Pub Date : 2023-11-12DOI: 10.1080/17458927.2023.2274753
Desiree Foerster
This article explores the involvement of interoception in the multisensorial experience “Seeing is believing” by Australian artist Eugenie Lee. At the center of this piece is the experience of pain in the absence of tissue damage. Through cognitive manipulation, immersive experience, and elucidation, the piece involves the physical, mental, and social levels of experience and dissolves a strict separation between them. The new phenomenologies of pain enabled here, I will argue, challenge our common conceptions of health and well-being through the experience of sensorial processes and processes of sense-making that we are usually unaware of and that do not fit the ideals of healthy bodies as whole, intentional, and secluded from the environment. I will use research from cognitive science on interoception as a lens to understand how “Seeing is believing” offers a counter-conception to the flexible, productive, and medicated body of liberal capitalism. And I will think this alternative further with Gilbert Simondon’s concept of the metastable equilibrium to connect my study to the philosophical and media-theoretical discourse about individuation, our becoming of subjects.
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Pub Date : 2023-11-08DOI: 10.1080/17458927.2023.2274749
Nisha Ramayya
This is a creative response to the topic of the special issue, “The Aesthetics of Tinnitus”, blending reflections on perception and imagination, race and sociality, sci-fi and sound studies via experimental poetics.
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Pub Date : 2023-10-31DOI: 10.1080/17458927.2023.2269056
Huiqing Wang
ABSTRACTIn December 2022, the dynamic zero-COVID control policy came to an end, marking the conclusion of a three-year pandemic that affected 1.4 billion Chinese people. The pandemic and related policies created a unique, temporary, and historic social ecosystem where walking became more crucial than ever before. The pandemic not only severely restricted people’s movement in public spaces but also exposed the longstanding contradictions between human bodies, modern mobility, and urban space. Over the three years of the pandemic, walking became an aesthetic survival attempt by Chinese people to cope with their limited freedoms under the pandemic. As the pandemic stagnated and worsened over time, walking-dominant activities gradually became a widespread social phenomenon that encouraged urban residents to participate in rebuilding society across various fields such as politics, art, nature, etc. The development of walking as an artistic form during this period represents a new aesthetic strategy and political awakening while reflecting humans’ need to reconnect with land, social space, and their own bodies. This paper reviews how walking art has evolved historically through three periods – before, during, and after the pandemic – aiming to highlight both the public value of walking art and challenges within China’s social ecosystem.KEYWORDS: Walking artbodypandemic eraspatial practicecross-domain Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsHuiqing WangHuiqing Wang obtained an M.A. from the School of Sculpture and Public Art at the China Academy of Art in 2022. The original theme of this manuscript “Walking, the Body, the Pandemic: The Public Value of Walking Art in China” was conceived when she attended the Oslo National Academy of Art in Norway as part of an academic exchange program in 2021. She previously earned an B.A. from the Department of Interdisciplinary Visual Arts at the University of Washington in 2017. During her study experience in different countries over the past decade, her focus on art has changed according to the environment. This article is mainly based on her personal perception of human conditions while walking in different societies during the pandemic.
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Pub Date : 2023-10-16DOI: 10.1080/17458927.2023.2267410
Jenni Lauwrens
ABSTRACTWhile sight and hearing have been privileged in the philosophical formulation of aesthetics, the significance of touch to the experience of art has not enjoyed much attention at all. In order to displace sight and reinstate touch as a viable mode of engagement for the interpretation of visual art, this article reports on a study in which blind individuals and sighted people who were blindfolded were interviewed about their experiences of artworks. The participants were invited to touch selected sculptures in South African artist, Willem Boshoff’s Blind Alphabet (1990 – ongoing) installation. The main aim of the study was to investigate the nature of the tactile aesthetic experience elicited by these sculptures when they are handled and not seen. Secondly, the study aimed to reach a deeper understanding of how tactile engagement with art enriches the experience, meaning and power of the work for both those who can and cannot see. Through the investigation it was revealed that visual art can forge a bridge between individuals with and without blindness.KEYWORDS: Art museumsmodern aestheticsart for the blindBlind Alphabetaesthetic touchhaptic confidence AcknowledgmentsMy sincere thanks to Willem Boshoff and Heléne Smuts for their generous support of the study. I wish to thank Willem for the visual and textual material and the permission to use the photographs of his works. I also extend my gratitude to Javett-UP for allowing me to conduct the interviews on days that the museum was not open to the public. Finally, I thank the University of Pretoria for providing financial assistance to carry out the research.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. The category “blind” encompasses an array of relationships to vision and a variety of visual abilities. Blindness does not refer only to people who have no vision at all. Rather it includes people who have some form of mild to severe blurred vision. When going about this research, I did not ask the participants to reveal the nature or degree of their visual impairment. Even so, all the participants spontaneously offered this information and, whether or not they had some residual vision, everyone referred to themselves as “blind.” For this reason, in this article I use “blind,” “visually impaired,” “partially sighted” and “people with low vision” interchangeably to reflect the diverse ways in which the participants in the study described their visual disability.2. In March 2022, I asked members of the South African Museums Association (SAMA) for information about museum programs in South Africa specifically designed for the visually impaired. SAMA has over 300 members across all nine South African provinces. The response was telling. While plans were underway to produce Braille signage for artworks at the Constitutional Court in Johannesburg, and an event for the blind was held at the Johannesburg Holocaust Genocide Centre (JHGC) in 2019, there was
{"title":"What blind people can teach sighted viewers about art","authors":"Jenni Lauwrens","doi":"10.1080/17458927.2023.2267410","DOIUrl":"https://doi.org/10.1080/17458927.2023.2267410","url":null,"abstract":"ABSTRACTWhile sight and hearing have been privileged in the philosophical formulation of aesthetics, the significance of touch to the experience of art has not enjoyed much attention at all. In order to displace sight and reinstate touch as a viable mode of engagement for the interpretation of visual art, this article reports on a study in which blind individuals and sighted people who were blindfolded were interviewed about their experiences of artworks. The participants were invited to touch selected sculptures in South African artist, Willem Boshoff’s Blind Alphabet (1990 – ongoing) installation. The main aim of the study was to investigate the nature of the tactile aesthetic experience elicited by these sculptures when they are handled and not seen. Secondly, the study aimed to reach a deeper understanding of how tactile engagement with art enriches the experience, meaning and power of the work for both those who can and cannot see. Through the investigation it was revealed that visual art can forge a bridge between individuals with and without blindness.KEYWORDS: Art museumsmodern aestheticsart for the blindBlind Alphabetaesthetic touchhaptic confidence AcknowledgmentsMy sincere thanks to Willem Boshoff and Heléne Smuts for their generous support of the study. I wish to thank Willem for the visual and textual material and the permission to use the photographs of his works. I also extend my gratitude to Javett-UP for allowing me to conduct the interviews on days that the museum was not open to the public. Finally, I thank the University of Pretoria for providing financial assistance to carry out the research.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. The category “blind” encompasses an array of relationships to vision and a variety of visual abilities. Blindness does not refer only to people who have no vision at all. Rather it includes people who have some form of mild to severe blurred vision. When going about this research, I did not ask the participants to reveal the nature or degree of their visual impairment. Even so, all the participants spontaneously offered this information and, whether or not they had some residual vision, everyone referred to themselves as “blind.” For this reason, in this article I use “blind,” “visually impaired,” “partially sighted” and “people with low vision” interchangeably to reflect the diverse ways in which the participants in the study described their visual disability.2. In March 2022, I asked members of the South African Museums Association (SAMA) for information about museum programs in South Africa specifically designed for the visually impaired. SAMA has over 300 members across all nine South African provinces. The response was telling. While plans were underway to produce Braille signage for artworks at the Constitutional Court in Johannesburg, and an event for the blind was held at the Johannesburg Holocaust Genocide Centre (JHGC) in 2019, there was ","PeriodicalId":45114,"journal":{"name":"Senses & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136114167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-25DOI: 10.1080/17458927.2023.2258617
Daniel Fishkin
ABSTRACT“Charlie Haden’s Earplugs” explores how tinnitus, hyperacusis and misophonia have shaped the musicality and sonic production of the jazz bassist and composer. While Haden maintained a negative attitude toward his hearing damage over the course of his long musical career, viewing it as a limitation and a source of difficulty, this paper brings together evidence to suggest that Haden’s condition also provided him a productive means to exert control over his sonic reality. In this way, these maligned conditions are part and parcel of Haden’s personal engagement with the world, and therefore, part of his creative process and distinct aesthetic. This analysis is accomplished by a forensic account of Haden’s listening particularities through his interviews, as well an analysis of his approach as an improvising partner. This paper also draws from extant models of disability studies to explore the concept of “deaf-gain” and how it may be transposed to the disorders from which Haden suffered. There are to-date many well-established accounts of the deaf experience in disability studies and in music scholarship. This paper offers insight to another cluster of hearing dysfunction, which not only suggests a new paradigm for imagining disability in music, but also revises the very concept of hearing as it is commonly understood.KEYWORDS: Tinnitusmisophoniahyperacusisjazzbassdisability studies Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. Please begin by listening to Charlie Haden’s bass solo on Ornette Coleman’s “Law Years” from the Complete Science Fiction Sessions.2. This story has been repeated many times throughout Haden’s life, but is recalled in conversation with fellow bassist, Flea (Leigh Citation2006).3. In several of his obituaries, he stands aside his own reflection in his Plexiglas (The Telegraph Citation2014).4. A diligent reader will note that Haden’s etiology of tinnitus et al is non-canonical, and represents his own understanding of his condition, rather than a comprehensive medical definition. Though Haden conjectures his tinnitus may have emerged from playing near loud drummers for so many years, noise-induced hearing loss is just one possible cause for the symptom of tinnitus. I use the term hearing damage, however, to preserve the emotional impact of my subject’s experience of these conditions, without intending to further stigmatize disease.5. Elsewhere, Haden lectures his students, “We’ve been given special ears. It doesn’t make you better than anybody else, but you’re able to hear things other people don’t” (Smith Citation1997).6. Haden is not alone. Indeed, many musicians who describe their tinnitus simultaneously describe themselves— eg, their own way of hearing and their way of engaging with sound. I found Barbara Streisand discussing her tinnitus with a daytime show host “Q: What do you hear that I don’t hear? A: I hear high frequency noise. When I went to have my hearing tested,
{"title":"Charlie Haden’s earplugs","authors":"Daniel Fishkin","doi":"10.1080/17458927.2023.2258617","DOIUrl":"https://doi.org/10.1080/17458927.2023.2258617","url":null,"abstract":"ABSTRACT“Charlie Haden’s Earplugs” explores how tinnitus, hyperacusis and misophonia have shaped the musicality and sonic production of the jazz bassist and composer. While Haden maintained a negative attitude toward his hearing damage over the course of his long musical career, viewing it as a limitation and a source of difficulty, this paper brings together evidence to suggest that Haden’s condition also provided him a productive means to exert control over his sonic reality. In this way, these maligned conditions are part and parcel of Haden’s personal engagement with the world, and therefore, part of his creative process and distinct aesthetic. This analysis is accomplished by a forensic account of Haden’s listening particularities through his interviews, as well an analysis of his approach as an improvising partner. This paper also draws from extant models of disability studies to explore the concept of “deaf-gain” and how it may be transposed to the disorders from which Haden suffered. There are to-date many well-established accounts of the deaf experience in disability studies and in music scholarship. This paper offers insight to another cluster of hearing dysfunction, which not only suggests a new paradigm for imagining disability in music, but also revises the very concept of hearing as it is commonly understood.KEYWORDS: Tinnitusmisophoniahyperacusisjazzbassdisability studies Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. Please begin by listening to Charlie Haden’s bass solo on Ornette Coleman’s “Law Years” from the Complete Science Fiction Sessions.2. This story has been repeated many times throughout Haden’s life, but is recalled in conversation with fellow bassist, Flea (Leigh Citation2006).3. In several of his obituaries, he stands aside his own reflection in his Plexiglas (The Telegraph Citation2014).4. A diligent reader will note that Haden’s etiology of tinnitus et al is non-canonical, and represents his own understanding of his condition, rather than a comprehensive medical definition. Though Haden conjectures his tinnitus may have emerged from playing near loud drummers for so many years, noise-induced hearing loss is just one possible cause for the symptom of tinnitus. I use the term hearing damage, however, to preserve the emotional impact of my subject’s experience of these conditions, without intending to further stigmatize disease.5. Elsewhere, Haden lectures his students, “We’ve been given special ears. It doesn’t make you better than anybody else, but you’re able to hear things other people don’t” (Smith Citation1997).6. Haden is not alone. Indeed, many musicians who describe their tinnitus simultaneously describe themselves— eg, their own way of hearing and their way of engaging with sound. I found Barbara Streisand discussing her tinnitus with a daytime show host “Q: What do you hear that I don’t hear? A: I hear high frequency noise. When I went to have my hearing tested, ","PeriodicalId":45114,"journal":{"name":"Senses & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135816185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-02DOI: 10.1080/17458927.2023.2257910
Changhao Li
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Pub Date : 2023-09-02DOI: 10.1080/17458927.2023.2257909
Annette Kern-Stähler
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. See, for example, Reeve (Citation2009, 19–26) and Browne (Citation2003).2. See Reeve (Citation2009, 26), Browne (Citation2003, 402), and Van Helvert and Van Wyhe (Citation2021, 39).3. See, for example, Mishra et al. (Citation2016), Gagliano (Citation2018), and Chamovitz (Citation2012).Additional informationNotes on contributorsAnnette Kern-StählerAnnette Kern-Stähler is professor and Chair of Medieval English Studies at the University of Bern. She has been PI and co-PI of several sensory studies projects, including ‘Sensing Nature’ and ‘The Senses: Past and Present.’ Among her publications are the co-edited volumes Literature and the Senses (Oxford University Press, 2023; with Elizabeth Robertson) and The Senses in Medieval and Early Modern England (Brill, 2016; with Beatrix Busse and Wietse de Boer).
点击放大图片点击缩小图片披露声明作者未发现潜在的利益冲突。例如，参见Reeve (Citation2009, 19-26)和Browne (Citation2003)。参见Reeve (citation2009,26)， Browne (citation2003,402)和Van Helvert and Van Wyhe (Citation2021, 39)。例如，参见Mishra等人(Citation2016)， Gagliano (Citation2018)和Chamovitz (Citation2012)。sannette Kern-StählerAnnette Kern-Stähler是伯尔尼大学中世纪英语研究的教授和主席。她曾担任多个感官研究项目的PI和联合PI，包括“感知自然”和“感官:过去与现在”。她的出版物包括合编的《文学与感官》(牛津大学出版社，2023年;与伊丽莎白·罗伯逊合著)和《中世纪和近代早期英格兰的感官》(布里尔出版社，2016;与比阿特丽克丝·布斯和维茨·德·波尔合作)。
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Pub Date : 2023-09-02DOI: 10.1080/17458927.2023.2257904
Sara Dagovic
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsSara DagovicSara Dagovic is an interior designer and MFA graduate student at OCAD University. Her research explores the emotional affects of art in an effort to define curatorial methodologies that can support emotional and physical health.
{"title":"Jónsi, <i>Hrafntinna (Obsidian)</i>","authors":"Sara Dagovic","doi":"10.1080/17458927.2023.2257904","DOIUrl":"https://doi.org/10.1080/17458927.2023.2257904","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsSara DagovicSara Dagovic is an interior designer and MFA graduate student at OCAD University. Her research explores the emotional affects of art in an effort to define curatorial methodologies that can support emotional and physical health.","PeriodicalId":45114,"journal":{"name":"Senses & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134969196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This text aims to understand how the COVID-19 pandemic influences contemporary society, particularly in its most basic configurations, the daily urban life of social agents and their urban bodies, within the global city and, more recently, inside the viral city. To this purpose, a synthesis of part of an ongoing project is presented here, in two dimensions of everyday life: daily times in conjunction with everyday spaces. In the diachronic and historical axis of reality, transformed today into a viral society, it is possible to distinguish the following daily life configurations: cyclical everyday, routine everyday, exceptional every day and dialogical every day. In the synchronic axis, and particularly in contemporaneity, 10 sociological theses are proposed here to try to decipher some of the main processes where the impact of COVID-19 on the coeval urban fabric and the body of its actors is most felt. Finally, the author suggests some possible alternative strategies to the pandemic in the context of today’s viral daily life. However, these are only very general lines of sociological reflection, intended only to help define future courses of action for practical solutions, which are still unclear. That may be done within the framework of reconstruction of a healthier and more creative urban daily life for all citizens of the planet.
{"title":"Everyday Urban Life: Genealogy and Journal of Actors’ Body in the Viral City","authors":"Pedro Andrade","doi":"10.21814/uminho.ed.51.3","DOIUrl":"https://doi.org/10.21814/uminho.ed.51.3","url":null,"abstract":"This text aims to understand how the COVID-19 pandemic influences contemporary society, particularly in its most basic configurations, the daily urban life of social agents and their urban bodies, within the global city and, more recently, inside the viral city. To this purpose, a synthesis of part of an ongoing project is presented here, in two dimensions of everyday life: daily times in conjunction with everyday spaces. In the diachronic and historical axis of reality, transformed today into a viral society, it is possible to distinguish the following daily life configurations: cyclical everyday, routine everyday, exceptional every day and dialogical every day. In the synchronic axis, and particularly in contemporaneity, 10 sociological theses are proposed here to try to decipher some of the main processes where the impact of COVID-19 on the coeval urban fabric and the body of its actors is most felt. Finally, the author suggests some possible alternative strategies to the pandemic in the context of today’s viral daily life. However, these are only very general lines of sociological reflection, intended only to help define future courses of action for practical solutions, which are still unclear. That may be done within the framework of reconstruction of a healthier and more creative urban daily life for all citizens of the planet.","PeriodicalId":45114,"journal":{"name":"Senses & Society","volume":null,"pages":null},"PeriodicalIF":0.9,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80967639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Moved by the Brazilian musician Guinga composition “Meu Pai” (my father), we established a symbiotic relationship between the concepts of life (bi-ography), place (city of Rio de Janeiro) and music. The analysis of “Meu Pai” is a synthesis and a pretext for reflecting on what art does to an artist and those who absorb it. In our theoretical framework, we rely primarily on James Carey (2009) and Gaston Bachelard (1957/1996). As a guide for this journey, we chose Guinga. He leads the journey. His circumstance takes us in an essay that has movement as its axis.
{"title":"The City of Guinga is Biographical","authors":"Teresa Lima, Zara Pinto-Coelho","doi":"10.21814/uminho.ed.51.4","DOIUrl":"https://doi.org/10.21814/uminho.ed.51.4","url":null,"abstract":"Moved by the Brazilian musician Guinga composition “Meu Pai” (my father), we established a symbiotic relationship between the concepts of life (bi-ography), place (city of Rio de Janeiro) and music. The analysis of “Meu Pai” is a synthesis and a pretext for reflecting on what art does to an artist and those who absorb it. In our theoretical framework, we rely primarily on James Carey (2009) and Gaston Bachelard (1957/1996). As a guide for this journey, we chose Guinga. He leads the journey. His circumstance takes us in an essay that has movement as its axis.","PeriodicalId":45114,"journal":{"name":"Senses & Society","volume":null,"pages":null},"PeriodicalIF":0.9,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88559438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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