In the Queries to the Latin version of the Opticks Newton claims that space is God’s sensorium. Although these passages are well-known, few commentators have offered interpretations of what Newton might have meant by these cryptic remarks. As is well known, Leibniz was quick to pounce on these passages as evidence that Newton held untenable or nonsensical views in metaphysics and theology. Subsequent commentators have largely agreed. This paper has two goals. The first is to offer a clear interpretation (...) of Newton’s claim about space and God’s sensorium by situating those claims within Newton’s philosophical thought. The second is to show how my interpretation rescues Newton from Leibniz’s critiques. I show that Newton had a considered position on the sensorium and the role it played in sensation and volition. The primary evidence for this comes from an experiment Newton performed involving after-images; an experiment he recorded in his student notebook and corresponded with Locke about. I also discuss Newton’s views on mind-body causation, divine extension, and divine analogy. My final position is that we should read Newton as claiming that space in the venue in which God exercises his divine will. I also consider the problem of the missing tanquam pointed out by Koyré and Cohen and propose a solution. (shrink)

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. (shrink)

Tanto frente al avance de los medios electrónicos y las teletransmisiones del siglo XX como frente a la digitalización cibernética del siglo XXI, los diversos campos epistémicos se han encargado de problematizar la relación entre lo perceptivo, lo estético (espacio-tiempo) y los cambios tecnológicos que imponen nuevas prácticas intersubjetivas, comportamientos y modos de subjetivación. En muchos autores surge el uso de un concepto puntual: el sensorium. Ya sea que se proponga un enfoque cultural o una perspectiva específicamente gnoseológica, suele (...) repetirse una referencia de dicha categoría en relación con los cambios de la velocidad y la aceleración de las imágenes, los textos y las comunicaciones; primero en la era de la electrónica analógica y luego en la época digital. El objetivo de este trabajo es exponer una breve sistematización del concepto de sensorium en vistas de una posible definición en tanto unidad de análisis estético-política. Dicha categoría permite, por un lado, pensar la disciplina Estética como pensamiento político; y por el otro, pensar lo político en clave estética. Para ello el texto repasa los diversos sentidos que ha tenido la categoría a lo largo de la historia, según su emergencia en diferentes epistemes. La primera parte recorre ciertos discursos puntuales identificando autores en los cuales se pueden encontrar usos específicos (Newton, Simmel, Benjamin, McLuhan, Kittler, etc.), delineando así una serie de sentidos relacionados con el espacio y el tiempo desde lo estético, lo perceptivo, lo gnoseológico, lo sociológico y lo técnico. A partir de dicho esquema, en la segunda parte se presenta la idea de un “giro sensorial” en los estudios sociopolíticos contemporáneos, donde la idea de sensorium cobra una nueva importancia. Por último, se hace foco en las relaciones conceptuales que se derivan del uso que propone Rancière en torno a la categoría. En base a dicho recorrido el texto busca delinear una serie de elementos para abrir la posibilidad de definir la Estética como el pensamiento del sensorium común; se trata de una unidad de análisis estético-política que funciona como marco teórico para una morfología de lo social en tanto analítica del orden de lo sensible. (shrink)

These chapters analyze texts from Isaac Newton’s work to shed new light on scientific understanding at his time. Newton used the concept of “sensorium” in writings intended for a public audience, in relation to both humans and God, but even today there is no consensus about the meaning of his term. The literal definition of the Latin term 'sensorium', or its English equivalent 'sensory', is 'thing that feels’ but this is a theoretical construct. The book takes readers on (...) a process of discovery, through inquiry into both Newton’s concept and its underlying model. It begins with the human sensorium. This part of his concept is situated in the context of the aforesaid writings but also in the context of the writings of two of Newton's contemporaries, the physicians William Briggs and Thomas Willis, both of whom were at the forefront of their respective specialties of ophthalmology and neurology. Only once the human sensorium has been explored is it possible to generalize to the unobservable divine sensorium, because Newton's method of reasoning from experience requires that the second part of his concept is last in the order of knowledge. And the reason for this sequence is that his method, the short-hand term for which is 'analogy of nature', proceeds from that which has been observed to be universally true to that which is beyond the limits of observation. Consequently, generalization passes insensibly into reasoning by analogy. Readers will see how certain widespread assumptions can be called into question, such as that Newton was a theological voluntarist for whom the will is superior to the intellect, or that, for Newton, not only the world or universe but also God occupies the whole extent of infinite space. The insights afforded through this book will appeal to scholars of the philosophy of science, human physiology, philosophy of mind and epistemology, among others. (shrink)

This book presents McLuhan as both an activist and a speculative urbanist who endeavored to alter human perception and imagine a sustainable future based on collective participation in a responsive urban environment—a techno-sensorium—in which technology is designed and programmed to be favorable to life and capable of engaging multiple senses.

This book presents a timely reconfiguration of the relations between art, philosophy, ethics, and aesthetics. Through connection with a range of contemporary social and philosophical issues and movements, this collection of essays highlights the imperative of sensorial aesthetics. The book focuses on the radical philosophical approach to aesthetics enabled by the works of Jean-François Lyotard and Gilles Deleuze. From these philosophers an older meaning of aesthetic has been recalled. Before it indicated primarily the theory of art and beauty, “aesthetic” referred (...) to the sensibility, the capacity to receive sensations. In summoning this “sensorial” meaning of aesthetics in their respective works, Lyotard, Deleuze, and other recent thinkers turn the philosophical theory of aesthetics away from the dominance of cognitivist and reception theories, and towards a thinking of aesthetics through considerations of the movements of matter, affect, and sensation. (shrink)

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. (shrink)

By contrast to the competitive and participatory models of sport, the immersive model shows greater potentiality as a healthful practice more distant from transcendent, technocratic aspects of other models, instead accepting the body's immanence as part of evolutionary history and the natural world. Because of the largely unconscious, evolutionarily based responses to one's environment, the environment in which a sporting activity takes place has a tangible impact on performance. As our most evolutionarily recent sense system, visuality is linked to the (...) Social Engagement System. The mediated experience of sport through visual culture might catalyse the Social Engagement System and the perception that the sporting activity is communal and welcoming. Particularly the subculture surrounding the sport of CrossFit, which spread almost entirely through website presence and the posting of videos of workouts on the mainsite, might be said to exemplify how growth in new sports is augmented by visuality and the formation of virtual communities that then become embodied. (shrink)

Drawing on methodological approaches used by visual anthropologists, film theorists and debates prevalent in the cultural studies literature, this paper is interdisciplinary in approach and attempts to tackle the challenge of collecting and analyzing embodied, sensuous and pre-reflective ‘data’ by advocating the value of integrating videography into research methodologies. The paper is illustrated with an examination of underwater videography footage, featuring scuba divers coming to terms with their surroundings. By considering the ways in which those featured in the film relate (...) to the onscreen images, upon watching the footage, the paper explores how we might begin to study and represent the ‘unrepresentable’ senses of, for example, touch and the somatic senses, including proprioception, in addition to the heightening or modification of these. (shrink)

Starting from the current trend to digitise the university, this thesis aims to clarify the specific relation between university thinking and its use of media. This thesis is an investigation concerning the sensorial and medial conditions which enable the event of thinking to emerge at the university, i.e. conditions which do not make thinking necessary, but possible. Thinking is approached as an event which can happen while studying at the university, not as an outcome, nor a disposition or skill. The (...) ambition of this thesis is theory development and of making a contribution in the field of philosophy of education. The theoretical framework discussed in chapters one and two will allow first, an analysis of the university sensorium inspired by the work of Ivan Illich who, through a history of the senses, pioneered this kind of research applied to medieval reading practices. Secondly, the work of media philosopher Vilém Flusser is used to operationalize the analysis of media at the university; this thesis will use the Flusserian concepts of code, modes of consciousness, transcoding, gestures, intellectual field, dialogue and apparatus. The methodology consists of a novel approach inspired by Flusser’s phenomenology of gestures: in order to find traces of thinking, this investigation looks for gestures (with media) occurring in university practices, gestures which seem to imply some form of coding or transcoding. The first chapter critically discusses Ivan Illich’s historical hypothesis of the mediatic specificity of the university thinking. Illich works with a particular conception of the history of the senses through which he shows how the invention of the optical text and its way of reading gave rise to a new way of thinking which was later fostered by the university. The text emerges as an instrumental way of using the book for studying and thinking, a profanation and suspension of the book. This move is taken to be the signature move of the university which enables a particular way of thinking: abstract and non-visual thinking, which is made present through the event of reading. The second chapter introduces the media-theoretical framework of Flusser by discussing his particular take on codes and the modes of consciousness enabled by the dominant codes. Provisionally, transcoding is taken to be an indication of the event of thinking. The threshold introduces the approach of a phenomenology of gestures which will be used in the following two chapters. The third chapter examines the practice of university lecturing from a sensorial and gestural perspective by using several direct observations of lectures and historical reports of lectures. It was found that the lecture does not promote any particular sense, hence no particular mode of consciousness, and that the media in the lecture suffers a continuous transcoding. Thinking in the lecture was described as a thinking which suddenly makes itself present for all those attending the lecture. The fourth chapter examines MOOCs which are taken to be the digital counterpart of the university course. The specific media usage enabled by MOOCs is described starting from two case studies: an xMOOC and the bMOOC (designed by KU Leuven and LUCA researchers). Using interviews and an autoethnographic account, this chapter finds indications of what could be digital gestures in the MOOC and concludes that thinking in the MOOC occurs as a collective construction of a techno-image. The fifth and final chapter outlines the theoretical contributions of this thesis. The kind of thinking made possible by university practices is described as a form of collective thinking, non-productive and anti-apparatus. The ways in which this thinking is made possible are theorised by introducing the notion of mediatic displacement, a specific event in which the particular logic of media is suspended in such a way as to make room for a thinking which is not determined by any mediality. The notion of intellectual askesis is proposed for the collective enactment of attention, as the sensorial condition which makes possible the mediatic displacement. In light of these findings, the thesis proposes to understand the promise of the digital university as still a utopian project to come, because it cannot yet enable the sensorial and collective attention techniques which the classical university managed to enact through its study practices. (shrink)

This article considers the role of disembodiment in the visual art and films of David Lynch. This line of inquiry, I argue, allows us to consider the ways scholars do and do not conceptualise the relationship between Lynch’s works of different mediums. Specifically, I pursue the conviction that Lynch’s preoccupation with an injured or fragmented body corresponds to his intermedial creative practice. I turn my attention to Lynch’s early short film The Alphabet (1968) which exemplifies how the violence inflicted on (...) the body represents the violence wreaked by the separation of art into different media. Using Jacques Rancière’s definition of mediality and his idea of the sensorium, I offer a new perspective on the questions of disembodiment that manifest in tricky and unpredictable bodies in Lynch’s work and thus on how we should read Lynch’s output as joined up across mediums. 1. (shrink)

The article advances the notion that contemporary philosophy exists not as an ontology, but rather as an anthropology. The author posits that our understanding of being is contingent upon our comprehension of the human condition. Through an examination of the intellectual debate between M. Foucault and A. Badiou, the author demonstrates that I. Kant was the pioneer in European philosophy to interrogate the essence of humanity, thereby inaugurating an anthropological mode of philosophical thought. Building upon Kant’s proposition, the author presents (...) the intriguing hypothesis that the essence of humanity, or humanitas, is encapsulated within its capacity for hallucination, or hallucinatas. This perspective leads the author to introduce the novel philosophical concepts of “hallucenosis” and “explosion of hallucinations.” Here, “hallucenosis” refers to a collective of individuals engaged in a shared dream state, while “explosion of hallucinations” denotes the primal self-representation of humans as depicted in the rock art of the late Paleolithic era. The author gives particular emphasis to the concept of “double inversion” in human nature, a notion originally proposed in Russian philosophy by B.F. Porshnev and Yu.M. Borodai. Double inversion is interpreted as the emergence of self-consciousness, on one hand, and a speech event, on the other. The author further develops the idea that in contemporary human behavior, consciousness and intelligence are fundamentally disconnected. The conclusion drawn is that while intelligence facilitates animal existence in space, consciousness enables human life in time. In the author’s view, to hallucinate is essentially to live in time. The article substantiates the claim that organic intelligence and human intelligence operate within distinct sensoriums. Meanwhile, artificial intelligence, lacking its own sensorium, is argued to be non-existent in this context. (shrink)

The article examines the sensorium and how it is has been divided to argue that touch underlies what we refer to as hearing. It explores Stockhausen's "Helicopter Quartet" as an extended meditation on the mediation of the senses and the foregrounding of touch in the piece through teletechnologies that serve as prosthetic devices for sound, sight and touch.

Why do brains have so many connections? The principles exposed by Andy Clark provide answers to questions like this by appealing to the notion that brains distil causal regularities in the sensorium and embody them in models of their world. For example, connections embody the fact that causes have particular consequences. This commentary considers the imperatives for this form of embodiment.

If one formulates Helmholtz’s ideas about perception in terms of modern-day theories one arrives at a model of perceptual inference and learning that can explain a remarkable range of neurobiological facts. Using constructs from statistical physics it can be shown that the problems of inferring what cause our sensory inputs and learning causal regularities in the sensorium can be resolved using exactly the same principles. Furthermore, inference and learning can proceed in a biologically plausible fashion. The ensuing scheme rests (...) on Empirical Bayes and hierarchical models of how sensory information is generated. The use of hierarchical models enables the brain to construct prior expectations in a dynamic and context-sensitive fashion. This scheme provides a principled way to understand many aspects of the brain’s organisation and responses. In this paper, we suggest that these perceptual processes are just one emergent property of systems that conform to a free-energy principle. The free-energy considered here represents a bound on the surprise inherent in any exchange with the environment, under expectations encoded by its state or configuration. A system can minimise free-energy by changing its configuration to change the way it samples the environment, or to change its expectations. These changes correspond to action and perception, respectively, and lead to an adaptive exchange with the environment that is characteristic of biological systems. This treatment implies that the system’s state and structure encode an implicit and probabilistic model of the environment. We will look at models entailed by the brain and how minimisation of free-energy can explain its dynamics and structure. (shrink)

If one formulates Helmholtz's ideas about perception in terms of modern-day theories one arrives at a model of perceptual inference and learning that can explain a remarkable range of neurobiological facts. Using constructs from statistical physics it can be shown that the problems of inferring what cause our sensory inputs and learning causal regularities in the sensorium can be resolved using exactly the same principles. Furthermore, inference and learning can proceed in a biologically plausible fashion. The ensuing scheme rests (...) on Empirical Bayes and hierarchical models of how sensory information is generated. The use of hierarchical models enables the brain to construct prior expectations in a dynamic and context-sensitive fashion. This scheme provides a principled way to understand many aspects of the brain's organisation and responses. In this paper, we suggest that these perceptual processes are just one emergent property of systems that conform to a free-energy principle. The free-energy considered here represents a bound on the surprise inherent in any exchange with the environment, under expectations encoded by its state or configuration. A system can minimise free-energy by changing its configuration to change the way it samples the environment, or to change its expectations. These changes correspond to action and perception, respectively, and lead to an adaptive exchange with the environment that is characteristic of biological systems. This treatment implies that the system's state and structure encode an implicit and probabilistic model of the environment. We will look at models entailed by the brain and how minimisation of free-energy can explain its dynamics and structure. (shrink)

Der Körper hat Konjunktur. Als ausgestellter, verfüg- und verführbarer begegnet er uns täglichim Übermaß. Es war nur eine Frage der Zeit, bis im Spiel der sich in den Wissenschafteneinander ablösenden turns auch ein corporeal (oder body) turn ausgerufen würde. Dabeibleibt im genannten turn der Gegenstand der Untersuchung nicht selten reduziert auf das, wasman im deutschen Sprachgebrauch »Körper« nennt: ein physisches Substrat, das wie ein Dingunter Dingen beschreibbar ist. Gegen diese Verkürzung stellt der Begri des »Leibes«,spätestens seit Edmund Husserl, eine präzise (...) theoretische Intervention in die wissenschaftlicheund philosophische Diskussion um Körper und Körperlichkeit dar: Dem objektiv beobachtbaren Körper, den wir haben, wird der lebendige Leib, der wir sind, gegenübergestellt. Diesem »Leib«, seiner Geschichte, seinen Varianten und seinem Versprechen gehen dieAutoren der vorliegenden Beiträge nach. Inhaltsübersicht Emmanuel Alloa/Thomas Bedorf/Christian Grüny/Tobias Nikolaus Klass: Einleitung I. Der Leibbegriff in der Phänomenologie Emmanuel Alloa / Natalie Depraz: Edmund Husserl – „Ein merkwürdig unvollkommenkonstituiertes Ding“ – Stefan Kristensen: Maurice Merleau-Ponty I – Körperschema undleibliche Subjektivität – Emmanuel Alloa: Maurice Merleau-Ponty II – Fleisch und Dierenz – David Espinet: Martin Heidegger – Der leibliche Sinn von Sein – Thomas Bedorf: EmmanuelLevinas – Der Leib des Anderen – Karel Novotný: Körper, Leib, Aektivität in Jan Pato č kasPhänomenologie der natürlichen Welt – Julia Scheidegger: Michel Henry – TranszendentaleLeiblichkeit – Jörg Sternagel: Bernhard Waldenfels – Responsivität des Leibes – Kerstin Andermann: Hermann Schmitz – Leiblichkeit als kommunikatives Selbst- und Weltverhältnis II. Zur Geschichte des Leibbegris Emmanuel Alloa: Archaische Leiblichkeit. Die griechische Antike und die Entdeckung desKörpers – Theresia Heimerl: Der Leib Christi und der Körper des Christen: Körper und Leib alszentrale Problemzonen des Christentums – Marc Rölli: Philosophische Anthropologie im 19. Jahrhundert – Zwischen Leib und Körper – Tobias Nikolaus Klass: Friedrich Nietzsche – Denkenam „Leitfaden des Leibes“ – Andreas Cremonini: Sigmund Freud – Der gelebte vs. derphantasmatische Leib – Uta Noppeney: Kurt Goldstein und Frederik Buytendijk – Der Leib-Begri in der organismischen Biologie – Volker Schürmann: Max Scheler und Helmuth Plessner– Leiblichkeit in der Philosophischen Anthropologie – Marion Lauschke: Ernst Cassirer und AbyWarburg – Kulturanthropologie III. Grenzen und Kritik des Leibbegris Christian Grüny: Theodor W. Adorno – Soma und Sensorium – Ulrich Johannes Schneider: Michel Foucault – Der Körper und die Körper – Burkhard Liebsch: Paul Ricoeur – Das leiblicheSelbst begegnet dem Widerstand des Anderen – Mirjam Schaub: Gilles Deleuze – Was weiß ein„Körper ohne Organe“ vom Leib? – Kathrin Busch: Jean-Luc Nancy – Exposition und Berührung– Shaun Gallagher: Embodiment: Leiblichkeit in den Kognitionswissenschaften – Marie-Luise Angerer: Gender und Performance – Ist leibliche Identität ein Konstrukt? – Thomas Bedorf/Selin Gerlek: Praxistheorien – Leibkörperliche Praktiken im Vollzug. (shrink)

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. (shrink)

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. (shrink)

The purposes of this paper are twofold: first, I wish to correct a systematic bias in Husserlian transcendental phenomenology. This bias is in favor of intuition of essences of meaning and against the intuition of essences of sensation. This bias is explained as a product of Husserl's mind-body dualism. Second, I suggest the possibility of a neurophenomenology from a biogenetic structural point of view. This neurophenomenology merges the knowledge of essences derived from mature contemplation with knowledge of the structures of (...) experience derived from neuroanthropology. After addressing these two issues I proceed to describe the sensorium from a neurophenomenological perspective, and the constituent element of perception, the dot. I hypothesize fat experience arises in the dialogue between prefrontal cortical processes and sensorial processes, that experience is constituted within a field of sensorial dots that arise and dissolve in temporal frames. I conclude that Husserl's view of the phenomenology of time is essentially correct and is both in keeping with findings from current neurophysiology, and amenable to a modem scientific view of consciousness and to many of the religious traditions encountered by ethnographers. The implications of a neurophenomenology for the anthropological study of consciousness are suggested. (shrink)

While the aesthetics of Rancière is a well-explored topic, there has been something missing from the reception of his works, and that is the relation between Rancière’s aesthetics and music. However, in recent years an interest in this relation has resulted in several academic contributions, which is sign enough that there is in fact a musical element in his works. Rancière himself, in response to this reception, has acknowledged as much. Music is a human form of expression that uses the (...) physicality of air to produce vibrations that encounter and resonate with the human body. Musicality is the ability to attend to such vibrations and harness the expectations and surprises that they bring about. In this article, I explore how a musical approach to Rancière’s writings can inform educational philosophy, especially as regards the practice of teaching. Particular attention is paid to his notion of the sensorium as a sensible realm where we experience and encounter difference and otherness, in political events as well as in teaching situations. Attending ethically to these situations is predicated on a certain sensibility that involves certain aesthetic qualities. In this article, I explore this sensibility as a particular educational musicality. Drawing from educational philosophy, the aesthetic theory of Jacques Rancière, and music philosophy, I connect this musicality of teaching to an ability to navigate in an ethical space that comes to life through a material/sensible community of interests formed in teaching practice. I use the term acousmatic experience as an explorative device in an attempt to depict teaching practice as something that can bring about a specific educational sensorium. (shrink)

This paper investigates Isaac Newton's rather unique account of God's relation to matter. According to this account, corpuscles depend on a substantially omnipresent God endowing quantities of objective space with the qualities of shape, solidity, the unfaltering tendency to move in accord with certain laws, and—significantly—the power to interact with created minds. I argue that there are important similarities and differences between Newton's account of matter and Berkeley's idealism. And while the role played by the divine will might at first (...) appear to be a species of occasionalism, I conclude that there are, for Newton, genuine causal relations between minds and bodies. Ultimately, to fully appreciate this account of the creation and persistence of matter, we must consider not only Newton's metaphysical writings, but also his sensorium theory of mind-body interaction, his heterodox theological commitments, and the influences of Descartes, More, and Locke. (shrink)

In The Piano Tuner of EarthQuakes, the Quay Brothers' second feature, the sensual form and the meta-artistic content are truly interweaved, and the siblings' staple animated materials become part of the theme itself. Using Michel Serres's argument in Les cinq sens, I address the relationship between the Quays intermedial animation and the way the art forms of music, painting, theatre and sculpture are used to captivate the film viewer's sensorium in the same way that some of the characters are (...) fascinated by the evil Droz, a scientist and failed composer who manipulates machines and people alike, among them Felisberto, a meek piano tuner with the ability to stir the natural elements. I further proceed to posit the entire film as an intended allegory of animation on the Quays part. Their haptic construction of a three-dimensional world which they control artistically is replicated in the film in Droz's and Felisberto's activities vis-à-vis Malvina van Stille, an abducted opera diva who is kept in a suspended animation state and several hydraulic automata with musical resounding properties, some of them made up of an uncanny assortment of body parts. The artificial life of these creatures is contrasted, in two ways, with their physical reality as beings that exist in the world: first, via Serres's sensorial strategy to transform a body into a conscious entity, an embodiment I call 'Corpo-Reality', and second, by resorting to Deleuze and Guattari's theory of the body without organs in its advocacy of 'hard' nature and the rejection of a rigid assortment of body parts. The paradoxical organic objectivity of the 'marionettized' Malvina is pitted against the seemingly subjective doings of the mechanical automata, especially an android woodcutter. However, just as in the story things are not what they seem, and the automata actually reflect the 'real' world of Felisberto's tuning of them, so the film itself can be a 'crystal-image', offering itself to the senses of the spectator. (shrink)

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...) and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

Have humans always had the desire to inhabit other worlds? From the microscopic scale to the vastness of outer space, it seems our capacity for occupying uninhabitable spaces with our intellect, our bodies, our sensorium, our desire, is fundamental to our being. What are these spaces and how do we come to ‘know’ them? Whether mythological, religious or scientific, these minute or vast worlds are spaces that we unfold, narrate and dwell in. In his short story ‘The Stone Sky’ (...) the novelist Italo Calvino writes of the inhabitants who live in a world that exists beneath the earth’s crust. These inhabitants who occupy the underworld exist in a mutable form that allows them to travel through the dense, dark inner landscape of the earth, through the crystal structures, the nickel sea to the earth’s core, an intricate viscous landscape quite other than the formation of matter on the earth’s surface. Calvino’s narration tells us of what is it to inhabit the interstices of the underworld, to be in a space with little intervening air, to live within the deep time scale of crystal formation. The neuroscientist Christof Koch states that ‘we live in a universe where organised bits of matter give rise to consciousness’ and that we need to extend our understanding of what consciousness really is. Could it be that these other worlds, whether planets only just glimpsed through early telescopes, or nano-landscapes at the scale of the atom are still integrated with our own fundamental make-up? Are they the product of a vastly developed pre-frontal cortex or are they a result of ideas, knowledge and experiences accumulated over billions of years? In this article I will look at the concepts of matter as a carrier of consciousness and of panpsychism as a tool with which to understand our habitation of other worlds. (shrink)

Henry More est le plus connu des Platoniciens de Cambridge et l’Enchiridion Metaphysicum, son dernier ouvrage, représente l’accomplissement de sa pensée. Il s’agit d’une enquête métaphysique dont le principal objectif est d’établir l’existence d’une substance immatérielle, d’une âme du monde, sorte d’intermédiaire entre Dieu et le monde par laquelle les choses agissent. More nous invite ainsi à découvrir la vraie métaphysique qui consiste en la découverte de la nature véritable de l’étendue des êtres spirituels comme Dieu, les anges et les (...) démons, l’espace, les âmes individuelles des hommes ou des bêtes. Ce manuel de métaphysique prend appui sur le mécanisme cartésien pour mieux le contredire et démontre que l’extension spirituelle est la principale qualité des esprits. Cette doctrine conduira More à re-diviniser l’espace pour l’instituer à l’instar des kabbalistes de l’école de Safed, comme lieu de la possibilité de l’existence du monde. More montre ainsi les limites des mécanismes d’Hobbes et de Descartes tout en essayant de composer avec d’autres savants mécanistes tels que Robert Boyle et Robert Hooke. Quelques années plus tard, à Cambridge, Newton, sur les pas d’Henry More, pensera la nature de son espace physique comme un espace de nature divine, comme un Sensorium Dei. ---------------------------------------------------------------------------------------------------- ------------- Biographie de l'auteur: Françoise Monnoyeur est Docent en philosophie (Associate Professor). Elle enseigne la philosophie et l’histoire des sciences en France, aux États-Unis et en Suède. Elle est chercheur associée au centre Jean Pépin, Paris, France. Ses principaux ouvrages portent sur Descartes, l’infini, la matière, la vie. (shrink)

The “colored-brain thesis”, or strong qualitative physicalism, is discussed from historical and philosophical perspectives. This thesis was proposed by Thomas Case, in a non-materialistic context, and is close to views explored by H. H. Price and E. Boring. Using Mary’s room thought experiment, one can argue that physicalism implies qualitative physicalism. Qualitative physicalism involves three basic statements: perceptual internalism, and realism of qualia; ontic physicalism, charaterized as a description in space, time, and scale; and mind-brain identity thesis. In addition, structuralism (...) in physics, and distinguishing the present version from that suggested by H. Feigl and S. Pepper, realism of the physical description. The “neurosurgeon argument” is presented, as to why the greenness of a visually perceived avocado, which is present in the brain as a physical-chemical attribute, would not be seen as green by a neurosurgeon who opens the observer’s skull. This conception is compared with two close views, Russellian monisms and panprotopsychism. According to the strong qualitative physicalism presented here, the phenomenal experience of a quale q is identical to a physico-chemical quality q, which arises from a combination of the materiality wassociated with the brain, and the causal organization or structure of the relevant elements of the brain S, including in this organization the structure of the self: q. The “explanatory gap” between mental and physical states is shifted to a gap between the physico-chemical qualities q and the organized materiality of a specific brain region q, and is seen as being bridged only by a set of non-explanatory postulates. Keywords: Colored-brain thesis, qualitative physicalism, mind-brain identity thesis, qualia, panprotopsychism, sensorium. (shrink)

Neopoetics is a matrix for dynamic perceptual convergences between material and immaterial systems. The deep foundational ground for Neopoetics is the Poetics of Aristotle and its relation to the ancient Greek theatre as a practical systemic ideology for the mythic Greek drama. As Aristotle’s Poetics posits six basic components for the construction of drama (plot, character, thought, diction, song and spectacle) the neopoetic system has six constituent aspects: expanded embodiment, experiential metaphor, matrix architecture, perceptual resonance, the rheomode and neopoetic mythos. (...) Expanded embodiment describes an expansion of the corporeal body into fluid, dematerialized dimensions of experience, expression and exchange. Experiential metaphor is a sensate interface between the expanded body and the dematerialized field that contextualizes it in a neopoetic framework. It is what Roy Ascott terms an interspace: ‘found between the virtual and actual, where reality is renegotiated and the new consciousness is embodied’. The next three neopoetic aspects describe the language structures through which a new mythos is articulated. Matrix architecture is a framework for activation and alignment of the senses. It is a multisensory perceptual membrane that ignites the prism of the expanded body’s sensorium within the fluid interface of experiential metaphor. Matrix architecture articulates both a new sensorium and its interface with an integrated material/immaterial perceptual field. Perceptual resonance is the cathartic awakening of ‘the space between the senses’, evoked by the alignment of perceptual dimensions through matrix architecture. From this prismatic aperture emerges the mythic, transformative rheomode – the experiential language of the quantum wave. The rheomode is an expression of language. The term was coined by the quantum physicist David Bohm as an experiment in pursuit of a linguistic dimension of the wave. Yet in a neopoetic context, the rheomode becomes an evolutionary system. As Roy Ascott states,Language is not merely a device for communicating ideas about the world but rather a tool for bringing the world into existence. Art is a form of world building, of mind construction, of self-creation, whether through digital programming, genetic code, articulation of the body, imaging, simulation, or visual construction. Art is the search for new language, new metaphors, new ways of constructing reality, and for the means of redefining ourselves.Neopoetics mythos unfurls through the rheomode. It is an expression of an emerging ecology, an experiential awakening of the wave within the particle. Neopoetic myths are fluid evolutionary pulsations. They are transformation in the liquid convergences between material and immaterial dimensions. They are streams of lava birthing bedrock for an emerging paradigm. (shrink)

My article analyses the political power of the utopian imaginary through the concepts of actuality, potentiality and possibility. Tracing the tensions of a critical model of utopia as both a form of thought and a form of the sensible, it links Louis Marin's concept of the utopic imaginary as a common sensorium that is reconfigured through the play of a mobile figure with Jacques Rancière's formulation of the partition of the sensible. Studying the critical reception of Melville's Bartleby in (...) Deleuze, Rancière and Agamben, it proposes that the space of literary potentiality, where the past could not have been or retains its possibility to be otherwise, where the actual can not be and the potential and the possible have a right to be and exist, forms the spatio-temporal configuration of the utopian imaginary of literature. Potentiality offers a key to understanding the politics of the ontology constructed by aesthetics. (shrink)