Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Byzantine culture was notably attuned to a cosmos of multiple dominions: material, bodily, intellectual, physical, spiritual, human, divine. Despite a prevailing discourse to the contrary, the Byzantine world found its bridges between domains most often in sensory modes of awareness. These different domains were concretely perceptible and were encountered daily amidst the mundane no less than the exalted. Icons, incense, music, sacred architecture, ritual activity; saints, imperial families, persons at prayer; hymnography, ascetical or mystical literature: in all of its cultural expressions, the Byzantines excelled in highlighting the intersections between human and divine realms through sensory engagement (whether positive or negative). Byzantinists have been slow to look at the operations of the senses in Byzantium, especially those of seeing, its relation to the other senses, and phenomenological approaches in general. More recently, work on smell and hearing has followed that on seeing, and yet the areas of taste and touch--the most universal and most necessary of the senses--are still largely uncharted. Nor has much been done to explore how Byzantines viewed the senses, or how they envisaged the sensory interactions with their world. A map of the connections between sense-perceptions and other processes (of perception, memory, visualization) in the Byzantine brain has still to be sketched out. How did the Byzantines describe, narrate, or represent the senses at work? It is hoped to further studies of how individual senses in Byzantium operated in the context of all the senses, and their place in Byzantine thought about perception and cognition. Recent work on dreaming, on memory, and on the emotions has made advances possible, and collaborative experiments between Byzantinists and neurological scientists open further approaches. The happy coincidence of this symposium with the upcoming Garden and Landscape Studies Symposium, 'Sound and Scent in the Garden, ' and a forthcoming exhibition at the Walters Art Museum on the five senses enables cross-cultural comparisons that include gardens in Islamic Spain, Hebrew hymnography, Syriac wine-poetry, Mediterranean ordure, and Romanesque and Gothic precious objects that were not just looked at but also touched, smelled, and heard. Architects, musicologists, art historians, archaeologists, philologists can all contribute approaches to the revelation of the Byzantine sensorium"--Publisher's website.

Byzance --- Senses and sensation --- Senses and sensation --- Senses and sensation --- Perception --- Cognition --- Byzantine Empire --- Byzantine Empire --- Byzantine Empire

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Senses and sensation in art --- Music --- Program concerts

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Synesthesia. --- Synesthesia in art. --- Synesthesia and the arts. --- Senses and sensation.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Multimodal user interfaces (Computer systems) --- Food --- Senses and sensation --- Data processing

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Un ensemble de contributions sur le thème du corps et de sa relation au monde à travers les expériences corporelles qui favorisent une communication infra-corporelle. Ces recherches touchent, entre autres, les domaines du sport ou de l'art. ©Electre 2017 En prêtant une attention au vivant extérieur (le cosmos et la nature) et intérieur (notre bios et les sensations internes), les sciences du vivant vécu que sont l?esthésiologie et l?émersiologie, viennent renouveler leur méthode, depuis 1990, en intégrant l?écologie corporelle comme un mode d?accueil et de connaissance de la présence du monde et du présent. Comment passer au travers du vivant et pas seulement à travers ? En se laissant traverser par lui comme nous invitent à le faire : les traces de Petrucia da Nóbrega, l?empathie de Francisco Mujica, la sensation de François Félix, la portance d?Emmanuel de Saint Aubert, la pêche de Walter Chile R. Lima, Maria Manuel Baptista, Wladilene Sousa Lima, la musique de Gilmar Leite Ferreira, l?œuvre d?art d?Iraquitan de Oliveira Caminha, l?éducation somatique de Rosana Lobo Rosario, la danse de Karenine de Oliveira Porpino ou la fascination et le rejet de Foucault envers Merleau-Ponty par Avelino Neto, qui sont ici autant de voies de passage. L?intercorporéité avec les autres et avec le monde est ainsi une communication infra-corporelle qui est éveillée à l?occasion des activations corporelles.

Corps (philosophie) --- Sens et sensations --- Human body (Philosophy) --- Senses and sensation --- Dance --- Corps humain (Philosophie) --- Danse --- Philosophy --- Philosophie --- Dance - Philosophy