Learning to make sense: interdisciplinary perspectives on sensory education and embodied enculturation

ABSTRACT

In this introductory essay we examine through a ‘temporally inflected lens’ some of the complex entanglements of learning, senses, and sense making; body-sensory experience and practice; and culture and society. We thereby aim to bring into dialogue inter-/multisensorial approaches to education as a project and praxis and processes of ‘enculturation’, which have always, in one way or the other, involved ‘embodied’ learning (and imaginaries thereof), rather than mere ‘mental processing’. We first situate the ‘turn’ to the senses, across a range of disciplinary fields, brought on by a growing interest in ‘modes of meaning-making’, including the visual, aural, audio-visual, material, bodily, and spatial. Secondly, we investigate the explanatory potential of enculturation and embodiment as seemingly entangled notions. From this, we derive the concept of ‘embodied enculturation’ for the study of situated, historical entanglements of sensory learning and education. We link this proposed research paradigm to incisive scholarship on ‘cultural learning’ through sensorial lenses, after which we tease out six key questions or concerns emerging from a review of relevant, recent research. These key concerns help to contextualize state-of-the-art ‘sensuous education scholarship’ introduced in the final section of the article and elaborated further in the ensuing contributions to this special issue.     

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).     

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.     

Tasting off-flavors: food science,sensory knowledge and the consumer sensorium

Abstract

In food science and technology, understanding off-flavors has a significance with both technical and commercial implications. In the food industry in the United States, it is a widely held truism that consumers will not buy a product if they do not like the way it tastes or if it contains unpleasant flavors. But how can science determine when food is off putting, and how do scientists learn to address bad tastes in their experimental and technical practice? Based on ethnographic work with food scientists in the United States, this paper is a reflexive account of learning to taste off-flavors, a form of sensory learning that utilizes the scientist’s own body as a kind of instrument. The paper argues that a particular understanding of the consumer sensorium emerges through food scientists’ approach to off-flavors. This is an image of the consumer as a chemically receptive sensory system that is highly sensitive to compounds at trace levels. By utilizing the sensitivity of their own senses, food scientists exploit the relationship between distaste, memory and sensory perception as a form of training to produce future aesthetic memories of off-flavors that can be deployed in a technical context.     

Puzzling pieces: a sensory design learning tool

ABSTRACT

This article gives an account of an activity that is part of a collection of instructional materials for learning about sensory aspects of design for products, environments, and services. It describes the participants’ experiences and reflections in a workshop at DeSForM, the 10th Conference on Design and Semantics of Form and Movement. The article highlights the participants’ engagement with one of the exploratory activities, Puzzling Pieces, that was in the process of being developed. The unique ways in which the attendees translated theoretical multi-sensory design perspectives into activities for heightening multi-sensory awareness and consciousness of sensory interactions suggest that this activity may be a useful tool for finetuning the sensory design process.     

Seeing touch and touching sight: a reflection on the tactility of vision

ABSTRACT

The article explores the reciprocal relationship between images and viewers by considering the relationship between the senses of sight and touch. I argue that images touch viewers at the same time that viewers touch images. Taking Casilda Sánchez video work, As Inside as the Eye can See as a point of departure, this article explores the ways in which a viewer’s encounter with the work can be understood as tactile rather than merely visual. Precisely because the work is visibly obsessed with the sense of sight it provides an intriguing entry point into discussions around the tactility of visual experience. Even though a person does not physically interact with this video by means of actual touch, our relationship with it is fundamentally tactile. In order to make this argument, I draw on theoretical positions that deal with the embodiment of perception, phenomenology and haptic visuality. Finally, with reference to Merleau-Ponty’s theories on vision as touch, I show how a viewer’s embodied response to the video contributes to its critical potential which unfolds from this rich experiential and tactile encounter.     

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.     

Sensuous Pageantry

ABSTRACT

This article proposes an exploration of taste through the lens of certain events organized by the Slow Food movement. It aims, first, to situate Slow Food discourses in the practices carried out in particular sites, and second, to account for sensuous relations established between people and food in events such as fairs, festivals, and markets. In redirecting attention to the specificity of sensory practices of the organization, the article contributes to a little-explored field in Slow Food studies. It shows how micro-practices enrich and continuously shape the Slow Food principle of sensory education. Research from fairs, festivals, and markets in England and Italy provides insight into the interactions and strategies of producers, organizers, and visitors, and evaluates modalities of taste-making and taste formation. The article introduces the concept of sensuous pageantry in order to explore multiple ways of engaging with various sensory orders pertaining to the what, who, and how of tasting. It is argued that sensuous pageantry, an often overwhelming and dominant sense of taste and sensing at fairs, brings multiple sensory orders together and creates tensions which alternately undermine or reinforce those sensory orders. As such, fairs offer distinctive conceptual insights for a sociology of taste and the senses, which aims to assess emerging sensory constitutions as potential catalysts and drivers of change.     

Sensing Bodies and Digitally Mediated Distress

ABSTRACT

In The Five Senses (2008) Michel Serres shows how the body is not an abstracted, dislocated surface that allows for the objectification of the senses and instead illustrates how it is a process: one of continually infolding sensitivities that translate our bodily feelings into a fluid sense of the world. In this article we explore what it means to be a body in the mediated environments of everyday lives of those who visit social media sites that are designed to help people deal with mental distress. We will discuss the way that “bodies” must tack between oft-competing pressures and draws, which emanate from the performance of sense that is contained within these sites. Attempts to “make” sense of the body in such terrains often require an increasingly sophisticated set of skills and expertise and can, despite our best efforts, result in the body being transported to unexpected places. In order to capture a sense of movement, people must try to transform their offline experiences into a set of actions that can be rendered meaningful in terms of an online domain, which we argue is against the way that people sense. We develop a theory of sensory bodies as subject to continual “movement,” drawing on the work of Serres, Simondon, and Manning, before discussing three examples of social media use in mental health, and the potential implications for people having to learn to sense in and through such online spaces.     

The Taste of the Eye and the Sight of the Tongue: the Relations between Sight and Taste in Early Modern Europe

This article examines the articulation between the senses of taste and sight through the representations of their organs, the tongue and the eye, in early modern Europe. The relationship between taste and sight first brings to mind gastronomical aesthetics, and the part played by the eye in the relish of beautifully presented dishes. The first part of this article is therefore devoted to exploring the taste of the eye (or the foretaste of sight) and highlights the harmony of taste and sight in early modern cuisine. However, the forms of reciprocity between taste and sight cannot be reduced to the sole figure of culinary aesthetics, which tends to blur the other multiple modalities that this sensorial association could reveal. The second part, the sight of the tongue (or the invisibility of taste), thus examines more complex layers of the relationship between the sense of sight and the taste organ, through a study of the representations of the tongue and of the gaping mouth in early modern visual culture. Drawing on early modern textual and iconographic resources and exploring: cookbooks; physiognomic works; conduct books; and also engravings and paintings related to the culinary arts, the seven deadly sins, and representations of madness and the fool in early modern visual culture, this essay argues that examining the representations of the sense organs is a suggestive way to explore the relationship between the senses.     

Sensing Voice

ABSTRACT

Through a consideration of the underwater singing practiced by contemporary American soprano and performance artist Juliana Snapper, this article addresses the inherent relation between materiality and the voice, the sensed and the embodied. I focus on the physical and sensory properties of singers' and listeners' bodies; the space within and the matter through which sound disperses; and how the relation between these aspects plays an integral part in what it feels like to sing, and what it is possible to hear. I aim to demonstrate that a sensory reading of singing and listening may capture dimensions of the voice that are difficult, if not impossible, to account for using conventional analyses of music or standard readings of vocal repertoire. However, a sensory approach to sound does not offer a stable explanation of what sound or music is. Instead each such account unveils a composite manifestation of our understanding of sound at a given moment in time and space.     

Touching Consumers,engaging the Senses in Consumption

ABSTRACT

For years, the Campbell's Soup Company advertised their brand of soup through a message of “Mmm, Mmm, Good.” This slogan reached mass audiences primarily through visual and auditory media messages of television and print. Campbell's recently switched to a new form of advertising to consumers through an IAd application. The format works through Apple iPhones by first showing an interactive ad teaser, “You're getting warmer,” then when clicked through asks consumers to download cooking applications individually to their iPhones. This shift represents a change in appealing to consumers' senses and social sensibilities. The former media approach appealed to a rational social sensibility and mass audiences of eating soup at home as an enjoyment shared with others. The latter iAd slogan and iPhones media approach appeals to a more tactile sense and individualistic sensibility. This article explores the particular confluence of social, sensory, and media factors that intersect with a marketed food brand, and discusses its implications for the way manufacturers mix and blend new sensory messages and mobile media channels to appeal to a new sensibility in people's changing eating habits.     

A touch of luck and a “real taste of Vegas”: a sensory ethnography of the Montreal Casino

ABSTRACT

In recent years, there has been an explosion of “experiential design” in casinos, driven in part by research suggesting that curating gambling sensescapes can lure patrons to spend more time – and money – inside the casino. Building on the promise of existing casino ethnographies, this paper argues that a sensory ethnographic approach to the study of gambling environments can offer valuable insight into the experiential design and mood management of the casino. We use sensory ethnography to explore the ambiance of the Montreal Casino, particularly during the casino’s “Vegas Nights” promotion. How does the casino feel (and how does it touch back)? What rhythms flow through its neon labyrinth? What does “getting a real taste of Vegas,” well … taste like? Moreover, we position this ambiance at the center of the casino’s “push-and-pull” approach to problem gambling – where this government-affiliated sensory extravaganza must toe a tenuous line between attraction and responsibilisation. In addition, we examine how the ambiance of the casino is co-produced by patrons and employees. Ultimately, we argue that the casino floor is unlike a sensory research laboratory – for here, sensations mix and mingle, and it takes a sensory ethnographer to quite literally “make sense” of the casino ambiance and its impact on visitor experience.     

The “Feeling of Knowing,” the Psychedelic Sensorium,and Contemporary Neuroscience

ABSTRACT

Noetic insight involves direct access to knowledge beyond that which is available through the five senses or through reason. It typically has to do with sensing the interconnectedness of all things, and is informed by a feeling that one knows but without knowing how. Psychedelic substances constitute one vehicle for the production of noetic experiences. Using a biopsychosocial approach, this article explores the shifting contexts for the enjoyment and analysis of noetic experience in twentieth-century American popular and scientific culture, beginning with the psychedelic revolution and culminating in the “quantum computer” turn of brain (and mind). It emerges that the ‘feeling of knowing’ may be a sensory ability after all, and a key to understanding many other forms of anomalous cognition.     

Odorous childhoods and scented worlds of learning: a sensory history of health and outdoor education initiatives in Western Europe (1900s-1960s)

ABSTRACT

This paper develops a sensory history of health and outdoor education initiatives which featured (non-)formal schooling, analyzing these as belonging to (a) scented and more generally sensed world(s) of learning. Working with photographs as sensory objects of affect, and using as examples Belgian and Luxembourg open-air schools and associated sanitary and social welfare provisions, the paper explores issues that have gone under-researched in sensory scholarship internationally: those of precise educational purposes, methods, processes and effects of sensory engagement, particularly pertaining to “smell”. Sensory practices and experiences and uses of senses generally are thereby traced in/as “situated, embodied” movements inextricably “enmeshed” with symbolism. The paper argues that while the educational goals underpinning the initiatives investigated and the approaches and practices characterizing these have changed, some (un)intended effects still have an impact today, for instance through Forest School as given shape in the United Kingdom. The concept of “odorous”, or rather “sensuous childhoods”, is proposed to denote ways that particular target groups have come to be imagined as in need of explicitly sensorial health and outdoor education.