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Chapter 5 explores the stakes of touching, tasting, smelling, and hearing books. Writers connected bookish words with sensory language to conceptualize the process of mediation.
This article builds a framework for understanding both the observable and unobservable features of art fairs and how those structures are created through material and sensorial elements. It draws on the concept of atmospheres and broader discussions of affect to analyze the transgressive thrill present at art fairs, presenting an art fair as a space of commerce masked in the appearance of a museum-like space. This article explores how emotions and lures are structurally produced within the fair and how people are encouraged to collect. Within this space, a desire is cultivated via an opportunity to transgress the familiar norms of the museum environment, which fosters the development of a relationship between a person and an object. In this deeply affective space, rational responses to objects with unclear origins may be suspended. Through focusing on why people collect and how desire is generated we can better understand markets, including criminal markets, for highly desirable objects.
At the end of the twentieth century the discovery of 'slow', affective touch nerves in humans known as C Tactile (CT) afferents, which are entirely separate from the faster pathways for touching objects, had huge social implications. The Swedish neuroscientists responsible formulated an “affective touch hypothesis” or “social touch hypothesis” to consider their purpose. Part I offers a history of the science of social touch, from related discoveries in mammals by physiologists in the 1930s, to the recent rediscoveries of the CT nerves in humans. Part II considers how these findings are being intentionally folded into technologies for interaction. First, as mediated social touch, communicating at a distance through haptics. Second, with the increasing number of social and service robots in health care and domestic settings, the role of affective touch within human-robot interaction design.
Chapter 4 focuses on the sensuous quintet integral to Guru Nanak’s metaphysical thought and praxis. Materially made up of transcendent fibers, hearing, smelling, tasting, touching, and seeing have the cognitive capacity to take audiences off to limitless territories, or inversely, get them tangled up in messy affairs. They belong to everybody irrespective of race, gender, sexuality, class, politics, or religion, and though they are different modalities, they are a part of the same unitary living body and work together intersensorially and synaesthetically. For Guru Nanak there is no stereotypical hierarchy between “lower” and “higher” senses; the five are equally saturated with ontological, ethical, psychological, and soteriological import and flourish in concert. However, in order to understand their critical role and function, the somatic agents are analyzed separately. Hopefully the positive, progressive Nanakian outlook can cure some of the chronic somatophobic abnormalities prevailing across cultures.
This study investigated whether speakers use multimodal information (speech and gesture) to differentiate the physical and emotional meanings of the polysemous verb touch. We analyzed 302 hand gestures that co-occurred with this perception verb. For each case, we annotated (1) the meaning of touch (physical vs. emotional), (2) the gesture referent speakers physically touched (other-touch vs. self-touch), (3) the personal pronoun following the verb and (4) if they used intensifiers and negation. There were three main findings. First, we have seen that when speakers express the physical meaning, they are likely to reach an external referent (other-touch), but when they imply the emotional meaning, they tend to touch their own body (self-touch). Second, the most frequent co-speech gesture (chest-touching gesture) was associated with the emotional meaning, uncovering the metaphor the heart is container for emotions. Third, this study showed that the physical meaning of touch usually coexists with a wide variety of personal pronouns and negation words; in contrast, the emotional meaning of touch occurs primarily with the pronoun me and it is usually modified by intensifiers. Thus, speakers use both speech and gesture to differentiate the meanings of the polysemous verb touch.
The Coda returns to the example with which the book begins: the story about the gentleman caller and the naked lady in the bathroom told by the character Fabienne in Truffaut’s film Stolen Kisses (1968). The aim of the Coda is to revisit key aspects of the theory and history of tact developed in the course of the book, and to draw its findings to a close.
Chapter 1 reconstructs the conceptual history of tact as a social, ethical, and aesthetic category. Starting out with Voltaire’s 1769 definition that marks tact’s fundamental paradigm shift from a sense of feeling to a form of sociability, I reconstruct the word’s ensuing career as a key concept in 19th- and 20th-century pedagogical, philosophical, and literary discourse. I discuss tact’s history within the context of the demise of the ancien régime and the rise of the bourgeois subject, reflecting on a variety of different historical and philosophical explanations (Elias, Adorno, Foucault). I reconstruct how and why, around 1800, tact turns into a key philosophical term, depicting an intuitive form of empirical judgement (Kant). I show how, in the second half of the 19th century, tact, understood as an individual deviation from normative structures, came to occupy a key position in the method dispute between the humanities and the natural sciences (Helmholtz). I conclude by reflecting on how psychological tact went on to become a key category in modern and contemporary hermeneutics, uniting the otherwise antagonistic work of scholars incl. Adorno, Gadamer, Barthes, Felski, and Macé.
Chapter 4 reads Truffaut’s Stolen Kisses (1968) in the light of the historical crisis from which it arose. Mapping the film against selected material from earlier versions of the script, director’s notes, letters, and interviews, I interpret Stolen Kisses against the grain of its conventional reception as a romantic comedy. I show how, while sympathetic to the revolutionary cause, the film occupied a bystander position in relation to the political parties involved in the conflict. Against ideologies of fusional collectivity, Truffaut experiments with new forms of individuality, freedom, and communication. In striking resemblance to Plessner’s theory of tact, he shows how tactful behaviour can facilitate ways to come close to one another without meeting, and drift apart again without damaging one another through indifference. Counter to the widespread expectation that when relations are close, they are warm, and when they are warm, they are beneficial to all individuals involved, intimacies do not necessarily bring us closer together. On the contrary, inasmuch as they may infringe upon the singularity and dignity of the individual, they can have a deeply alienating effect.
This chapter describes positive interpersonal processes: interactions between people that actively enhance their close relationships. It begins by describing the field’s shift toward studying positive processes and highlighting the utility of considering positive phenomena as unique from negative phenomena. Then, it reviews three interpersonal behaviors that have been shown to enhance relationships and describes the evidence supporting their benefits. First, spending time together (particularly spending time on novel and exciting activities) enhances relationships by enabling partners to meet their self-expansion needs in ongoing relationships. A second positive process is co-experiencing positive emotions, such as joy, amusement, and excitement, which augment and sustain positive experiences and facilitate interpersonal synchrony. Finally, this chapter reviews the benefits of communicating affection and the individual differences in how and how often people express affection.
The corporeal dimensions of prayer before icons are often attributed to superstition, antiquated beliefs, or a “graced” function of metaphysical participation. In contrast to this, I develop a phenomenological analysis of corporeal substitution as a real possibility of ordinary experience, for an absent person we love strongly can come to presence in a thing before us and provoke a corporeal response. Guided by the story of the acheiropoieton, the “icon made without hands,” I show how the structure of this ordinary human practice is altered when elevated to prayerful substitution, and through its repetition over time, this allows the icon to serve as a means of communion for the believer across both visual and corporeal dimensions.
Motivated by Melissa Ziad's balletic protest within Algeria's Hirak demonstrations, this article recuperates a distinction between the right to assembly and the right to free speech, constitutional guarantees blurred under contemporary rhetoric of association. By applying methods of dance studies to legal interpretation, it shifts crowd theory away from an anxiety of touch toward a copresence that allows for constituent power of the people to be reclaimed. Therefore, it intervenes within a broader discourse of the legal humanities that privileges the logocentric over embodied ways of knowing.
The third chapter turns to the body in erotic poetry. Here the temporal frame widens to embrace the experience of the present within longer human spans, a rhythm over lifetimes garnered through instances of erotic embodiment. Poetry can bind the inexplicable presence of touch to time, and can also summon the past as presence through the reenactment of the poem itself in performance, a dynamic we see at work in Sappho and then again in the modern erotic poetry of Anne Sexton and Sharon Olds – begging the question of why certain poetics recur across time. This is poetry that challenges the ephemerality of embodied experience by showing its power to reenact the force of touch.
This book presents a new understanding of what ‘making’ means and argues for the centrality of crafting as a way of making sense of the world and the place of law, media, and politics within it. When Elaine Scarry recounted the great range of candidates that have been put forward for the category ‘artefacts’, she noted as possibilities that ‘nation states are fictions (in the sense of created things), the law is a created thing, a scientific fact (many argue) is a constructed thing’. Peter Goodrich writes similarly that ‘a significant part of the substantive law is comprised of fabulae, stories, plays, fabrications, images and fictions’. This book takes such possibilities seriously and considers how the notion of manufactured truth can inform our understanding of the tradition of making judgments in law and the trend of making judgments in society at large.
Chapter 8 describes how to build a better connection with children and young people using a range of verbal and non-verbal communication strategies. Different communication tools and strategies are explained in detail.
The rodent somatic sensory system is characterized by a prominent representation of the mystacial vibrissae, which form an orderly array of low-threshold mechanoreceptors. Centrally, the arrangement of the vibrissal pad is maintained in arrays of cellular aggregates referred to as barrelettes (brainstem), barreloids (thalamus), and barrels (primary sensory cortex). Trigeminal brainstem nuclei that receive vibrissal primary afferents give rise to two main streams of information, the lemniscal and paralemniscal pathways. The lemniscal pathway arises from the trigeminal nucleus principalis, transits through the ventral posterior medial nucleus of the thalamus, and projects to the primary somatosensory cortex. The paralemniscal pathway arises from the rostral part of trigeminal spinal nucleus interpolaris, transits through the posterior group of the thalamus, and projects to the somatosensory cortical areas and the vibrissa motor cortex. In this chapter, we review the anatomical organization of these pathways and propose that whereas the lemniscal pathway encodes both touch and whisking kinematics, the paralemniscal pathway signals the valence of orofacial inputs. Lastly, we call attention to the importance of understanding sensory processing in the brainstem trigeminal nuclei to understand their role in regulating behavior. These nuclei are richly interconnected and contain inhibitory circuits that operate both pre- and postsynaptically.
The role of embodiment in social interactions has attracted increasing attention in the last decade, both in the area of conversation analysis and that of cognitive science. Embodiment refers to all aspects of nonverbal, bodily behaviour, such as body posture and orientation, hand movements and gaze. This chapter will explain the concept of embodiment in both cognitive science and conversation-analytically informed research on social interaction, will present a state-of-the art review of research on embodiment in childhood interaction and will make clear the implications of this research for embodied practices in interactions with children, especially for childhood educators.
Chapter 4 considers the significance of embodied encounters between musicians, listeners and musical instruments. It takes as its focus the experience of touch in musical encounters, charting the sensory intensities and eroticism inherent in fin-de-siècle literary depictions of touching musical instruments and scores and in feeling the transmission of the material touch of music in performance. The chapter examines encounters between bodies and musical instruments in Richard Marsh’s ‘The Violin’, Forster’s ‘Dr Woolacott’ and the anonymous pornographic novel Teleny. Tactile proximity between musician and instrument sees the musical instrument transformed in these texts into a technology for the transmission of touch. The experience of piano playing in Forster’s A Room with a View with Woolf’s The Voyage Out similarly suggests that tactile interaction between the body and the musical instrument allows for marginalized subjects to more fully inhabit a sense of their desiring bodies. Finally, in Vernon Lee’s writing about the archival remains of eighteenth-century music, her sensuous affective connection with the historical past is articulated through a wish for restored tactile contact.
Human infancy and early childhood is both a time of heightened brain plasticity and responsivity to the environment as well as a developmental period of dependency on caregivers for survival, nurturance, and stimulation. Across primate species and human evolutionary history, close contact between infants and caregivers is species-expected. As children develop, caregiver–child proximity patterns change as children become more autonomous. In addition to developmental changes, there is variation in caregiver–child proximity across cultures and families, with potential implications for child functioning. We propose that caregiver–child proximity is an important dimension for understanding early environments, given that interactions between children and their caregivers are a primary source of experience-dependent learning. We review approaches for operationalizing this construct (e.g., touch, physical distance) and highlight studies that illustrate how caregiver–child proximity can be measured. Drawing on the concepts proposed in dimensional models of adversity, we consider how caregiver–child proximity may contribute to our understanding of children’s early experiences. Finally, we discuss future directions in caregiver–child proximity research with the goal of understanding the link between early experiences and child adaptive and maladaptive functioning.
Chapter Six, ‘On the Wards’, shifts to hospitals. Hospitals were sites of colonial entanglement in the ‘in-between’ zones bestriding active combat and civilian life. Despite the apparent limitations of the space, where men were rendered immobile by the injury or illness, hospitals facilitated encounters, particularly between patients and nurses. For nurses in these spaces, new responsibilities were expected, as chaperones of racial, national and sexual boundaries. Using not only the men’s letters and diaries but those of the women who nursed them – from Britain and the dominions – the politics of caring for colonial troops, white and of colour, are examined. Complex responses to nursing by both the men and the women surpassed existing maternal motifs of caregiving. The threat of racial mixing placed new limits on ‘care’ but there were complicated individual reactions to the new and intimate contact between white women and men of colour: neglect, anxiety, apathy, curiosity and even desire.
All the more telling for being an arbitrary and often intimate historical record, poetry provides the primary source for this chapter’s account of nineteenth-century medicine. Poems by John Gibson, Thomas Fessenden, George Crabbe, William Wordsworth, and Humphrey Davy disclose that the practice of medicine, whether by quacks or the learned, was so ineffectual at the start of the century as to allow the Romantics to plausibly argue for the curative effects of poetry and the imagination, both of which became integral to a new science of life. The professional medicine that sprang from this science, however, asserted its autonomy from poetry, most effectively by pathologising such poets as John Keats and Oscar Wilde, who in turn offered their own verse ripostes. Its positivism and ‘hands-on’ diagnostics yielded new conceptions of the body and touch that Alfred Tennyson, G. M. Hopkins, and Walt Whitman each reflect upon in their poetry. Finally, the growing acceptance of the germ theory of disease enabled pathologies of art as illness that are variously elaborated upon and joked about by Edward Lear, Henry Savile Clerk, Wilde, and Ronald Ross, who also reaches for poetry to record his sublimely momentous discovery of the malaria pathogen in 1896.