By François Laplantine
“Both a necessary theoretical paintings and a good representation of the foundations and perform of sensory ethnography, this a lot expected translation is destined to determine as an important catalyst within the increasing box of sensory studies.
Drawing on his personal fieldwork in Brazil and Japan and a variety of philosophical, literary and cinematic assets, the writer outlines his imaginative and prescient for a ‘modal anthropology’. François Laplantine demanding situations the primacy accorded to ‘sign’ and ‘structure’ in traditional social technology examine, and redirects realization to the tonalities and rhythmic intensities of other methods of dwelling. Arguing that which means, sensation and sociality can't be thought of individually, he demands a ‘politics of the sensible’ and an entire reorientation of our ordinary methods of figuring out reality.”
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Additional info for The Life of the Senses: Introduction to a Modal Anthropology
The multiple involves intensities and modalities, which pose the question of time. There exist involuntary folds. Some are of a geologic nature, formed through accidents, undulations and folds of the land. Others are physical and leave on the body what we call wrinkles. Both result from exertion that takes place over time. As for voluntary folds, they are produced through a movement, it too temporal, which consists of producing a bend, however light, upon paper (that we crumple), cloth (that we crease, pleat, wrinkle) or even upon the face (in the activity that consists of furrowing the eyebrows).
They also allow us to realize that it is not dualism that is evil but its opposite, monism, which leads to totalitarianism. What I favor, following many others, is to open passages, to attempt to bring face-to-face languages that are unaware of one another, fields of knowledge that do not mingle, trying at the same time to account for the interstitial spaces and the differences between the attendant protagonists, which can be regarded as parts of ourselves that had never really met. This is not without difficulties; if the task has often been described but never, strictly speaking, accomplished, it is because our dominant epistemological traditions resolutely obstruct it.
What could be heard through those “cries” was “horror”. 271). The Sound and the Fury ends with a return to an order without speech and even without voice. The author will not have the last word, since discourses gives way to images: images of the village landscape of the South, which is the novel’s true protagonist. But none of the tragedy’s characters, any more than the narrator, and with them the reader, succeeds in connecting sensations and meanings. Nothing comes to fill the gap that separates the sensible and the sayable, since it is this gap that is constitutive of the tragic character of social life and in particular the life of language.