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The article discusses the relevance of sensor-technologies as media. Beyond technical affordances sensors act as agents of implementing and activating a more-than-human sensorium within encompassing technoecologies of sensation. Outlining the onto-epistemological implications of being ‘in touch with’ sensor-media, the contribution raises questions of what it means to be included in an infrastructure of sensorial interfaces - not only of tech-assisted human-to-human or human-to-machine communication, but of unmanageable processes of machine-to-machine exchange. Delineating sensors as media necessitates reflections on the temporal relations that define the ‘contemporary condition’ of intensified global computation, technological interconnectedness and the ontogenesis of sensor-media milieus, their respective temporalities and concomitant (an)aesthetics of experienced time.

ArgumentIt is argued that the sensorium of God was introduced into theQuaestionesadded to the end of Newton’sOptice(1706) as a way of answering objections that Newton had failed to provide a causal account of gravity in thePrincipia. The discussion of God’s sensorium indicated that gravity must be caused by God’s will. Newton did not leave it there, however, but went on to show how God’s will created active principles as secondary causes of gravity. There was nothing unusual in assuming that God, acting as the First Cause, operated in nature by means of secondary causes; but it was unusual to devote as much time to discussing God’s precise role as to discussing the secondary causes themselves. It is contended that Newton felt the need to do this to persuade readers that what might seem like a second cause that could not possibly work could be made to work by the omnipotent God.

Drawing on ethnographic fieldwork in two different teaching hospitals that deployed the da Vinci surgical robot, this paper traces how the introduction of robotics reconfigures the sensory environment of surgery and how surgeons and their teams recalibrate their work in response. We explore the entangled and mutually supportive nature of sensing within and between individual actors and the broader world of people and things (with emphasis on vision and touch) and illustrate how such inter-sensory dependencies are challenged and sometimes extended under the conditions of robotic surgery. We illustrate how sensory (re)articulations and compensations allow the surgeon and surgical teams to adapt to a more-than-human sensorium and conclude by advocating new forms of sensory-aware design capable of enhancing and supporting embodied sensory conditions both individually and across teams.

While attention is widely recognised as central to perception, the term is often used to mean very different things. Prominent theories of attention - notably the premotor theory - relate it to planned or executed eye movements. This contrasts with the notion of attention as a gain control process that weights the information carried by different sensory channels. We draw upon recent advances in theoretical neurobiology to argue for a distinction between attentional gain mechanisms and salience attribution. The former depends upon estimating the precision of sensory data, while the latter is a consequence of the need to actively engage with the sensorium. Having established this distinction, we consider the intimate relationship between attention and salience.

This article draws on ethnographic and archival material to examine a contemporary, neuroscience informed politics of care focused on the child sensorium (understood as an embodied neurobiological endowment and material and political resource). I frame care-taking practices focused on children’s sensory endowment, responsivity, and difference as a form of biopolitical regulation in which children, parents, therapists, and educators are implicated. As such, I examine how such care intersects with political, economic, and educational forces and circumstances that differentiate North American childhoods and reconfigure expectations of children and parents. In the process, I relate medicalized sensory difference to shifting skill demands for children that emphasize emotional control in public and educational contexts. Moreover, I highlight how privileged parental engagements with scientific knowledge and practices of therapeutic care focused on children’s sensory endowments and difference articulate with these new skill demands but also deploy embodied sensorial–neurological difference/neurodiversity as a means to transform dynamics of stigma and control within children’s and families’ lives and educational contexts. At the same time, I show how attempts to cultivate sensory capacities and engagements with medicalized sensory difference are implicated in broader biopolitical dynamic of exclusion that unevenly recognizes difference/disability.

According to the colored-brain thesis (or qualitative physicalism), sense data or qualia are real physical-chemical qualities, located inside the brain, possibly at a specific locus. Our hypothesis is that the seats of phenomenal consciousness have a structure and a materiality. According to the proposed view, a chromatic quale emerges when a certain pixel of the visual sensorium (the hypothetical subjective visual “screen”, or Cartesian theater, with its specific materiality ω) is fed with a certain pattern Σ of spikes; a change in this pattern quickly changes the color that is subjectively generated. How could one manage to measure chromatic qualia? In principle, with nanoscopical techniques, one could capture all the patterns that fall on the sensorium, and transmit the information to other media. But this does not capture the qualia. However, if the patterns are made to fall on a tissue of the same kind, typically inside another person’s brain, this other person will have roughly the same subjective experience as the first person. The model is used to explore two different situations involving qualia inversion. The paper also explores Cartesian materialism, and the claim that phenomenal time and space are identical to a region of physical time and space.

This paper traces the sensory dimensions of nuclear imperialism focusing on the Cold War nuclear weapons tests conducted by the United States military in the Marshall Islands during the 1950s. Key to the formation of the “nuclear sensorium” were the interfaces between vibration, sound, and radioactive contamination, which were mobilized by scientists such as oceanographer Walter Munk as part of the US Nuclear Testing Program. While scientists occupied privileged points in technoscientific networks to sense the effects of nuclear weapons, a series of lawsuits filed by communities affected by the tests drew attention to military-scientific use of inhabitants’ bodies as repositories of data concerning the ecological impact of the bomb and the manner in which sensing practices used to extract this data extended the violence and trauma of nuclear weapons. Nuclear imperialism projected its power not only through weapons tests, the vaporization of land and the erosion of the rights of people who lived there, but also through the production of a “nuclear sensorium”—the differentiation of modes of sensing the bomb through legal, military, and scientific discourses and the attribution of varying degrees of epistemological value and legal weight to these sensory modes.

Sensory trademarks present a compelling case in which to explore the senses as “containers of possibility,” and this article explores the emergence and logic of sensory trademarks from a legal and marketers’ perspective. Using sensory trademark cases from the United States, I suggest that the current socio-legal environment opens a conversation about what I would call sensory capitalism—the monetization of the senses rather than the propertization of the senses—that requires intellectual property law to properly function. I argue that the sensory model espoused by the trademarking of the senses is one of the mass sensorium, whereby the “audience” universally recognizes marks as designating a particular source or origin of goods. The mass sensorium offers something quite novel, however, because embedded in it is the (corporate) promise of a lingua franca that valorizes all of the senses and generates a type of mediated affect that is shared.

How to cite this article: Singhal V. Clinical Approach to Acute Decline in Sensorium. Indian J Crit Care Med 2019;23(Suppl 2):S120–S123.

Proposing a radical vision of cinema’s queer globalism, this book explores how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making. Whether in its exploration of queer cinematic temporality, the paradox of the queer popular, or the deviant ecologies of the queer pastoral, the authors reimagine the scope of queer film studies. They move beyond the gay art cinema canon to consider a broad range of films from Chinese lesbian drama and Swedish genderqueer documentary to Bangladeshi melodrama and Bolivian activist video. The authors make a case for the centrality of queerness in cinema and trace how queer cinema circulates around the globe–institutionally via film festivals, online consumption, and human rights campaigns, but also affectively in the production of a queer sensorium. In this account, cinema creates a uniquely potent mode of queer worldliness, one that disrupts normative ways of being in the world and forges revised modes of belonging., 大﨑晴美(訳). 本稿は、Karl Schoonover and Rosalind Galt, “Introduction: Queer, World, Cinema” in Queer Cinema in the World (Durham, NC: Duke University Press, 2016)の全訳である。ただし、本稿に合わせてわずかに省略または語句を変更した箇所がある。

Background This article takes a transdisciplinary view of the media sensorium by applying humanities, social science, and engineering perspectives to the relationships among sensory perception, cognition, and how people come to understand their worlds through the senses. Analysis The goal of this article is to engage with the provocation that the sensorium, a concept that Marshall McLuhan brought to media studies in the 1960s, provides the lens through which we observe that communication is the expression of cognition via the combined potentiality of physiology and technology. “Sensory technologies” are used as analytical vehicles in a technological journey from the Walkman to 21st-century telecommunications. Conclusion and implications The reader is given a call to action to use the full spectrum of the sensorium to locate and act on transformative contemporary processes underway. Contexte Cet article adopte une approche transdisciplinaire envers le sensorium mediatique en appliquant des perspectives provenant des sciences humaines, des lettres et de l’ingenierie aux rapports entre la perception sensorielle, la cognition et la maniere dont nous apprehendons notre monde par les sens. Analyse L’article a pour but d’examiner cette idee provocatrice que le sensorium—concept que Marshall McLuhan applique aux medias dans les annees 1960—nous permet d’observer comment la communication, en exploitant un potentiel a la fois physiologique et technologique, parvient a exprimer la pensee. Ainsi, les « technologies sensorielles » servent de vehicules analytiques dans un voyage technologique qui va du Walkman des annees 1970 jusqu’aux telecommunications du present siecle. Conclusions et implications Cet article invite le lecteur a maximiser le potentiel du sensorium afin de reperer les processus transformatifs en cours actuellement et d’agir sur eux .

If food is transient, so are the techniques, gestures, and know-how required to preserve it and extend its lifetime. “There is a life and death of gestures,” Luce Giard (1998: 202) suggests with a tinge of nostalgia. Casablanca-born and Marseille-based visual artist Ymane Fakhir (b. 1969) documents this transition with a sense of urgency. In Handmade (2011–12), a series of five minimalist videos titled Grains, Bread, Wheat, Vermicelli, and Sugar Loaf, Fakhir captures her Moroccan grandmother's technical gestures as she transforms raw ingredients into basic staples such as couscous. Documentary, memorandum, archive, narration, and video installation, her five films, like five fingers, record her grandmother's hands at work. The installation recreates her childhood sensorium and memories of her grandmother's nurturing preparations. Likewise, her films function as visual aide-mémoire and collective repository for a new generation of women, including Fakhir's own daughter, who do not (need to) know these techniques. In this article, I ask what type of aesthetic interventions her film segments propose, and which memorial and symbolic goals they achieve. More specifically, in light of Morocco, Algeria, and Tunisia's 2018 common bid to have couscous recognized as UNESCO World Cultural Heritage, I focus on how Fakhir's video installation, compared to institutional projects of heritagization, works to restore the degraded cultural capital of this now transnational and industrialized dish, while speaking to contemporary anxieties about the industrialization of the food system in both Morocco and France.

A 54-year-old man presented with a 1-month history of generalised weakness and a 2-day history of altered sensorium with poor response to verbal commands and repetitive speech, along with headache and vomiting. Neurological examination did not reveal any focal motor, sensory, or cerebellar

The aim of this paper is to argue for an interdisciplinary research agenda to the study of reading. We discuss the methodological and educational/practical challenges and opportunities that an embodied cognitive and distributed language perspective entails for literacy and education research. Although an increasing body of research pivots on the embodiment of reading, reading still tends to be theorised as a sequence of internal processes used to interpret texts. A distributed perspective replaces this code view with an embodied and multi-scalar description of the activity. This ‘embodied turn’ generates valuable results that involve not only the whole body (as a multi-sensory organ), but a historical, skilled body that affects the reading ecology. Consequently, an embodied and distributed perspective is not only a matter of drawing on multiple sensory modalities in the here-and-now that conglomerate in the human sensorium, it also highlights the interconnected habits that enable readers to enact cultural practices based on writing systems. Skilled linguistic action allows readers to construe symbolizations, re-evoking parts of their individual life experience. Embodiment thus involves a perspective that links multiple timescales, thereby moving beyond local coordination of body and artefact. While the sensorial richness of our body is a prerequisite for engaging with a text, the reading activity becomes even more complex than interconnecting the many bodily modalities, when we think of the body in terms of lived experience. Building on this multi-scalar view, the paper seeks to demonstrate the integrative potential of a distributed approach to reading as well as some initial educational implications of such a distributed perspective.

In this article, we address an existing lacuna in the sociology of the senses, by employing sociological phenomenology to illuminate the under-researched sense of temperature, as lived by a social group for whom water temperature is particularly salient: competitive pool swimmers. The research contributes to a developing ‘sensory sociology’ that highlights the importance of the socio-cultural framing of the senses and ‘sensory work’, but where there remains a dearth of sociological exploration into senses extending beyond the ‘classic five’ sensorium. Drawing on data from a three-year ethnographic study of competitive swimmers in the UK, our analysis explores the rich sensuousities of swimming, and highlights the role of temperature as fundamentally affecting the affordances offered by the aquatic environment. The article contributes original theoretical perspectives to the sociology of the senses and of sport in addressing the ways in which social actors in the aquatic environment interact, both intersubjectively and intercorporeally, as thermal beings.

In this paper, I explore the phenomenon of a felt sense of the concrete other. Although the importance of this phenomenon is recognised in the contemporary discussion on intercorporeality, it has not been subjected to systematic phenomenological analysis. I argue that the felt sense of the other is an aspect of intercorporeal body memory in so far as it is a habituation to something like the concrete other’s expressive style. Because it is inherently a sensory phenomenon, I speak of an embodied sensorium of the other. I illustrate the phenomenon through contrasting case-vignettes taken from research in early parental bereavement. Based on this, I identify five modalities that outline the fundamental contours of a sensorium and specify that in their intermodal and synesthetic concretion they account for the felt sense of the other. Finally, I argue that the existential importance of the phenomenon is rooted in the distributed nature of my sense of self and self-familiarity. To illustrate this, I draw parallels between the felt sense of the concrete other and the felt sense of home and suggest that though there are also distinct differences between the two phenomena, they are rooted in the same underlying existential need for feeling-at-home in the world. In this paper, I explore the phenomenon of a felt sense of the concrete other. Although the importance of this phenomenon is recognised in the contemporary discussion on intercorporeality, it has not been subjected to systematic phenomenological analysis. I argue that the felt sense of the other is an aspect of intercorporeal body memory in so far as it is a habituation to something like the concrete other’s expressive style. Because it is inherently a sensory phenomenon, I speak of an embodied sensorium of the other. I illustrate the phenomenon through contrasting case-vignettes taken from research in early parental bereavement. Based on this, I identify five modalities that outline the fundamental contours of a sensorium and specify that in their intermodal and synesthetic concretion they account for the felt sense of the other. Finally, I argue that the existential importance of the phenomenon is rooted in the distributed nature of my sense of self and self-familiarity. To illustrate this, I draw parallels between the felt sense of the concrete other and the felt sense of home and suggest that though there are also distinct differences between the two phenomena, they are rooted in the same underlying existential need for feeling-at-home in the world.

Leaning on two fields of expertise (literary studies and film studies), this chapter discusses two particular scenarios of the shared imagination of neoliberalism, which allow the unfolding of different considerations regarding the Pacific. In the first scenario, I go to the question of history and the erasure of the Pacific, and discuss the book La casa del dolor ajeno by the Mexican writer Julian Herbert. The second scenario is the Latin American connection in the work of the Hong Kong filmmaker Wong Kar-Wai, addressing the question of imagination and sensorium, or the way in which neoliberal aesthetics and affects connect across the Pacific. In doing so, I propose to think the transpacific relations as a shared history and contemporaneity of affective experience. This, in turn, seeks to argue for the need to think transpacific cultural flows and circulations beyond topics of representation, identity and Otherness.

This chapter describes the main gestures enacted in the study practices of lecturing and academic writing in view of establishing their media configurations. To describe the media configurations, I use the concept of sensorium as an analytic tool and I look at how senses are called for or downplayed in gestures of study. After having described how students use their sight, hearing and touch while taking part in the lecture, I move on to academic writing which gives rise to more abstract gestures of disassembling, assembling and interlacing. This chapter also gives an answer to the media question through the concept of mediatic displacement. Mediatic displacement is a media configuration which manages to cancel the effect of one medium by using another one against it, and, in a series of transcoding movements, to enact an educational suspension of the world.

Artists have long been interested in the crossmodal links that exist between colour and scent. While traditionally envisioned as a kind of synaesthesia, contemporary accounts of the connections between this particular pair of senses have typically focused on explanations in terms of involuntarily-induced crossmodal mental imagery and crossmodal correspondences instead. A large body of empirical research now supports the view that the majority of non-synaesthetic individuals do indeed systematically match colours to odours, via semantic (or source-object based) matching, and/or on the basis of emotional-mediation or perceptual similarity. Universal agreement with regard to the best- matching colours for odours is, however, never obtained. What is more, the consensuality of the crossmodal mappings obtained within groups of individuals (and especially across culture, and age) tend to decline when one moves away from semantically- based crossmodal matches. As such, the longstanding aim amongst certain artists to play with the abstract correspondences between scent, colour, and, on occasion, also sound in order to try to deliver universally-meaningful crossmodal correspondences seems unlikely ever to be realized. Nevertheless, that does not mean that scent and colour can’t still be linked in intriguing ways, as illustrated by a number of the exhibits at the 2015 Tate Sensorium multisensory exhibition in London.

Recent studies on plant-environment and plant-human relationships reveal the need to reassess thescales of perception, sensitiveness and cognition of living systems. The complexity of plant's emergingbehaviors in interaction with the environment is supported by the signature of the electrome and theplant sensorium, a strong argument to establish the singularity of the living and weights its consequencesin evolutionary, ecological or socioeconomic terms. This paper highlights the cognitive value of access tothe experience of plants and its fundamentally mesological or ecoplastic nature, that is to say in directconnection with a singular milieu. This dynamic coupling makes it possible to explain the co-construction ofan intelligible and sensible world without the use of a brain, principle that reframes the concept of intelligentbehavior while revealing both the frontiers in cognition and the strong transdisciplinary challenges of anacute awareness of the man's fragility as of the planetary ecosystem at the era of the Antropocene.

If we’re alive, awake and aware, then something is going on in our brain which produces in us the sensation of being present and engaged with the world. Our sensations are usually fairly specific, and seem to bring us information about conditions in our immediate environment or in our bodies. The information they bring us is not couched in any language, but is made known to us directly. Spontaneously and without instruction, an infant or small animal knows that a certain feeling is a pain in its toe, another is a feeling of heat or cold, another is a sensation of the color red in a red object.

Ronak K. Kapadia’s deeply conversant and well researched 'Insurgent Aesthetics: Security and the Queer Life of the Forever War' brings queer, affect-oriented methodologies to bear on an analysis of Arab, Muslim, and South Asian diasporic art. It is these communities after all, Kapadia points out, who undergo increased scrutiny in the United States and Europe after September 11, 2001. According to the author, these diasporic artists engage in an insurgent aesthetic “against empire’s built sensorium,” which is a visual cultural practice that offers an alternative embodied critique of “US empire’s perverse logics of carcerality, security, and war” (10).

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.

Sovint, els nostres intents de connectar-nos amb les escales espacials i temporals de la fisica fonamental, des de la subatomica fins al multivers, provoquen una forma de vertigen perceptiu, especialment per als no cientifics. Quan abordem idees d’abstraccio paralitzant per mitja del rang perceptual dels nostres cossos sensorials, es pot dir que s’invoca una «dissonancia fenomenologica» entre la presencia material i la llunyania radical. Aquesta dinamica relacional entre la materialitat i la llunyania representa el trampoli conceptual de «Material Sight» (2016-2018), un projecte de recerca realitzat en tres dels principals centres internacionals de fisica fonamental, que presenta un corpus d’objectes fotografics, treballs audiovisuals i un paisatge sonor immersiu que representa els espais de la fisica fonamental com a llocs de trobada material. La recerca es basa en el desig paradoxal de crear un sensorium per a la fisica fonamental, preguntant-se si la fotografia, el cinema i el so poden encarnar els espais de la ciencia experimental i presentar-los a cientifics i no cientifics de la mateixa manera, no com a il·lustracions del sublim tecnic sino com a llocs de trobada fenomenologica. Aquest article traca les coordenades conceptuals clau de «Material Sight» i analitza com el disseny metodologic del projecte –basicament la produccio de coneixement per mitja de l’«acte de mirar»– ha resistit emfaticament l’atraccio gravitacional de l’art per ser instrumentalitzat com un dispositiu il·lustratiu dins d’un context cientific.

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.

This chapter challenges approaches to reading that rely on “scopic dominance” (here referred to as Cyclopean) and suggests that Ulysses, in particular, rewards readers who feel with, through, and about bodies—human and textual. The chapter proposes an approach to reading that produces an affective: one that moves us and that we move, one that we encounter with our living bodies. The sense modalities of sight and touch are used to illustrate Joyce’s broader approach to senses, perception, and epistemological questions more broadly. To read Ulysses “feelingly” is to engage the senses together with the emotions in the act of reading. Such readings cultivate a multi-perspectival proximity to the content, context, and language of the work. Affect theory provides a useful way of reconceiving the reading self: as porous, responsive, and part of an ever-unfolding process of being in relation with the world. This essay stages an encounter between text and reader that is designed to show readers how to feel their way through the text in a way that allows reading to become more reciprocal or mutual. The value of such an approach is that it makes it easier for a reader to be touched, and perhaps altered, in return.

Digital and networked media are characterized by a fundamental disconnection between the modes of operating of these media, the human sensorium and knowledge. In order for humans to consciously participate in this expanded domain of sensibility, additional mediation is required to ‘presentify’ what is not accessible to human perception. This situation has motivated the creation of manifold ‘data objects’ in the form of visualizations, soundscapes and sonifications, 3D materializations, and data-driven interactives in the neighboring domains of art, design, science, and humanities scholarship. These new knowledge objects, as we propose to call them, both produce and mediate knowledge in the process of making data experienceable. They turn that what essentially does not correlate to human sensory capacities into something that the human sensorium is capable of engaging with. As such, they can play a crucial role in providing access, and thereby modalities of critical and creative relating, to what Hansen (2015) describes as the expanded domain of sensibility. Yet, the effects and implications of the sensory specificities of these knowledge objects remain underacknowledged, as are the potentials of these modes of presentifying data. Here, we explore and compare a diversity of such knowledge objects and look at their different media modalities and different experiential qualities, and how these afford ways of knowing. By approaching several knowledge objects as ‘theoretical objects’ (Bal (2013); Damisch in Bois et al. (1998), we investigate which and how experimental sensory techniques are used for data presentification. With this, we want to draw attention to the onto-epistemological implications of the design of these knowledge objects, the main implications being relationality and performativity. Understanding the potential and implications of this performativity would benefit from what we call a creative humanities approach that combines insights from the critical and digital humanities with those from the fields of creative arts and design.

Sensory experiences have generated a diverse sociological, anthropological and psychological literature. This paper illustrates an approach to the idea of lost sensoria and their social and cultural manifestations. Images of sensory expe­rience, postulated synchronicity of sensory processes and the concept of ethno­poetics constitute a theoretical basis for the concept of lost sensory experience., Tematem niniejszego studium jest doświadczenie sensoryczne oraz jego spo­łeczne manifestacje. Wychodząc od klasycznego porządku pięciu zmysłów, przedstawione zostaną alternatywne porządki sensoryczne oraz ich spo­łeczne i kulturowe umocowanie. Językowe obrazy doświadczenia zmysło­wego, postulowana synchroniczność procesów sensorycznych oraz koncep­cja etnopoetyki stanowią podstawę prezentowanej koncepcji zagubionych sensoriów.

The chapter offers preliminary notes towards an analysis of the forms of sensing and making sense that emerge at the interface of the organic and the technological� I argue that these forms have the capacity to productively challenge and expand our understanding of the key notions of aesthetics – aesthetic experience and aesthetic judgment – and with that, to rethink the pre- vailing anthropocentrism of aesthetic tradition, shifting attention to the phenomenon that was at the roots of the aesthetic project, namely aisthesis, or sense-perception� One useful context for such an inquiry is a media ecological approach, with its emphasis on relations between different agencies and the shifted role of subjectivity� The questions then include: How can the aesthetic perspective complement the existing theories of forms of cognition within biolog- ical and technical systems? What are the best terms for the analysis of the qualitative aspects latent within the interpretative procedures that happen in living and nonliving matter? And vice versa, how can the “microperformances” and sensorial acts at the cellular and molecular levels affect how we conceive of human perception? Looking at the operations of relating at either human or nonhuman levels through the prism of a medium that underlies them helps to ground this discussion in a particular way� The chapter features particularly the aesthetic strategies exercised by a number of contemporary artists that bring to the fore the mediatic operations as sensory events and exemplify ways of engaging with the broader ecology of media sensorium, still to be discovered and cognized� Keywords: media ecology, sense act, sensing, aesthesis, microperformativity, performative epistemology, art

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.

This article examines how sensation and affect make different kinds of resilience meaningful to communities. Through a case study, we analyze public deliberation about a proposal to expand interstates in Tampa, Florida. We describe how evidence introduced by opposing sides foregrounded conflicting sensory experiences. The resulting sensoriums upheld different aspects of the city’s identity as worth maintaining. Drawing from recent scholarship defining resilience as something that can always be done otherwise, we suggest that resilience is better understood as entangled with public affect. We argue that a key point for rhetorical intervention in city planning is considering which futures and visions of resilience are being imagined for publics.

At the turn of the twenty-first century, the spectre of the Muslim, inexorably bound up with the figure of the Islamist terrorist, triggers a diversity of cinematic engagements in Bombay cinema. In the aftermath of 9/11, the Islamist terrorist is seen to possess a commanding global presence, transnational mobility and the capacity to unleash spectacular violence. The anxiety, dread, horror and fascination set in motion by terror-related violence and death-dealing become the vectors along which cinematic affect begins to travel. The Islamist terrorist, both visible and spectral, not only haunts and transfigures the diegetic world of Bombay cinema but inaugurates a new constellation of films whose affective registers reanimate the cinematic image. This emergent constellation is born when the “war film” becomes liberated from the confines of the combat zone and is catapulted onto a transnational arena. The soldier and spy merge into a singular figuration fusing the violent impulse of the former with the itinerant impulse of the latter inaugurating thereby a “new” cinema of action and sensation. Therefore, the soldier-spy films of Sunny Deol (Maa Tujhe Salaam, Verma in Maa Tujhe Salaam. Indian Movies, 2002, The Hero: A Love Story of a Spy, Sharma in The Hero: Love Story of a Spy. Time Magnetics, 2003, Jaal: The Trap, Dhanoa in Jaal: The Trap. Parth Productions, 2003) become early cinematic experiments in speed, movement and sensation. Running parallel to the soldier-spy films, another set of chronologically overlapping films produce a new force field of affects. The terrorist, who was thus far the hero’s antagonist, becomes the protagonist when the body of the star collides with that of the terrorist. Hrithik Roshan, in his early films Fiza (Mohammed in Fiza. UTV Motion Pictures et al. 2000) and Mission Kashmir, (Chopra in Mission Kashmir. Vidhu Vinod Chopra Productions, 2000) is arguably the first star on whose body these aspirations come to be inscribed. As the body of the star fuses with that of the terrorist, new possibilities in the realm of affect and signification are inaugurated. This essay argues that Hrithik Roshan’s stardom is inextricable from the movement and sensation of the new action cinema whose kinetic and affective energies have been unleashed by the spectre of the terrorist. Conversely, the kinesis of the new action cinema is driven by a star body that finds full and spectacular display through not just films but ads and campaigns for global brands. The emergence of Hrithik as a star also marks a significant moment in the history of Bollywood action cinema. Driven by the balletic athleticism of Hrithik’s star body and the pioneering innovations in action choreography, Bollywood witnesses the arrival of “wire-fu” films like Krrish (Roshan in Krrish. Filmkraft Productions, 2006), Dhoom 2 (Gadhvi in Dhoom 2. Yash Raj Films, 2006) and Krrish 3 (Roshan in Krrish 3. Filmkraft Productions, 2013) that allow action choreography to become spectacularly airborne. Central to the stardom of Hrithik Roshan is the sensational allure of kinetic and aerial mobility. It is through this sensorium that this essay contemplates the first decade of Hrithik Roshan’s stardom.

This is an abridged version of the introductory chapter of La hoja de mar (:) Efecto archipielago I (Leiden, Netherlands: Almenara Press, 2016). Written in Spanish, Archipelago’s Effect puts forward a theory of the image that emerged from certain literary experiences that have approached and engaged with the Caribbean. How can we consider an archipelagic experience of the Caribbean without surrendering its historical and aesthetic singularities to a geographical, cartographical or demographic rendition of its specificities? As an experience of the senses, an archipelago is an experience of exposure and corrosion, a way of exposing the body to the encroachments of the sea upon land but also it refers to the exposure of the body of land to the effects of the sea.