and is creativity sensory-modality-specific? In the first part of this talk, I will give a review of how the different senses influence creative thinking, and what this might imply for the cognitive potential of multisensory eating experience. In the second part of the talk, I will show a recent effort towards the construction of an automatically scored online flavour creativity test.
13:00 hrs. (CDMX)
20:00 hrs. (Berlín)
From perception to imagination: How music shapes visual mental imagery | De la percepción a la imaginación: Cómo la música configura las imágenes mentales visuales
Mats B. Küssner
Department of Musicology and Media Studies, Humboldt-Universität zu Berlin (Germany)
Research has shown that visual mental imagery (i.e., seeing images in one’s mind’s eye) is a common phenomenon during music listening. In this lecture, I will give an overview of recent empirical studies on music-induced visual mental imagery, addressing some basic questions such as its content, function, relation to emotion, neurophysiological correlates, and relationship with synaesthesia. The main argument is that music cognition is a multimodal phenomenon which provides a fruitful model to investigate the routes from perception to imagination.
Receso - 14:00 - 16:00 hrs. (CDMX)
UTC/GMT-6horas
16:00 hrs. (CDMX)
19:00 hrs. (Brasil)
Conexiones entre el cerebro y el arte visual | Connections between visual art and the brain
Francisco Fernández de Miguel
Neurociencia Cognitiva, Instituto de Fisiología Celular, UNAM (México)
This lecture will deal with certain principles as to how we perceive paintings containing contradictory information, such as beauty and violence or warmth or cold. Pre-Columbian mural paintings have been useful for our studies for their bidimensional design and relatively simple chromatics. Moreover, they offer the opportunity to track mathematical principles used by different cultures in the design of mural paintings.
17:00 hrs. (CDMX)
18:00 hrs. (Montreal)
Composing with the Event—Moving Toward Neurodiverse Perception/Sensation | Componer con el acontecimiento: hacia la percepción/sensación neurodiversa
Sheena Bernett
Music Department, Concordia University (Canada)
Selected excerpts and pieces of doctoral thesis Composing with the Event—Moving Toward Neurodiverse Perception/Sensation (Concordia University). Research-creation doctoral work that investigates neurodiverse perception and sensation through cross-modal/trans-sensory creative works and propositions. Composing with the event, with qualities, rather than with the neurotypical perception of the prefigured body with fixed senses.
18:00 hrs. (CDMX)
19:00 hrs. (Montreal)
Aural atoms to synergistic structures: from electroacustics aural training to orchestrating the laptop orchestra | De los átomos auditivos a las estructuras sinérgicas: del entrenamiento auditivo electroacústico a la orquestación de laptop orchestra
Eldad Tsabary
Music Department, Concordia University (Canada)
Perceived sonic structures in electroacoustic music are the product of diverse compositional and analytical approaches in the field since its beginnings in the 1940s and are strongly associated with the practice of sound design. Unlike in musical hearing, these structures and the elements that comprise them are not grounded in pre-established music theories; and are therefore extremely multiplicious, flexible, and transforming. This requires an aural training approach that can allow multiplicity and transformation, while also providing the tools to perceptually organize and understand sound design and electroacoustic creations (compositions, performances, installations, etc.). Starting in 2005, I have been developing electroacoustic aural training courses at Concordia University (Montreal) which begin with an atomistic perceptual approach—training students in breaking aural stimuli into the smallest possible parts (aural atoms)—and gradually proceeds into training students in assembling and integrating aural atoms into synergetic structures—perceivable higher-level units that have properties that are different from those of their parts (such as gestures, motion, and sequential integration; textures and simultaneities; and the larger contextual perception of forms). The atomistic training stage increases detail and precision in students' aural perception, by demanding stronger, more activated attentional regulation and vigilance; and the synergistic training demands students' hearing to become more complex and compositionally organizational. The development of this practice at Concordia University has been collaborative—an iterative ground-up discovery process by students and teachers. The accumulating knowledge, definitions, and perceptual synergistic structures inform and support the quality of the work in all other courses and activities in the program, including recording and mixing, composition, improvisation, and performance in the laptop orchestra.
19:00 hrs. (CDMX)
Ronda de discusión
Simposio Internacional sobre Cognición Sensorial 2022
19:30 hrs. (CDMX)
UTC/GMT-6horas
Clausura del Simposio 2022
Agradecimiento a ponentes, asistentes, apoyo logístico, UIESSAE-IMSS y C3-UNAM
Page updated
Google Sites
Report abuse