on the color, so to speak" (quasi coloran) of books he reads. Later, another speaker remarks upon the "bearing and, so to speak, color'' of a speech: it is "smooth and slim/plain (teres et tenuis), but not without muscles and strength

Hahn presents readers with a series of ‘orientation’ exercises. In the first of these she asks readers to ‘Imagine taking a drink of water from a glass as performance’ (original italics), then to reflect on elements of this experience and describe it

The recipes are not direct representations of tastes but offer routes to experience

generally thrown into violent action

they compel us to relinquish our at- tachments and acknowledge that our subjectivities are inconsistent and open to repetitions of articulation

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

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.

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

pleasure and pain

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

Good human understanding, by this definition, fol- lows from ordered mental retention, from clear and rational recording and mental preservation of ideas.

nd therefore the Lord your God commanded you to keep the Sabbath day

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

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

‘ 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’

in motion

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

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.

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

movement as qualitative transformation

grid

expression

expression involving music, sound, speech, and moving images, cinema is among the most figural and thus sensual of the arts

auditory knowledge be represented to an audience unfamiliar with such ways of experiencing and knowing

mimetic