Filming and Feeling between the Arts: Pascale Breton, Suite armoricaine and Eugène Green, Le Fils de Joseph

This chapter discusses the intersections between cinema, literature, painting and music in two recent French films: Pascale Breton’s Suite Armoricaine and Eugène Green’s Le Fils de Joseph [The Son of Joseph, both 2016]. With special reference to Proust, Georges de La Tour and Caravaggio, the author argues for the significance of the other arts in these works as a means of interrogating questions of belonging, personal growth and transmission. Drawing on Jacques Aumont’s notion of artistic ‘migration’ as well as on Alain Badiou’s concept of cinema’s ‘breached frontier’, where ideas can pass through the invocation of other art forms, the chapter explores cinematic intermediality as a privileged vehicle for making ideas and emotions apprehensible in a non-verbal, sensory mode.

Effects of sensory mode in prey discrimination and predatory behaviour of rock lizards

An essential part of foraging ecology is to understand the processes of detection, recognition and discrimination of prey, as well as the sensorial modalities involved. Often, predators do not rely on a single sensory system but on multiple interacting senses. Specifically, lizards mainly use vision and vomerolfaction for prey pursuit. Here, we used an experimental approach to study how the Carpetan rock lizard, Iberolacerta cyreni, responds to different types of stimuli (chemical, visual, or both combined) from two prey species. The number of individuals approaching the prey and the number of attacks differed between treatments, however, we did not find differences in latency time, number of individuals attacking the prey or number of tongue flicks. Our results suggested that visual cues combined with chemical stimuli enhanced detection of both prey species and that prey discrimination occurred posteriorly and independently of using any or both types of stimuli.

《論語》中以「身」體德的詮釋與觀察

<p>儒家對於道德之意會，常常溢出於言語所能表述的範圍；道德言說，也不一定能夠準確拋擲可辨識的行動意義。在這樣的侷限中，儒學作為一門實踐哲學、生命哲學，若由文獻中抽絲剝繭，則勢必可掘發出儒家道德意義具體展示的重要媒介或管道。</p> <p>本文旨在掘發《論語》中的「身體」並非僅是與「心靈」相對的「肉體」，而是活生生的、感覺靈敏的、動態的人類身體，它存在於物質空間、社會空間中，還存在於它自身感知、行動和反思的努力空間中。此「身」通過「隱蔽與感知」、「轉化」、「隱喻代言」與「展演」等四種方式，強化道德實踐之必然性；且「身」可作為「禮」的展演場域，兼容禮「意」與禮「儀」的鋪陳展示，建構「以『身』體德」的儒家道德感知模式。</p> <p>&nbsp;</p><p>As the third part of &quot;A Study on the Medium of Morality in the Analects of Confucius Series&quot;, this study aims to show that although the body functions are not directly emphasized and the body is not viewed as the base of self-awakening in the Analects of Confucius, the transformation of the body’s senses, actions or experiences is employed to highlight the necessity of practicing morality. Moreover, the &quot;body&quot; is regarded as the display field of &quot;propriety&quot;, involving the development and exhibition of the &quot;meaning&quot; and &quot;practices&quot; of propriety, while constructing the sensory mode of morality on &quot;experiencing morality through the body&quot;.</p> <p>&nbsp;</p>

MULTIMODAL FEATURES OF DESCRIPTIVE TEXTS: CASE STUDY OF COFFEE BRANDS

The article considers descriptive texts of coffee brands as a multimodal ensemble composed of verbal, visual, and sensory modes. A visual modus is the shape of the beans and the color of the coffee roast. The sensory mode represents the perception of taste, aroma, and texture of the coffee. Verbal modus is the direct verbalization of the abovementioned visual and sensory characteristics of the coffee. Coffee descriptors are verbalization of coffee flavors, aromas, textures, and other characteristics of coffee as a product. Coffee descriptors are divided into seven groups.

Sensate regimes of war: Smell, tracing and violence

This article explores the fabrication of ‘sensate regimes of war’, concentrating on the typically under-analysed sense of smell. Smell is a sensory mode capable of apprehending potential threat and enmity in ways that are orthogonal to other ways of sensing. Accordingly, the organization and interpretation of olfactory sensation occupies a distinctive place in war. The article details a particular genealogy of martial olfaction, exploring the olfactory capacities of soldiers and their augmentation through various non-human and technological means in specific milieus of combat. It notes how the distinctive affordances of smell have underpinned numerous wartime practices, from tracing improvised explosive devices to militarized manhunting. These developments supplement and trouble ocularcentric accounts of martial sensation and power that concentrate on the increasingly abstracted co-production of vision and violence in wartime. They highlight rather the significance of an alternative ontology of the signature or trace of enmity, and emphasize how in particular warscapes to smell is to kill. The article concludes by arguing that critical inquiry into war would benefit from a broader theorization of all its sensate regimes right across a sensorium that is itself being continuously transformed through war.

The subjective voice and hybrid documentary filmmaking strategies

In this case study Jill Daniels references several of her recent experimental documentary films that mediate memory, place and subjectivities: Not Reconciled (2009); The Border Crossing (2011); My Private Life (2013); My Private Life II (2015) and Journey to the South (2017). She proposes the notion that film communicates in a sensory mode that may defy written theorisation or interpretation, with a rigor and precision that is quite separate to that of written language, but that nevertheless films, like written language, may add to knowledge. She argues that film theory is essential to enable the filmmaker to raise their work above the narrow framework of craft. She interrogates the notion that experimentation in documentary films may avoid perceived constraints of certainty, evidence and veracity. She notes that as a practice researcher within the academy she has freedom to experiment, which has brought considerable benefits to her practice.

Perceiving the sea and crossing senses in La Chambre and La Vie tranquille

La Chambre (1988) is a short dance film by Compagnie l’Esquisse, which cites Marguerite Duras’s novel La Vie tranquille (1944). In La Chambre, the sea is not seen, but is present across different senses and in the dancers’ movements, as well as in the quotation from Duras’s novel with which the film opens, which contains the sentence: ‘J’ai pensé à la mer que je ne connaissais pas.’ I argue that in both the novel and the film, the sea is sensed across different modalities that influence one another. Whereas in the novel ‘sensory crossings’ are produced by interactions between the lexical fields of words, in the film they occur when stimuli are presented in ways that invite viewers to make cross-sensory connections. Cross-modality of the senses can make us aware of the reciprocal action of one sensory mode on another and intensify affective charge.

Waterbirds catch and release a poisonous fish at a mudflat in southeastern Australia

Several waterbird species prey on fishes, and usually use only one sensory mode to detect this prey: herons hunt visually guided, whereas ibises mostly search tactilely guided. I report herein events in which a heron and an ibis caught and released a poisonous fish at a mudflat in southeastern Australia. A Great Egret (Ardea alba) that targeted small gerreid fishes caught and immediately released the very toxic pufferfish Tetractenos hamiltoni, with bill washing and discomfort movements afterwards. Two Australian White Ibises (Threskiornis molucca) that probed for bottom-dwelling fishes and crabs caught and handled these pufferfishes for about 60 s, before releasing them. Next, the birds dipped the bill in the water and resumed hunting. Pufferfishes are rarely preyed on by birds, but an Australian bird that feeds on this fish type is the Silver Gull (Chroicocephalus novaehollandiae), which eats the pufferfish Torquigener pleurogramma when it is nontoxic or less harmful.

Imagination – phenomenological approaches

When phenomenologists investigate the imagination, they approach it by examining how objects are experienced when they are imagined (rather than, for example, perceived) and what the experience of imagining is like (as opposed to, for example, the experience of perceiving). Their inquiries into the imagination are thus part of the greater phenomenological project of clarifying the different modes in which we can experience, or be conscious of, the world (or some objects in the world) and the correlating modes in which the world (or some objects in it) can appear to us. Mostly, phenomenologists consider what is often called ‘sensory’ imagination, that is, the experience in some sensory mode (such as the visual or the aural) of something not actually present. In order to emphasize its sensory and embodied dimension, they typically distinguish imagining something from entertaining its possibility merely in thought, which in other discourses is often referred to as ‘propositional imagination’, or ‘imagining that’. Of central importance, especially in post-Husserlian phenomenology, is the creativity of imagination. Moreover, the imagination is also seen to have an important cognitive and justificatory role insofar as it enables us to generate and consider hypothetical and alternative situations to those that we actually find ourselves in. Imagining is understood as an act (though not always voluntary or self-aware) of experiencing something as possible (rather than actual or necessary), which makes it central to questions of human freedom and to the phenomenological method itself. Although we often imagine things that are absent or nonexistent, most phenomenologists still consider imagining intentional. They call our attention to the many different ways in which we commonly relate imaginatively to absent, nonexisting or merely possible objects, events, situations or states of affairs. It might seem that phenomenological approaches, since they allegedly consider (only) how things appear, cannot distinguish between what is real and what is (merely) imagined. However, this is not the case. Phenomenologists may, for example, investigate how our beliefs in the reality or unreality, or in the presence or absence, of things are themselves founded in different modes of experience (such as perception or imagination) and motivated by different ways in which things appear to us (that is, as perceived, as imagined, and so on).