The Senses

Movement and, more particularly, kinesthesia as a modality and as a metaphor has become of interest at the intersection of phenomenology and cognitive science. In this paper I wish to combine three historically related strands, aisthêsis, kinesthesis and aesthetics, to advance an argument concerning the aesthetic value of certain somatic sensations. Firstly, by capitalizing on a recent regard for somatic or inner bodily senses, including kinesthesia, proprioception and the vestibular system by drawing lines of historical continuity from earlier philosophical investigations on bodily background experience, initially from aisthêsis, Aristotle’s concept of the sensory faculty. Secondly, concepts of the sensate body are advanced through discoveries in the nervous system and related discussions of the ‘inner’ senses such as Charles Bell’s ‘muscle sense’ (1826), and what Charles Sherrington later termed ‘proprio-ception’ (1906).  irdly, we consider the possibility of aesthetic status for those inner senses, where recently aesthetic arguments by Montero (2006) and Cole and Montero (2007) seek to determine aesthetic criteria for proprioception, and similarly in dance theory the aesthetic status of kinesthesia has been questioned (e.g. Foster 2011). Finally we consider whether previous exposure to a ‘grammar’ of movement is a factor in determining the relative aesthetic value.

The study of colour has become familiar territory in recent anthropology, linguistics, art history and archaeology. Classicists, however, have traditionally subordinated the study of colour to form. By drawing together evidence from contemporary philosophers, elegists, epic writers, historians and satirists, Mark Bradley reinstates colour as an essential informative unit for the classification and evaluation of the Roman world. He also demonstrates that the questions of what colour was and how it functioned – as well as how it could be misused and misunderstood – were topics of intellectual debate in early imperial Rome. Suggesting strategies for interpreting Roman expressions of colour in Latin texts, Dr Bradley offers new approaches to understanding the relationship between perception and knowledge in Roman elite thought. In doing so, he highlights the fundamental role that colour performed in the realms of communication and information, and its intellectual contribution to contemporary discussions of society, politics and morality.

Colour and Meaning in Ancient Rome was nominated and longlisted for the 2011 Warwick Prize for Writing.

The Sukuma Sensorium Before discussing the sensory shifts that are pivotal in Sukuma healing, an introduction to the human sensorium may be in order. As a Western ethnographer, I am inevitably influenced by Euro-American conceptions in which ...

Recipes are filled with sensory directions related to taste, appearance, texture, and smell, but less often to the sounds of food cooking. While cooking and eating, whether at home or in a restaurant, is recognized as a sonic experience, we are rarely specifically instructed to “listen in.” Some scholars argue that such skills cannot be written into recipes, but rather must be passed on in practice. While I largely agree with this claim, I was challenged to find exceptions in cookbooks. In this essay, I discuss some of the few but delightful examples of sonic instruction in recipes. I conclude that while sounds are rare in cookbooks, as these examples show, listening is a skill that provides valuable information in the kitchen.

Although relatively recent, the concepts of ‘dark tourism’, ‘difficult heritage tourism’ and ‘Holocaust tourism’ have already been approached from historical, cultural, sociological, anthropological and managerial perspectives. The article offers a philosophical inquiry of ‘dark attractions’, inspired by Deleuze and Guattari’s work on aesthetics, with an aim of divorcing the term ‘dark tourism’ from its typically negative valance. It makes use of a synaesthetic understanding of experience and relies on an enlarged idea of perception conceptualised as a dynamic continuity between bodily/affective and intellectual cognitive faculties that are activated in the vibrant interaction with the architectural landscape of the ‘dark site’. The emphasis on immediate perception necessarily implies formulation of a concept of ‘affective aesthetics’ which refers to bodily process, a vital movement that triggers the subject’s passionate becoming-other, where ‘becoming’ stands for an intensive flow of affective (micro)perceptions. Such an approach sheds a different light on ‘Holocaust tourism’ and the ‘pleasures’ associated therewith, especially because it provides an explanation to a situation (common at many Holocaust memorials) when visitors are pleased, or positively affected, with representation/image/expression of sadness/atrocity. The synaesthetic operations of ‘dark attractions’ will be briefly illustrated with an example of the Holocaust memory site in Bełżec, Poland.

Multiple social science disciplines have converged on the senses in recent years, where formerly the domain of perception was the preserve of psychology. Linguistics, or Language, however, seems to have an ambivalent role in this undertaking. On the one hand, Language with a capital L (language as a general human capacity) is part of the problem. It was the prior focus on language (text) that led to the disregard of the senses. On the other hand, it is language (with a small “l,” a particular tongue) that offers key insights into how other peoples conceptualize the senses. In this article, we argue that a systematic cross-cultural approach can reveal fundamental truths about the precise connections between language and the senses. Recurring failures to adequately describe the sensorium across specific languages reveal the intrinsic limits of Language. But the converse does not hold. Failures of expressibility in one language need not hold any implications for the Language faculty per se, and indeed can enlighten us about the possible experiential worlds available to human experience.

Can we teach the conscious use, interpretation and perception of the own body of a child, adolescent, young adult or adult in accordance with cognitive abilities? I examine the methods of information transfer, information processing and use of information in public education through the involvement and possibilities of multi sensory experiences. My attention is focused on how all the senses affects cognitive processes in education.

Prefazione di Tarcisio Lancioni, postfazione di Giorgio Grignaffini.

Si può parlare di sapore di un film? Se al cinema il canale sensoriale solleticato in partenza è quello audiovisivo, certe pellicole riescono in modo sorprendente ad andare al di là dei loro limiti, e trasmettere agli spettatori un senso più "difficile" com'è quello del gusto. Attraverso l'analisi di film come Mangiare bere uomo donna, Ratatouille o Pranzo di ferragosto, Lorenzo Bianciardi indaga la capacità del cinema di spingersi oltre la pura rappresentazione del cibo, per scoprire i confini segreti dei sapori: un terreno a metà tra il semiotico e il fisiologico, che esprime in sé una passione per la differenza. Il gusto che è palato, inscindibile dalla componente fisica, ma anche piacere, con la sua dimensione passionale, e infine conoscenza, per il legame già etimologico del sapore al sapere. Nel cercare il gusto dentro le immagini, questo libro finisce così per toccare anche l'essenza stessa del cinema: un mezzo che è rappresentazione e insieme evocazione, descrive la realtà ma è anche capace di andare dritto al cuore delle emozioni. E perché no, delle sensazioni.

Marshall McLuhan probed and explored the social and cultural environments created by media technologies and the modes of perception engendered in those who found themselves immersed therein. In this essay I argue that digital games produce a form of electronic "acoustic space", an instantaneous, inclusive, decentred environment quite distinct from their carefully realised but ludologically irrelevant backstories. Taking as my case study Sid Meier's complex and involving Civilization series, I examine the 'aural' mode of engagement that digital games can encourage and even require. I close by evaluating the equivocal environmental rhetoric of this enduringly successful title, and the continuing relevance of McLuhan's provocative and fruitful analyses.

Einleitung                       1
Zur Entstehungsgeschichte des NLP       2
Eine erste persönliche Erfahrung mit NLP       3
Eine erste inhaltliche Begegnung       4       
Erster Ausbildungsversuch       5         
Ein zweiter Versuch               5
NLP – interne Kritik                       6
Vermarktungsaspekte               7
NLP und Wissenschaft                 8
Resumee und Ausblick                 9
Literaturhinweise und einige andere Informationen    10

Low End Theory probes the much-mythologized field of bass and low-frequency sound. It begins in music but quickly moves far beyond, following vibratory phenomena across time, disciplines and disparate cultural spheres (including hauntings, laboratories, organ workshops, burial mounds, sound art, studios, dancefloors, infrasonic anomalies, and a global mystery called The Hum). Low End Theory asks what it is about bass that has fascinated us for so long and made it such a busy site of bio-technological experimentation, driving developments in science, technology, the arts, and religious culture.

The guiding question is not so much what we make of bass, but what it makes of us: how does it undulate and unsettle; how does it incite; how does it draw bodily thought into new equations with itself and its surroundings? Low End Theory is the first book to survey this sonorous terrain and devise a conceptual language proper to it. With its focus on sound's structuring agency and the multi-sensory aspects of sonic experience, it stands to make a transformative contribution to the study of music and sound, while pushing scholarship on affect, materiality, and the senses into fertile new territory. Through energetic and creative prose, Low End Theory works to put thought in touch with the vibratory encounter as no scholarly book has done before.

Reviews

“Low End Theory is an extremely broad-ranging book that refreshingly challenges the divisions between the humanities and sciences in terms of our understanding of sound, stretching this understanding from a wide-ranging interdisciplinary base. The core chapters represent a tour de force analysis of sound, body and experience that is both exhilarating and challenging. The reader will feel that they are racing through a stimulating sonic haze picking up wonderful nuggets of sonic knowledge on the way.” –  Michael Bull, Professor of Sound Studies, University of Sussex, UK

“A pioneering study of the murky world of bass that enlists speculative concepts to reveal the vibrational practices at work in ritual, science and in the underbelly of pop. Low End Theory contributes to a growing literature which recognises, tracks and encourages the perpetual reconstruction the sonic body.” –  Steve Goodman, Independent Scholar, UK, author of Sonic Warfare: Sound, Affect and the Ecology of Fear (2010) and Founder of record label Hyperdub

“We live in a world of vibrations. Sound envelops us, moves us, caresses or assaults us-especially in the lower frequencies that we cannot hear directly. In Low End Theory, Paul Jasen provides us with an ontology of bass. He works through the many ways-natural, social, and technological-that subsonic frequencies haunt us, affect us, and change us.” –  Steven Shaviro, DeRoy Professor of English, Wayne State University, USA

FREE to download until October 2, 2020. Co-authored with Mark M Smith: Emotion, Sense, Experience is a short, pointed, engaging book calling on historians of emotions and historians of the senses to partake in serious and sustained dialogue. The book outlines the deep, if largely unacknowledged, genealogy of historical writing, insisting on a braided history of emotions and the senses; explains why recent historical treatments have sometimes profitably but nonetheless unhelpfully segregated the emotions from the senses; and makes a compelling case for the heuristic and interpretive dividends of bringing emotions and sensory history into conversation. We claim that histories of emotions and the senses should be written in tandem, not only in an effort to dilute some of the shortcomings of the respective fields as they are currently conceived and written but, more importantly, to grant historians access to a new way of understanding historical experience generally. Such a project necessarily opens up the question of the object of historical enquiry – the human being – and points us towards new interdisciplinary engagement and collaboration. As the neurosciences turn toward the social and the cultural, so historians might usefully turn towards the neurosciences. Unpicking some commonly held assumptions about affective and sensory experience, we radically re-imagine the human being as both biocultural and historical, reclaiming the analysis of human experience from biology and psychology and placing it squarely under the purview of the humanities.

The purpose of this dissertation is to provide an analysis of the tourist experience lived in mountain destinations, namely in the Serra da Estrela Natural Park. Its aim is to analyse the influence of the sensory dimension on the other dimensions of the tourist experience. To achieve that purpose, a literature review has been undertaken on the topics of sensory marketing, multisensory tourist experience, and mountain tourism. It was possible to observe that mountain destinations often lead to the development of multisensory experiences, which are more likely to meet the needs of the new tourist. This kind of tourist is more sensitive to the emotional and sensory experiences that are authentic, unique leading to more intense involvement with the destination, and which may contribute to the construction of his/her identity. However, despite the global relevance of mountain tourism and the crucial role of the five senses in the life of individuals, the multisensory tourist experience in mountain destinations is still scarcely researched. It would be of great interest to analyse and evaluate the importance of the sensory dimension for all the other dimensions of the tourist experience. For this purpose, an empirical study was undertaken directed at mountain tourists. Primary data was collected through a questionnaire survey answered by 241 visitors of the Serra da Estrela, during the months of July and August 2015. Data results revealed the mountain tourists’ profile and the relationship between the sensory dimension and the other dimensions of the experience, as well as that between the sensory dimension and the consequences of the experience (satisfaction and loyalty). One of the main conclusions from the analysis is the existence of a relationship between the sensory dimension and the visitors’ individual features, motivations and behaviour profile. The relationship between the sensory dimension and all the other dimensions of the experience is mostly positive. A positive relation between the sensory dimension and satisfaction and loyalty was also found. Study findings have, thus, provided a better understanding of the impact of the sensory dimension of tourist experiences on the sustainable and competitive development of mountain destinations.

Una riflessione sull’impatto culturale delle tecnologie nell’esistenza dell’uomo e del Pianeta, sull’evoluzione dello statuto del corpo, nella duplice accezione di organismo biologico e culturale. Sullo sfondo della fittizia dicotomia tra «naturale» e «artificiale», e nei limiti di una concezione antropocentrica dell’artificiale.
Nella seconda parte il filo conduttore è quello del virtuale, relativamente ai linguaggi neotecnologici di simulazione (computer image, olografia, realtà virtuale). Simulazione che concerne anche l’olfatto e il tatto, per un approccio sinestetico, polisensoriale, interdisciplinare, nei confronti di una rappresentazione che si fa sempre più globale e pervasiva. Nella seconda parte c’è anche un capitolo dedicato all’arte, perché l’artista è uno dei più efficaci, profondi e consapevoli sperimentatori dei sistemi e dei linguaggi del simbolico, contribuendo a incrementarne le potenzialità, ed è tra i pochi soggetti in grado di considerarli anche dal punto di vista etico.

The theme of sight plays a central role throughout the book of Acts. While some scholars have identified this theme, especially with respect to visions, they typically overlook the intersection of sight and audition. This article argues that Luke pairs seeing with hearing and emphasizes the sense of hearing to an even greater degree. The article first addresses sight and visions in Acts and then focuses on Stephen’s vision in Acts 7. This is the one vision in Acts that does not involve divinely bestowed words, yet it still betrays Luke’s preference for hearing—and speaking—God’s word. The article then explores key themes that emerge from Stephen’s vision regarding the visual and verbal modes of perception in Acts as a whole. Overall, Luke’s emphasis on the spoken “word” reflects his reliance on Jewish scriptural traditions that likewise highlight listening as a key epistemological posture.

South Korean popular cultural products have been popular in East and Southeast Asia since the late 1990s. News media in the Greater China region have recognized the recent appeal of Korean popular culture and branded the phenomenon the ‘Korean Wave’. The rise of the Korean Wave across Greater China reached a new peak with the airing of Dae Jang Geum (2003, aka The Great Jang Geum or Jewel in the Palace), a television soap opera produced by Munhwa Broadcasting Company (MBC). What is the secret behind Dae Jang Geum and its Korean counterparts that have Chinese and other Asian fans scrambling for the nation’s popular culture from food to music and fashion to tourism?

/ Poster Design by Emine Köseoğlu  / 
2018-2019 güz I fsmvü mimarlık anabilim dalı I mimarlık doktora programı
duyular ve mekan okumaları
doç. dr. emine köseoğlu
o k u m a l a r I t a r t ı ş m a l a r I s u n u m l a r

M e k a n a  A l g ı s a l  B a k ı ş l a r
A l g ı y a  M e k a n s a l  B a k ı ş l a r
A l g ı s a l  M e k a n    Ö g e l e r i

کتاب قدرت اعجاز انگیز احساسات شما اثر استر هیکس که با نام قدرت شگفت انگیز عواطف شما هم منتشر شده است آخرین کتاب از سری کتاب های آموزش قانون جذب با نام آموزش های آبراهام از استر و جری هیکس است که به شکل بسیار دقیق و جامع به موضوع احساسات در قانون جذب پرداخته است و با مثال هایی کاربردی از مشکلات رایج افراد استفاده صحیح از قانون جذب را شرح داده است

Sensory studies are important to develop an understanding of the relationship between people and the environment and to see the need to relate buildings and the spaces between them. Stimuli from the sense organs are transformed into perception through processes that take place in mind and they are signified by mechanisms, interpreted, and thus perception occurs. The aim of this study is to introduce a way to obtain sensory information from the spatial environment, to understand and realize the methods to express the results of such an experience visually. A case study is conducted with first grade architectural students in Haskoy, Beyoglu in order to acquire auditory knowledge from the environment and to visualize them. The case study consists of three steps: understanding the issue of environmental sounds, acquiring environmental sounds with direct experience, and visualizing the data as forms of sense-maps using various techniques.

Определены основные тенденции в архитектуре: рациональный и органический способ восприятия окружающей среды. Рассмотрены исторические примеры органического подхода в архитектуре. Дано определение "сенсорной" архитектуры как архитектуры, воздействующей на человеческие чувства, вызывающей определенные переживания и эмоции. На основе теоретических трудов представителей направления сформулированы характерные особенности сенсорной архитектуры: философская обоснованность, контекстуальность, учет традиций, использование естественных строительных материалов и озеленения, использование топографии местности, иррациональность, изменчивость, незавершенность, толерантность, сомасштабность человеку, экологическая и социальная ответственность. Определены принципы сенсорной архитектуры: следование философии единства человека, природы и архитектуры; хрупкость и изменчивость архитектурного образа; моделирование человеческих чувств и эмоций; принцип не причинения вреда человеку, природе и всей планете.

Many Jews and Christians today do not believe that God has a body. God is instead invisible and incorporeal, and even though Christians believe that God can be seen in Jesus, God otherwise remains veiled from human sight. In this ground-breaking work, Brittany E. Wilson challenges this prevalent view by arguing that early Jews and Christians often envisioned God as having a visible form.

Within the New Testament, Luke-Acts in particular emerges as an important example of a text that portrays God in visually tangible ways. According to Luke, God is a perceptible, concrete being who can take on a variety of different forms, as well as a being who is intimately intertwined with human fleshliness in the form of Jesus. In this way, the God of Israel does not adhere to the incorporeal deity of Platonic philosophy, especially as read through post-Enlightenment eyes. Given the corporeal connections between God and Jesus, Luke’s depiction of Jesus’s body also points ahead to future controversies concerning his divinity and humanity in the early church. Indeed, questions concerning God’s body are inextricably linked with Christology and shed light on how we are to understand Jesus’s own visible embodiment in relation to God.

In The Embodied God, Wilson reframes approaches to early Christology within New Testament scholarship and calls for a new way of thinking about divine—and human—bodies and embodied experience.

The aim of this project is to examine the relation between the excess use of technological devices by children, and the development of their mind skills and senses, as well as the main needs of children from 4 to 7 years old, in order to find the optimum way to develop the children’s mind skills and senses. Research, observations, and interviews have been done to gather information and data about the topic, and accordigly, a game was designed to encourage the child to interact with the environment and people around him, as well as saturating his senses.

In 1911, Ricciotto Canudo labeled the cinema as the Seventh Art and claimed that it was superior to the other so-far existing art forms. In 2012, the British filmmaker Peter Greenaway directed yet another film that makes use of all these arts and media to convey an authorial discourse on the importance of cinema and its versatility: "Goltzius and the Pelican Company" (UK). I contend that this art house film, unemotional, filled with distancing effects and exhibiting nakedness throughout, is, in fact, an extremely sensorial piece of cinema where corporeality is not only the form but also the message, both literally and metaphorically. I advocate that this cerebral film can be sensual and sensuous, both through the use of the characters' bodies and the materiality of the text. I also consider that this film generates two types of qualified immersion in the viewer: an artistic appreciation derived from coenasthesia and film textures; and a narrative appreciation caused by alignment with the characters , their non-psychological nature notwithstanding. Allegory, as both a structural device and a conveyor of meaning, is responsible for the combination of spectatorial detachment and immersion.