The 2022 Kirkus Prize Winner for Nonfiction Fragrance has long been used to mark who is civilized and who is barbaric, who is pure and who is polluted, who is free and who is damned— Focusing their gaze on our most primordial sense, writer and perfumer Tanaïs weaves a brilliant and expansive memoir, a reckoning that offers a critical, alternate history of South Asia from an American Bangladeshi Muslim femme perspective. From stories of their childhood in the South, Midwest, and New York; to transcendent experiences with lovers, psychedelics, and fragrances; to trips home to their motherland, Tanaïs builds a universe of memories and scent: a sensorium. Alongside their personal history, and at the very heart of this work, is an interrogation of the ancient violence of caste, rape culture, patriarchy, war, and the inherited ancestral trauma of being from a lush land constantly denuded, a land still threatened and disappearing because of colonization, capitalism, and climate change. Structured like a perfume—moving from base to heart to head notes—IN SENSORIUM interlaces eons of South Asian perfume history, erotic and religious texts, survivor testimonies, and material culture with memoir. In Sensorium is archive and art, illuminating the great crises of our time with the language of Liberation.

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. This vital transformation of aesthetics in turn allows a reconfiguration of the relationship between the domains of art, aesthetics, and philosophy. If aesthetics focuses on sensation, rather than cognition, then artists, musicians, and philosophers alike appear not only as phenomenological and empirical thinkers, but as experimenters with the parameters of the sensible, able to extend our perceptual interface with the world. Rather than artists deferring to philosophers in regard to the meaning of their works, this new understanding of aesthetics suggests that philosophers ought to defer to artists, who are understood as inventers in the realm of sensibility.

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.

This book is a collection of different papers, programming code and images of the project "Sensorium: from the sea to the river". The papers have been published before on different conferences and proceedings - some are in English, others in Portuguese. The book is a concluding document to this project, and also, a starting point for the next project.

Horror films, books and video games engage their audiences through combinations of storytelling practices, emotional experiences, cognitive responses and physicality that ignite the sensorium--the sensory mechanics of the body and the intellectual and cognitive functions connected to them. Through analyses of various mediums, this volume explores how the horror genre affects the mind and body of the spectator. Works explored include the films 28 Days Later and Death Proof, the video games Resident Evil 4 and Doom 3, the theme park ride The Revenge of the Mummy, transmedia experiences associated with The Dark Knight and True Blood, and paranormal romance novels featuring Anita Blake and Sookie Stackhouse. By examining how these diverse media generate medium-specific corporeal and sensory responses, it reveals how the sensorium interweaves sensory and intellectual encounters to produce powerful systems of perception.

Horror films, books and video games engage their audiences through combinations of storytelling practices, emotional experiences, cognitive responses and physicality that ignite the sensorium--the sensory mechanics of the body and the intellectual and cognitive functions connected to them. Through analyses of various mediums, this volume explores how the horror genre affects the mind and body of the spectator. Works explored include the films 28 Days Later and Death Proof, the video games Resident Evil 4 and Doom 3, the theme park ride The Revenge of the Mummy, transmedia experiences associated with The Dark Knight and True Blood, and paranormal romance novels featuring Anita Blake and Sookie Stackhouse. By examining how these diverse media generate medium-specific corporeal and sensory responses, it reveals how the sensorium interweaves sensory and intellectual encounters to produce powerful systems of perception.

It is the late seventeenth century and still the movement of the planets remains a mystery despite the revolutionary work of Johannes Kepler, Galileo Galilei and Tycho Brahe almost a hundred years previously. Edmond Halley - dynamic adventurer and astronomer - seeks the help of Isaac Newton in unravelling the problem, but though obsessed with understanding the orbits of the planets, Newton has problems of his own which could undermine the essential work. The reclusive mathematician and alchemist has a guilty secret. He stole some of his ideas from Robert Hooke, and the quarrelsome experimentalist is demanding recognition. While capable of the loftiest ideals and theorising, the three men are just as quick to bicker and hold petty grudges which could derail scientific advancement. The men's lives and work clash as Europe is pushed headlong towards the Age of the Enlightenment and science is catapulted into its next seismic collision with religion.

The Saturated Sensorium is a book about the senses and their media in the Middle Ages: a book about what it meant to sense and perceive something. The book highlights the integrated and unified nature of medieval senses and media. It discusses the inter- and multi-mediality of cultic and cultural artefacts as well as the sensorial and inter-sensorial dimensions of a wide array of cultural concepts and practices within medieval religion, art, archaeology, architecture, literature, music, food, social life, ritual, devotion, cognition, and memory. These domains of sensory and media history are dealt with, not as isolated anthology articles in only loose connection with one another, but as coordinate and comparative chapters of a coherent book each covering a principal branch of the cultural history of the medieval senses. Across a number of academic disciplines, specialists address the interdisciplinary and compound character of visus (sight), auditus (hearing), tactus (touch), olfactus (smell) and gustus (taste), showing that there was far more to the senses and to sense experience than these five classical Aristotelian categories might suggest. A plentiful variety of sensory modes interacted, crossed, and permeated each other in mutually entangled and braided ways. The saturated sensorium nurtured the sacred and secular practices of mediation, representation, and consumption; the embodied and mental concepts of sanctity, memory, and imagery; the physical and spiritual spaces of environment, cult, and burial; the material and visual culture of sacraments, sensation, and incarnation.

The SensoriuM delivers artist-led tours and tastings in and around Montreal. Since 2011, we have been bringing people to places they have never visited before, or making them experience familiar places differently. Bringing people together through food is a way of creating convivial spaces that are conducive to discussions about the pleasure and ethics of eating, and about the connections between taste and place. Each year, the Sensorium produces a catalogue to document the last season's adventures. Events in Season 4 have included foraging tours, games that uncover Montreal's history through its edible plants, and re-enactments of art-historical food performances. You will find out more about these in the pages that follow.

In McLuhan's Techno-Sensorium City: Coming to Our Senses in a Programmed Environment, Jaqueline McLeod Rogers argues that Marshall McLuhan was both an activist and a speculative urbanist who drew from cross-disciplinary and ahistorical sources to explore constitutive exchanges between humanity and technologies to alter human perception and imagine a sustainable future based on collective participation in a responsive urban environment. This environment—a techno-sensorium—would endeavor to design and program technology to be favorable to life and capable of engaging with multiple senses. McLeod Rogers examines McLuhan’s active engagement with the vibrant art and urban design culture of his day to further understand the ways in which the links he drew between media, technology, space, architecture, art, and cities continue to inform current urban and art criticism and practices. Scholars of media studies, urbanism, philosophy, architecture, and sociology will find this book particularly useful.