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The sense of position and movement of the limbs and the sense of muscular tension. The awareness of the orientation of the body in space and the direction, extent, and rate of movement of the limbs depend in part upon information derived from sensory receptors in the joints, tendons, and muscles. Information from these receptors, called proprioceptors, is normally integrated with that arising from vestibular receptors (which signal gravitational acceleration and changes in velocity of movements of the head), as well as from visual, auditory, and tactile receptors. Sensory information from certain proprioceptors, particularly those in muscles and tendons, need not reach consciousness, but can be used by the motor system as feedback to guide postural adjustments and control of well-practiced or semiautomatic movements such as those involved in walking.

Receptors for proprioception are the endings of peripheral nerve fibers within the capsule or ligaments of the joints or within muscle. These endings are associated with specialized end organs such as Pacinian corpuscles, Ruffini's cylinders, and Golgi organs (the latter resembling histologic Golgi structures in the skin), and muscle spindles. See Cutaneous sensation, Sensation, Somesthesis


The reception of internal stimuli.
Sensory awareness of one's location with regard to the external environment.
References in periodicals archive ?
19) Her kinesthetic theories demonstrate a modernist interest in bodily responses to literary form that provides a new context for discussions of Joyce's linguistic effects by Garrett Stewart and Derek Attridge, among others.
One of Joyce's kinesthetic strategies, particularly evident in "Proteus," attempts to make language mimetic of human movement in the way that onomatopoeia suggests words may sound like what they mean.
Proteus," the third episode of Ulysses, not only revisits Stephen's aesthetic ideas from A Portrait but theorizes kinesthetic literary techniques as it features processes of creative composition, including reading, reciting, and writing.
Immediately after his reflections on the visible, audible, and kinesthetic, Stephen shuts his eyes, refusing dependence on sight and experiencing the world in body: "to hear his boots crush crackling wrack and shells" (3.
They can appreciate with visceral sensitivity the kinesthetic situation of Wordsworth's encounter with the daffodils.