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This chapter examines dress artefacts discovered in Period IVb burials at Hasanlu, Iran, as aesthetic, sensorial assemblages, and as agential phenomena in an era of political and military crisis at the site. The focus is a distinctive suite of dress items excavated in five female-identified, well-furnished burials. These dress assemblages include short and long metal pins at the shoulders, clustered finger-rings, beaded jewellery at the head, neck, and shoulders, and noisy, tintinnabular clusters of tubes and beads attached to armour scales worn on the upper chest. While such an ensemble would have provided a visual spectacle, its multisensory impact and potential for affectivity is not limited to its visuality. At the nexus of bodies, vibrant materials, environment, and society, this dress suite is constituted through myriad transcorporeal encounters. Not only would this assemblage have impressed itself on the senses of observers, but it would have provided dynamic synaesthetic, kinaesthetic, and cognitive feedback to wearers. In this chapter, dress is framed as a sensorial assemblage and investigated through the lens of agential realism to shed light on the role of the sensorium in the dynamic and deliberate generation of politically charged identities at Hasanlu.

In his Landmarks of Tomorrow Peter F. Drucker considers many of the new forms in modern production, management, and decision making. Just at the end of the nineteenth century Bernard Berenson had begun a crusade ‘to endow the retinal impression with tactile values.’ There was wide awareness that photography and other technological change had abstracted the retinal impression, as it were, from the rest of the sensorium. In his ‘Culture, Psychiatry, and the Written Word’, J.C. Carothers explains the strange effects of a small degree of literacy on African native sensory life. The African lives typically in the hyperesthetic mode of the ear in which everything is related to everything else in simultaneous relations. In a sense, the architect has always been close to the musician in his concern with sculptural contour and resonance, but today the architect or planner of corporation structures has become very conscious of the pressure of new media in creating new structural forms.

To offer some thoughts on the sensorial aspects of homelessness in North America, the author likes to draw upon ethnographic research that he conducted in a homeless shelter in downtown Boston, the main findings of which are noted in a book entitled Shelter Blues: Sanity and Selfhood among the Homeless. The point is not that psychiatric or political-economic approaches to the question of homelessness are necessarily misguided or incorrect. The shelter was set up by the Massachusetts Department of Mental Health, or DMH, in early 1981 to provide temporary housing for persons troubled by mental illness. Many shelter residents had spent a significant time on ‘the street,’ which most spoke of as if it was a single location with a singularly forced sensorium of fear, cold weather, isolation, and transience. Some of the otherness faced by residents involved commands and instructions asserted by staff.

This chapter argues that heritage scholars, particularly archaeologists in the field of landscape archaeology, continue to reproduce the planter’s imagination. The heritage of plantations is embodied in daily cup of coffee, which arrived at the leisurely tables of industrialized societies through the labor of those who toiled in American coffee and sugar plantations between the sixteenth and the nineteenth centuries. In Brazil, heritage discourses about slavery have been historically constrained by the myth of “racial democracy” and only started to be systematically challenged in the public sphere. Heritage scholars have questioned the centrality of vision in the modern sensorium and how it continues to constrain the potential of heritage practices. Heritage production is trapped in the visual ecology of the Plantationocene. The Plantationocene is one of the most significant configurations of the contemporary world-ecology. Its social legitimacy is contingent on visuality to the extent that the inequality and violence generated in the plantation world are represented and embodied in visual objects.

This chapter points to the presence of a tactile politics of perception that might help us understand the intersections between human subjectivity and the social collectivity. A long tradition of Western philosophical reflection on the senses has identified touch as the lowest sense, the most animal, servile, and unconscious of the resources of the human sensorium. At the same time touch was conceptualized as the most fundamental sense and the basis of all sensory perception. In American history, an acutely developed tactile understanding of sacred energy has often been invoked as a defining feature of religion and politics. This tactile understanding is sensitive both to the transgressive and punitive qualities of heat and to its vitalizing properties. Among the many evocations of “sacred fire” to be found in American culture, one seemingly marginal ritual, firewalking, had gained a considerable following by the end of the 1990s.

The historiography of theatre/performance embraces complicated culturally contingent circulation of different forms and manifestations of repertoires accounted for as Critical Media History. This argument is based on two principles: first, performance and theatre are not categorically opposed to each other but rather closely related (there is no theatre without performance, so theatre history exists within performance practice and performance history can likewise be nested within theatre practice). Second, theatre/performance are historically and culturally contingent media ecologies, interdependent with various media representations yet offering specific perspectives. This privileges materiality linked with the sensorium, location in time and space (or across times and spaces in manifestations of situatedness), historicising, and scaling (zooming in to examine specific phenomena while also describing related developments), emphasising social production and reception.

The ‘supreme fiction’ of the absent beholder becomes – in colonial India – a mark of Western ‘distinction’ and a marker of distance from Hindu idols. The convention of single-point perspective was seen as the key which would unravel an Indian resistance to the ‘powers of observation’. The European art whose shadow was cast over India had passed through engagements with vanishing points that incarnated corporeal viewers to a practice that in Norman Bryson’s words implied a ‘transcendent point of vision that has discarded the body’. In India, the reawakening of the human sensorium went hand in hand with the insertion of mass-produced images into spaces of Hindu worship. A recurrent refrain in the analysis of popular art traditions concerns the ways in which consumers of images are either unable or unwilling to speak about their form. The glass mirrored image depicts Samvaliyaji, Avari Mata and Bhadva Mata who are the subject of a recently flourishing cult in Mandsaur District.

This chapter presents case studies, which each in their own way illuminate possible modalities of religiosity. It also presents a theory of the extended sensorium as an alternative to the mentalism, and privileging of the brain and cognition, in the conventional Western "scientific" account of perception—including the theory of the extended mind. Just as the conventional "scientific" understanding of perception stands in need of revision from an anthropological perspective, so does the preoccupation with the transcendental or "metaphysical" in the conventional Western definition of religion. Donald Tuzin's analysis of the roots of religious experience in "Miraculous Voices" goes along with Meyer's material and sensual definition of religion. In The Sensual Icon, Bissera Pentcheva presents an extremely fine sensory analysis of the fabrication and veneration of religious images in medieval Byzantium. Pentecostalism belongs to the same Protestant tradition of Christianity as Quakerism, and places a similar emphasis on the "inner life" and spontaneity.

Martha Knox was a 33-year-old woman of Anglo-Australian heritage. Her obstetrician referred Mrs Knox to the psychologist for "anxiety related issues". The referral letter stated that Mrs Knox had been undergoing In-Vitro Fertilisation (IVF) for the past two years and in this time she received five embryo transfers without success. Martha's sensorium was clear and her memory and cognition were in-tact. After hearing the benefits of psychotherapy she displayed good insight and judgement. Overall her mental state improved throughout the course of therapy. Given all of the information presented, it was likely that Martha presented with Generalised Anxiety Disorder (GAD) according to the fifth edition of the Diagnostic and statistical manual of mental disorders. Given the identified problems with anxiety, Martha will most likely benefit from continued therapy with a specific focus on Cognitive Behaviour Therapy (CBT).

This chapter suggests that what is needed in current understandings of literacy practices is systematic attention to the role of the full sensorium evoked in the process of meaning making. Of particular interest is the hitherto neglected realm of the nonvisual senses and their role in children's literacy learning. The chapter demonstrates how the sensorial engagement of the body is intertwined in meaning making with different material presentations of digital and print copies of a picture book and in handwriting and process drama lessons. The e-book version of the Heart and the Bottle and process drama activities that draw on Beware of the Bears invite the reader to participate with the body in sense-making through haptic affordances that open up a rich set of possibilities for vicarious sensory engagement with the feelings and perspectives of the characters.

This chapter examines sensorial aspects of the German Army on the Somme in the period 1914-16 through the medium of a series of sixty-two paintings by Albert Heim which recently came to light in Spain. These were commissioned by General-Leutnant Theodor von Wundt, a professional soldier who served on the Somme from September 1914 to October 1916. This chapter focuses at five paintings for what we can deduce of the battlefield and its rear areas. They reveal a world of vivid colour, conviviality and comradeship, ample food, alcohol and tobacco and warm sun, all elements of the not especially arduous life of a German infantry brigade staff in the first two years of the war. In other words, a recognizable sensorium, and one not yet totally reconfigured by the war. Food supply was a major source of concern for the Central Powers from the beginning of the war, partly but not entirely because of the British blockade.

This introductory chapter highlights some of the central features of the complex and shifting landscape in which each are embedded. It considers how the relationship between the fleshy, material, biological body and that of culture has been played out and debated in recent years within the social sciences. The chapter examines the impact of the sensory revolution in a range of disciplines and its implications for how we re-conceptualise body-self-society relationships over time in different settings and cultures. It explores the work of scholars who have actively engaged with the senses and the sensorium in their studies and have added to the understanding of the multi- and inter-sensoriality of embodied experience in physical cultures. This introduction presents an overview of key concepts discussed in the subsequent chapters of the book.

Introduction Drawing on theoretical and conceptual tools relating to ‘sensory work’ within sociology and sociological phenomenology, in this chapter we address the under-researched sense of thermoception, the lived experience of temperature perception. We explore this particular sensory modality as experienced within our own chosen sporting domain of distance running. Drawing on the findings from two automethodological research projects, we describe some of the complex sensuosities of our ‘intensely embodied’ experiences of heat and cold (Allen-Collinson & Leledaki, 2015). In exploring thermoception, we seek to remedy the relative lack of social science research into this important dimension of the sensorium and, commensurate with the purposes of this edited collection, to challenge received notions of the ‘classic five senses’ as traditionally conceptualised within ‘Western’ science.

From flowers and perfumes to urban sanitation and personal hygiene, smell—a sense that is simultaneously sublime and animalistic—has played a pivotal role in western culture and thought. Greek and Roman writers and thinkers lost no opportunity to connect the smells that bombarded their senses to the social, political and cultural status of the individuals and environments that they encountered: godly incense and burning sacrifices, seductive scents, aromatic cuisines, stinking bodies, pungent farmyards and festering back-streets. The cultural study of smell has largely focused on pollution, transgression and propriety, but the olfactory sense came into play in a wide range of domains and activities: ancient medicine and philosophy, religion, botany and natural history, erotic literature, urban planning, dining, satire and comedy—where odours, aromas, scents and stenches were rich and versatile components of the ancient sensorium. The first comprehensive introduction to the role of smell in the history, literature and society of classical antiquity, Smell and the Ancient Senses explores and probes the ways that the olfactory sense can contribute to our perceptions of ancient life, behaviour, identity and morality.

My work begins with an invitation. Take a walk or a ride. Get out and explore the everyday environment in a new way, using the movement of the body as a means of releasing the mind, allowing it to wander-and to wonder, critically and aesthetically. In these works participants explore a site while carrying a portable computer or cell phone equipped with a global positioning satellite (GPS) receiver. The GPS tracks the participant’s movement and the resulting data is used to activate sound playback in response to their changing position in the landscape. Each work is a composition of geolocated sound regions specified in software that runs locally on the device, coupling virtual and physical space at the scale of landscape. Participants literally bring the work into being through the physical action of walking, bicycling, driving, etc. Through kinesthetic engagement, body and environment come into contact as if in a dance composed of everyday movements. The sound overlay in each work brings attention to the physical and social contours of the natural and built environment even as it challenges participants to unconventional habitations-a kind of reading against the grain of the physical text and context of the environment. Through the sound overlay I seek to tease out, highlight, and choreograph a sampling of physical and social elements, itineraries and events that are inherent to a site. However, the primary structure of the work emerges from the unpredictable actions of the participant herself who performs in dialogue with variable social and environmental conditions. This interaction of site and subject, where each emerges through the confluence of physical, social, cultural, and technological forces acting upon each other in situ, is a defining aspect of “locative media.” The term “locative media,” coined by Karlis Kalnins (Galloway and Ward 2006), emerged around 2002 as a way of distinguishing cultural uses of mobile media which critiqued the notion of “space” as an a priori or absolute abstraction and reinscribed “place” as a culturally specific and historically grounded concept. In this chapter I use the term “mobile experience” to refer to the broad domain of everyday experience that is mediated by location-sensing technologies, including commercial and industrial productions. “Mobile experience”encompasses the full spectrum of technologies that wed physical and virtual spaces to each other geospatially via software, regardless of their claim to the more specific designations of “locative media.” Mobile experience involves the use of mobile media which engender a shifting of the sensorium that emerges as a result of our habitual use of these technologies in everyday life. Marshall McLuhan (1964) is credited with first observing that our interactions with media, as extensions of the body, have the effect of altering the perceptions and sensitivities of the human sensorium. For example, one effect of this shifting sensorium in response to the proliferation of mobile media is a heightened awareness of the reception quality of GPS, WiFi, and cellular networks (and their combination) as they relate to our perception of the built environment and our movement within it. Hence, mobile experience, not exclusive to the domain of locative media, is composed of a constant flux of physical, cultural, and psychological displacements where the hybrid physical and virtual contexts in which we increasingly interact create a third space, or what Sabine Breitsameter (2003) has called a hybrid space. This hybrid space can be disorienting, destabilizing, and decentering of the body as well as our sense of place and cultural identity. Rather than seeing these frictions as a negative effect of mobile media-something to be “designed away” or mitigated, I argue that acknowledging and embracing such instabilities actually forces us to productively negotiate what are alwaysalready shifting dimensions of a hybrid spatial condition vis-a-vis our perception and experience of place, and thus cultural identity. This constant process of negotiation underscores the inherently unstable condition of subjectivity which, while a given in all cultural contexts, may be exercised as a critical design agenda in highly technologized, mobile, and multicultural societies. Just as an increasingly technologized and global society entails increasingly complex collisions of cultures and identities, mobile experience compounds these effects not just at the level of the physical sensorium, but also at the level of cultural identity and subjectivity. Technologies, bodies, and subjectivities are inseparably intertwined in everyday experience, and mobile technologies further intensify these entanglements. Mobile interfaces couple bodies in motion with places in motion-as process-blurring local with global, public with private, physical with virtual, and the proverbial “here-and-now” with “there-and-then.” In this way they contribute to and intensify the constant displacement of bodies, sites, and subjectivities in highly mobile technologized society. Inherent to the condition of mobile subjectivity, such displacements frustrate constructions of place, subjectivity, or the body as stable or fixed entities. This instability extends to authorship, too, which becomes a shared act in locative media works, not just at the level of interpretation, but in the very physical process of bringing the work into being. Authorship, like meaning, becomes emergent, contextual, and kinesthetically inflected, especially in locative media works that tend to exploit the indeterminate conditions of moving bodies in hybrid spaces. In all mobile experience, whether acknowledged or not, displacements of bodies and meanings unfold like constantly shifting horizons ofcontext, meaning, and interpretation. In locative media such displacements are embraced and indeed emerge as unique qualities of this new form, medium, and genre. Through elaborating these effects as they generate and complicate meaning in artworks taken from my own practice, I present a position from which locative media may be understood as holding the potential for a kind of generative displacement. This chapter presents a practice-based conceptual framework for imagining locative media as a form of generative displacement. Weaving concepts drawn from process philosophy and affect theory through a narrative of my own locative media practice as it has evolved over the past fifteen years, I will aim to reveal locative media as a form of generative displacement where the body is reconfigured in its relation to itself (the sensorium), to the environment (through both physical and cultural perception of place), and to others, including human and non-human realms. Through Elizabeth Grosz’s (2008) reading of Deleuze and Guattari (1988) I will trace the ways in which emergence, embodiment, and the affective come together in the experience of the sensory-sensual body1 as it moves through and produces variously politically and culturally charged landscapes. Four projects that engage collisions of bodies and landscapes will be addressed: the shifting sensorium itself as a kind of landscape (Drift 2004); the affective experience of post-industrial waste landscapes (Core Sample 2007); perception and representation of landscape and cultural identity in globalized media culture (Elsewhere: Anderswo 2009); and the contested meanings of place and identity in post-colonial discourses about “wilderness” as it relates to landscapes of the Southwestern United States (No Places With Names 2012).

1. Introduction: The Performance of the Senses Part I: Theory and Practice 2. Rasaesthetics 3. Olfactory Performances 4. Unearthing Kinesthesia 5. Senses and Silence in Actor Training and Performance 6. Making Sense of Food in Performance Part II: History 7. Edible Performance 8. Incense & Decadents 9. Touching Realism Part III: Contemporary Performance 10. Guiding Somatic Responses Within Performative Structures 11. Containment + Contamination 12. Seeing Nothing: Now Hear This... 13. A Doubly "Environmental" Sensorium 14. Tangible Acts Part IV: Case Studies 15. Touching the Sun on the Reservation 16. Performers, Spectators, Cannibals. Making Sense of Theatrical Consumption. 17. Indonesian Theatre and Its Double 18. Artaud's Anatomy