Touching the Deep Past

ABSTRACT

The nineteenth century was fascinated with the display of human remains in museums. The most celebrated of such exhibits was the Egyptian mummy, which served as the subject of a range of sensorial investigations. Museum mummies were gawked at and sometimes handled by museum goers. Outside of the museum, mummy unwrappings were popular public spectacles. Travelers to Egypt often brought back a mummy hand or foot as an essential tourist souvenir. Scientists, for their part endeavored to categorize mummies by their varying colors, textures, and aromas. These multisensory responses to the mummy were complemented by fictional accounts in which revivified mummies were depicted as exerting their own tactile power over their modern handlers. Such practices and stories point to a desire to physically connect with a bygone world in a modern age—a desire often accompanied by a fear of such contact with the past proving overwhelming. The fact that mummies might be regarded as trophies of conquest by imperialist Europeans suggests that the concern with touching and being touched by the mummy also represented a Western ambivalence towards colonial subjects.     

Fantasy Lands and Kinesthetic Thrills

ABSTRACT

This article proposes that Coney Island's enclosed amusement parks aided in the transformation of spectacle as total-body experience. By studying the ways that Coney Island's unique beachside resort produced entertainment that appealed to all of the senses, we seek to “make sense” of the amusement area in its historical and geographic specificity. Even in its early years of development the beachside resort was touted (and critiqued) in the popular press as a carnivalesque atmosphere that escalated the senses. With the opening of Steeplechase, Luna Park and Dreamland Coney Island's enclosed amusement parks provided dream worlds of technological and architectural wonder that invited kinesthetic. Coney Island reconfigured the dizzying effects of urbanism, modernity and the capitalist machine as entertainment, inviting pleasure seekers to experience the shock of modernity as fun. Mechanical amusements celebrated and fostered thrill seekers as sensuous beings who experienced leisure not just through their eyes but with and through their entire bodies. Though the impossibilities of recreating the sensorial experiences of pleasure seekers at Coney Island remains a methodological limitation, this article contributes to literature that understands the senses as lived, embodied phenomena that are products of culture.     

Disability,the Senses and Apparel: Design Considerations

Sensory experiences are an important but infrequently explored aspect of clothing and apparel for people living with disabilities. Clothing serves as a type of ‘gate keeper’ to the social realm, especially for people living with disabilities. Newly emerging inclusive design approaches are increasingly addressing issues of accessibility and adaptability in the built environment, and these design approaches can and should be applied to clothing and apparel. Two broad categories of interest include: (1) Overwhelming or “too much” sensation, in other words, situations in which people would like to lessen the intensity of what they feel and (2) Limited sensation, lack of sensation, or circumstances under which people crave sensory input, but are restricted from feeling due to a variety of (typically medical or neurological) reasons. The lack of suitable apparel can become a genuine barrier for people living with disabilities, exposing them to the risk of a marginalized status, preventing them from fully participating in society. These barriers illustrate how the work of anthropologists, apparel, textile and engineering design teams with knowledge of sensory issues can offer options to those seeking to regulate the type and intensity of sensory experience and make a positive impact on their daily lives.     

Surprising the Senses

ABSTRACT

We perceive the world around us and the objects in it with all our senses. Designers can therefore influence the way we experience everyday products by paying attention to the multiple sensory aspects of products.

When sensory information from two or more senses conflicts, people can be surprised. Currently, more and more product designers are experimenting with designing products that provide incongruent sensory information. Creating such products enables these designers to evoke interest for their products and let people experience something new.

In several studies, we have investigated people's reactions to and opinions about products with sensory incongruities. The results of our studies suggest that evoking surprise by incorporating sensory incongruities in products can be seen as a means to create more pleasurable product experiences.     

Sensory Work of Diagnosis: A Crisis of Legitimacy

Sensory judgments have always been a part of medical practice, as sensory studies scholars have emphasized. However, in current regulatory, management and technological contexts, there is a push toward rational decision-making procedures and test-based evidence over clinical diagnosis. Sociological scholarship highlights that in focusing on explicit medical knowledge and disembodied data we take for granted aspects of healthcare work, including the ways in which health and illness is sensed. Research in sociologies of diagnosis and social studies of science and technology has captured that while the senses continue to play a role in medical work, the status and practice of this sensory work is not straightforward as evidenced by dual use of the senses and tests and the delegation of sensory work. Based on semi-structured interviews with expert doctors in diverse specialties, this article examines the sensory work of medical decision-making, with attention to its legitimacy. It examines applications of the senses from auscultation to ongoing sensing of patients’ bodies unmediated and via technological outputs. While critical to clinical judgments, there is discomfort with this sensory work in light of medico-legal pressures. I argue that the sensory work of diagnosis is vital, to the extent that gaps in sensory information imply gaps in understanding.     

Groping in the Dark

ABSTRACT

Government mandated blackouts precipitated a crisis in the optical consciousness of the American public in the first years of the Second World War. In an effort to foil potential aerial bombardment, citizens were asked to turn off their lights and so break an otherwise unqualified promise of modernization: ubiquitous illumination. After decades of constantly increasing levels of artificial light, blackouts challenged not only nighttime visibility, but spatial perception more generally. Americans discussed ways to adjust to dimmer surroundings, to infer spatial information from non-visual senses and familiarize themselves with nightscapes based on specular rather than geometric properties of surfaces. Although the blackouts lasted only a few years in the USA, they reveal the profile, albeit in negative terms, of how the nation's visual environment was imagined around 1940.     

Unruly Voices in the Museum

ABSTRACT

This article addresses the use of audio recordings and oral memory for the critical engagement with colonial pasts in ethnographic museums by focusing on the traveling exhibition What We See, curated by Anette Hoffmann (2009). Specifically, it draws on Jeffrey Feldman's notion of colonial “contact points,” i.e. material traces of colonial encounter, to highlight the exhibition's ability to convey and critique the sensory experience of colonial contact. In What We See, this colonial contact consisted in an anthropometric project conducted in South-West Africa, today's Namibia, in 1931, resulting in an archive of anthropometric measurements and photographs, life-casts, and phonographic recordings. The exhibition proposed an innovative way of reworking this archive by staging an intricate interplay between sound and sight, thereby disrupting conventional ocularcentric forms of display. However, this multisensory approach provoked highly divergent reactions at its various exhibition venues. This article argues that the divergent reactions in Cape Town, South Africa, and Vienna, Austria, were due to different levels of what Ann Stoler describes as “colonial aphasia”—that is the context-dependent difficulty of addressing disquieting colonial pasts and its sensory dimensions.     

Human Motivation in Question: Discussing Emotions,Motives, and Subjectivity from a Cultural‐Historical Standpoint

Vygotsky, at the end of his life, advanced a new representation of a psychological system that was ruled by a cognitive‐emotional unity, a theorization that remains inconclusive due to Vygotsky's early death. This article discusses the advances made by Vygotsky in the comprehension of human motivation through his concepts of sense and perezhivanie at the end of his work. Through these concepts, he further advanced the discussion of motivation, despite the fact that these concepts have only very recently been considered a relevant part of his legacy in both Russian and Western psychology. This paper discusses the departure from and the historical presentations of the concept of motive in the following two main approaches of Soviet psychology that were mistakenly equated in Western interpretations: Vygotsky's approach, mainly at the first as last moment of his work, and Leontiev's Activity Theory. Based on the final theoretical positions of Vygotsky and of other Soviet authors, and further developing this legacy, this article proposes a new definition of motivation as a specific quality of subjectively configured systems and defines motive as intrinsic to the functioning of all psychological function defines subjective functions as subjectively configured processes. This new proposal of human motivation within a new way of defining subjectivity defines new categories as subjective senses and subjective configurations on which the author bases a specific approach for advancing the topic of subjectivity and motivation within a cultural‐historical framework.     

The topic of subjectivity in psychology: Contradictions,paths and new alternatives

This paper draws a picture of how topics related to subjectivity have appeared in different psychological theories, such as psychoanalysis, Gestalt and post‐structuralist approaches, discussing in depth a specific proposition from a cultural‐historical standpoint. I argue that, in most of these theories, subjectivity has been used to refer to specific processes and phenomena without advancing a more general theory about it. The way in which subjectivity was treated within the Cartesian/Enlightenment tradition, taken together with the individualistic tradition of psychology, led critical psychological theories to reject the concept. In this way, such critical theories have omitted the heuristic value of subjectivity to study processes that can neither be exhausted by language, nor by discourse. A new proposal of subjectivity is highlighted, based on the cultural‐historical tradition in psychology. From this perspective, subjectivity is defined by units of emotions and symbolical processes generated throughout human experience. On the basis of such definition, I discuss how institutionalized orders can be subverted by subjective productions that represent new social pathways. Far from being a remnant of Modernity, in this way subjectivity is defined as a human production, capable of transcending the apparent objective limits of human existence.     

Sensing the skin: acne sufferers and the dermatologization of life

ABSTRACT

In this paper, we explore what we call the “dermatologization of life” and how it regulates the ways in which acne sufferers relate to their skin. We refer to these ways of relating to the skin as “skin sensing”. Through an analysis of the online narratives found on the website acne.org, we demonstrate how the skin sensing bound up with dermatologization both converges with and diverges from biomedical understandings of acne in three key contexts: the hormonal, the alimentary and the nocturnal. In doing so, we show that skin sensing involves a complex combination of pleasure and pain, excitement and exhaustion, and work and play. Ultimately, we suggest that the ways in which acne sufferers sense their skin open up a set of possibilities that not only disable but also enable them as they embark on the often all-consuming quest for a clear complexion.     

Introducing Sensory Studies

ABSTRACT

Color serves a variety of purposes in society from identifying groups to conveying symbolic meanings to providing aesthetic pleasure. More subtle effects of color can be found in the environments that human communities construct around themselves. At Doon School, an elite boys' boarding school in northern India, color is intimately associated with the students' activities, social relationships and sensory experiences. It defines their status and shapes their everyday lives. The uses of color at the school are consistent with a wider social aesthetic emphasizing restraint, logical thought and the training and presentation of the body. Many of these values can be seen to have their origins in the school's colonial history and postcolonial aspirations.     

Visual impairment,sport and somatic work: the auditory experiences of blind and partially sighted cricket players

This article explores the auditory experiences of a group of visually impaired elite sportsmen and how their sporting participation provides an alternative way of being in team sport. Here, the focus is upon the constructed auditory structure of visually impaired cricket and how this vast, featureless sporting space is endowed with social value. Unlike previous research into the spatial experiences of relatively stable environments, this article is the first to detail how visually impaired people conceptualize and negotiate such a dynamic and fluid space. Drawing upon the concepts of somatic work, and auditory knowledge, this article establishes the participants’ rich sensuous experiences of this physical activity and how their negotiation of the dynamic sporting environment, through the active creation of unique sense-making strategies, subverts the dominant ocularcentric notion of the sporting body. Rather than blindness being reduced to a state of deficit, visually impaired cricket provides an embodied platform to celebrate the participants’ multifarious capabilities.     

新唯物主义起点--感性世界理论

马克思主义哲学的革命性变革,集中地表现为对旧哲学思辨传统的超越.感性世界理论的明确阐释,构成了新唯物主义得以生成的理论机制.通过感性世界的中介,哲学回归了生活世界,从而为新唯物主义奠定了更为坚实的理论基础.通过对感性世界的理论分析,可以透视出马克思主义哲学的生成机制和基本理路.在理论范域的确认上,马克思主义哲学实现了理论视角的根本转移;在关于感性世界的理论界定上,马克思主义哲学阐明了感性世界的属人性质;在感性世界的构成机制上,马克思主义哲学明确强调了"感性的活动"即实践在其中的重要作用;在对感性世界的理论阐释中,马克思主义哲学确立了人的理论中心地位.     

Designing for “touch”, “reach” and “movement” in postwar (1946–1972) English primary and infant school environments

ABSTRACT

This article examines the use and interpretation of the terms “touch”, “reach” and “movement” in Ministry of Education (later, Department of Education) official publications known as Building Bulletins between the years 1949–1972. A close critical reading of Building Bulletins concerned primarily with school design for young children (infant and primary schools) in the English context has been carried out and the results of this exercise are discussed in the wider context of close relationships established between architects designing schools and leading progressive educationalists in Britain. The wider international context, particularly progressive educational design in the USA, is used to further understand the use and interpretation of these terms. The article contributes to a current interest among historians of education in exploring material and sensory histories of schooling.     

Teenagers' Multisensory Routes for Learning in the Museum

ABSTRACT

In this article I draw on a study of sensory aspects of teenagers' use of digital media, how these sensory aspects are incorporated in emerging learning strategies, and the implications of this for the same teenagers' engagement in museums. My focus is on how an ethnographic approach that attends to the senses may enable a critical review of prevailing pedagogical ideas in museums. Recent developments in museum education have led to large investments in state-of-the-art technology to produce interactive, multisensory exhibits. However, the question of how teenagers respond to these campaigns remains rather under-researched. This article shows how habitual use of digital media in teenage everyday practice incorporates learning to appropriate other people's experiences and ideas through a configuration of vision, touch, motion, and imagination, thereby enhancing non-representational learning qualities such as affect and sensation. The implications of this sensory approach open up routes to differentiate pedagogical settings in museums that on a superficial level apply the same educational technologies, but since they are based in different sensorial belief systems, different conditions for learning unfold in their use. In developing this analysis I argue that through ethnographic attention to the senses we might advance theories of learning within museum education.     

A body passes by: the flâneur and the senses in nineteenth-century London and Paris

Abstract

The flâneur is well-known for being the most emblematic nineteenth-century observer of urban life. Critics have often compared the flâneur to a camera eye which records everything and insisted on the predominance of sight over other senses in the cognitive process. This article emphasises the embodiedness of the flâneur’s vision, which is an experience of all the senses. Urban public space can be envisaged as a ‘metabolic space,’ in which “the links between background and figures are very unstable” (Augoyard 1991). The moving body of the flâneur, which can adapt to this changing space, seems to be in an ideal position to apprehend the metabolic body of the city. The flâneur is not only a “transparent eye-ball” (Emerson 2003), he is “a living eye” which communicates with all the other senses and captures the whole experience of moving through the city. By looking at texts by Balzac, Baudelaire, Dickens and Charlotte Brontë, the article shows that flânerie is a sensory activity that shapes our perception of the city as much as the city shapes our own flâneries by transforming our bodies into scribes who write the “thicks and thins of the urban text” (de Certeau, 1984).     

Making sense of HIV/AIDS: Pascal de Duve and the sensitive historian of education1

ABSTRACT

Since the 1990s historians, in general, have increasingly engaged in critical analyses of the emergence and development of what has come to be known as ‘the HIV/AIDS pandemic’. Historians of education have also become interested in the role-played by education in the history of HIV/AIDS. Although the existing educational histories have successfully examined the multiple and far-reaching power structures that helped shape the educational responses to the disease, I will argue that their focus on ideological and geopolitical power structures runs the risk of losing sight of the crucial and often sensorial responses of individuals who have played a part in the educational history of HIV/AIDS. One such individual is the Flemish philosopher Pascal de Duve, who was diagnosed with HIV in 1989. De Duve’s particular approach to the disease clearly illustrate the importance of the senses in how people attributed particular meanings to HIV/AIDS. Knowing that this approach would prove surprising to both his readership and to his wider television audience, de Duve employed sensory experiences and modes of communication (for instance, gesture) to educative ends. I conclude that an intersensorial approach to the past will render historians of education more sensitive to unexpected personal responses towards HIV/AIDS to unexpected personal responses towards HIV/AIDS.     

Body of knowledge: Sunderland Museum and Art Gallery and the blind imagination

ABSTRACT

This article examines the cultural and philosophical intersection between visual and tactile knowledge and the emergent aesthetics of modernism. In the September 1913 edition of The Museums Journal, J. A. Charlton Deas published a paper entitled “The Showing of Museums and Art Galleries to the Blind.” The text, exceptional in its historical context, complicated prevailing assumptions about acts of “visual” art and blindness. Deas details a series of experiments undertaken at Sunderland Museum and Art Gallery from 1906 to 1913 that consisted of making accessible exhibits, specimens and paintings for blind children to touch. Unprecedented at the time, these experiments recast the persistent Western belief that the eye has privileged access to knowledge, instead asserting that knowledge is embedded within material corporeality. The physical, creative and intellectual inclusion of blind people into the formerly inaccessible space of the museum was unique in its reach and offers a refreshing new perspective of what those (authoritatively visual) spaces could be. Sunderland, a region which tends to be discursively separated from the ambitions and experiments of modernism, was at the center of modernist discussions about knowledge, sight and touch; and, disrupts modernism’s silence with respect to acknowledging unprecedented regional developments such as those detailed in “Showing.”