Centro Colseguros. Mimesis con la ciudad

55 p.

Oral food perception and polyphenol-rich foods acceptance - the importance of knowing individuals saliva characteristics for promoting consumption

Polyphenols are widely present in fruits, vegetables, cereals and beverages. Their study gained scientific interest because of their beneficial effects on health. Although there is currently no official dietary recommendation for polyphenol intake, health professionals recommend the consumption of 5-8 daily portions of fruits and vegetables. This is not always achieved and, despite possible causes associated to practical schedule difficulties, the aversive bitter and astringent sensations associated to polyphenols may also lead to avoidance. As such, a better understanding on mechanisms responsible for differences among people, in polyphenol oral perception, is needed for promoting healthier choices. Saliva has been linked to polyphenol consumption. We have previously observed, in animal models, changes in salivary proteome induced by tannin-enriched diets. Moreover, differences in astringency perception were attributed to differences in salivary protein composition. In a recent experiment, we observed differences among individuals with dissimilar tannic-acid perception: people with high sensitivity for the oral sensations elicited by tannins have higher amounts of salivary cystatins and lower capacity to maintain their levels after tannic-acid ingestion. Additionally, and similarly to previous studies, salivary amylase was observed to be involved in tannin perception. In this presentation, oral cavity characteristics influencing the perception of polyphenol-containing foods will be discussed.

‘Crows’ vs. ‘Avatar’, or: 3D vs. total-dimensional immersion

3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that ‘cinema as such is from the outset a «special effect»’ should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished «fourth wall effect», enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode ‘Crows’ in Kurosawa’s Dreams. Such a space requires the actual effacement of the empirical status of spectator, screen and film as separate dimensions, and it is precisely the 3D caracteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat seminal demonstration. Through an analysis of crucial aspects in Avatar and the recent Cave of Forgotten Dreams, both dealing with historical and ontological deepening processes of ‘going inside’, we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.

Design and implementation of an optimal motion cueing algorithm for the Stuttgart Driving Simulator

Driving simulators emulate a real vehicle drive in a virtual environment. One of the most challenging problems in this field is to create a simulated drive as real as possible to deceive the driver's senses and cause the believing to be in a real vehicle. This thesis first provides an overview of the Stuttgart driving simulator with a description of the overall system, followed by a theoretical presentation of the commonly used motion cueing algorithms. The second and predominant part of the work presents the implementation of the classical and optimal washout algorithms in a Simulink environment. The project aims to create a new optimal washout algorithm and compare the obtained results with the results of the classical washout. The classical washout algorithm, already implemented in the Stuttgart driving simulator, is the most used in the motion control of the simulator. This classical algorithm is based on a sequence of filters in which each parameter has a clear physical meaning and a unique assignment to a single degree of freedom. However, the effects on human perception are not exploited, and each parameter must be tuned online by an engineer in the control room, depending on the driver's feeling. To overcome this problem and also consider the driver's sensations, the optimal washout motion cueing algorithm was implemented. This optimal control-base algorithm treats motion cueing as a tracking problem, forcing the accelerations perceived in the simulator to track the accelerations that would have been perceived in a real vehicle, by minimizing the perception error within the constraints of the motion platform. The last chapter presents a comparison between the two algorithms, based on the driver's feelings after the test drive. Firstly it was implemented an off-line test with a step signal as an input acceleration to verify the behaviour of the simulator. Secondly, the algorithms were executed in the simulator during a test drive on several tracks.