118 Matching Annotations
  1. Jun 2015
    1. A well-de- veloped color, then, appears to partake of the "body" metaphor more than of the "painting" metaphor, for it is an integrated, unitary, natural- seeming part of the argument that persuades by its appearance of truth (lnst. 11.1.58-59), while a speech whose co/ores are discernibly "added-on" and not integrated fails to persuade

      Vanessa Beasley: not too much style/color, but just enough.

    2. A well-de- veloped color, then, appears to partake of the "body" metaphor more than of the "painting" metaphor, for it is an integrated, unitary, natural- seeming part of the argument that persuades by its appearance of truth (lnst. 11.1.58-59), while a speech whose co/ores are discernibly "added-on" and not integrated fails to persuade

      too much

    3. A common color for one side makes the brothers enemies

      Brad Serber: thinking of the color wheel, with its opposite/paired colors, invoking controversy & opposing sides.

    4. color as overtly added on, artificial, and ornamental, while the body metaphor usu- ally presents it as (seemingly) inherent, natural, and essential-sometimes in contrast to fucus, "dye" or "makeup," that is applied on the surface

      Color as style.

    5. While colors are brighter and give more immediate plea- sure in new paintings than old, in excess these can cause satiety, causing us to turn back to the faded austerity of older paintings.

      Later, Hume also describes color in similar terms while referencing taste: Taste is a “productive faculty, and gilding or staining all natural objects with the colours, borrowed from internal sentiment, raises, in a manner, a new creation.” (Enquiry ... Principle Morals)

    1. for Engl is h ‘ sen se ’ (like Old Fren ch sen s ) is used for the w h ole h u m a n com plex o f tho ug ht, feeli ng, a nd perception, that kind of k no w ledge w h ich i s based in se nsor y e xperience

      The sense of sense!

    1. all the senses can be reduced to touch because of the atomic films touching the eye.

      I'm kind of partial to this argument that everything is touch, somehow.

    2. The snail's vein was removed, mixed with salt, and boiled until most of the flesh had been deposited. Varying the mixtures and boiling times produced different shades of colour.
    3. flag up associations with flowers and femininity

      I wonder if scent/smell is a feminized sense...

    4. exposed the limitations of assuming that colour is straightfor- wardly a visual phenomenon
    5. the ancients were sensitive primarily to such things as luminosity, saturation and texture, or even less obvious variables such as smell, agitation and liquidity.

      So this is helping me think of sensitivity as the condition of possibility for "sensibility" or sense-ability. Before a thing is available to be sensed, the sensitivity has to be open/operating.

    6. effeminate Roman noblemen in Ciceronian invective

      Just a note that Cicero uses smell a LOT in De Oratore. He describes the orator, in fact, as a hunting-dog tracking down the scent of an audience in DO 1.223. It makes more sense to me now how that particular sensation might be relevant to audience identification, particularly in the context of porphura.

    7. We can conceive a colour as something detached from the people, objects and landscapes it coloured: we can picture "yellow" in our minds and transfer it straightforwardly

      Coldplay, "Yellow." The ur-text of synaesthesia?

    8. Russian has two distinct terms for our colour blue;

      Others may know more about this, but my Russian friends told me that one of the Russian words for "light blue" (голубой) is used as slang for homosexual. The other word (синий) is used more often for object-oriented color. This may be localized to Moscow, where I lived.

    9. giant synaesthetic experience mobilizing sight, sounds, smells and touch in order to gain a full and complete appreciation of the spectacle

      Reminds me of an article by J.G. Harris The Smell of Macbeth where he writes about use of stage direction and specific odors that complemented different scenes--sulfury smells of burnt rosin powder to suggest hell. Shakespeare Quarterly, Volume 58, Number 4, Winter 2007, pp. 465-486 (Article)

    10. colour as an object-centred

      interesting that we still teach children to learn colors this way via picture books that use objects (red apple) or physical features of the environment (blue sky) to create color associations

    1. moments because they invite occasions and actions for reconfiguring our associationallives. My ambition in these pages is to examine the forces of interruption and reconfiguration that, I argue, comprise the aesthetico-political dimensions of democratic life.

      DH this is where Panagia hangs out and it's not "small."

    2. In short, our ability to generate story lines determines our representational skills as well as our specific capacities for making sense of the heterology of political life.
    3. The aesthetic and political concerns that motivate my inquiries stem from what I take to be a notable fact of pluralist democratic societies: namely, that individuals or groups in these societies attend to one another at the level of appearances.

      Nice overlap with Siebers here.

    4. what I will variously call disarticulation or disfiguration

      I appreciate both of these words. (Dis)articulation calls to mind articulation theory (Marika Seigel's recent book on rhetoric and pregnancy does a super job of explaining and using the theory to interesting effect). And (dis)figuration calls to mind the rhetorical "figuring" of sense-making.

    1. At first, then, let us speak s if being affected, being moved and being active are the same thing.

      I love the implications/potential for thinking of this "as if." It does make the actual/virtual analogy (from last note) perhaps an even better fit.

      Very Massumi.

    2. here is then a way in which things are affected by their like and a way in which they are affected by their unlike, as we said. 5 3

      This might be something to think through further. Reminds me a bit of Spinoza, but I can't quite articulate it.

    3. oo would be spoken of in two ways, both as in potentiality and as in activity. And in the same way the sense-object too .., will be s17ken of both as being in pote~ and as being ~y.

      Not an exact match, but could be an analogous relationship here as between actual/virtual (Massumi, et al)

    4. But it is clear that the perceptive faculty is not in activity, but only in potentiality and for that reason does not perceive on its own, just as the combustible thing is not burnt in itself without the thing that burns

      Hmmm....I wonder how this plays with hylomorphism....

    1. glancing, glimpsing, scanning, surveying, and other forms of casual or disinterested looking, staring

      I like the diversity of ways of looking laid out for us here.

    2. we will all be- come disabled if we live long enough


    3. To look at the way we look at disability, this essay proposes a taxonomy of four primary visual rhetorics of disability: the wondrous, the sentimental, the exotic, and the realistic

      Reminds me of the medieval texts like "wonders of the east" where "otherness" is mystified and monstrous.

    4. Modernity, as many scholars have shown, is ocularcentric. 8 The very devel- opment of photography in 1839 and its rapid flourishing thereafter testify to this urgent primacy of the visual. As Roland Barthes claims despairingly in his meditation on photography, "One of the marks of our world is [that] we live according to a generalized image repertoire." 9 In modernity, the image mediates not only our desires but who we imagine ourselves to be. In- deed, Alan Trachtenberg argues that photography has made us see ourselves as images. 10 Among the myriad, often conflicting and never disinterested im- ages modernity offers us, the picture of ourselves as disabled is an image fraught with a tangle of anxiety, distance, and identification.

      really good account for the ocularcentricism and alternative is Viet Erlmann's "Reason & Resonance" that traces the visual-rational dominance and offers an alternative in sound-resonance. GREAT read.


    5. Imagining disability as ordinary, as the typical rather the atypical human experience,

      I understand why Thomson exhorts this construction of disability as ordinary in the context of the article. I also wonder if some of the problems of visually "representing disability" discussed earlier in the article are reproduced here in the description of "imagination." It seems to me that our discussion of the sensorium has something crucial to add to Thomson's imagination of "practices of equality and inclusion."

    1. Rather, what concerns me is the symbolism by which populations and individuals are established as need- ing help, as being inferior, and the role played by disability in that sym- bolism, because it has a long history of being placed in the service of dis- crimination, inequality, and violence. What I am calling the aesthetics of human disqualification focuses on how ideas about appearance contrib- ute to these and other forms of oppression. My claim is that this symbol- ism depends on aesthetic representations that require further clarification
    1. the act of proposing that communities forget select aspects of their institutional memory directs public attention to the question of what those communities have remem- bered, according to which rhetorical forms and limitations, and in accord with whose interests

      Isn't there a name for this trope? This "I wouldn't deign to mention [thing I am now mentioning..." ?

    2. digital memory systems radically augment the scope and dura- tion of personal ritemory far beyond the lifespan of the person in question

      Yeah, if the memory is maintained. I can't even keep my iTunes library from disintegrating. If your hard drive crashes, you lose it all, unless it's backed up, in which case you're creating copies that too will differ and degrade.

    3. monument

      Avital Ronell takes up Musil & monuments in the first few chapters of her book Stupidity.

    4. Forgetting allows such monstrous crimes to exist in the absence of moral response and thereby compounds their destruction

      This passage evoked Lyotard's The Differend.

    5. Forgetting is psychologically unhealthy: it leads to repression,

      This seems like kind of a big slippage (between forgetting & repression), imho.

    1. Things like how you don't pick your passions, they pick you

      "Everyone thinks that they know what they want; sometimes your drug chooses you." -- k.d. lang, "My Last Cigarette"


    1. How has culture developed technologies to extend and enhance the senses, cre- ating an “exosomatic” array of devices that compensate for the limits of our crea- turely nature?

      Always a bit allergic to the supplementary/extension framing for technology. Seems prevalent lots of these discussions of sense (cf. McLuhan).

    2. armor

      The theme/relation of touch & armor is pricking my ears/eyes/spidey-senses.

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    3. However much a boundary, it is always a permeable membrane between self and other.

      The body as a limit that separates what it also joins.

    4. warns us against equating changes in scientific understanding of a sense such as smell, what is called “osmology,” with experiential transformations. Attending to the history of smell, he tells us, is also valuable in undermining simple binary oppositions between boundaried individuals and their englobing environ- ment, the basis of Cartesian subject/object dualisms. Instead, it helps situate us in a more fluid, immersive context, where such stark oppositions are understood as themselves contingent rather than necessary

      This reminds me of our Monday discussion of Spinoza re: how expanded "scientific understanding" changes (or doesn't change) sensory experiences.

    5. our lack of hardwired patterns of behavior

      This passage reminds me of Lyotard's introduction to The Inhuman, and this Onion article.

    6. Indeed, we have come to acknowledge the mediation of the two in such a way that it has become increasingly difficult to isolate one entirely from the other. Meaning comes to a great extent through the senses, while the senses filter the world through the prior cultural meanings in which we are immersed. It is not for nothing that the Greeks could employ “common sense” ( koina aisthe  tika , which in Latin became sensus communis ) as a synonym both for doxa , or common opinion, and for the faculty that allows the different senses to subsume a singular object under universal categories

      We are talking a lot about sense in the individual but what of these common senses? The public sense?

    1. too highly developed olfactory sensibility, then perceived as a symptom of hysterical hyperesthesia
    2. the sailor had essentially lost the sharpness of his senses; he had become an insensitive being

      An appearance of insensitivity: this made me think about the association of sailors with tattoo culture, and the masculine toughness (weirdly) attached to submitting to the repeated penetration of a needle.

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    3. frequently attracted people who felt frustrated, suffocated by their family, and lacking other means of self-expression than private writing. This explains the over representation of women and homosexuals within the ranks of the diarists

      I lol'd.

    4. just when the outlines of the social order were becoming blurred. Smell, in particular, the sense of transitions (Howes 1987), of thresholds and margins, which reveals the processes by which beings and things are transformed, fascinated at this period of confusion, whilst the sense of sight was no longer able to read the hierarchies with the same assurance

      Heather Brook Adams: something in the language here caught my attention

    5. There is no better source for anyone who seeks to understand the historicity of the affective mechanisms, to discover the configuration and functioning of the systems of emotions, or discern the ways in which the senses were educated and employed

      Matthew Heard: an emphasis on the education of the senses

    6. The member of the mob, right at the heart of the confusion, who participates in the killing, in its acts and its cries, and who receives its sounds and smells in the liberation of the Dionysiac impulses of the crowd, does not visually analyse the picture; unlike the spectator, he experiences the events through the senses 'of proximity' -touch and smell - but he could not describe the spoliation of bodies and scenes of horror, which he does not experience in this way (Corbin [1990] 1992). The pathetic, so common at the end of the eighteenth century, like the picturesque, implies a mechanics of the gaze and the use of a socially restricted sensory hierarchy

      Collective sense.

    1. to research ‘sensory perception and reception’ requires methods that ‘are capable of grasping “the most profound type of knowledge [which] is not spoken of at all and thus inaccessible to ethnographic observation or interview” (Bloch 1998: 46)’ (Bendix 2000: 41). Thus sensory ethnography discussed in the book does not privilege any one type of data or research method. Rather, it is open to multiple ways of knowing and to the exploration of and reflection on new routes to knowledge.

      Hawhee: why do I buy the "profound," the "most profound" as a description of sensory knowledge?

    2. iterative-inductive research (that evolves in design through the study), drawing on a family of methods,

      Hmmm....I really like this articulation of method and find it analogous to "affect theory." That is...the slipperiness that we often encounter in affect theory is often a result of the formal commitments to an ongoing process of evolving terms. Here..."iterative-induction" works well to foreground that process of change.

    1. The models criticized earlier do not need to be trashed. They are not just plain wrong. It's just that their sphere of applicability must be recognized as limited to a particular mode of exis­ tence, or a particular dimension of the real (the degree to which things coincide with their own arrest).

      This seems to be applicable to method discussions. Certain methods are applicable to certain audiences. Perhaps reductive...

    1. Thus it allows academics to harness the sensory knowing of ethnographic experience to contribute to existing scholarship.

      Brian Rotman in Becoming Beside Ourselves (Duke UP, 2008): ""For what the alphabet eliminates is the body's inner and outer gestures which extend over speech segments beyond individual words [...] the gestures which constitute the voice itself--the tone, the rhythm, the variation of emphasis, the loudness, the changes of pitch, the mode of attack, discontinuities, repetitions, gaps and elisions, and the never absent play and musicality of utterance that makes human song possible." (3)

      --An invitation to think "writing studies" as essential to the same project of "sensory ethnography"

    1. By a ‘sensory ethnography’ I mean a process of doing ethnography that accounts for how this multisensoriality is integral both to the lives of people who participate in our research and to how we ethnographers practise our craft

      I suspect method might be a very important part of discussions from here on out ("how do we do this") so it's great to have a quick and readily available definition here.

    1. This piece has been taken up in scholarship treating a range of popular culture phenomena, and interesting is how their version of “ feminine style ” depends on Keillor ’ s enlisting of multiple senses, which, Foss and Foss argue, collapses distance and creates a nearness


    2. generally thrown into violent action

      This idea of sudden, borderline spastic response is intriguing, but I'm tagging to consider how else muscles might respond to sensory input - wary of view of the body as something at the mercy of external forces.

    3. is there a useful distinction between sensation and affect?

      I find the treatments of this distinction so confusing. I'd love to try to collectively unpack this in the seminar.

    4. capacity of words to activate the senses

      This makes me think of David Abram's The Spell of the Sensuous, an exploration of the sensuous foundations of language.

    5. idea of the sensorium refuses to separate the senses, to cordon them off into a “ subfield ” (e.g., visual studies or sound studies

      I am tagging this to think about the connections between the sensorium and a sensus communis as a unifying concept for environmental rhetoric and policy making.

    6. Does the listener remember the smell of new-mown hay at daybreak? Can he recapture the fragrance of the lilac hedge past which he trudged when as a youngster he attended grade school

      Common connection between smell and memory - reminds me of Rachel Herz's work on cognition and olfaction.

    1. Pain, too, might be called a movement of the soul, but instead of collecting and trganizing perceptions, thus inducing a feeling of well-being, it disrupts and distracts or focuses all sensation on what is alien to the natural state of the organism

      Pain as rhetorical - made me think about congenital insensitivity to pain and the ability of pain to help us do the opposite of what the footnote suggests--focus.

  2. May 2015
    1. they compel us to relinquish our at- tachments and acknowledge that our subjectivities are inconsistent and open to repetitions of articulation

      Or, to use genre theory terminology, they enable us to investigate our patterns of uptake.

    1. Starers gawk with abandon at the prosthetic hook, the empty sleeve, the scarred flesh, the unfocused eye, the twitching limb,

      I think this quote skims across what I was trying to get at earlier - yes people might stare at all of these, but all stares are not equal. Someone in a flashy wheelchair w/no other apparent 'defects' will be subject to a different gaze than someone with a rare skin condition. How does this complicate Garland's categories/points about otherness?

    2. A visible signifier of disability-that is, the physical impairment-is always apparent in photographic images. In representing disability, the visu- alization of impairment, never the functional experience of it, defines the category of disability. In this sense, disability exists for the viewer to recog- nize and contemplate, not to express the effect it has on the person with a disability.

      I would agree that this split b/n the visualization and lived experience of disability is an all too unfortunate reality. It seems these different disability categories are supported by two assumptions - one is that a person only ever has one disability/associated symptoms at a time, and the moral warrants attached to different types of disabilities support readings of being more/less wondrous, exotic, etc... than others, hence why a skin condition is 'exotic' instead of 'realistic'.

    1. e stories cross generational, regional, class and gender lines to convey the larger meaning of racism so that the interviewer would get some sense of how it fe

      As opposed to a generic historical overview? Or as opposed to a supposedly 'pure' cognitive understanding? An emotional centering?

    1. pleasure and pain

      Why is this? Is it merely b/c of the state of 'otherness'? Or, what in particular about pain/pleasure invites this sort of attention?

    2. Aesthetics is the domain in which the sensation of otherness is felt at its most powerful, strange, and frightening.

      The sublime?

    1. microperception

      Interesting concept--made me think of microagressions

    2. The feeling of having a feeling is what Lcibniz called thc " perccption of perception."

      Merleau-Ponty's Phenomenology of Perception seems relevant here as well. I'm not familiar with Leibniz, but am with Spinoza, so I'm curious if anyone can put these in conversation.

    3. The emptiness or in-betweenness filled by experience is the incorporeal dimension of the body referred to earlier.

      I'm not sure I buy this. It is embodied experience that enables the "intensity" of sensation.

    4. It is necessary to theorize a l/aturc-clIllllre COI/­ li llllll lll

      Okay. Now, I'm curious as to who he references with regard to preexisting work on this front.

    5. Conditions of emergence arc one with becoming.

      Reminds me of Stuart Kauffman's notion of "order for free" and autopoesis of self-organizing systems. Interesting.

    6. Far from regaining a concreteness, to think the body in movement thus means ac(;epting the paradox that there is an incorporeal dimension of the body.

      Yes. Proprioception--the way we navigate through a space--does seem to have incorporeal aspects to it. Burke's work on Richard Paget's gesture-speech theory resonates for me here, suggesting how language works in mind-body tandem.

    7. The focus on the systemic had 10 be brought back down to earth in order 10 be able to integrate into the account the local cultural diff erences and the practices of resistance they may harbor.

      This passage made me think about both complexity theory in terms of systems thinking and the artificial idea of the nature/culture divide that has been thoroughly critiqued in feminist writings (e.g. Gretta Gaard; Karen Barad). I wonder, too, about the idea of "practices of resistance" across cultural boundaries in terms of how we distribute our sensory attention.

    8. 'rbe concepts appear and reappellT like II revolving cast of characters, joining forces or interfer ing with each other in a tumble of abstract intrigues-at rimes (I admit) barely controlled

      I love the following few pages--on methodology?

    9. repression docs not apply


    10. Rather, it is a question of dosage

      Avital Ronell writes in Crack Wars (1992): "It is all more or less a question of dosage" (61). Again the invocation of addiction, critique as a habit that requires management.

    11. Critical thinking disavows its own inventiveness as much as possible.

      This passage reminds me of Eve Sedgwick's essay on reparative reading.

    12. Habit is an acquired automatic self-r egulation. It resides in the flesh

      This surprised me. Because of Infinite Jest, habit always makes me think of addiction, though the addictive kind of habit would do some violence to Massumi's claim here, it seems.

    13. without qualitatively changing enough to warrant a new name

      This limit fascinates me; I think about how much it is possible to change masculinity (e.g.) before it changes enough to warrant a new name...

    14. The concept of nature concerns modification not essence

      Nice move.

    15. We arc looking at only one dimension of reality

      This argument reminds me of Miegakure, a four-dimensional game I can't understand but enjoy trying to.

    16. it hits the target.

      Wondering what we could learn from this discussion of the arrow's flight about kairos, which (I learned from Bodily Arts!) once named a mark or an opening in the body where the body might be vulnerable to penetration by an arrow.

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    17. Gridlock

      I find myself thinking here about intersectionality, and about a certain critique of identity politics which seems to target those whose identities are marked. White men e.g. can critique and transcend the grid, while those whose positions in it are sites of political organizing are accused of reifying the grid. Not sure if Massumi is even in that neighborhood...

    18. sensation is never simple. It is always doubled by the feeling of having a fe eling. It is self-refere ntial. This is not necessarily the same as "sc1f-reAexive.
    19. possible endpoints. The Rigln of the arrow is not immobilized as Zeno would have it. We stop it in thought when we construe its movement lO be divisible into positions

      Love this part.

    20. movement as qualitative transformation

      The question of how to critically loop in issues of time with this qualitative transformation/movement seems key.

    21. grid

      I would like to develop some examples of grid formations and plot a few bodies for a concrete example of what Massumi is pushing against/toward. e.g. Is gender a grid? heternormative gender relations a grid?

    1. But since all likeness and relationship is IJieasurable to an individual, necessarily all are more or less lovers of themselves

      Aristotle, man. Real proud of himself I guess.

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    2. habits [are pleasurable]; for the habitual has already become, as it were, natural; for habit is something like nature

      Interesting juxtaposition of habit with compulsion: habits are pleasurable, compulsions are not, "unless they become habitual"...

    1. with the

      So Aristotle is saying that the flesh of the body is not the organ that perceives touch, but like a shield which covers the body, something inside of which perceives touch. An interesting bid to fix interiority and exteriority as opposite things.

    2. plants

      Makes me think of George Kennedy's "A Hoot in the Dark." And WALL*E!

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    3. harking', the second 'sounding

      Wondering what makes activity so central to sensing (why is it so crucial for Aristotle), and what would happen if we tried centering passivity instead...

    1. Other attachments matter for rhetoric

      I wonder about the relationship between "attachment" and sensation. Could one become attached without sensing the attachment? And is attachment rhetorical: is it like a language, even if it is not (only) epistemic?

    2. a feminine speaking style

      The idea of "feminine style" here fascinates me. Femininity stands in for sensory/sensuous speech & for intimacy. Here's a challenge: "what if we stopped using the words 'masculinity' and 'femininity' and only said the specific things they're supposed to be shorthand for" (Imogen Binnie).

    3. Sensation alone is meaningless

      A claim like this seems to work by positing meaning as something not only separable but already separate from sensation. And yet so much of how we metaphorize is by appealing to senses in order to construct & share meaning...

    4. stirred air stirs meaning

      This makes me think of k.d. lang discussing the experience of recording with Roy Orbison: "when you’re standing that close to a vocalist, you can feel the air move, and the body resonating, and everything. And Roy was very operatic, so he had a great deal of air moving, and even though he may look meek, he used his body a lot to get that projection."

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    5. the language of electricity — stimulant, reactor, and voltage

      That makes me think of J.D. Peters, Speaking Into the Air and Jeffrey Sconce, Haunted Media

    6. expression

      It seems like the middle ground between 'sensing' and 'expression', whether in terms of time or something else, is important to parse out.

    7. The term rarely appears in the plural, it just seems to expand from individual to collective, like breath

      Hmmm....missing a term for the middle ground individual and collective..."collected"?

    8. The orator has little use for an imaginative world three inches in diameter. His world must be twenty feet in diameter and must include every atom of his own

      This talk about "diameter" reminds me of Burke's notions of "circumference."

    9. Aesth ē sis

      I'm very interested in pursuing this term further in the seminar. I'm especially interested in how Jacques Ranciere has engaged its pre-Kantian connotations. In short...post-Kant seems to emphasize/rely on a distance between a subject and object as a way to ascertain value (aesthetics). Aethesis in an Aristotelian sense might collapse that distance between subject/object...emphasizing sense in a productive way.

    10. “ An aesthetic rhetoric counts on, attends to, and takes into account the body and its senses; an epistemic rhetoric tries to bypass them but cannot.
    1. be disseminated digitally

      Haven't tried it yet, but there's an iPhone app that shares such soundwalks: https://www.detour.com/

    2. peripatetic video

      This makes me think of the Examined Life documentary, especially Judith Butler's walk with Sunaura Taylor.

    3. extradiegetic sense experience

      Disney's California Adventure has a ride that uses scents as part of the experience.

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    4. might represent olfactory experiences, let alone reproduce them

      Good news, everyone!

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    5. n the head and the body, in the way of listening

      "Commit this to memory. Head is body." (Infinite Jest, p. 159)

    6. rising steam or smoke evokes smells of fire, incense, or cooking


    7. Reading experiences are themselves sensorial


    8. descriptively captioned video stills

      There's a relationship here between the method & accessibility practices, right?

    9. There are good reasons for writing.

      Here I start to wonder about "translating" sensory perceptions into (written) language; namely, are we ever not doing that.

    1. pain and illness (e.g. 1997, 2007

      There's one passage in Stupidity where Avital Ronell describes illness as a "suspension of being" (181-182)...

    2. ‘it is through catching a whiff of oneself, and being able to distinguish that scent from all the other odours that surround one, that one arrives at a sense of one's own identity

      Love this passage; it makes me think of Derrida's Animal That Therefore I Am.

    3. ‘ skilled visions [which] are embedded in multi-sensory practices, where look is coordinated with skilled movement, with rapidly changing points of view, or with other senses such as touch’

      Or, how do you know what to look for, and do you know what to do when you see it?

    4. in motion

      How do moving bodies sense things differently than those that are paused?

    1. it is necessary to take account of the habitus that determines the frontier between the perceived and the unperceived, and, even more, of the norms which decree what is spoken and what left unspoken. We need, in fact, to be careful not to confuse what is not said with what is not experienced

      So how to read b/n the sensory lines then?

    2. a disadvantage compared with the anthropologist, the historian, let us repeat, has access to hardly any other sources than those that involve language

      Material sources: how might an individual have gripped the handle of this jug/balanced it on her head while walking a winding path, a rocky path, a forested path back to the village? What patterns would doing so have set up?

    1. I would urge contemporary ethnographers of the senses to be more explicit about the ways of experiencing and knowing that become central to their ethnographies, to share with others the senses of place they felt as they sought to occupy similar places to those of their research participants, and to acknowledge the processes through which their sensory knowing has become academic knowledge

      Yes, a detangling of the cognitive AND embodied processes that go into ethnographic knowledge making.