Books on the topic 'Sensorial Experience'

Sounds Senses is about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound studies, it dismantles the retinal paradigms and oculocentrism of francophone postcolonial studies. By shifting the sensory hermeneutics of perception from the visual, the textual, and the graphemic to the sonic, the auditory, and the phonemic, the book places cultural production that privileges or otherwise exaggerates æstheticized sensorial experiences at the forefront of francophone postcolonialism. In the process, it introduces two primary theoretical thrusts—the unheard and the unintegrated—to the project of analyzing, extending, and rejuvenating francophone postcolonial studies. The book reevaluates francophone culture in relation to sound and the experience of sound, situating it along the fluid axes of paralingual utterance, audio-vision, voice, and narrative speakers. Through a range of case studies focusing on parafrancophonics, poetry, world music, cinema, the graphic novel, popular speech phenomenæ, and the poetics and politics of transcolonial identification, Sounds Senses demonstrates how francophone postcolonial culture is satiated with a glut of unexplored sonic significance.

Urban-oriented sensory analysis has a long tradition within the social sciences. However, in communication and cultural studies research, the sensorial orientation is still incipient. This publication is part of an ongoing call by Passeio, the platform for the study of art and urban culture of the Communication and Society Research Centre, for an organicist vision of the city, underlining the need to re-signify the role of the senses in the experience of everyday contemporary urban life. This book includes theoretical and/or empirical contributions from researchers in sociology, communication and cultural studies, who explore three fundamental questions: (a) the effects of the tourist era under the COVID-19 pandemic, (b) the role of music in the production of places and socialities; and (c) the importance of ambiances in the constitution of a carnal relationship with the city.

One of the greatest benefits of studying the ancient Greek and Roman past is the ability to utilise different forms of evidence, in particular both written and archaeological sources. The contributors to this volume employ this evidence to examine ancient housing, and what might be learned of identities, families, and societies, but they also use it as a methodological locus from which to interrogate the complex relationship between different types of sources. Chapters range from the recreation of the house as it was conceived in Homeric poetry, to the decipherment of a painted Greek lekythos to build up a picture of household activities, to the conjuring of the sensorial experience of a house in Pompeii. Together, they present a rich tapestry which demonstrates what can be gained for our understanding of ancient housing from examining the interplay between the words of ancient texts and the walls of archaeological evidence.

Marvels of Medicine makes a compelling case for including sixteenth century medical and surgical writing in the critical frameworks we now use to think about a genealogy of cultural expression in Latin America. Focusing on a small group of practitioners who differed in their levels of training, but who shared the common experience of having left Spain to join colonial societies in the making, this book analyses the paths their texts charted to attitudes and political positions that would come to characterize a criollo mode of enunciation. Unlike the accounts of first explorers, which sought to amaze audiences back in Europe with descriptions of strange and astonishing lands, these texts instead engaged the marvellous in an effort to supersede it, stressing the value of sensorial experience and of verifying information through repetition and demonstration. Vernacular medical writing became an unlikely early platform for a new form of regionally anchored discourse that demanded participation in a global intellectual conversation yet found itself increasingly relegated to the margins. In responding to that challenge, anatomical treatises, natural histories and surgical manuals exceeded the bounds set by earlier templates becoming rich, hybrid narratives that were as concerned with science as with portraying the lives and sensibilities of women and men in early colonial Mexico.

Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, this book explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attributes in religious expression across continents but also reveal lasting emotional, spiritual, and personal impacts in the communities whose ancestors were ripped from their homeland and enslaved. The authors layer historiographic data, interviews, and fieldnotes with artistic modes such as true fiction, memoir, and choreographed narrative, challenging the conventional nature of scholarship with insights gained from sensorial experience. Including reflections on the making of an art installation based on this research project, the volume challenges readers to imagine the potential of approaching fieldwork as artists. The authors argue that creative methods can convey truths deeper than facts, pointing to new possibilities for collaboration between scientists and artists with relevance to any discipline.

Chapter 4 pivots around experiences of race, and explores social and cultural habitation to sensory perceptions and meanings. It discusses the sensorium of race perception beyond the visual, and provides historical and cultural examples of how perceiving bodily Others emerges in and is maintained by sensory experiences. It explores how understanding our orientations and perspectives on the world as fundamentally embedded in and emerging from our bodily manner of existence allows us to begin grasping how it is not reason or intellectual reflection alone by which we can address perceptual alignments that might appear problematic to us. Habits and socio-cultural practices are not simply matters of belief or conviction held in a disembodied mind, but are embedded within our bodily perceptual orientation.

El dolor oncológico es una contrariedad que suelen padecer los pacientes con cáncer. Es una carga muy difícil y compleja. Por ello es necesario manejarlo con un enfoque multidimensional y un tratamiento digno. Tres son los tipos de dolor que han sido definidos con base en la neurofisiología del dolor: dolor somático, visceral y neuropático. La definición más aceptada actualmente es la de la Asociación Mundial para el Estudio del Dolor (IASP): “Es una experiencia sensorial y emocional desagradable, asociada con un daño tisular, real o potencial, o descrita en términos de dicho daño” (1). Innumerable es la bibliografía que aborda el manejo del dolor oncológico, sin embargo, la obra más consultada es la Guía Clínica de la Organización Mundial de la Salud (OMS).

La Investigación+Creación es un nuevo enfoque de investigación que nace de las necesidades particulares para comprender la investigación desde las disciplinas artísticas, y cuya principal característica consiste en validar una hipótesis de investigación por medio de una experiencia creativa, la cual puede materializarse a través de un prototipo plástico-sensorial, como puede ser una pieza musical, una instalación artística, una cartografía social, un performance o una construcción arquitectónica, entre otros muchos ejemplos. Este libro cuenta con 19 capítulos, donde los autores que participan en este compendio exploran la Investigación-Creación desde sus experiencias particulares en diferentes partes del territorio colombiano. Se espera que este primer volumen de la colección I+C, sirva de referente para comprender y construir de manera colaborativa este enfoque alternativo de generación de nuevo conocimiento

Esta guía se propone como una herramienta útil para los profesores de diversas materias en diversos niveles educativos. A partir del concepto de patrimonio cultural y su relación con los museos ofrece una historia y clasificación de los recintos en Tabasco, junto a un panorama general de las culturas prehispánicas y el ambiente del estado. Las actividades que propone se basan en la experiencia docente de los autores y en el modelo pedagógico constructivista. Para su aplicación, se incluyen hojas educativas para el profesor, mismas que pueden ser modificadas y adecuadas, dependiendo de los estilos de aprendizaje y grado académico de los estudiantes. Con el apoyo de este material, entre otras muchas cosas es posible aprovechar los recursos de los museos como medio de enseñanza activa para fomentar el desarrollo de la alfabetización sensorial, la capacidad de análisis y la elaboración de propuestas a favor de la solución de problemas ambientales.

Os contextos pandémico e pós-pandémico vêm impondo às cidades outras dinâmicas, outros sons, outros ecos, outros percursos, outros visitantes humanos e não humanos. Durante o confinamento, o encerramento de espaços teatrais e expositivos – bem como, durante o desconfinamento, as limitações para a sua utilização - têm tido consequências penosas nas programações artísticas e efeitos dramáticos nos quotidianos dos seus agentes (artistas, técnicos, programadores, curadores, etc.). Ao mesmo tempo, a desaceleração da vida da cidade (do trânsito, do ritmo nas ruas, do frenesim produtivo e de consumo, etc.) veio contribuir beneficamente para uma diminuição das emissões de CO2. Neste quadro, a cidade - mais concretamente as suas zonas públicas a céu aberto – surgem mais nitidamente como espaços de circulação e de interferência (ou de suspensão de interferência) entre pessoas. O que aprendemos com a experiência de confinamento e desconfinamento? Em primeiro lugar, que a cidade tem uma densidade flutuante, na medida em que as concentrações populacionais se esvaem quando nos encerramos em casa. Em segundo lugar, que o encontro com o outro (uma das prerrogativas da cidade) pode acontecer em outras escalas que não apenas a dimensão cultural. Em terceiro lugar, que o medo pode ser um sentimento público capaz de fazer implodir as próprias cidades, se não for transformado numa força para a vida. Como é que, neste processo, os artistas se organizam e se constituem como agentes na cidade? Como é que a cidade passou a ser representada? Que cidade é aquela que desejamos? Este congresso surge assim da necessidade de intensificar o diálogo entre a cidade e a arte, em particular as artes performativas. Este encontro efoi o culminar de dois anos de investigação consistente e consolidada no âmbito do projecto TEPe (Technologically Expanded Performance). Ao longo destes dois anos, desenvolvemos atividades com a comunidade com o intuito de promover um diálogo intercultural e transdisciplinar, e proporcionar o encontro com vivências urbanas variadas. Através das diferentes propostas de percursos pela cidade, mapeámos acontecimentos, hoje invisíveis, mas ainda assim presentes: desde “memórias soterradas” a “caminhadas sensoriais”, passando por registos íntimos de confinamento. O encontro visou partilhar as experiências realizadas com a contribuição de duas equipas: a portuguesa, em Lisboa, e a brasileira, em Fortaleza. Para além de apresentarmos as conclusões das pesquisas realizadas, lançamos esta chamada para apresentações, especialmente destinada a artistas e estudiosos de performance art, historiadores das cidades, antropólogos, urbanistas, geógrafos, estudiosos da escuta e do som e a todxs aquelxs a quem interessa pensar (e projectar) a vida na cidade. -------------------------------------------------------------------------------------------------------------- The pandemic and post-pandemic contexts have imposed on cities other dynamics, other sounds, other echoes, other routes, other human and non-human visitors. During the lockdown, the closure of theatrical and exhibition spaces - as well as, during lockdown unlocking, the limitations for their use - have had painful consequences in artistic programming and dramatic effects in the daily lives of its agents (artists, technicians, programmers, curators, etc.). At the same time, the slowing down of city life (traffic, the pace of the streets, the frenzy of production and consumption, etc.) has made a beneficial contribution to a reduction in CO2 emissions. In this context, the city - and more specifically its open-air public areas - emerge more clearly as spaces for circulation and interference (or suspension of interference) between people. What have we learned from the experience of national lockdown and unlocking? Firstly, that the city has a fluctuating density, insofar as population concentrations fade when we shut ourselves indoors. Secondly, the encounter with the other (one of the prerogatives of the city) can take place on other scales than the cultural dimension alone. Thirdly, fear can be a public sentiment capable of imploding cities themselves if it is not transformed into a force for life. How, in this process, are artists organised and constituted as agents in the city? How did the city come to be represented? What kind of city do we want? This congress thus arises from the need to intensify the dialogue between the city and art, particularly the performing arts. This international meeting is the culmination of two years of consistent and consolidated research within the TEPe (Technologically Expanded Performance) project. Throughout these two years, we have developed activities with the community to promote intercultural and transdisciplinary dialogue and provide an encounter with varied urban experiences. Through the different proposals of walks through the city, we have mapped events, today invisible, but still present: from "buried memories" to "sensorial walks", passing through intimate records of confinement. The meeting aims to share the experiences carried out with the contribution of two teams: the Portuguese, in Lisbon, and the Brazilian, in Fortaleza. Besides presenting the conclusions of the researches carried out, we launch this call for presentations, especially addressed to artists and scholars of performance art, historians of cities, anthropologists, urban planners, geographers, scholars of listening and sound and to all those who are interested in thinking (and projecting) life in the city.

Chapter 8 provides possible trajectories to apply the commitments of body theology in other fields of study. It posits that resourcing the full sensorium of experience and engaging body theology need not be limited to projects that are theological in nature; for example, connections between theological anthropological implications and ethical considerations may be made with body theology commitments in mind. Those interested in exploring other theoretical connections, such as theories of space, theories of architecture, or environmental studies, may find in body theology connections useful to their explorations. The chapter concludes with the hope that constructive body theologies of the future can remain grounded in (and insistent on) the various and diverse kinds of good life desired to be lived.

In Mapping Memory: Visuality, Affect, and Embodied Politics in the Americas, Kaitlin M. Murphy analyzes a range of visual memory practices that have emerged in opposition to political discourses and visual economies that suppress certain subjects and overlook past and present human rights abuses. From the Southern Cone to Central America and the US-Mexico borderlands, and across documentary film, photography, performance, memory sites, and new media, she compares how these visual texts use memory as a form of contemporary intervention. Interweaving visual and performance theory with memory and affect, Murphy develops new frameworks for analyzing how visual culture performs as an embodied agent of memory and witnessing. She argues that visuality is inherently performative; and analyzing the performative elements, or strategies, of visual texts—such as embodiment, reperformance, reenactment, haunting, and the performance of material objects and places—elucidates how memory is both anchored into and extracted from specific bodies, objects, and places. Murphy progressively develops the theory of memory mapping, defined as the visual process of representing the affective, sensorial, polyvocal, and temporally layered relationship between past and present, anchored within the specificities of place. Ultimately, by exploring how memory is “mapped” across a range of sites and mediums, Murphy argues that memory mapping is a visual strategy for producing new temporal and spatial arrangements of knowledge and memory that function as counter-practices to official narratives that often neglect or designate as transgressive certain memories or experiences.

Scholarly writing on the music of Arvo Pärt is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Pärt: Sounding the Sacred focuses on the representational dimensions of Pärt’s music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as historically specific artifacts, and as elements of creation deeply linked to the human sensorium in Pärt studies? In taking up these questions, the book “de-Platonizes” Pärt studies by demystifying the notion of a single “Pärt sound.” It offers innovative, critical analyses of the historical contexts of Pärt’s experimentation, medievalism, and diverse creative work; it re-sounds the acoustic, theological, and representational grounds of silence in Pärt’s music; it listens with critical openness to the intersections of theology, sacred texts, and spirituality in Pärt’s music; and it positions sensing, performing bodies at the center of musical experience. Building on the conventional score-, biography-, and media-based approaches, this volume reframes Pärt studies around the materiality of sound, its sacredness, and its embodied resonances within secular spaces.

This book offers a sensory history of the British in India from the formal imposition of their rule to its end and the Americans in the Philippines from annexation to independence. A social and cultural history of empire, it focuses on quotidian life. It analyzes how the senses created mutual impressions of the agents of imperialism and their subjects and highlights connections between apparently disparate items, including the lived experience of empire, the otherwise unremarkable comments (and complaints) found in memoirs and reports, the appearance of lepers, the sound of bells, the odor of excrement, the feel of cloth against skin, the first taste of a mango or meat spiced with cumin. Men and women in imperial India and the Philippines had different ideas from the start about what looked, sounded, smelled, felt, and tasted good or bad. Both the British and the Americans saw themselves as the civilizers of what they judged backward societies and believed that a vital part of the civilizing process was to put the senses in the right order of priority and to ensure them against offense or affront. People without manners who respected the senses lacked self-control; they were uncivilized and thus unfit for self-government. Societies that looked shabby, were noisy and smelly, felt wrong, and consumed unwholesome food in unmannerly ways were not prepared to form independent polities and stand on their own. It was the duty of allegedly more sensorily advanced westerners to put the senses right before withdrawing the most obvious manifestations of their power.