LEADER 05020nam 2200745 450 001 9910137491503321 005 20230912105450.0 010 $a1-118-95164-6 010 $a1-118-95162-X 010 $a1-118-95163-8 035 $a(CKB)3710000000576495 035 $a(EBL)4338810 035 $a(SSID)ssj0001601816 035 $a(PQKBManifestationID)16311521 035 $a(PQKBTitleCode)TC0001601816 035 $a(PQKBWorkID)14803408 035 $a(PQKB)23925271 035 $a(MiAaPQ)EBC4338810 035 $a(DLC) 2015039832 035 $a(Au-PeEL)EBL4338810 035 $a(CaPaEBR)ebr11146806 035 $a(CaONFJC)MIL890240 035 $a(OCoLC)936879609 035 $a(EXLCZ)993710000000576495 100 $a20160210h20162016 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 00$aChemesthesis $echemical touch in food and eating /$fedited by Shane T. McDonald, David Bolliet, John Hayes ; foreword by John Prescott 210 1$aChichester, West Sussex, England :$cWiley Blackwell,$d2016. 210 4$d©2016 215 $a1 online resource (406 p.) 225 1 $aTHEi Wiley ebooks 300 $aDescription based upon print version of record. 311 $a1-118-95173-5 320 $aIncludes bibliographical references at the end of each chapters and index. 327 $aTitle Page; Table of Contents; List of contributors; Foreword; References; Preface; CHAPTER 1: Introduction: what is chemesthesis?; 1.1 A brief history; 1.2 What is its relevance today?; References; CHAPTER 2: Psychology of chemesthesis - why would anyone want to be in pain?; 2.1 Introduction and background; 2.2 Physiological differences: maybe they can't feel the burn?; 2.3 Effects of exposure on chemesthetic response (social); 2.4 Cognitive factors underlying chemesthetic response: state versus trait; 2.5 Benefits of liking; 2.6 Summary; References 327 $aCHAPTER 3: Spice and herb extracts with chemesthetic effects 3.1 Why plants have chemesthetic properties; 3.2 Hot pungent spices: capsicum species; 3.3 Other hot pungent spices; 3.4 Nasal heat spices; 3.5 Cooling spices; 3.6 Numbing spices; 3.7 Tingling spices; 3.8 Spice and herb extracts; 3.9 Regulatory control of spices and herb extracts with chemesthetic properties; 3.10 Advantages of spices, essential oils, and oleoresins; References; CHAPTER 4: Molecular mechanisms underlying the role of TRP channels in chemesthesis; 4.1 Introduction; 4.2 TRPM8; 4.3 TRPV1; 4.4 TRPA1 327 $a4.5 Concluding remarks Acknowledgments; References; CHAPTER 5: Anatomy and physiology of chemesthesis; 5.1 Introduction; 5.2 Anatomy; 5.3 Physiology; 5.4 Summary; References; CHAPTER 6: Types of chemesthesis I. Pungency and burn: historical perspectives, word usage, and temporal characteristics; 6.1 Introduction; 6.2 Language usage; 6.3 Differentiation from classical tastes; 6.4 Sensitization; 6.5 Acute psychophysical desensitization; 6.6 Chronic psychophysical desensitization; 6.7 Summary; References; CHAPTER 7: Types of chemesthesis II: Cooling 327 $a7.1 Consumers and oral perception: where chemesthesis contributes to flavor 7.2 Molecular structure and physiological cooling; 7.3 Physiological cooling outside of the oral cavity; 7.4 Usage and consumer perception; 7.5 Cooling compounds - the next steps; References; CHAPTER 8: Types of chemesthesis III. Tingling and numbing; 8.1 Introduction; 8.2 Tingle mechanisms; 8.3 Numbing (anaesthetic) mechanisms; 8.4 Tingle/numbing neural processing; 8.5 Psychophysical evaluations of tingle; 8.6 Psychophysical evaluations of numbing; 8.7 Summary; References 327 $aCHAPTER 9: Interactions in chemesthesis: everything affects everything else 9.1 Introduction; 9.2 Coolants; 9.3 Sweet; 9.4 Salt; 9.5 Mouthfeel; 9.6 Astringency and bitterness; 9.7 Aroma (retronasal and orthonasal); 9.8 Conclusion; References; CHAPTER 10: Some like it hot! Sensory analysis of products containing chemesthetic compounds; 10.1 Introduction; 10.2 Overview of test approaches for sensory evaluation of chemesthetic compounds in consumer products; 10.3 The phenomena of sensitization and desensitization; 10.4 Testing products containing chemesthetic compounds 327 $a10.5 Discrimination testing with trigeminal compounds 410 0$aTHEi Wiley ebooks. 606 $aFood$xSensory evaluation 606 $aChemical senses 606 $aIntersensory effects 606 $aFood$xComposition 615 0$aFood$xSensory evaluation. 615 0$aChemical senses. 615 0$aIntersensory effects. 615 0$aFood$xComposition. 676 $a664.07 702 $aMcDonald$b Shane T$g(Shane Thomas), 702 $aBolliet$b David 702 $aHayes$b John$g(John E.), 702 $aPrescott$b J$g(John), 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910137491503321 996 $aChemesthesis$92017819 997 $aUNINA LEADER 04092oam 2200469 450 001 9910795128103321 005 20230126222853.0 010 $a1-84888-532-6 024 7 $a10.1163/9781848885325 035 $a(CKB)4920000000126684 035 $z(OCoLC)1110057464 035 $a(nllekb)BRILL9781848885325 035 $a(MiAaPQ)EBC6481844 035 $a(EXLCZ)994920000000126684 100 $a20210710d2016 uy 0 101 0 $aeng 135 $aurun| uuuua 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $2rdacarrier 200 00$aInhabiting the meta visual $econtemporary performance themes /$fedited by Helene Gee Markstein and Arthur Maria Steijn 210 1$aOxford, United Kingdom :$cInter-Disciplinary Press,$d[2016] 210 4$d©2016 215 $a1 online resource 311 $a90-04-37492-2 320 $aIncludes bibliographical references. 327 $aPreliminary Material /$rHelene Gee Markstein and Arthur Maria Steijn -- In Pursuit of the Social in Site-Specific Performance /$rArtemis Sierra -- The Dramaturgy of Wine, the Terroir of Performance: Multi-Sensory Performance-Making in Through the Grapevine /$rRoanna Mitchell and Krysta Dennis -- The Theatricality of the Human Body in Performance Art /$rPnina Porter -- Facing Things /$rAndrew Cope -- Psychical Distance as a Basis for Perception and Creative Participation /$rTereza Sluková -- Theatrical Performance in Light of Jean Paul Sartre?s Theory of the Imagination /$rMahdi Ansari -- Is that a Watermelon on Your Head or a Basket of Fruits? Orthodox Masculinity in Sports and the Paradoxical Erotic Experience of the Roughriders Male Fans? Drag Expressions /$rJorge Sandoval -- Live from New York: Movement Performance and the Representation of American Heteronormativity /$rColleen Culley -- American Showgirl: Ziegfeld to J Lo /$rVirginia L. Vogel -- Reduction as a Means to Enhance Choreographic Potential in Musical Performance /$rFalk Hübner -- Songs for an Injured Environment: Creating Visual Metaphors From a Theatre of Nature /$rLisa Parkins -- Symbolic Use of Dress: Related Ritual in English and Spanish Oral Traditions /$rAna Belén Martínez García -- Utzon?s Use of Light to Influence the Audience?s Perception of the Sydney Opera House /$rSimon Dwyer -- iPad Svoboda: The Physical Theatre of Projected Light /$rAndy Hurst and Judita Vivas -- Experimental Music Theatre and Its Investigation: Dieter Schnebel?s Körper-Sprache /$rChrista Brüstle -- Set the Machine into Motion: On Hotel Pro Forma?s Performance Laughter in the Dark /$rMaria Carneiro -- A Live-Time Relation: Motion Graphics Meets Classical Music /$rArthur Maria Steijn. 330 $aTheatre and the many varied expressions of performance practice in live and mediated performance forms, are by their nature inter-disciplinary. The goal of this volume is to develop discussion with a focus on the visual aspects of performance brought up by artists and researchers in various performance disciplines and practices. The volume facilitates inter-personal communication and the exchange of global perspectives, to engage a community in meaningful dialogue. Scenography describes the discipline of performing arts, which include all elements of theatrical presentation. As a definition here it is useful for this volume, because it outlines the understanding of scenographic practice as a combination of numerous theatre-practices that collaborate and include: architecture, lighting, costume, make-up, sound, settings and stage properties, movement, as well as audience participation. 606 $aExperimental theater$xHistory 606 $aPerforming arts$xSocial aspects 615 0$aExperimental theater$xHistory. 615 0$aPerforming arts$xSocial aspects. 676 $a792.0223 702 $aMarkstein$b Helene Gee$f1947- 702 $aSteijn$b Arthur Maria 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bUtOrBLW 906 $aBOOK 912 $a9910795128103321 996 $aInhabiting the meta visual$93856400 997 $aUNINA