Search results for 'Kinesthetic' (try it on Scholar)

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  1. Thomas L. Bennett & Henry C. Ellis (1968). Tactual-Kinesthetic Feedback From Manipulation of Visual Forms and Nondifferential Reinforcement in Transfer of Perceptual Learning. Journal of Experimental Psychology 77 (3p1):495.score: 15.0
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  2. Jean B. Carlson (1963). Effect of Amount and Distribution of Inspection Time and Length of Decay Interval on Kinesthetic After-Effect. Journal of Experimental Psychology 66 (4):377.score: 15.0
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  3. A. H. Holway, L. E. Golding & M. J. Zigler (1938). On the Discrimination of Minimal Differences in Weight: IV. Kinesthetic Adaptation for Exposure-Intensity as Variant. Journal of Experimental Psychology 23 (5):536.score: 15.0
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  4. Richard J. Wallace (1972). Spatial S-R Compatibility Effects Involving Kinesthetic Cues. Journal of Experimental Psychology 93 (1):163.score: 15.0
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  5. Paul Bakan, Richard Thompson & Gail Wildes (1961). Supplementary Report: Directional Effects and Sex in Kinesthetic Aftereffects. Journal of Experimental Psychology 61 (6):509.score: 15.0
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  6. John P. Charles & Carl P. Duncan (1959). The Distance Gradient in Kinesthetic Figural Aftereffect. Journal of Experimental Psychology 57 (3):164.score: 15.0
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  7. A. A. Landauer, G. Singer & R. H. Day (1966). Correlation Between Visual and Kinesthetic Spatial Aftereffects. Journal of Experimental Psychology 72 (6):892.score: 15.0
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  8. Joseph J. Moylan (1964). Kinesthetic Figural Aftereffects: Satiation or Contrast. Journal of Experimental Psychology 67 (1):83.score: 15.0
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  9. R. Over & S. Griew (1968). Age, Judgment Time, and Amount of Kinesthetic Aftereffect. Journal of Experimental Psychology 78 (3p1):527.score: 15.0
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  10. G. Singer & R. H. Day (1965). Temporal Determinants of a Kinesthetic Aftereffect. Journal of Experimental Psychology 69 (4):343.score: 15.0
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  11. Seymour Wapner & Heinz Werner (1952). Experiments on Sensory-Tonic Field Theory of Perception: V. Effect of Body Status on the Kinesthetic Perception of Verticality. Journal of Experimental Psychology 44 (2):126.score: 15.0
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  12. Michael Wertheimer & Carl M. Leventhal (1958). "Permanent" Satiation Phenomena with Kinesthetic Figural Aftereffects. Journal of Experimental Psychology 55 (3):255.score: 15.0
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  13. Paul Bakan & Ernest Weiler (1963). Kinesthetic Aftereffect and Mode of Exposure to the Inspection Stimulus. Journal of Experimental Psychology 65 (3):319.score: 15.0
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  14. Rube Chernikoff & Franklin V. Taylor (1952). Reaction Time to Kinesthetic Stimulation Resulting From Sudden Arm Displacement. Journal of Experimental Psychology 43 (1):1.score: 15.0
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  15. A. H. Holway & M. J. Zigler (1939). On the Discrimination of Minimal Differences in Weight: V. Kinesthetic Adaptation for Exposure-Time as Variant. Journal of Experimental Psychology 24 (3):268.score: 15.0
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  16. Ronald S. Lipman & Herman H. Spitz (1961). The Relationship Between Kinesthetic Satiation and Inhibition in Rotary Pursuit Performance. Journal of Experimental Psychology 62 (5):468.score: 15.0
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  17. Michael I. Posner (1967). Characteristics of Visual and Kinesthetic Memory Codes. Journal of Experimental Psychology 75 (1):103.score: 15.0
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  18. G. Singer & R. H. Day (1966). Interlimb and Interjoint Transfer of a Kinesthetic Spatial Aftereffect. Journal of Experimental Psychology 71 (1):109.score: 15.0
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  19. George E. Stelmach & Mark Wilson (1970). Kinesthetic Retention, Movement Extent, and Information Processing. Journal of Experimental Psychology 85 (3):425.score: 15.0
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  20. Michael Wertheimer & Charles A. Sheets Jr (1968). Effect of Instructional Set on Kinesthetic Figural Aftereffects. Journal of Experimental Psychology 77 (4):692.score: 15.0
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  21. Harold L. Williams, Wesley S. Beaver, Mary T. Spence & Orvis H. Rundell (1969). Digital and Kinesthetic Memory with Interpolated Information Processing. Journal of Experimental Psychology 80 (3p1):530.score: 15.0
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  22. Martin Lotze (2013). Kinesthetic Imagery of Musical Performance. Frontiers in Human Neuroscience 7.score: 12.0
    Musicians use different kinds of imagery. This review focuses on kinesthetic imagery, which has been shown to be an effective complement to actively playing an instrument. However, experience in actual movement performance seems to be a requirement for a recruitment of those brain areas representing movement ideation during imagery. An internal model of movement performance might be more differentiated when training has been more intense or simply performed more often. Therefore, with respect to kinesthetic imagery, these strategies are (...)
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  23. Edwin A. Fleishman & Simon Rich (1963). Role of Kinesthetic and Spatial-Visual Abilities in Perceptual-Motor Learning. Journal of Experimental Psychology 66 (1):6.score: 11.0
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  24. William Craig Forrest (1969). Literature as Aesthetic Object: The Kinesthetic Stratum. Journal of Aesthetics and Art Criticism 27 (4):455-459.score: 9.0
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  25. Maxine Sheets-Johnstone (2012). Movement and Mirror Neurons: A Challenging and Choice Conversation. [REVIEW] Phenomenology and the Cognitive Sciences 11 (3):385-401.score: 9.0
    This paper raises fundamental questions about the claims of art historian David Freedberg and neuroscientist Vittorio Gallese in their article "Motion, Emotion and Empathy in Esthetic Experience." It does so from several perspectives, all of them rooted in the dynamic realities of movement. It shows on the basis of neuroscientific research how connectivity and pruning are of unmistakable import in the interneuronal dynamic patternings in the human brain from birth onward. In effect, it shows that mirror neurons are contingent on (...)
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  26. Donald Blumenfeld-Jones (2009). Bodily-Kinesthetic Intelligence and Dance Education: Critique, Revision, and Potentials for the Democratic Ideal. Journal of Aesthetic Education 43 (1):pp. 59-76.score: 9.0
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  27. Corinne Jola, Shantel Ehrenberg & Dee Reynolds (2012). The Experience of Watching Dance: Phenomenological–Neuroscience Duets. [REVIEW] Phenomenology and the Cognitive Sciences 11 (1):17-37.score: 9.0
    This paper discusses possible correspondences between neuroscientific findings and phenomenologically informed methodologies in the investigation of kinesthetic empathy in watching dance. Interest in phenomenology has recently increased in cognitive science (Gallagher and Zahavi 2008 ) and dance scholars have recently contributed important new insights into the use of phenomenology in dance studies (e.g. Legrand and Ravn (Phenomenology and the Cognitive Sciences 8(3):389–408, 2009 ); Parviainen (Dance Research Journal 34(1):11–26, 2002 ); Rothfield (Topoi 24:43–53, 2005 )). In vision research, coherent (...)
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  28. Robert W. Mitchell (1997). Kinesthetic-Visual Matching and the Self-Concept as Explanations of Mirror-Self-Recognition. Journal for the Theory of Social Behaviour 27 (1):17–39.score: 9.0
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  29. Robert W. Mitchell (1997). A Comparison of the Self-Awareness and Kinesthetic-Visual Matching Theories of Self-Recognition: Autistic Children and Others. In James G. Snodgrass & R. Thompson (eds.), The Self Across Psychology: Self-Recognition, Self-Awareness, and the Self Concept. New York Academy of Sciences.score: 9.0
  30. Maxine Sheet-Johnstone (2000). Kinetic Tactile-Kinesthetic Bodies: Ontogenetical Foundations of Apprenticeship Learning. [REVIEW] Human Studies 23 (4):343-370.score: 9.0
    An ontogenetically-informed epistemology is necessary to understandings of apprenticeship learning. The methodology required in this enterprise is a constructive phenomenology, a phenomenology that takes into account the fact that as infants, we were apprentices of our own bodies: we all learned our bodies and learned to move ourselves. The major focus of this essay is on infant social relationships that develop on the ground of our original corporeal-kinetic apprenticeship. It shows how joint attention, imitation, and turn-taking - all richly examined (...)
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  31. Steven M. Platek & Gordon G. Gallup (2002). A Self Frozen in Time and Space: Catatonia as a Kinesthetic Analog to Mirrored Self-Misidentification. Behavioral and Brain Sciences 25 (5):589-590.score: 9.0
    Aspects of Northoff's argument lend themselves to the ongoing investigation of localizing the self in the brain. Recent data from the fields of neuropsychology and cognitive neuroscience provide evidence that the right hemisphere is a candidate for localization of self. The data on catatonia further that proposition and add insight into the continuing investigation of self in the brain across sensory and motor domains.
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  32. William F. Battig (1954). The Effect of Kinesthetic, Verbal, and Visual Cues on the Acquisition of a Lever-Positioning Skill. Journal of Experimental Psychology 47 (5):371.score: 9.0
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  33. Noël Carroll & William P. Seeley (2013). Kinesthetic Understanding and Appreciation in Dance. Journal of Aesthetics and Art Criticism 71 (2):177-186.score: 9.0
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  34. Robert W. Mitchell (2013). A Critique of Stephane Savanah's “Mirror Self-Recognition and Symbol-Mindedness”. Biology and Philosophy:1-8.score: 9.0
    Stephane Savanah (Savanah Biol Philos 28:657–673, 2013) provides a critique of theories of self-recognition that largely mirrors my own critique (though without recognizing it) that I began publishing two decades ago. In addition, he both misconstrues my kinesthetic-visual matching model of mirror self-recognition (MSR) in multiple ways (though he appears to agree with the actual model), and misconstrues the evidence in the scientific literature on MSR. I describe points of agreement in our thinking about self-recognition, and criticize and rectify (...)
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  35. Maxine Sheets-Iohnstone (2012). Kinesthetic Memory Further Critical Reflections and Constructive Analyses. In Sabine C. Koch, Thomas Fuchs, Michela Summa & Cornelia Müller (eds.), Body Memory, Metaphor and Movement. John Benjamins Publishing Company. 84--43.score: 9.0
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  36. Wan X. Yao, Vinoth K. Ranganathan, Didier Allexandre, Vlodek Siemionow & Guang H. Yue (2013). Kinesthetic Imagery Training of Forceful Muscle Contractions Increases Brain Signal and Muscle Strength. Frontiers in Human Neuroscience 7.score: 9.0
  37. Robert S. Lincoln (1956). Learning and Retaining a Rate of Movement with the Aid of Kinesthetic and Verbal Cues. Journal of Experimental Psychology 51 (3):199.score: 9.0
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  38. Robert W. Mitchell (1993). Kinesthetic-Visual Matching, Perspective-Taking and Reflective Self-Awareness in Cultural Learning. Behavioral and Brain Sciences 16 (3):530.score: 9.0
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  39. A. Harvey Baker & Irene W. Kostin (1986). Kinesthetic Aftereffects and Evoked Potentials Constitute Parallel Measures of Augmenting-Reducing. Behavioral and Brain Sciences 9 (4):744.score: 9.0
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  40. Gerald W. Barnes & Jerry R. Henderson (1975). Effects of Interpolated Activity on Short-Term Kinesthetic Memory. Bulletin of the Psychonomic Society 6 (3):331-333.score: 9.0
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  41. Laura Jean Bhadra (2006). A Picture Is Worth a Thousand Words: Engaging Kinesthetic and Multimodal Learners of Economics Using Contemporary Films. Inquiry 11 (1):11-19.score: 9.0
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  42. Monica E. Alarcon Davila (2012). Kinesthetic Consciousness and Sensual Reflection in Dance. Studia Phaenomenologica 12:253-262.score: 9.0
     
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  43. S. C. Gandevia & David Burke (1992). Does the Nervous System Depend on Kinesthetic Information to Control Natural Limb Movements? Behavioral and Brain Sciences 15:614-614.score: 9.0
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  44. Brian L. Mishara (1986). The Myth of Kinesthetic Aftereffect's Nonreliability. Behavioral and Brain Sciences 9 (4):747.score: 9.0
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  45. Robert W. Mitchell (1996). Self-Knowledge, Knowledge of Other Minds, and Kinesthetic-Visual Matching. Behavioral and Brain Sciences 19 (1):133.score: 9.0
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  46. Ray Over (1967). Effect of the Angle of Tilt of the Inspection Figure on the Magnitude of a Kinesthetic Aftereffect. Journal of Experimental Psychology 74 (2, Pt.1):249-253.score: 9.0
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  47. Maxine Sheets-Johnstone (2003). Kinesthetic Memory. Theoria Et Historia Scientiarum 7 (1):69-92.score: 9.0
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  48. Betty Ann M. Turpin & George E. Stelmach (1984). Repetition Effects with Kinesthetic and Visual-Kinesthetic Stimuli. Bulletin of the Psychonomic Society 22 (3):200-202.score: 9.0
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  49. Marvin Zuckerman (1986). Sensation Seeking and Augmenting-Reducing: Evoked Potentials and/or Kinesthetic Figural Aftereffects? Behavioral and Brain Sciences 9 (4):749.score: 9.0
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  50. George Pitcher (1971). A Theory Of Perception. Princeton: Princeton University Press.score: 6.0
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