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Posterior Parietal Cortex Represents Sensory History and Mediates Its Effects on Behavior Athena Akrami1,2,3, Charles D
bioRxiv preprint doi: https://doi.org/10.1101/182246; this version posted January 4, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. Posterior parietal cortex represents sensory history and mediates its effects on behavior Athena Akrami1,2,3, Charles D. Kopec1,2, Mathew E. Diamond4, Carlos Brody1,2,3 1. Princeton Neuroscience Institute, Princeton University, Princeton, NJ 08544, USA. 2. Department of Molecular Biology, Princeton University, Princeton, NJ 08544, USA. 3. Howard Hughes Medical Institute. 4. Tactile Perception and Learning Laboratory, International School for Advanced Studies (SISSA), 34136 Trieste, Italy Many models of cognition and of neural computations posit seconds, here auditory pink noise stimuli, ‘sa’ and ‘sb’; rats were the use and estimation of prior stimulus statistics1–4: it has rewarded for correctly reporting which of the two was louder 16 long been known that working memory and perception are (Fig. 1a). Following ref. , the set of [sa, sb] pairs used across strongly impacted by previous sensory experience, even trials in a session was chosen so that neither stimulus alone when that sensory history is irrelevant for the current task contained sufficient information to solve the task (Fig. 1b). As at hand. Nevertheless, the neural mechanisms and brain with any magnitude discrimination task, the smaller the regions necessary for computing and using such priors are difference between stimuli, the harder the task (Fig. 1c). -
The Expanding Field of Sensory Studies (V.1.0) July 2013
The Expanding Field of Sensory Studies (version 1.0 – July 2013) David Howes, Centre for Sensory Studies, Concordia University, Montreal The sensorium is a fascinating focus for cultural studies Walter J. Ong, “The Shifting Sensorium” (1991) In sensory studies, the senses are treated as both object of study and means of inquiry. Sensory studies stands for a cultural approach to the study of the senses and a sensory approach to the study of culture. It challenges the monopoly that the discipline of psychology has long exercised over the study of the senses and sense perception by highlighting the sociality of sensation. History and anthropology are the foundational disciplines of this field. Sensory studies encompasses many other disciplines besides these two, however, as scholars from across the humanities and social sciences have, over the past few decades, successively “come to their senses” and turned their attention on the sensorium. The Senses and Society journal, which launched in 2006, is one manifestation of this convergence. The Sensory Studies website, which went live in 2010, is another (see www.sensorystudies.org), This essay is dedicated to tracing the history of the sensory turn in contemporary scholarship, and pointing to some directions for future research. It starts with an overview of the emergence and development of the history and anthropology of the senses. It goes on (in Part II) to examine how the senses have come to figure as a subject of study and means of inquiry in a range of other disciplines, including, for example, geography, sociology, linguistics, aesthetics and communication studies. In Part III, the focus shifts to how the field of sensory studies can otherwise be conceptualized as made up of visual culture, auditory culture (or sound studies), smell culture, taste culture and the culture of touch. -
The Social Construction of the Soundscape of the Castilian Cities (15Th and 16Th Centuries)
acoustics Article The Social Construction of the Soundscape of the Castilian Cities (15th and 16th Centuries) Gisela Coronado Schwindt Departamento de Historia, Facultad de Humanidades, Universidad Nacional de Mar del Plata, Mar del Plata 7600, Argentina; [email protected] Abstract: This paper seeks to develop some conceptual elements that articulated the social construc- tion of the soundscape of the urban spaces of the kingdom of Castile (15th–16th centuries). We focus our attention on the revision of the normative spheres that structured the subjective universe of the Castilian inhabitants, in order to notice and spot the different sound representations that intervened in the spatial and social configuration of the cities, their possible conflicts, and levels of acoustic tolerance. This proposal is part of the so-called “sensorial turn” in the Social Sciences, defined by David Howes as a cultural approach to the study of the senses as well as a sensorial approach to the study of culture. The research is carried out through the analysis of the sensory marks present in a documentary corpus made up of normative documents (municipal ordinances, books of agreement, chapter acts, diocesan synods, and royal dispositions) and judicial documents (General Archive of Simancas) combining methods of discourse analysis and the history of the senses. In the article, we argue and remark that the sound dimension operated as a device that acted in the shaping of the identity of places, since it contributed to define and delimit their use. This was reflected in the importance given by the authorities to the normative regulation of the community, which included a textual dimension in which the historical soundscape was imprinted, revealing the multiple social interactions that integrated it. -
Review of 'Sensing the Past: Seeing, Hearing, Smelling, Tasting and Touching in History'
Jones-Katz, G. [2011]. Review of ‘Sensing the Past: Seeing, Hearing, Smelling, Tasting and Touching in History.’ by Mark M. Smith. The Social Epistemology Review and Reply Collective. Online. Available. http://social- epistemology.com/ Smith, Mark M. Sensing the Past: Seeing, Hearing, Smelling, Tasting, and Touching in History. Berkeley: University of California Press, 2007. 123 pp. On How (Not) to Turn the Senses into Food for Thought; or, When Context is King Gregory Jones-Katz There is yet another ‘turn’ in US History departments: sensory history. Touted by historians in The American Historical Review, with prospective scholarship to ‘examine hitherto ignored phenomena,’ thereby ‘opening unexplored territories of the past,’ the history of the senses has a promising future.1 Mark Smith, Professor of History at the University of South Carolina and president of The Historical Society, has been a prominent contributor to the field for almost a decade. Smith makes his case for sensory history in Sensing the Past: Seeing, Hearing, Smelling, Tasting, and Touching in History, published a few years before the current interest. In Sensing, Smith traces the importance of the senses for chief cultural developments from antiquity to the pre-Enlightenment era, focusing on how the senses informed the modern emergence of ‘social classes, race and gender conventions, industrialization, urbanization, colonialism, imperialism, nationalism, [and] ideas concerning selfhood and the “other”’ (1). This review essay concentrates on and challenges Smith’s views of how the historian should produce, assess, and validate histories of the senses. Rather than offer a new understanding of how to write sensory history, Smith’s approach is disappointedly status quo. -
Tactile Contexts: Toward a Feeling Musicology
Tactile Contexts: Towards Reconstructing a Feeling Musicology Danika Paskvan The Juilliard School March 2016; revised May 2016 … we may encounter a past horizon in one of three ways: 1. Read or see an original work and realize that it was written from a different outlook than ours. 2. Read a critical reconstruction by a predecessor. 3. Start to reconstruct one’s own version of past context. -Reconstructing Contexts, Robert D. Hume, 72 This paper is an archae-historical exploration of music, affect, and the sensing body. It addresses what I see to be a critical lack in both historical musicology and historical performance-practice oriented scholarship: a contextual reconstruction of 17th-century Western European understand- ings of touch and tactility—specifically through musical touch between musicians and their in- struments, through the prevalence of the metaphorical use of “touch words” in 17th-century mu- sic theory, and through the tactility of affect, the critical moment of embodied impact between music and the passions. Thus, with this project, I am building my understanding of the sense of tactility in early modern era as it pertained to music-making, music-teaching, and music-experi- encing, with the ultimate goal of creating a detailed, deeply empathetic, and accurate reconstruc- tion of the experiencing body of the 17th-century musician. My text will resonate with quota- tions from Robert D. Hume’s incredibly enlightening Reconstructing Contexts, a text whose aca- demic programme has become a rallying cry for me and which greatly -
A Sensory Education
A Sensory Education A Sensory Education takes a close look at how sensory awareness is learned and taught in expert and everyday settings around the world. Anna Harris shows that our sensing is not innate or acquired, but in fact evolves through learning that is shaped by social and material relations. The chapters fea- ture diverse sources of sensory education, including field manuals, man- nequins, cookbooks and flavour charts. The examples range from medical training and forest bathing to culinary and perfumery classes. Offering a valuable guide to the uncanny and taken-for-granted ways in which adults are trained to improve their senses, this book will be of interest to disci- plines including anthropology and sociology as well as food studies and sensory studies. Anna Harris is an Associate Professor in the Department of Society Studies at Maastricht University, the Netherlands. Sensory Studies Series editor: David Howes This series comprises cutting-edge case studies and syntheses in the emer- gent field of sensory studies. It provides an invaluable resource for those in- volved in research or teaching on the senses as object of study and/or means of inquiry. Embracing the insights of a wide array of humanities and social science disciplines, the field of sensory studies has emerged as the most com- prehensive and dynamic framework yet for making sense of human experi- ence. This series offers something for every disciplinary taste and sensory inclination. Sensory Arts and Design Ian Heywood Food and Multiculture A Sensory Ethnography of East London Alex Rhys-Taylor Heritage Formation and the Senses in Post-Apartheid South Africa Aesthetics of Power Duane Jethro Race and the Senses The Felt Politics of Racial Embodiment Sachi Sekimoto, Christopher Brown A Sensory Education Anna Harris Sounding Out Japan A Sensory Ethnographic Tour Richard Chenhall, Tamara Kohn and Carolyn S. -
WSC 2021 Programme
11th World Shakespeare Congress, Singapore: Shakespeare Circuits 18 – 24 July 2021 Supported by Held in Members of the Local Organising Committee for the World Shakespeare Congress 2021 Local Committee Co-Chair: YONG Li Lan (National University of Singapore, Singapore) Co-Chair: Bi-qi Beatrice LEI (National Taiwan University, Taiwan) Executive Director: Eleine NG-GAGNEUX (National University of Singapore, Singapore) Festival Director: LEE Hyon-u (Soonchunhyang University, South Korea) Deputy Festival Director: Alvin Eng Hui LIM (National University of Singapore, Singapore) Michael DOBSON (Shakespeare Institute, UK) Mika EGLINTON (Kobe City University of Foreign Studies, Japan) Emily SOON (Singapore Management University, Singapore) Programme Committee Chair: Lena Cowen ORLIN (Georgetown University, USA) Tom BISHOP (University of Auckland, New Zealand) Ton HOENSELAARS (Universiteit Utrecht, Netherlands) Bi-qi Beatrice LEI (National Taiwan University, Taiwan) YONG Li Lan (National University of Singapore, Singapore) Secretariat Roweena YIP (National University of Singapore, Singapore) Jennifer HO Hui Lin (National University of Singapore, Singapore) Karen LAM Xue Ling (National University of Singapore, Singapore) Design JIANG Liheng (FreeWave Media Pte Ltd, Singapore) 11th World Shakespeare Congress, Singapore: Shakespeare 4 1 Welcome When I think back over the previous WSCs I have attended, I recall great experiences and wonderful programmes – but never a Congress quite as ambitious as this one. Thanks to the extraordinary work of our Local Organising Committee, Singapore is bringing the Congress to the world, ensuring that this is a global event for scholarship and theatre on an unprecedented scale in its entirely virtual format, not least in the extraordinary riches of the Digital Asian Shakespeare Festival. Across the many sessions of the 2021 WSC we will share our thoughts and discoveries, our research and creativity, our achievements past and our future plans. -
Making Sense of Social History Author(S): Mark M
Making Sense of Social History Author(s): Mark M. Smith Source: Journal of Social History, Vol. 37, No. 1, Special Issue (Autumn, 2003), pp. 165-186 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3790322 . Accessed: 08/10/2014 13:51 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Journal of Social History. http://www.jstor.org This content downloaded from 210.212.93.44 on Wed, 8 Oct 2014 13:51:46 PM All use subject to JSTOR Terms and Conditions MAKING SENSE OF SOCIAL HISTORY By Mark M. Smith University of South Carolina [M]an is affirmed in the objective world not only in the act of thinking, but with all his senses_The forming of the five senses is a labor of the entire history of the world down to the present. Karl Marx1 I Eric Hobsbawm was in ebullient mood in 1970. "It is a good moment to be a social historian," he concluded his influential essay, "From Social History to the History of Society." For reasons he'd understand but because of developments in the writing of the history of the senses that he probably didn't anticipate, Hobsbawm might well sound a similar note of optimism were he to write the essay today.2 I'd like to suggest why Hobsbawm's understanding of social history seems to have been important to relatively recent work on the history of the senses? most of which is on the history of aurality?even if that influence is not always acknowledged explicitly by some ofthe authors concerned. -
Winter Newsletter 2019-2020 Crrs.Ca Letter from the Director
CRRS Centre for Reformation & Renaissance Studies Winter Newsletter 2019-2020 crrs.ca Letter from the Director The past year has been memorable for the Centre for Reformation and Renaissance Studies. Our graduate and undergraduate fellows have once again contributed much to the workings of the Centre and continue to be an integral part of our community. It has been a busy year for conferences and symposia, which continue to address the interests of an ever-growing contingent of the CRRS community. From April 26–27, the CRRS hosted the international conference, Rulers on Display, which dealt with the ever more magnificent funerary monuments that the leaders of Europe created in the early modern period. This also marked the first collaboration between the CRRS and the University of Bonn. Seven of our speakers came from Bonn or its environs, and the Consul General of Germany hosted a reception for us here in Toronto. The next event in our continuing collaboration with Bonn is set for Spring 2021. From May 10–11, 2019, the CRRS hosted the Fourteenth Canada Milton Seminar, organized by Paul Stevens of the English Department. We are happy to be a part of this tradition. On October 4–5, 2019, we hosted our first conference in Spanish literature: Epic New Worlds: Alonso de Ercilla’s La araucana, 1569–2019, which was organized by Emiro Martínez-Osorio of York University. On November 1–3, we hosted the conference Making Stories in the Early Modern World, honouring the work of Elizabeth and Thomas Cohen, who have given much to the Centre over the years. -
The Five Senses in Medieval and Early Modern England Intersections Interdisciplinary Studies in Early Modern Culture
The Five Senses in Medieval and Early Modern England Intersections Interdisciplinary Studies in Early Modern Culture General Editor Karl A.E. Enenkel (Chair of Medieval and Neo-Latin Literature Westfälische Wilhelms-Universität Münster e-mail: kenen_01@uni_muenster.de) Editorial Board W. van Anrooij (University of Leiden) W. de Boer (Miami University) Chr. Göttler (University of Bern) J.L. de Jong (University of Groningen) W.S. Melion (Emory University) R. Seidel (Goethe University Frankfurt am Main) P.J. Smith (University of Leiden) J. Thompson (Queen’s University Belfast) A. Traninger (Freie Universität Berlin) C. Zittel (University of Stuttgart) C. Zwierlein (Harvard University) VOLUME 44 – 2016 The titles published in this series are listed at brill.com/inte The Five Senses in Medieval and Early Modern England Edited by Annette Kern-Stähler Beatrix Busse Wietse de Boer LEIDEN | BOSTON Cover illustration: The late ninth-century Anglo-Saxon Fuller Brooch, showing the earliest known personification of the Five Senses. Hammered silver and niello, diameter: 11.4 cm. London, British Museum. Image © Trustees of the British Museum. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2016008197 Want or need Open Access? Brill Open offers you the choice to make your research freely accessible online in exchange for a publication charge. Review your various options on brill.com/brill-open. Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1568-1181 isbn 978-90-04-31548-8 (hardback) isbn 978-90-04-31549-5 (e-book) Copyright 2016 by Koninklijke Brill nv, Leiden, The Netherlands. -
2019 SCSC Program 6
Sixteenth Century Society and Conference Thursday, 17 October to Sunday, 20 October 2019 Hans Burgkmair, Portrait of the Holy Roman Emperor Maximilian I (1459–1519) (1518). Rijksmuseum, Amsterdam Sixteenth Century Society & Conference 17-20 October 2019 2018-19 OFFICERS President: Walter S. Melion Vice-President: Andrew Spicer Past President: Kathleen M. Comerford Executive Director: Bruce Janacek Treasurer: Eric Nelson COUNCIL Class of 2019: Brian Sandberg, Daniel T. Lochman, Suzanne Magnanini, Thomas L. Herron Class of 2020: David C. Mayes, Charles H. Parker, Carin Franzén, Scott C. Lucas Class of 2021: Sara Beam, Jason Powell, Ayesha Ramachandran, Michael Sherberg PROGRAM COMMITTEE Chair: Andrew Spicer Art History: James Clifton Digital Humanities: Suzanne Sutherland English Literature: Scott C. Lucas French Literature: Scott M. Francis German Studies: Jennifer Welsh History: Janis M. Gibbs Interdisciplinary: Andrew Spicer Italian Studies: Jennifer Haraguchi Science and Medicine: Chad D. Gunnoe Pedagogy: Chris Barrett Spanish and Latin American Studies: Nieves Romero-Diaz Theology: Rady Roldán-Figueroa SCSC—St. Louis—2019 2 NOMINATING COMMITTEE Amy E. Leonard Beth Quitslund Jeffrey R. Watt Thomas Robisheaux Liz Lehfeldt SIXTEENTH CENTURY SOCIETY & CONFERENCE FIFTIETH ANNIVERSARY COMMITTEE Sheila ffolliott (Chair) Kathryn Brammall Kathleen M. Comerford Gary Gibbs Whitney A.M. Leeson Ray Waddington Merry Wiesner-Hanks Walter S. Melion (ex officio) GRADUATE STUDENT STIPEND SELECTION COMMITTEE Jennifer M. DeSilva Kathleen M. Comerford William R. Bowen SCSC—St. Louis—2019 3 2018–2019 SCSC PRIZE COMMITTEES Founders' Prize Karen Spierling, Stephanie Dickey, Wim François Gerald Strauss Book Prize David Luebke, Jesse Spohnholz, Jennifer Welsh Bainton Art & Music History Book Prize Bret Rothstein, Lia Markey, Jessica Weiss Bainton History/Theology Book Prize Barbara Pitkin, Tryntje Helfferich, Haruko Ward Bainton Literature Book Prize Deanne Williams, Thomas L. -
Sensory History and Multisensory Museum Exhibits Naomi Reden State University of New York College at Buffalo - Buffalo State College, [email protected]
E.H. Butler Library at Buffalo State College Digital Commons at Buffalo State History Theses History and Social Studies Education 12-2015 Sensory History and Multisensory Museum Exhibits Naomi Reden State University of New York College at Buffalo - Buffalo State College, [email protected] Advisor Cynthia Conides, Ph.D., Associate Professor of History and Program Coordinator of Museum Studies First Reader Cynthia Conides, Ph.D., Associate Professor of History and Program Coordinator of Museum Studies Second Reader Sonia Penaranda Gonzalez, M.A., Lecturer of History Department Chair Andrew D. Nicholls, Ph.D. Professor of History To learn more about the History and Social Studies Education Department and its educational programs, research, and resources, go to http://history.buffalostate.edu/. Recommended Citation Reden, Naomi, "Sensory History and Multisensory Museum Exhibits" (2015). History Theses. Paper 34. Follow this and additional works at: http://digitalcommons.buffalostate.edu/history_theses Part of the Other History Commons Sensory History and Multisensory Museum Exhibits By Naomi Reden An Abstract of a Thesis in History with Concentration in Museum Studies Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2015 SUNY Buffalo State Department of History and Social Studies Education i ABSTRACT OF THESIS Sensory History and Multisensory Museum Exhibits Drawing from the work of sensory historians, this paper will explore the importance of the senses in understanding one’s surroundings and define what qualifies as sensory experience in a museum setting. Through a combination of research and observations during museum visits, it explores examples of how each sense has been incorporated into museums and exhibits.