ArchitectureoftheSensesdocWord文件下载.docx
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ArchitectureoftheSensesdocWord文件下载.docx
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sensorymodel"
asaculturalandhistoricalformation:
Whenweexaminethemeaningsassociatedwithvarioussensoryfacultiesandsensationsindifferentcultureswefindacornucopiaofpotentsensorysymbolism.Sightmaybelinkedtoreasonortowitchcraft,tastemaybeusedasametaphorforaestheticdiscriminationorforsexualexperience,anodourmaysignifYsanctityorsin,politicalpowerorsocialexclusion.Together,thesesensorymeaningsandvaluesformthesensorymodelespousedbyasociety,accordingtowhichthemembersofthatsociety'
makesense'
oftheworld,ortranslatesensoryperceptionsandconceptsintoaparticular'
worldview.'
Therewilllikelybechallengestothismodelfromwithinthesociety,personsandgroupswhodifferoncertainsensoryvalues,yetthismodelwillprovidethebasicperceptualparadigmtobefollowedorresisted.2
Theemergenceofsensorystudies,asthisdynamicnewareaofinquirycouldbecalled,hascomeattheendofalongseriesofturnsinthehumansciences.Forinstance,inadditiontotheopeningsdescribedinthetext"
SensoryStirrings,"
(p.332)therewasthelinguisticturnofthe1960sand70sinspiredbySaussurianlinguistics(andWittgenstein'
snotionoflanguagegames)thatgaveustheideaofcultureas"
structuredlikealanguage"
or"
text"
andofknowledgeasa
functionof"
discourse."
Thiswasfollowedbythepictorialturnofthe1980s,whichemphasizedtheroleofvisualirnageryinhumancommunication-particularlyinour"
civilizationoftheimage"
-andgaver:
set.otheever-expandingfieldofvisualculturestudies.The1990switnessedtwonewdevelopments:
thecorporealturn,whichintroducedthenotionof"
ernbodiment"
asaparadigmforculturalanalysis,andthematerialturn,whichdirectedattentiontothephysicalinfrastructureofthesocialworld,givingbirthtomaterialculturestudies.
Whilethesedifferentturnsrepresentimportantshiftsinmodelsofinterpretation,theemergentfocusontheculturallifeofthesensesismoreinthenatureofarevolution.Thatis,thesensorial
322
~~
revolutioninthehumansciencesencompassesandbuildsontheinsightsofeachoftheseapproaches,butalsoseekstocorrectfortheirexcesses-offsettingtheverbocentrismofthelinguisticturn,thevisualismofthepictorialturn,thematerialismofthematerialturn,forthelattershiftoccludesthemultisensorialityofobjectsandarchitectureseveR.asitstressestheirphysicality-byemphasizingthedynamic,relational(intersensory,multimedia)natureofoureverydayengagementwiththeworld.Inthisessay,Iwouldliketotracesomeexpressionsofthesensorialrevolutioninthefieldsofhumangeography,socialhistory,urbananthropology,andfi~allyarchitecture,
inordertoshowwhatafocusonthesensescancontributeto.our
\
understandingofthephysicalandbuiltenvironment.Inplaceof"
reading"
visualizing"
thecity(oranalyzingitasthe"
materialization"
ofagivensetofsocialvalues),thisessaydelvesintothesignificanceof"
sensing"
thecitythroughmultiplesensorymodalities.
GeographyoftheSenses
InLandscapesoftheMind,geographerJ.DouglasPorteousnotesthat:
"
Notwithstandingtheholisticnatureofenvironmentalexperience,fewresearchershaveattemptedtointerpretitinaholistic[ormultisensory]manner."
3Heiscriticaloftheplanningliteraturethatpayslipservicetothenotionofthemultisensorialityoftheurbanlandscape,butthenquicklydescendsintoadiscussionofmerelyvisualaesthetics,andheisparticularlycriticalofthetrendtowardssatel
lite-generateddataproducedbyremote-sensing.Porteoushimselfadvocatesareturntoa"
ground-truthing"
modeofexplorationforgeoscientistsandtravellersalike,whichhecalls"
intimate-sensing."
Remotesensingisclean,cold,detached,easy.Intimatesensing,especiallyintheThirdWorld,iscomplex,difficult,andoftenfilthy.Theworldisfoundtobeuntidyratherthanneat.Butintimatesensingisrich,warm,involved...andtherewardsinvolvedimensionsotherthantheintellectual.4
Porteousdiscloses,inintimatedetail,howoursenseofspaceandthecharacterofplaceareconditionedbythediversedeliverancesandinterplayofthesenses.Differentsensesproducedifferenttakesonthesamespace,andwhileauditoryandolfactoryperceptionarediscontinuousandfragmentaryincharacter,tactileperceptionisaggregative,andvisualperceptionisdetachedandsummative.Breakinguptheideaoflandscapeintoamultiplicityofsound-,smell-(andothersensoryaswellasimaginary)scapes,PorteouspresentsananalysisoftheacousticambienceofthecityofVancouver,andaredolent(ifstereotypical)descriptionofthe"
peculiarsmell"
ofIndia:
half-corrupt,half-aromatic,amixtureofdung,sweat,heat,dust,rottingvegetation,[oil]andspices."
5
323
LandscapesoftheMindisindeedrichin"
non-intellectualrewards,"
thoughPorteous'
saccountremainsopentocriticismforthewayinwhichitessentializesthesensesbyfailingtoinquireintohowthesensoriumisconstructedintheactualculturesofthegeographicareasonwhichhetrainsourattention.Forexample,whiletheWesternobserverwhowalksdownaswampyBangkokslumlanewillfindhisorhernostrilsassailedbythestenchofrottingrefuse,localresidentsfindmeaninginsucheffluvia,becausetheyunderstandthesmellsincyclical,ratherthanpurelyspatial,terms.Thatis,thoseinhabitantswhohavemigratedtothecityfromruralareasrelatetothegarbageandtoitssmellsintermsderivingfromtheolfactorycycleintheruralenvironment,where"
theodioussmellofrefuse,throughecologicalrecycling,...[becomes]thepleasantsmellofthelife-givingfertilizer."
6
TheSensesinHistory
Sensoryhistoryseekstoenliventhedrybonesofhistoryandputusintouchwiththepastthroughtheanalysisofthesensoryprac
ticesandideologiesthatproducedthedistinctivesensibilitiesofdifferenthistoricalperiods.Forexample,oneleadingstudyreconstructstheacousticworldofElizabethanEngland,anotherexploresthevarietiesofhapticexperienceinRenaissanceculture,whileathird,entitledTheFoulandtheFragrant,givesusawhiffofpre-andpost-revolutionaryFrance.7
Oneofthemostprominentthemesofthisliteratureistheseparationofsightfromtheothersensesinthesensorymodelofmodernity.Inpremodernity,thesenseswereconsideredasaset,andeachsensewascorrelatedtoadifferentelement:
sighttofireandlight,hearingtoair,smelltovapour,tastetowater,andtouchtoearth.8Allofthesenses,likealloftheelements,wereintegraltotheepistemologyandontologyoftheuniverse.ThiselementalunderstandingofthearchitectureofthesensescameundoneduringtheEnlightenment,whentheassociationofvisionwithreasonbecameentrenched,andtheprogressiverationalizationofsocietybecameidentifiedwiththeincreasingvisualizationofsocietyandspace.
InSeeingLikeaState,socialtheoristJamesScottexposeshowmodernstatecraftdependsonrenderingcomplexlivingrealities"
legible"
throughtheuseofcadastralmapsandminiaturemodelsoftownsandcities.9Thesemapsandmodelshavetheeffectofsimplifyingand'
remakingthatwhichtheyrepresentintheinterestsoflarge-scalesocialengineering.Formal,geometricsimplicityandfunctionalseparationandefficiency(i.e.,zonedspaces)wouldbecomethenewstandardforurbandesign,marginalizingallofthespontaneouswaysinwhichactualhumansubjectscreateorderandmakesenseofthecity.Itisoneofthegrandironiesofmodernitythatthegrandplansrarelyachievedtheirintendedeffects,andoften
324
contributedtodisorderinsteadofcurbingit.Thisisbecausethe"
tunnelvision"
ofthemodernstateisnosubstituteforthe"
eyesonthestreet"
ofneighbourhoodresidents,asJaneJacobsexposedinherwell-knowntreatise,TheDeathandLifeofGreatAmericanCities.10Multipleorcross-usesofspaces,ratherthansingle-purposezones,representafarmoreeffectivemeansofpromotinginformalsocialorderbecauseofthe"
foottraffic"
theygenerateandconcomitantopportunitiesformonitoringtheconductofone'
sfellowcitizens,nottomentionenjoyingtheircompany.Jacobsachievedherinsightsbysensingthecityasapedestrianwould,ratherthanseeingitfromanairplaneasGodandtheplannersarewonttodo.
AccordingtoScott,the:
.paradigmcaseofmodernizingvisionimposingitslogicontheorganizationofurbanspaceisBrasilia,theadministrativecityparexcellence.Withitsgreatvoidsbetweensuperquadra,andstrictlygeometricandegalitarianfacades,Brasiliarealizedthe"
formalorderandfunctionalsegregation[envisionedbyitsplanners]...atthecostofasensorilyimpoverishedandmonotonousenvironment."
11First-generationresidentsofthismodelcitycoinedthetermbrasilite,meaningroughlyBrasil(ia)-itis.,toconnotetheirtraumatic.reactionto-andrejectio
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