senses   1115

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How many senses do plants employ? More than animals or people, it seems
Plants are endowed with close equivalents of all five – and as many as 15 others, like the ability to detect electromagnetic force,  that are generally denied to the animal kingdom and its so-called higher life forms. And their sensing is hardly passive; those vining plants have been shown to direct tendrils toward a support located in advance, rather than flailing until they bump something, and even to display preferences among available options.
science  plants  senses  vegetarianism 
9 days ago by emkay
Aftel Archive of Curious Scents
[ ]

"Hi, I'm Mandy Aftel! I fell in love with natural aromatics more than twenty-five years ago, and I have had the privilege to live and work in their world ever since. In my practice of perfumery, I have curated thousands of gorgeous essences from all over the world, many of them antiques themselves. I have written 4 books about natural perfumes, and teach people how to create natural perfumes through my workbooks and in-studio classes."
senses  smells  berkeley  togo  via:derek  bayarea 
5 weeks ago by robertogreco
Dodie Bellany: Academonia
"In this lively, entertaining collection of essays, Dodie Bellamy has written not only a helpful pedagogical tool, but an epic narrative of survival against institutional deadening and the proscriptiveness that shoots the young writer like poison darts from all sides. By the 90s funding for the arts had dwindled and graduate writing programs—“cash cows”—had risen to fill the slack. Simultaneously, literary production moved from an unstable, at times frightening street culture where experiment was privileged beyond all else, to an institutionalized realm—Academonia!—that enforces, or tends to enforce, conservative aesthetic values.

Among the questions Bellamy raises: how does the writer figure out how to write? How will she claim her content among censorious voices? Can the avant-garde create forms that speak to political and spiritual crisis? Can desire exist in a world of networking structures? To the keepers of the status quo, what is so goddamned scary about experimental writing? Bellamy’s textual body morphs through sex, ravenous hunger, aging, displacement, cuddling with animals. Along the way she invokes Levi Strauss, Kurosawa, Marvin Gaye, Christiane (the faceless daughter in Georges Franju’s 1959 horror classic Eyes Without a Face), Alice Munro, Michael Moore, Quan Yin, Cinderella, and the beheaded heroine Lady Jane Grey. On Foucault’s grid of invisible assumptions, Academonia casts a blacklight vision, making it glow in giddy FX splendor.


There are the institutions that are created without our input and the institutions that we create with others. Both sorts of institutions define us without our consent. Dodie Bellamy’s Academonia explores the prickly intersection among these spaces as it moves through institutions such as the academy, the experimental writing communities of the Bay Area, feminist and sexual identities, and group therapy. Continuing the work that she began in The Letters of Mina Harker pushing memoir and confession out of its safety zones and into its difficulties, this book provokes as it critiques and yet at the same time manages to delight with its hope.

--Juliana Spahr

Way back in the seventies, and before Bellamy, pastiche and bricolage as applied to literature made me yawn. Smug attacks on linear narrative through the use of tired language games aroused my contempt. As far as I was concerned, theory had ruined fiction by making critic and artist too intimate. Then Bellamy’s pioneering graftings of storytelling, theory and fractured metaphor changed all that, giving birth to a new avant-garde. Her writing sweeps from one mode of thought to another in absolute freedom, eviscerating hackneyed constructs about desire and language and stuffing them with a fascinating hodgepodge of sparkling sensory fragments. The result is true postmodernism, not the shallow dilettantism of the “postmodern palette.” She sustains it on page after page, weaving together sex and philosophy, fusing trash with high culture, injecting theory with the pathos of biography and accomplishing nothing less than a fresh and sustained lyricism. What is more, her transfiguration of the trivial details of life by the mechanisms of irony, fantasy, disjunction, nostalgia and perverse point of view prove that it’s not the life you live that matters, but how you tell it.

--Bruce Benderson"
writing  howwewrite  books  dodiebellany  institutions  proscriptiveness  academonia  academia  highered  highereducation  akirakurosawa  levistrauss  marvingaye  alicemonroe  michaelmoore  quanyin  cinderella  ladyjanegrey  foucault  institutionalization  julianaspahr  brucebenderson  bricolage  literature  linearity  form  feedom  structure  language  senses  sensory  postmodernism  dilettantism  culture  bayarea  experimental  experimentation  art  arts  funding  streetculture  2006 
7 weeks ago by robertogreco
The ugly history of beautiful things: Perfume
It’s not always about simply about smelling good: We want to smell complex, so that others will be compelled to keep coming back, like bees to a flower, to sniff us again and again, to revel in our scents, and draw ever closer to our warm, damp parts.
science  senses 
12 weeks ago by terry
The North Sense
The North Sense is an exo-sense intelligently designed for evolution, which means it sits outside the body but is permanently attached. It allows a person to sense the electromagnetic field of the planet. The North Sense is typically attached to the upper chest and gently vibrates when facing magnetic north.
senses  exosense  cyborg 
august 2018 by drmeme
Children learn best when engaged in the living world not on screens | Aeon Essays
"As a parent, it is obvious that children learn more when they engage their entire body in a meaningful experience than when they sit at a computer. If you doubt this, just observe children watching an activity on a screen and then doing the same activity for themselves. They are much more engaged riding a horse than watching a video about it, playing a sport with their whole bodies rather than a simulated version of it in an online game.

Today, however, many powerful people are pushing for children to spend more time in front of computer screens, not less. Philanthropists such as Bill Gates and Mark Zuckerberg have contributed millions of dollars to ‘personal learning’, a term that describes children working by themselves on computers, and Laurene Powell Jobs has bankrolled the XQ Super School project to use technology to ‘transcend the confines of traditional teaching methodologies’. Policymakers such as the US Secretary of Education Betsy DeVos call personalised learning ‘one of the most promising developments in K-12 education’, and Rhode Island has announced a statewide personalised learning push for all public school students. Think tanks such as the Brookings Institution recommend that Latin-American countries build ‘massive e-learning hubs that reach millions’. School administrators tout the advantages of giving all students, including those at kindergarten, personal computers.

Many adults appreciate the power of computers and the internet, and think that children should have access to them as soon as possible. Yet screen learning displaces other, more tactile ways to discover the world. Human beings learn with their eyes, yes, but also their ears, nose, mouth, skin, heart, hands, feet. The more time kids spend on computers, the less time they have to go on field trips, build model airplanes, have recess, hold a book in their hands, or talk with teachers and friends. In the 21st century, schools should not get with the times, as it were, and place children on computers for even more of their days. Instead, schools should provide children with rich experiences that engage their entire bodies.

To better understand why so many people embrace screen learning, we can turn to a classic of 20th-century French philosophy: Maurice Merleau-Ponty’s Phenomenology of Perception (1945).

According to Merleau-Ponty, European philosophy has long prioritised ‘seeing’ over ‘doing’ as a path to understanding. Plato, René Descartes, John Locke, David Hume, Immanuel Kant: each, in different ways, posits a gap between the mind and the world, the subject and the object, the thinking self and physical things. Philosophers take for granted that the mind sees things from a distance. When Descartes announced ‘I think therefore I am’, he was positing a fundamental gulf between the thinking self and the physical body. Despite the novelty of digital media, Merleau-Ponty would contend that Western thought has long assumed that the mind, not the body, is the site of thinking and learning.

According to Merleau-Ponty, however, ‘consciousness is originally not an “I think that”, but rather an “I can”’. In other words, human thinking emerges out of lived experience, and what we can do with our bodies profoundly shapes what philosophers think or scientists discover. ‘The entire universe of science is constructed upon the lived world,’ he wrote. Phenomenology of Perception aimed to help readers better appreciate the connection between the lived world and consciousness.

Philosophers are in the habit of saying that we ‘have’ a body. But as Merleau-Ponty points out: ‘I am not in front of my body, I am in my body, or rather I am my body.’ This simple correction carries important implications about learning. What does it mean to say that I am my body?

The mind is not somehow outside of time and space. Instead, the body thinks, feels, desires, hurts, has a history, and looks ahead. Merleau-Ponty invented the term ‘intentional arc’ to describe how consciousness connects ‘our past, our future, our human milieu, our physical situation, our ideological situation, and our moral situation’. He makes readers attend to the countless aspects of the world that permeate our thinking.

Merleau-Ponty challenges us to stop believing that the human mind transcends the rest of nature. Humans are thinking animals whose thinking is always infused with our animality. As the cognitive scientist Alan Jasanoff explains in a recent Aeon essay, it is even misleading to idealise the brain independent of the rest of the viscera. The learning process happens when an embodied mind ‘gears’ into the world.

Take the example of dancing. From a Cartesian perspective, the mind moves the body like a puppeteer pulls strings to move a puppet. To learn to dance, in this paradigm, a person needs to memorise a sequence of steps. For Merleau-Ponty, on the contrary, the way to learn to dance is to move one’s physical body in space: ‘in order for the new dance to integrate particular elements of general motricity, it must first have received, so to speak, a motor consecration.’ The mind does not reflect and make a conscious decision before the body moves; the body ‘catches’ the movement.

Philosophers have long attributed a spectatorial stance to the mind, when in fact the body participates in the world. It is common sense that the head is the ‘seat of thought’, but ‘the principal regions of my body are consecrated to actions’, and the ‘parts of my body participate in their value’. People learn, think and value with every part of their bodies, and our bodies know things that we can never fully articulate in words.

Surely, one could reply, this might be true for physical activities such as dancing but does not apply to all intellectual pursuits. Merleau-Ponty would respond: ‘The body is our general means of having a world.’ Everything we learn, think or know emanates from our body. It is by walking through a meadow, hiking beside a river, and boating down a lake that we are able to appreciate the science of geography. It is by talking with other people and learning their stories that we can appreciate literature. Buying food for our family infuses us with a conviction that we need to learn mathematics. We cannot always trace the route from experience to knowledge, from a childhood activity to adult insight. But there is no way for us to learn that bypasses the body: ‘the body is our anchorage in a world’.

Merleau-Ponty would not be surprised if people showed him students learning on a screen. Students can project themselves into the world that they see on a screen, just as many people are capable of thinking abstractly. As long as children have had some exposure to the world and other people, they should be able to make some sense of what they see on screens.

Still, Merleau-Ponty gives us reasons to resist the trend towards computer-based education. Proponents of personalised learning point to the advantages of having kids on computers for much of the school day, including students working at their own pace to meet learning objectives. However, from a phenomenological perspective, it is not clear why students will want to do this for very long when the experience is so removed from their flesh-and-blood lives. Teachers and parents will have to use incentives, threats and medication to make children sit at computers for long stretches of time when children want to run, play, paint, eat, sing, compete and laugh. To put it bluntly: advocates of screen learning sometimes seem to forget that children are young animals that want to move in the world, not watch it from a distance."
children  learning  nature  bodies  education  schools  howwelearn  2018  nicholastampio  howwethink  mauricemerleau-ponty  1945  plato  descartes  johnlocke  kant  davidhume  perception  screens  digital  technology  senses  personalization  sfsh  tcsnmy  lcproject  openstudioproject  body 
august 2018 by robertogreco
Jacob Sam-La Rose en Instagram: “Decluttering. These are the keepers. I harbour a fantasy of my future kids being fascinated with these in the same way I raided my mother’s…”
"Decluttering. These are the keepers. I harbour a fantasy of my future kids being fascinated with these in the same way I raided my mother’s record collection. Not just for the music itself, but the cover design, the appeal of the tangible object... In a digital world, it’s good to have analog anchors..."

[Commented: "Oh, those spacial, ambient, tactile, smell, taste, and sound memories that come from the places where we are raised. Swoon. I just tracked down a book about whales that was in our house as a child. I’d been referencing it for years without remembering the name (The Whale), but recalling so many details of its contents and the situations I was in while pouring over the book. The confines of small-ish collections encourage repeated reencounters that just don’t come as easily in the near infinite expanse of YouTube, Spotify, etc. Maybe this is why I have been so keen to create my on digital collections, something that I can move around in over and over again?"]

[See also:]
jacobsam-larose  2018  decluttering  memory  space  sound  music  collections  senses  mariekondo  taste  smell  sounds  place  finite  curation  tangible  tactile  analog  digital  books  childhood  memories 
august 2018 by robertogreco
Spin, Weave, and Cut: A dog's view...
As this entire second chapter (and the dissertation in total) has been a discussion of ways of seeing, I sought to clarify that by "ways of seeing" i also mean to be inclusive of means of perception beyond the visual in a literal sense. To that end, I thought of no better example than my dog and what I learned from him.
comics  graphic-novel  dogs  senses  smell  time 
july 2018 by jbrennan Who Touched Me? - Fred Moten and Wu Tsang
[as described here:

"Moten and Tsang’s Who Touched Me? is a study in communicative ruptures. The print publication documents the development of their collaborative performance Gravitational Feel, described to embody the yet-to-be-realized work in its “virtual state.” Notes, poetry, and fragments of earlier collaborative work are framed by transcribed voicemails untethered from their original speaker. It follows Tsang and Moten’s correspondence chronologically, but their voices meld together with both each other’s and those of outsiders. Words and phrases repeat and resurface, sometimes in the form of a list, as though it were a conversational index. In the words of Moten and Tsang, “the research/experiment is how to sense entanglement.”"
fredmoten  wutsang  entanglement  senses  correspondence  books  artbooks  collaboration  relationships  conversation  performance 
june 2018 by robertogreco

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