perceiver


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When a perceiver regards a target's behaviour as negative, the perceiver has a desire to know why the target chose this undesirable action.
0" ("blogs, social networking sites, wikis, and discussion-enriched archives" (208]), Page shows how interaction between and among writers and readers expands the possibilities of the ontological category, giving perceivers new ways to contribute to determining what happens.
The machine serves Noon well; it opens a stimulating passage examining the correlation between the infected perceiver and the phenomenological object.
An artwork mediating between artist and perceiver also incorporates other media and thus becomes a "remediator" (Bolter and Grusin 55), subverting and reinventing the language of media.
Significant advertising research on self-referencing also reveals that when ad perceivers are encouraged to relate the advertising messages to themselves, the persuasive effects of the ad increase (Debevec and Iyer 1988).
Transparency is a relation in which the perceiver finds nothing he cannot see or grasp in the perceived.
Echolocation is the process of obtaining information about the animal environment system from relations between a pulse, a perceiver-generated wave front coming directly to the perceiver ear from its source, and its echo, that same sound arriving at the ear after reflection from the object or surface.
They reveal as much, if not more, of the cultural moment of the perceiver as they do about the place under scrutiny.
The Judger prefers a highly structured work environment, whereas the Perceiver enjoys a more relaxed climate for work.
Intercultural Cinema, Embodiment, and the Senses, a "haptic visuality" that emphasizes the way film "signifies through its materiality," through the very contact between the object and the perceiver, between the metaphorical "skin of the film": to think of film as a skin acknowledges "the effect of a work's circulation among different audiences, all of which mark it with their presence"; it makes prominent the "tactile and contagious quality of cinema as something we viewers brush up against like another body" (2000, xi, xii).
In most languages, the semantic nature of perception verbs (PVs) varies according to two parameters, namely the degree of agentivity of the perceiver and the modality of perception.
One would expect a person with little motivation to perceive a dead person who is a stranger, or--to put it differently--to involuntarily and unconsciously generate an image of a deceased person that the perceiver did not know or knew hardly at all.
But commanders who reflect reality directly to the perceiver, as in a mirror, become reality to the locals.
By enclosing the landscape elements, as well as the perceiver, it offers a direct contact with landscape-related memory.
The link between subject and object, or perceiver and perceived, is the precarious string that perception must follow.