Physiology Of Taste Quotes

The discovery of a new dish does more for the happiness of the human race than the discovery of a star.

To invite people to dine with us is to make ourselves responsible for their well-being for as long as they are under our roofs.

A man who was fond of wine was offered some grapes at dessert after dinner. "Much obliged," said he, pushing the plate aside; "I am not accustomed to take my wine in pills.

But it so happens that everything on this planet is, ultimately, irrational; there is not, and cannot be, any reason for the causal connexion of things, if only because our use of the word "reason" already implies the idea of causal connexion. But, even if we avoid this fundamental difficulty, Hume said that causal connexion was not merely unprovable, but unthinkable; and, in shallower waters still, one cannot assign a true reason why water should flow down hill, or sugar taste sweet in the mouth. Attempts to explain these simple matters always progress into a learned lucidity, and on further analysis retire to a remote stronghold where every thing is irrational and unthinkable. If you cut off a man's head, he dies. Why? Because it kills him. That is really the whole answer. Learned excursions into anatomy and physiology only beg the question; it does not explain why the heart is necessary to life to say that it is a vital organ. Yet that is exactly what is done, the trick that is played on every inquiring mind. Why cannot I see in the dark? Because light is necessary to sight. No confusion of that issue by talk of rods and cones, and optical centres, and foci, and lenses, and vibrations is very different to Edwin Arthwait's treatment of the long-suffering English language. Knowledge is really confined to experience. The laws of Nature are, as Kant said, the laws of our minds, and, as Huxley said, the generalization of observed facts. It is, therefore, no argument against ceremonial magic to say that it is "absurd" to try to raise a thunderstorm by beating a drum; it is not even fair to say that you have tried the experiment, found it would not work, and so perceived it to be "impossible." You might as well claim that, as you had taken paint and canvas, and not produced a Rembrandt, it was evident that the pictures attributed to his painting were really produced in quite a different way. You do not see why the skull of a parricide should help you to raise a dead man, as you do not see why the mercury in a thermometer should rise and fall, though you elaborately pretend that you do; and you could not raise a dead man by the aid of the skull of a parricide, just as you could not play the violin like Kreisler; though in the latter case you might modestly add that you thought you could learn. This is not the special pleading of a professed magician; it boils down to the advice not to judge subjects of which you are perfectly ignorant, and is to be found, stated in clearer and lovelier language, in the Essays of Thomas Henry Huxley.

Ever since that day in Chicago, whenever I see such scenes, I think of a quote by Billat-Savarin, the eighteenth-century 'modern' gastronome, well known for his writings and meditations on the physiology of taste and for his famous dictum 'We are what we eat.' But he also wrote even more revealingly: 'The destiny of a nation depends on how it feeds itself.

Animals fill themselves; man eats. The man of mind alone knows how to eat.

the way in which meals are enjoyed is very important to the happiness of life.6

The world is nothing without life, and all that lives takes nourishment.

Food is all those substances which, submitted to the action of the stomach, can be assimilated or changed into life by digestion, and can thus repair the losses which the human body suffers through the act of living. —The Physiology of Taste, Brillat-Savarin

Most people think of the mind as located in the head, but the latest findings in physiology suggest that the mind doesn't really dwell in the brain but travels the whole body on caravans of hormones and enzymes, busily making sense of the compound wonders we catalogue as touch, taste, smell, hearing, and vision.

God has subjected man to six great necessities: birth, action, eating, sleep, reproduction and death.

1: There are at least six of them:     Sight, which embraces space itself, and tells us by means of light of the existence of the objects which surround us, and of their colors. Hearing, which absorbs through the air the vibrations caused by agreeably resonant or merely noisy bodies. Smell, by means of which we savor all odorous things. Taste, by which we appreciate whatever is palatable or only edible. Touch, by which we are made aware of the surfaces and the textures of objects. Finally physical desire, which draws the two sexes together so that they may procreate.

Agreeable guests should be sought for among those who have this appearance. They receive all that is offered them, eat slowly, and taste advisedly. They do not seek to leave places too quickly where they have been kindly received. They are always in for all the evening, for they know all games, and all that is neccessary for a gastronomical soiree.   Those, on the contrary, to whom nature has refused a desire for the gratifications of taste, have a long nose and face. Whatever be their statures, the face seems out of order. Their hair is dark and flat, and they have no embonpoint. They invented pantaloons.

When the combined taste, smell, and textural stimuli reach the brain, they remain to be interpreted. Whether the overall sensation will be pleasant, repulsive, or somewhere in between will depend on individual physiological differences, on previous experience (“just like my mother used to make”), and on cultural habituation (haggis, anyone?).

that the table established a kind of alliance between the parties, and made guests more apt to receive certain impressions and submit to certain influences. This was the origin of political gastronomy. Entertainments have become governmental measures, and the fate of nations is decided on in a banquet. This is neither a paradox nor a novelty but a simple observation

5. Differentiation is easiest to make when the stimulus is smallest. In Awareness Through Movement, Feldenkrais wrote, “If I raise an iron bar I shall not feel the difference if a fly either lights on it or leaves it. If, on the other hand I am holding a feather, I shall feel a distinct difference if the fly were to settle on it. The same applies to all the senses: hearing, sight, smell, taste, heat, and cold.” If a sensory stimulus is very great (say, very loud music), we can notice a change in the level of that stimulus only if the change is quite significant. If the stimulus is small to begin with, then we can detect very small changes. (This phenomenon is called the Weber-Fechner law in physiology.)

Who would now be in a position to describe that which will one day do away with moral feelings and judgments! -however sure one may be that the foundations of the latter are all defective and their superstructure is beyond repair: their obligatory force must diminish from day to day, so long as the obligatory force of reason does not diminish! To construct anew the laws of life and action – for this task our sciences of physiology, medicine, sociology and solitude are not yet sufficiently sure of themselves: and it is from them that the foundation-stones of new ideals (if not the new ideals themselves) must come. So it is that, according to our taste and talent, we live an existence which is either a prelude or a postlude, and the best we can do in this interregnum is to be as far as possible our own reges and found little experimental states. We are experiments: let us also want to be them!

Who would now be in a position to describe that which will one day do away with moral feelings and judgments! ―however sure one may be that the foundations of the latter are all defective and their superstructure is beyond repair: their obligatory force must diminish from day to day, so long as the obligatory force of reason does not diminish! To construct anew the laws of life and action – for this task our sciences of physiology, medicine, sociology and solitude are not yet sufficiently sure of themselves: and it is from them that the foundation-stones of new ideals (if not the new ideals themselves) must come. So it is that, according to our taste and talent, we live an existence which is either a prelude or a postlude, and the best we can do in this interregnum is to be as far as possible our own reges and found little experimental states. We are experiments: let us also want to be them!

One would expect political conservatives to dislike existentialism; more surprisingly, Marxists hated it too. Sartre is now often remembered as an apologist for Communist regimes, yet for a long time he was vilified by the party. After all, if people insisted on thinking of themselves as free individuals, how could there ever be a properly organised revolution? Marxists thought humanity was destined to move through determined stages towards socialist paradise; this left little room for the idea that each of us is personally responsible for what we do. From different ideological starting points, opponents of existentialism almost all agreed that it was, as an article in Les nouvelles littéraires phrased it, a ‘sickening mixture of philosophic pretentiousness, equivocal dreams, physiological technicalities, morbid tastes and hesitant eroticism … an introspective embryo that one would take distinct pleasure in crushing’.

Today temperament continues to be a major focus of researchers in the fields of psychology, anthropology, physiology, and neurobiology. While they agree about the reality of temperament and the important role it plays in how children experience their world, they tend to use a variety of names to describe the temperament traits. I choose to use the terms coined by Dr. Stella Chess and the late Dr. Alexander Thomas because of their positive, parent-friendly approach. They include not only our typical energy level but also our speed in adjusting to new situations; the intensity of our emotions; our sensitivity to sights, sounds, smells, feelings, and tastes; and more. A child who is temperamentally active not only likes to move but needs to move. Telling this child to sit still for extended periods of time, and that he could do it if he really wanted to, is like telling you to ignore a full bladder. The pressure builds—a need that is inside and real.

PHYSIOLOGY 1. Sex 2. Age 3. Height and weight 4. Color of hair, eyes, skin 5. Posture 6. Appearance: good-looking, over- or underweight, clean, neat, pleasant, untidy. Shape of head, face, limbs. 7. Defects: deformities, abnormalities, birthmarks. Diseases. 8. Heredity SOCIOLOGY 1. Class: lower, middle, upper. 2. Occupation: type of work, hours of work, income, condition of work, union or nonunion, attitude toward organization, suitability for work. 3. Education: amount, kind of schools, marks, favorite subjects, poorest subjects, aptitudes. 4. Home life: parents living, earning power, orphan, parents separated or divorced, parents’ habits, parents’ mental development, parents’ vices, neglect. Character’s marital status. 5. Religion 6. Race, nationality 7. Place in community: leader among friends, clubs, sports. 8. Political affiliations 9. Amusements, hobbies: books, newspapers, magazines he reads. PSYCHOLOGY 1. Sex life, moral standards 2. Personal premise, ambition 3. Frustrations, chief disappointments 4. Temperament: choleric, easygoing, pessimistic, optimistic. 5. Attitude toward life: resigned, militant, defeatist. 6. Complexes: obsessions, inhibitions, superstitions, phobias. 7. Extrovert, introvert, ambivert 8. Abilities: languages, talents. 9. Qualities: imagination, judgment, taste, poise. 10. I.Q.

In the words of the master: infinity but without melody. In the second place, with regard to the overthrowing,--this belongs at least in part, to physiology. Let us, in the first place, examine the instruments. A few of them would convince even our intestines (--they _throw open_ doors, as Handel would say), others becharm our very marrow. The _colour of the melody is_ all-important here, _the melody itself_ is of no importance. Let us be precise about _this_ point. To what other purpose should we spend our strength? Let us be characteristic in tone even to the point of foolishness! If by means of tones we allow plenty of scope for guessing, this will be put to the credit of our intellects. Let us irritate nerves, let us strike them dead: let us handle thunder and lightning,--that is what overthrows.{~HORIZONTAL ELLIPSIS~} But what overthrows best, is _passion_.--We must try and be clear concerning this question of passion. Nothing is cheaper than passion! All the virtues of counterpoint may be dispensed with, there is no need to have learnt anything,--but passion is always within our reach! Beauty is difficult: let us beware of beauty!{~HORIZONTAL ELLIPSIS~} And also of _melody!_ However much in earnest we may otherwise be about the ideal, let us slander, my friends, let us slander,--let us slander melody! Nothing is more dangerous than a beautiful melody! Nothing is more certain to ruin taste! My friends, if people again set about loving beautiful melodies, we are lost!{~HORIZONTAL ELLIPSIS~} _First principle_: melody is immoral. _Proof_: "Palestrina". _Application_: "Parsifal." The absence of melody is in itself sanctifying.{~HORIZONTAL ELLIPSIS~} And this is the definition of passion. Passion--or the acrobatic feats of ugliness on the tight-rope of enharmonic--My friends, let us dare to be ugly! Wagner dared it! Let us heave the mud of the most repulsive harmonies undauntedly before us. We must not even spare our hands! Only thus, shall we become _natural_.{~HORIZONTAL ELLIPSIS~}

Auto-Zoomar. Talbert knelt in the a tergo posture, his palms touching the wing-like shoulder blades of the young woman. A conceptual flight. At ten-second intervals the Polaroid projected a photograph on to the screen beside the bed. He watched the auto-zoom close in on the union of their thighs and hips. Details of the face and body of the film actress appeared on the screen, mimetized elements of the planetarium they had visited that morning. Soon the parallax would close, establishing the equivalent geometry of the sexual act with the junctions of this wall and ceiling. ‘Not in the Literal Sense.’Conscious of Catherine Austin’s nervous hips as she stood beside him, Dr Nathan studied the photograph of the young woman. ‘Karen Novotny,’ he read off the caption. ‘Dr Austin, may I assure you that the prognosis is hardly favourable for Miss Novotny. As far as Talbert is concerned the young woman is a mere modulus in his union with the film actress.’ With kindly eyes he looked up at Catherine Austin. ‘Surely it’s self-evident - Talbert’s intention is to have intercourse with Miss Taylor, though needless to say not in the literal sense of that term.’ Action Sequence. Hiding among the traffic in the near-side lane, Koester followed the white Pontiac along the highway. When they turned into the studio entrance he left his car among the pines and climbed through the perimeter fence. In the shooting stage Talbert was staring through a series of colour transparencies. Karen Novotny waited passively beside him, her hands held like limp birds. As they grappled he could feel the exploding musculature of Talbert’s shoulders. A flurry of heavy blows beat him to the floor. Vomiting through his bloodied lips, he saw Talbert run after the young woman as she darted towards the car. The Sex Kit.‘In a sense,’ Dr Nathan explained to Koester, ‘one may regard this as a kit, which Talbert has devised, entitled “Karen Novotny” - it might even be feasible to market it commercially. It contains the following items: (1) Pad of pubic hair, (2) a latex face mask, (3) six detachable mouths, (4) a set of smiles, (5) a pair of breasts, left nipple marked by a small ulcer, (6) a set of non-chafe orifices, (7) photo cut-outs of a number of narrative situations - the girl doing this and that, (8) a list of dialogue samples, of inane chatter, (9) a set of noise levels, (10) descriptive techniques for a variety of sex acts, (11) a torn anal detrusor muscle, (12) a glossary of idioms and catch phrases, (13) an analysis of odour traces (from various vents), mostly purines, etc., (14) a chart of body temperatures (axillary, buccal, rectal), (15) slides of vaginal smears, chiefly Ortho-Gynol jelly, (16) a set of blood pressures, systolic 120, diastolic 70 rising to 200/150 at onset of orgasm . . . ’ Deferring to Koester, Dr Nathan put down the typescript. ‘There are one or two other bits and pieces, but together the inventory is an adequate picture of a woman, who could easily be reconstituted from it. In fact, such a list may well be more stimulating than the real thing. Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.

La soif factice, qui est spéciale à l'espèce humaine, provient de cet instinct inné qui nous porte à chercher dans les boissons une force que la nature n'y a pas mise, et qui n'y survient que par la fermentation. Elle constitue une jouissance artificielle plutôt qu'un besoin naturel : cette soif est véritablement inextinguible, parce que les boissons qu'on prend pour l'apaiser ont l'effet immanquable de la faire renaître ; cette soif, qui finit par devenir habituelle, constitue les ivrognes de tous les pays ; et il arrive presque toujours que l'importation ne cesse que quand la liqueur manque, ou qu'elle a vaincu le buveur et l'a mis hors de combat.

But if we accept that the aim of any activity is merely our own pleasure, and define it merely by that pleasure, then this definition will obviously be false. That is what has happened with the definition of art. For, in analysing the question of food, it would not occur to anyone to see the significance of food in the pleasure we derive from eating it. Everyone understands that the satisfaction of our taste can in no way serve as a basis for defining the merits of food, and that we therefore have no right to suppose that dinners with cayenne pepper, Limburger cheese, alcohol and so on, to which we are accustomed and which we like, represent the best human food. In just the same way, beauty, or that which pleases us, can in no way serve as the basis for defining art, and a series of objects that give us pleasure can in no way be an example of what art should be. To see the aim and purpose of art in the pleasure we derive from it is the same as to ascribe the aim and significance of food to the pleasure we derive from eating it, as is done by people who stand at the lowest level of moral development (savages, for instance). Just as people who think that the aim and purpose of food is pleasure cannot perceive the true meaning of eating, so people who think that the aim of art is pleasure cannot know its meaning and purpose, because they ascribe to an activity which has meaning in connection with other phenomena of life the false and exclusive aim of pleasure. People understand that the meaning of eating is the nourishment of the body only when they cease to consider pleasure the aim of this activity. So it is with art. People will understand the meaning of art only when they cease to regard beauty – that is, pleasure – as the aim of this activity. To recognize beauty, or the certain kind of pleasure to be derived from art, as the aim of art, not only does not contribute to defining what art is, but, on the contrary, by transferring the question to a realm quite alien to art – to metaphysical, psychological, physiological, and even historical discussions of why such-and-such a work is pleasing to some, and such-and-such is not pleasing, or is pleasing to others – makes that definition impossible. And just as discussing why one person likes pears and another meat in no way helps to define what the essence of nourishment is, so, too, the resolution of questions of taste in art (to which all discussions of art involuntarily come down) not only does not contribute to understanding what makes up that particular human activity which we call art, but makes that understanding completely impossible.

In Athens at the time of Cicero — who expresses his surprise at the fact — the men and youths were by far superior in beauty to the women: but what hard work and exertions the male sex had for centuries imposed upon itself in the service of beauty! We must not be mistaken in regard to the method employed here: the mere discipline of feelings and thoughts is little better than nil (—it is in this that the great error of German culture, which is quite illusory, lies): the body must be persuaded first. The strict maintenance of a distinguished and tasteful demeanour, the obligation of frequenting only those who do not “let themselves go,” is amply sufficient to render one distinguished and tasteful: in two or three generations everything has already taken deep root. The fate of a people and of humanity is decided according to whether they begin culture at the right place — not at the “soul” (as the fatal superstition of the priests and half-priests would have it): the right place is the body, demeanour, diet, physiology — the rest follows as the night the day .... That is why the Greeks remain the first event in culture — they knew and they did what was needful.

All languages had their birth, their apogee and decline.

Mark, at dinner, said he’d been re-reading “Anna Karenina”. Found it good, as novels go. But complained of the profound untruthfulness of even the best imaginative literature. And he began to catalogue its omissions. Almost total neglect of those small physiological events that decide whether day-to-day living shall have a pleasant or unpleasant tone. Excretion, for example, with its power to make or mar the day. Digestion. And, for the heroines of novel and drama, menstruation. Then the small illnesses—catarrh, rheumatism, headache, eyestrain. The chronic physical disabilities—ramifying out (as in the case of deformity or impotence) into luxuriant insanities. And conversely the sudden accessions, from unknown visceral and muscular sources, of more than ordinary health. No mention, next, of the part played by mere sensations in producing happiness. Hot bath, for example, taste of bacon, feel of fur, smell of freesias. In life, an empty cigarette-case may cause more distress than the absence of a lover; never in books. Almost equally complete omission of the small distractions that fill the greater part of human lives. Reading the papers; looking into shops; exchanging gossip; with all the varieties of day-dreaming, from lying in bed, imagining what one would do if one had the right lover, income, face, social position, to sitting at the picture palace passively accepting ready-made day-dreams from Hollywood Lying by omission turns inevitably into positive lying. The implications of literature are that human beings are controlled, if not by reason, at least by comprehensible, well-organized, avowable sentiments. Whereas the facts are quite different. Sometimes the sentiments come in, sometimes they don’t. All for love, or the world well lost; but love may be the title of nobility given to an inordinate liking for a particular person’s smell or texture, a lunatic desire for the repetition of a sensation produced by some particular dexterity. Or consider those cases (seldom published, but how numerous, as anyone in a position to know can tell!), those cases of the eminent statesmen, churchmen, lawyers, captains of industry—seemingly so sane, demonstrably so intelligent, publicly so high-principled; but, in private, under irresistible compulsion towards brandy, towards young men, towards little girls in trains, towards exhibitionism, towards gambling or hoarding, towards bullying, towards being whipped, towards all the innumerable, crazy perversions of the lust for money and power and position on the one hand, for sexual pleasure on the other. Mere tics and tropisms, lunatic and unavowable cravings—these play as much part in human life as the organized and recognized sentiments. And imaginative literature suppresses the fact. Propagates an enormous lie about the nature of men and women.

Although there is disagreement on the exact number of taste qualities, everyone acknowledges that the number is small. The usual list includes sweet, sour, bitter, salty, and umami (Physiology and Behavior, 1991). So,

....could it be that the Greeks became more and more optimistic, superficial, and histrionic precisely in the period of dissolution and weakness — more and more ardent for logic and logicizing the world and thus more ‘cheerful’ and ‘scientific’? Could it be possible that, in spite of all ‘modern ideas’ and the prejudices of a democratic taste, the triumph of optimism, the gradual prevalence of rationality, practical and theoretical utilitarianism, no less than democracy itself which developed at the same time, might all have been symptoms of a decline of strength, of impending old age, and of physiological weariness?

Tell me what you eat, and I will tell you who you are,” wrote Jean Anthelme Brillat-Savarin, a French lawyer, physician, and author of an influential nineteenth-century book on the physiology of taste.

Then came the British Museum Massacre. Two thousand culture fans gassed with dichlorethyl sulphide. In the end, the Controllers realized that force was no good. The slower but infinitely surer methods of ectogenesis, Neo-Pavlovian conditioning and hypnopaedia. The discoveries of Pfitzner and Kawaguchi were at last made use of. An intensive propaganda against vivaparous reproduction accompanied by a campaign against the Past; by the closing of museums, the blowing up of historical monuments (luckily most of them had already been destroyed during the Nine Years' War); by the suppression of all books published before A.F. 150. There were some things called pyramids, for example and a man called Shakespeare. There was a thing called Christianity, the ethics and philosophy of under-consumption which was essential when there was under-production. But in an age of machines and the fixation of nitrogen they are positively a crime against society. All crosses had their tops cut and became T's. There was also a thing called God. We have the World State now. And Ford's Day celebrations, and Community Sings, and Solidarity Services. There was a thing called Heaven; but all the same they used to drink enormous quantities of alcohol. Like meat, like so much meat. There was a thing called the soul and a thing called immortality but they used to take morphia and cocaine. Two thousand pharmacologists and bio-chemists were subsidized in A.F. 178. Six years later it was being produced commercially. The perfect drug. Euphoric, narcotic, pleasantly hallucinant. All the advantages of Christianity and alcohol; none of their defects. Take a holiday from reality whenever you like, and come back without so much as a headache or a mythology. It only remained to conquer old age. Gonadal hormones, transfusion of young blood, magnesium salts. All the physiological stigmata of old age have been abolished. And along with them, of course all the old man's mental peculiarities. Work, play – at sixty our powers ans tastes are what they were at seventeen. Old men in the bad old days used to renounce, retire, take to religion, spend their time reading, thinking – thinking!

Mark, at dinner, said he’d been re-reading “Anna Karenina”. Found it good, as novels go. But complained of the profound untruthfulness of even the best imaginative literature. And he began to catalogue its omissions. Almost total neglect of those small physiological events that decide whether day-to-day living shall have a pleasant or unpleasant tone. Excretion, for example, with its power to make or mar the day. Digestion. And, for the heroines of novel and drama, menstruation. Then the small illnesses—catarrh, rheumatism, headache, eyestrain. The chronic physical disabilities—ramifying out (as in the case of deformity or impotence) into luxuriant insanities. And conversely the sudden accessions, from unknown visceral and muscular sources, of more than ordinary health. No mention, next, of the part played by mere sensations in producing happiness. Hot bath, for example, taste of bacon, feel of fur, smell of freesias. In life, an empty cigarette-case may cause more distress than the absence of a lover; never in books. Almost equally complete omission of the small distractions that fill the greater part of human lives. Reading the papers; looking into shops; exchanging gossip; with all the varieties of day-dreaming, from lying in bed, imagining what one would do if one had the right lover, income, face, social position, to sitting at the picture palace passively accepting ready-made day-dreams from Hollywood.

Many contemporary Yoga practitioners, especially those in Western countries, look upon āsana as a tool for achieving physical fitness and flexibility. The yogic postures have certainly demonstrated their physiological benefits in millions of cases. They improve musculoskeletal flexibility, strength, resilience, endurance, cardiovascular and respiratory efficiency, endocrine and gastrointestinal functioning, immunity, sleep, eye-hand coordination, balance. Experiments also have shown various psychological benefits, including improvement of somatic awareness, attention, memory, learning, and mood. The regular practice of postures also decreases anxiety, depression, and aggression.1 All these effects are clearly beneficial and highly desirable. Yet, the traditional purpose of āsana is something far more radical, namely to assist the Hatha-Yoga practitioner in the creation of an “adamantine body” (vajra-deha) or “divine body” (divya-deha). This is a transubstantiated body that is immortal and completely under the control of the adept’s will (which is merged with the Divine Will). It is an energy body that, depending on the adept’s wish, is either visible or invisible to the human eye. In this body, the liberated master can carry out benevolent activities with the least possible obstruction. ĀSANA AS A TOOL OF NONDUAL EXPERIENCE2 The transubstantiated body of the truly accomplished Hatha-Yoga master is, realistically speaking, out of reach for most of us—not because we are not in principle capable of realizing it but because only very few have the determination and stamina to even pursue this yogic ideal. Does this mean we have to settle for the more pedestrian benefits of posture practice? I believe there is another side to āsana, which, while not representing the ultimate possibility of our human potential, is yet a significant and necessary accomplishment on the yogic path. That is to cultivate and experience āsana as an instrument for tasting nonduality (advaita). Almost all Yoga authorities subscribe to a nondualistic metaphysics according to which Reality is singular and the world of multiplicity is either altogether false (mithyā) or merely a lower expression of that ultimate Singularity. Typically, Yoga practitioners assume that the experience of nonduality is bound to the state of ecstasy (samādhi) and that this state is hard to come by and is likely to escape them at least in this lifetime. But this belief is ill founded. In fact, it is counterproductive and should be regarded as an obstacle (vighna) on the path to enlightenment. While we might not have an experience of ecstasy, we can have an experience of nonduality. The ecstatic state is simply a special version of the nondual experience. As Karl Baier, a German professor of psychology and practitioner of Iyengar Yoga, has shown, posture practice can be an efficient means of nondual experience in which we overcome the most obvious and painful duality of body and mind.

There is no pure sensation of anything, not in feeling pain, not in tasting wine, and not in looking at art. All of our perceptions are contextually coded, and that contextual coding does not remain outside us in the environment but becomes a psycho-physiological reality within us

Stuck on "on": how to manage a Sympathetic response 1. Say to yourself, "I am having trauma response. This is a physiological process. I'm not crazy." 2. Make a list of people, places, and things that you love. Notice how your body feels as you think about hugging your best friend, sitting on a beach, or curling up with your favorite book. 3. Use your senses. Weighted blankets. Essential oils. Soft music. Warm tea. These can all help your nervous system come back down. 4. Count backward from the number 31. 5. Notice 5 things you can see, 4 things you can hear, 3 things you can touch, and 1 thing you can taste. 6. Push as hard as you can against a door or a wall. Notice your muscles firing. Step back, take a break. Repeat three times. 7. Do simple math problems in your head. Simple thinking tasks will help your brain reorientate itself. 8. Name the sensations inside your body. Say to yourself out loud, "I feel tension in my neck. I feel tightness in my stomach. I feel he at in my face." Then look for one place in your body where you feel neutral or calm. Most people can access neutral by noticing random areas like their left knee cap or right ring finger. Focus your attention first on the neutral area, then on the tense area, then on the neutral area. Do this for four minutes. 9. Don't ask why you feel panic. Do ask who or what will help you feel safe. 10. If you have a dog or a cat, gently put your hand on their heart and count their heartbeat for three minutes. Stuck on "off": how to manage a high tone dorsal vagal state. 1. Remind yourself that you are not lazy or unmotivated. Tell yourself, "I am having a trauma response. This is a thing. I am not crazy." 2. Get cold. Splash ice-cold water on your face. Hold ice cubes in your hand. Put an ice pack on your neck. Or jump into the coldest possible shower you can stand. 3. Hum or sing. There's a reason people have changed "Ommm" since the 6th century. 4. Social connection is powerful medicine. Connect with a human over the phone: good. Over video chat: better: In person: best. 5. Don't ask why you're feeling frozen. Do ask who or what might help you feel safer. 6. Don't use hyperbolic exaggerated language like "I feel buried" or "I'm drowning." This language reinforces the stress response. Instead, get really specific." I need to call my son's teacher, pick up my prescription and finish a proposal for work." Write down the specific tasks. This will help your brain click back into solution mode. 7. Suck on a lemon. This sounds weird, but it can help suck your brain out of shutdown mode. 8. Open and close your mouth. Then move your head. Then stretch your arms and legs. 9. Grab both ends of a blanket and wring it out as you would if it was soaking wet. Notice your muscles firing as you do this. Take a break. Repeat three times. 10. If you have a safe and willing friend or partner, make eye contact with them for 2-3 minutes. It's super awkward, but you will get a bonus dose of energy if you both end up laughing.

  These senses, our favorites, are far from being perfect, and I will not pause to prove it. I will only observe, that that ethereal sense--sight, and touch, which is at the other extremity of the scale, have from time acquired a very remarkable additional power.   By means of spectacles the eye, so to say, escapes from the decay of age, which troubles almost all the other organs.   The telescope has discovered stars hitherto unknown and inaccessible to all our means of mensuration; it has penetrated distances so great, that luminous and necessarily immense bodies present themselves to us only like nebulous and almost imperceptible spots.

At the end of the day when you go home and hug your loved ones and taste that meal prepared with love, it will have a flavor the protected will never know. The sheep spend a lifetime eating grass, but you taste the flavor the protected will never know. That may be the warrior’s greatest reward.

Thanks to the trial and error of evolution, almost every detail about our physiology is there for a reason. Mother Nature did not provide us with highly tuned taste buds simply so we could enjoy a fine glass of wine from the Staglin Family Vineyard or savor every bite of a pork bun from Momofuku Ssäm Bar. Our taste buds tell our digestive systems which enzymes to release to best deal with the food that is on its way down, just like our sense of smell helps us detect if food is spoiled or not. Similarly our eyebrows were designed to help channel sweat away from our eyes when we were running toward prey—or running away to avoid becoming prey. Everything about our bodies was designed with one goal—to help us survive. This includes the feelings of happiness.

Finally, the qualitative component of the disgust affect program is a particular feeling of aversion, the all-too-familiar experience of revulsion and repulsion. From a subjective point of view, feelings of disgust can vary in intensity and texture from instance to instance, and more intense episodes are phenomenologically similar to nausea. In fact, this is no accident, as the disgust response includes many physiological concomitants of nausea (Ekman 1992). The connection between the digestive system and the affect program of disgust suggested by the previously mentioned increase in salivation that accompanies disgust, together with these similarities with nausea, has been further elucidated with brain imaging techniques. Evidence gathered using fMRI technology links disgust to the anterior insular cortex, which is thought to be involved in gustatory responses on independent grounds (Phillips et al. 1997). Indeed, the anterior insula is often called the “gustatory cortex” and is active in processing offensive tastes in both humans and other primates (Kinomura et al. 1994; Rolls and Baylis1994). This connection to the gustatory cortex also marks disgust as having a neural substrate distinct from other affect programs like fear and anger, which are more closely associated with amygdala.