2019
DOI: 10.1111/tran.12327
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Sensing

Abstract: This intervention addresses contemporary interest in the development of multi‐sensory methods and pushes against a lingering humanism in such work that continues to bind the event of “sensing” to discrete and already‐constituted subjects. It spotlights film as a generative site for a different thinking of sense outside the myopic perspective of human subjectivity. Through pedagogical encounters with the films of the Sensory Ethnography Lab, the piece explores how film might work differently in geographical res… Show more

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Cited by 6 publications
(3 citation statements)
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References 24 publications
(23 reference statements)
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“…The act of listening, including techniques of field recordings, invite a kind of sensory exploration of the world, because soundscapes are diffused across subjects and objects, human and nonhuman (Doughty et al., 2019; Gallagher et al., 2016). Immersive film techniques, including montage (Boyd, 2017a) and third person video (Garrett, 2011), also encourage this kind of sensory exploration (Lapworth, 2019). Images, including photographs, are more challenging, because so much of photographic practice in human geography privileges the human subject, either as the ‘content’ of the photograph itself or as the ‘knowing perceiver’ of the image (Keating, 2019).…”
Section: Becoming ‘Post‐’mentioning
confidence: 99%
“…The act of listening, including techniques of field recordings, invite a kind of sensory exploration of the world, because soundscapes are diffused across subjects and objects, human and nonhuman (Doughty et al., 2019; Gallagher et al., 2016). Immersive film techniques, including montage (Boyd, 2017a) and third person video (Garrett, 2011), also encourage this kind of sensory exploration (Lapworth, 2019). Images, including photographs, are more challenging, because so much of photographic practice in human geography privileges the human subject, either as the ‘content’ of the photograph itself or as the ‘knowing perceiver’ of the image (Keating, 2019).…”
Section: Becoming ‘Post‐’mentioning
confidence: 99%
“…18 The individual at home, locked down to avoid COVID-19, looks at a display of shaded hues derived from the signals of phones or the addresses in a digital database and understands these colours, dots or lists to denote infected bodies, capable of transmitting a virus through the touch of contaminated surfaces or the exhalation of air. Such moments involve a more-than-human sensing ( Lapworth 2019 ), in which the visual, haptic and digital combine in a spatialized representation encoding both risk and safety.…”
Section: Locking Down the Citymentioning
confidence: 99%
“…For example, “Imaging” (Keating, ) explores how approaching the nonhuman powers of image‐making practices – like photography – provide opportunities for disrupting an embodied subject's evaluative and perceptive frames. “Sensing” (Lapworth, ), meanwhile, highlights how filmic encounters might disrupt the conventional anthropocentric framings of sense‐making by rendering perceptible the nonhuman forces and relations that comprise research ecologies.…”
Section: Key Tenetsmentioning
confidence: 99%