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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