Към една сензорна критика

сензорни корпуси и сензорни пейзажи (на тишина)

Abstract

The text presents a reflexive approach to sensory studies as it thinks and develops the concepts of sensory corpus (via Schulze, 2018 and Nancy, 2003) and sensescape (Portreous, 1990; Howes, 2022; 2023; Pink, 2015, Zlatkova 2020; 2022) as extended sensoriums (Laplantine 2015), which can sense different modalities of corporealites, matters, structures, and objects. Sensory criticism can analyze these modalities, but also highlight the multifaceted dispositives of silence embodied in the sensory corpuses: normative/repressive, aesthetic, sociocultural and physical. Thus one might highlight embodied practices and sensations and generate data from sensory corpuses as “similar” or “foreign” (even as humanoid aliens per (Schulze 2018). Sensory data and the highlighted modalities in and through the analysis can be stable, generative, particular, or bordering (Pink and Schultz), but this does not mean that they cannot be accessed and/or mapped through sensory critiques that are grounded in bodily epistemology (Schulze 2018) and embodiment in a given situational terrain, multisensory interview or already constructed and codified in other media (see Zlatkova 2022) that contain sensory data and/or specific sensory modalities. Sensory criticism deals with the analysis of objects and structures as well as with the analytics of phenomenology, with thick description (Schulze 2018: 52), autoethnography and modal anthropology (which Laplantine develops, i.e. heuristically speaking: not (only) the knowledge of something, but also the sensation of it). This makes sensory criticism a flexible transdisciplinary tool for in theoria, in situ and in vivo analyses.The article also examines and analyzes sensory and autoethnographic data, as well as other data generated by sensory corpuses and their sensescapes.

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Onlayn iztochnitsi:

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