Sensory Exploration Quotes

All of us lived life when sex was the farthest thing from our minds. Try to remember the careless freedom of play, basking in the beingness of others. As adults, responsibilities and obligations can often bind us to a daily grind. For some adults, then, sex might be one of the few interactions that restores their openness and sensory exploration of play. It’s not hard to see why sexual preoccupation might take over when people become locked out from experiencing fulfilling lives.

The thing can never be separated from someone who perceives it; nor can it ever actually be in itself because its articulations are the very ones of our existence, and because it is posited at the end of a gaze or at the conclusion of a sensory exploration that invests it with humanity. To taking up or the achievement by us of an alien intention or inversely the accomplishment beyond our perceptual powers and as a coupling of our body wit the things.

One of my relatives invented the sensory deprivation tank. Appropriately, most of my family has never seen or heard of him.

We’re all multi-sensory beings; if you want to seduce your partner on deeper levels, it’s time to start exploring different sensory triggers.

The tinkering of evolution can concoct perceptual interfaces with endless forms most beautiful and most wonderful; the vast majority of these, however, are to us most inconceivable. Evolution is not finished tinkering with the perceptual interfaces of Homo sapiens. The mutations that bless one in twenty-five with some form of synesthesia are surely part of the process, and some of these mutations might catch on; much of the tinkering centers on our perceptions of color. Evolution defies our silly stricture that our perceptions must be veridical. It freely explores endless forms of sensory interfaces, hitting now and then on novel ways to shepherd our endless foraging for fitness.

Montessori called the child under six years old "a sensorial explorer" and based her educational approach for the child's early years upon the child's learning through the senses.

Explorations of the world are simultaneously explorations of the human body and being, charting the range of sensory experiences possible in the world and the values that can be attached to such experiences

Working simultaneously, though seemingly without a conscience, was Dr. Ewen Cameron, whose base was a laboratory in Canada's McGill University, in Montreal. Since his death in 1967, the history of his work for both himself and the CIA has become known. He was interested in 'terminal' experiments and regularly received relatively small stipends (never more than $20,000) from the American CIA order to conduct his work. He explored electroshock in ways that offered such high risk of permanent brain damage that other researchers would not try them. He immersed subjects in sensory deprivation tanks for weeks at a time, though often claiming that they were immersed for only a matter of hours. He seemed to fancy himself a pure scientist, a man who would do anything to learn the outcome. The fact that some people died as a result of his research, while others went insane and still others, including the wife of a member of Canada's Parliament, had psychological problems for many years afterwards, was not a concern to the doctor or those who employed him. What mattered was that by the time Cheryl and Lynn Hersha were placed in the programme, the intelligence community had learned how to use electroshock techniques to control the mind. And so, like her sister, Lynn was strapped to a chair and wired for electric shock. The experience was different for Lynn, though the sexual component remained present to lesser degree...

Children are such tactile beings. They live so fully by their senses that if they see something, they will also want to touch it, smell it, possibly eat it, maybe throw it, feel what it feels like on their heads, listen to it, sort it, and probably submerge it in water. This is entirely natural. Strap on their pith helmets; they’re exploring the world. But imagine the sensory overload that can happen for a child when every surface, every drawer and closet is filled with stuff? So many choices and so much stimuli rob them of time and attention. Too much stuff deprives kids of leisure, and the ability to explore their worlds deeply.

So, let’s reorient from exterior to interior. “Distraction” then becomes boredom; “impulsiveness” becomes self-generated explorative behavior based on what captures interest; “abnormal activity level” is thus high-energy levels generating multiple task interests; “disorganization” is failure to follow rigid organizational regimens set by others; “anxiety”—well, we all know that one: what the hell kind of world did I get born into?; “emotional lability” is, in fact, a wide range of emotions that are accessed when adults or the exterior culture don’t want them to be. In other words, should you have ever read Mark Twain, what is being described is “Tom Sawyer syndrome,” a once common state of being in many if not most children. The more widely open the sensory gating channels are, the more the child’s behavior alters from what is currently held to be the cultural norm in the West. On average, some

Haiku are meant to evoke an emotional response from the reader ... to light the spark that triggers creative rumination ... They act as literary manifestations ... visions of nature’s seasonal modulations ... They're emotionally tinged words, barely perceptible sensory flickers ... literary etchings of lucid visions transposed into the minds of its readers ... They're meant to act as sensory catalysts ... like the passing of a penciled baton laid out upon a piece of paper that a reader might grasp for in their mind's eye ... all of which prompts the reader to continue exploring the sensory experience elicited from the writers pen ... This is how the literary sketching of poets are intended to function ... as creative muses with which readers can draw from and viscerally apply to their own artistic idioms ... from that lucid space within their heads ... where their minds eye can spark their own creative visions" Bukusai Ashagawa

How do you build peaks? You create a positive moment with elements of elevation, insight, pride, and/ or connection. We’ll explore those final three elements later, but for now, let’s focus on elevation. To elevate a moment, do three things: First, boost sensory appeal. Second, raise the stakes. Third, break the script. (Breaking the script means to violate expectations about an experience—the next chapter is devoted to the concept.) Moments of elevation need not have all three elements but most have at least two. Boosting sensory appeal is about “turning up the volume” on reality. Things look better or taste better or sound better or feel better than they usually do. Weddings have flowers and food and music and dancing. (And they need not be superexpensive—see the footnote for more.IV) The Popsicle Hotline offers sweet treats delivered on silver trays by white-gloved waiters. The Trial of Human Nature is conducted in a real courtroom. It’s amazing how many times people actually wear different clothes to peak events: graduation robes and wedding dresses and home-team colors. At Hillsdale High, the lawyers wore suits and the witnesses came in costume. A peak means something special is happening; it should look different. To raise the stakes is to add an element of productive pressure: a competition, a game, a performance, a deadline, a public commitment. Consider the pregame jitters at a basketball game, or the sweaty-hands thrill of taking the stage at Signing Day, or the pressure of the oral defense at Hillsdale High’s Senior Exhibition. Remember how the teacher Susan Bedford said that, in designing the Trial, she and Greg Jouriles were deliberately trying to “up the ante” for their students. They made their students conduct the Trial in front of a jury that included the principal and varsity quarterback. That’s pressure. One simple diagnostic to gauge whether you’ve transcended the ordinary is if people feel the need to pull out their cameras. If they take pictures, it must be a special occasion. (Not counting the selfie addict, who thinks his face is a special occasion.) Our instinct to capture a moment says: I want to remember this. That’s a moment of elevation.

The authors’ prior experience in clinical research4 had amply convinced us of the possibility of long-term performance enhancement using psychedelic agents in a safe, supportive setting. Though not deliberately sought, there were numerous spontaneous incidents of what appeared to be temporarily enhanced performance during the drug experience itself. These observations led us to postulate the following: Any human function can be performed more effectively. We do not function at our full capacity. Psychedelics appear to temporarily inhibit censors that ordinarily limit what is available to conscious awareness. Participants may, for example, discover a latent ability to form colorful and complex imagery, to recall forgotten experiences of early childhood, or to generate meaningful symbolic presentations. By leading participants to expect enhancement of other types of performance—creative problem solving, learning manual or verbal skills, manipulating logical or mathematical symbols, acquiring sensory or extrasensory perception, memory, and recall—and by providing favorable preparatory and environmental conditions, it may be possible to improve any desired aspect of mental functioning.

Art—real art—connects artists, and their art, and those who experience their art, to the metaphysical background of the world, to the imaginal world that lies deep within the physical. That is, in part, its ecological function. And that is why the continuing assaults on the imaginal (and its explorers) are so pervasive, why the schooling of artists—of writers, musicians, painters, sculptors—has become so mechanical, so oriented toward surfaces, toward form. For if we should recapture the response of the heart to what is presented to the senses, go below the surface of sensory inputs to what is held inside them, touch again the “metaphysical background” that expresses them, we would begin to experience, once more, the world as it really is: alive, aware, interactive, communicative, filled with soul, and very, very intelligent—and we, only one tiny part of that vast scenario. And that would endanger the foundations upon which Western culture, our technology—and all reductionist science—is based; for as James Hillman so eloquently put it, “It was only when science convinced us that nature was dead that it could begin its autopsy in earnest.” A living, aware, and soul-filled world does not respond well to autopsy.

Reading a screenful of information is quite a different thing from looking. It is a digital form of exploration in which the eye moves along an endless broken line. The relationship to the interlocutor in communication, like the relationship to knowledge in data-handling, is similar: tactile and exploratory. A computer-generated voice, even a voice over the telephone, is a tactile voice, neutral and functional. It is no longer in fact exactly a voice, any more than looking at a screen is exactly looking. The whole paradigm of the sensory has changed. The tactility here is not the organic sense of touch: it implies merely an epidermal contiguity of eye and image, the collapse of the aesthetic distance involved in looking. We draw ever closer to the surface of the screen; our gaze is, as it were, strewn across the image. We no longer have the spectator's distance from the stage - all theatrical conventions are gone. That we fall so easily into the screen's coma of the imagination is due to the fact that the screen presents a perpetual void that we are invited to fill. Proxemics of images: promiscuity of images: tactile pornography of images. Yet the image is always light years away. It is invariably a tele-image - an image located at a very special kind of distance which can only be described as unbridgeable by the body. The body can cross the distance that separates it from language, from the stage, or from the mirror - this is what keeps it human and allows it to partake in exchange. But the screen is merely virtual - and hence unbridgeable. This is why it partakes only of that abstract - definitively abstract - form known as communication.

This is a miracle of coevolution—the bacteria that coexist with us in our bodies enable us to exist. Microbiologist Michael Wilson notes that “each exposed surface of a human being is colonized by microbes exquisitely adapted to that particular environment.”21 Yet the dynamics of these microbial populations, and how they interact with our bodies, are still largely unknown. A 2008 comparative genomics analysis of lactic acid bacteria acknowledges that research is “just now beginning to scratch the surface of the complex relationship between humans and their microbiota.”22 Bacteria are such effective coevolutionary partners because they are highly adaptable and mutable. “Bacteria continually monitor their external and internal environments and compute functional outputs based on information provided by their sensory apparatus,” explains bacterial geneticist James Shapiro, who reports “multiple widespread bacterial systems for mobilizing and engineering DNA molecules.”23 In contrast with our eukaryotic cells, with fixed genetic material, prokaryotic bacteria have free-floating genes, which they frequently exchange. For this reason, some microbiologists consider it inappropriate to view bacteria as distinct species. “There are no species in prokaryotes,” state Sorin Sonea and Léo G. Mathieu.24 “Bacteria are much more of a continuum,” explains Lynn Margulis. “They just pick up genes, they throw away genes, and they are very flexible about that.”25 Mathieu and Sonea describe a bacterial “genetic free market,” in which “each bacterium can be compared to a two-way broadcasting station, using genes as information molecules.” Genes “are carried by a bacterium only when needed . . . as a human may carry sophisticated tools.”26

Let’s explore some key signs you should be watchful for: Unrelenting fatigue: Persistent exhaustion, even after adequate rest and sleep, is a key part of Autistic burnout. When grappling with burnout, your body may feel utterly exhausted, leaving you scrambling for energy to complete even the simplest tasks. Heightened sensory sensitivities: Sensitivity to sensory stimuli—be it noise, light, texture, or smell—intensifies during burnout, amplifying your susceptibility to sensory overload, meltdowns, and shutdowns. Sensory stimuli that used to feel manageable may now feel overwhelming. Skills and functioning decline: A conspicuous drop in skills like focusing, organizing, problem-solving, and speaking is another feature of burnout and makes social interactions more daunting. Emotional dysregulation: Burnout-induced dysregulation in your nervous and sensory systems hampers your ability to manage your emotions, resulting in intense emotions or emotional numbness. Increased anxiety, irritability, or feelings of being overwhelmed are common during burnout. Diminished tolerance for change: During burnout, your capacity to absorb and adapt to change wanes, and you may seek comfort in sameness and predictability. You might experience heightened distress in the face of the unexpected. Social isolation: Burnout can spark a retreat into solitude and diminish your ability to engage socially. You might withdraw from social interactions and lose motivation for once-enjoyed hobbies or activities. Masking: Burnout can throw a wrench in your masking abilities, and it can be confusing if you don’t understand what is happening! Interestingly, lots of adults don’t get their autism diagnosis until they are in burnout and have lost their ability to mask.

NOTE: Practice your most effective relaxation techniques before you begin these exercises (refer to Chapter 6 if necessary). People are better able to concentrate when they are relaxed. Listening -Pay attention to the sounds coming from outside: from the street, from above in the air, from as far away as possible. Then focus on one sound only. -Pay attention to the sounds coming from a nearby room—the kitchen, living room, etc. Identify each one, then focus on a single sound. -Pay attention to the sounds coming from the room you are in: the windows, the electrical appliances. Then focus on one sound only. -Listen to your breathing. -Hear a short tune and attempt to re-create it. -Listen to a sound, such as a ringing doorbell, a knock on the door, a telephone ringing, or a siren. How does it make you feel? -Listen to a voice on the telephone. Really focus on it. -Listen to the voices of family members, colleagues, or fellow students, paying close attention to their intonation, pacing, and accent. What mood are they conveying? Looking -Look around the room and differentiate colors or patterns, such as straight lines, circles, and squares. -Look at the architecture of the room. Now close your eyes. Can you describe it? Could you draw it? -Look at one object in the room: chair, desk, chest of drawers, whatever. Close your eyes and try to picture the shape, the material, and the colors. -Notice any changes in your environment at home, at school, or in your workplace. -Look at magazine photos and try to guess what emotions the subjects’ expressions show. -Observe the effect of light around you. How does it change shapes? Expressions? Moods? Touching -When shaking a person’s hand, notice the temperature of the hand. Then notice the temperature of your own hand. -Hold an object in your hands, such as a cup of coffee, a brick, a tennis ball, or anything else that is available. Then put it down. Close your eyes and remember the shape, size, and texture of the object. -Feel different objects and then, with your eyes closed, touch them again. Be aware of how the sensations change. -Explore different textures and surfaces with your eyes first open and then closed. Smelling and Tasting -Be aware of the smells around you; come up with words to describe them. -Try to remember the taste of a special meal that you enjoyed in the past. Use words to describe the flavors—not just the names of the dishes. -Search your memory for important smells or tastes. -Think of places with a strong tie to smell. These sensory exercises are an excellent way to boost your awareness and increase your ability to concentrate. What is learned in the fullest way—using all five senses—is unlikely to be forgotten. As you learn concentration, you will find that you are able to be more in tune with what is going on around you in a social situation, which in turn allows you to interact more fully.

A third assumption: a commitment to monogamy is an admirable consequence of love, stemming from a deep-seated generosity and an intimate interest in the other’s flourishing and well-being. A call for monogamy is a sure indication that one partner has the other’s best interests at heart. To Rabih’s new way of thinking, it seems anything but kind or considerate to insist that a spouse return to his room alone to watch CNN and eat yet another club sandwich while perched on the edge of his bed, when he has perhaps only a few more decades of life left on the planet, an increasingly dishevelled physique, an at best intermittent track record with the opposite sex, and a young woman from California standing before him who sincerely wishes to remove her dress in his honour. If love is to be defined as a genuine concern for the well-being of another person, then it must surely be deemed compatible with granting permission for an often harassed and rather browbeaten husband to step off the elevator on the eighteenth floor, in order to enjoy ten minutes of rejuvenating cunnilingus with a near-stranger. Otherwise it may seem that what we are dealing with is not really love at all but rather a kind of small-minded and hypocritical possessiveness, a desire to make one’s partner happy if, but only if, that happiness involves oneself. It’s past midnight already, yet Rabih is just hitting his stride, knowing there might be objections but sidestepping them nimbly and, in the process, acquiring an ever more brittle sense of self-righteousness. A fourth assumption: monogamy is the natural state of love. A sane person can only ever want to love one other person. Monogamy is the bellwether of emotional health. Is there not, wonders Rabih, an infantile idealism in our wish to find everything in one other being – someone who will be simultaneously a best friend, a lover, a co-parent, a co-chauffeur and a business partner? What a recipe for disappointment and resentment in this notion, upon which millions of otherwise perfectly good marriages regularly founder. What could be more natural than to feel an occasional desire for another person? How can anyone be expected to grow up in hedonistic, liberated circles, experience the sweat and excitement of nightclubs and summer parks, listen to music full of longing and lust and then, immediately upon signing a piece of paper, renounce all outside sexual interest, not in the name of any particular god or higher commandment but merely from an unexplored supposition that it must be very wrong? Is there not instead something inhuman, indeed ‘wrong’, in failing to be tempted, in failing to realize just how short of time we all are and therefore with what urgent curiosity we should want to explore the unique fleshly individuality of more than one of our contemporaries? To moralize against adultery is to deny the legitimacy of a range of sensory high points – Rabih thinks of Lauren’s shoulder blades – in their own way just as worthy of reverence as more acceptable attractions such as the last moments of ‘Hey Jude’ or the ceilings of the Alhambra Palace. Isn’t the rejection of adulterous possibilities tantamount to an infidelity towards the richness of life itself? To turn the equation on its head: would it be rational to trust anyone who wasn’t, under certain circumstances, really pretty interested in being unfaithful?

It will perhaps be asked how I am able to extend the compresence of bodies to minds, and whether I do not do so through a turning back upon myself which restores projection or introjection. ls it not within myself that I learn that an "Empfindbarkeit" and sensorial fields presuppose a consciousness or a mind? But in the first place this objection assumes that another person can be mind for me in exactly the same sense as I am for myself, and after аll nothing is less certain—others' thought is never wholly a thought for us. Furthermore, this objection would imply that the problem here is to constitute a different mind, whereas the one who is constituting is as yet only animate flesh himself; nothing prevents us from reserving for the stage when he will speak and listen the advent of another person who also speaks and listens. But above all this objection would ignore the very thing that Husserl wanted to say; that is, that there is no constituting of a mind for a mind, but of a man for a man. By the effect of a singular eloquence of the visible body, Einfühlung goes from body to mind . When a different behavior or exploring body appears to me through a first "intentional encroachment," it is the man as a whole who is given to me with all the possibilities (whatever they may be ) that I have in my presence to myself in my incarnate being, the unimpeachable attestation. I shall never in all strictness be able to think the other person's thought. I can think that he thinks; I can construct, behind this mannequin, a presence to self modeled on my own; but it is still my self that I put in it, and it is then that there really is 'introjection.' On the other hand, I know unquestionably that that man over there sees, that my sensible world is also his, because I am present at his seeing, it is visible in his eyes' grasp of the scene. And when I say I see that he sees, there is no longer here (as there is in "I think that he thinks" ) the interlocking of two propositions... If the other person is to exist for me, he must do so to begin with in an order beneath the order of thought. For my perceptual opening to the world, which is more dispossession than possession, claims no monopoly of being and institutes no death struggle of consciousness. My perceived world and the half-disclosed things before me have in their thickness what it takes to supply more than one sensible subject with "states of consciousness"; they have the right to many other witnesses besides me. When a comportment is sketched out in this world which already goes beyond me, this is only one more dimension in primordial being, which comprises them all... The other person is not impossible, because the sensible thing is open. The other person becomes actual when a different comportment and a different gaze take possession of my things. And this articulation of a different corporeality in my world is itself effected without introjection; because my sensible existents—through their aspect, configuration, and camal texture—were already bringing about the miracle of things which are things by the fact that they are offered to a body, and were already making my corporeality a proof of being. Man can create the alter ego which "thought " cannot create, because he is outside himself i n the world and because outside himself in the world and because one ek-stasis is compossible vnth other ek-stases. And that possibility is fulfilled in perception as vinculum of brute being and a body. The whole riddle of Einfühlung lies in its initial, "esthesiological" phase; and it is solved there because it is a perception. He who "posits" the other man is a perceiving subject, the other person's body is a perceived thing, and the other person himself is "posited" as "perceiving. " It is never a matter of anything but co-perception.

We must rediscover the structure of the perceived world through a process similar to that of an archaeologist. For the structure of the perceived world is buried under the sedimentations of later knowledge. Digging down to the perceived world, we see that sensory qualities are not opaque, indivisible "givens," which are simply exhibited to a remote consciousness—a favorite idea of classical philosophy. We see too that colors (each surrounded by an affective atmosphere which psychologists have been able to study and define) are themselves different modalities of our co-existence with the world. We also find that spatial forms or distances are not so much relations between different points in objective space as they are relations between these points and a central perspective—our body. In short, these relations are different ways for external stimuli to test, to solicit, and to vary our grasp on the world, our horizontal and vertical anchorage in a place and in a here-and-now. We find that perceived things, unlike geometrical objects, are not bounded entities whose laws of construction we possess a priori, but that they are open, inexhaustible systems which we recognize through a certain style of development, although we are never able, in principle, to explore them entirely, and even though they never give us more than profiles and perspectival views of themselves. Finally, we find that the perceived world, in its turn, is not a pure object of thought without fissures or lacunae; it is, rather, like a universal style shared in by all perceptual beings. While the world no doubt coordinates these perceptual beings, we can never presume that its work is finished. Our world, as Malebranche said, is an "unfinished task." If we now wish to characterize a subject capable of this perceptual experience, it obviously will not be a self-transparent thought, absolutely present to itself without the interference of its body and its history. The perceiving subject is not this absolute thinker; rather, it functions according to a natal pact between our body and the world, between ourselves and our body. Given a perpetually new natural and historical situation to control, the perceiving subject undergoes a continued birth; at each instant it is something new. Every incarnate subject is like an open notebook in which we do not yet know what will be written. Or it is like a new language; we do not know what works it will accomplish but only that, once it has appeared, it cannot fail to say little or much, to have a history and a meaning. The very productivity or freedom of human life, far from denying our situation, utilizes it and turns it into a means of expression.

From the moment you entered the world, you have been learning all the time, and as a baby and young child the speed and power of your learning were enormous. Most of this learning was unconscious, occurring through a simple cycle of learning that James Zull, a biologist and founding director of Case Western Reserve University Center for Innovation in Teaching and Education (UCITE), calls the exploration/mimicry learning process.2 This cycle uses only a limited part of the brain and the sensory and motor regions without intervening reflection and thinking. The child learns language in this way, mimicking and repeating the sounds of the mother’s voice. Through this process, we learn many complex skills from walking, talking, reading, and writing to even more sophisticated expert skills, such as medical diagnosis.

If we all wore sandwich boards that listed bullet points of the main things we’re dealing with,” he said, “all of us would be so much more empathetic, would understand where people are coming from, and would be able to connect in a way we don’t.” It’s crucial to remember that our sensory world isn’t everyone’s sensory world.

As breathing involves a continual oscillation between exhaling and inhaling, offering ourselves to the world at one moment and drawing the world into ourselves at the next, so sensory perception entails a like reciprocity, exploring the moss with our fingers while feeling the moss touching us back, at one moment gazing the mountains and at the next feeling ourselves seen, or sensed, from that distance …

A brand universe or brandverse is a unique set of sensory experiences that consumers can access and explore. It is built around a brand’s story, values, and personality, capturing its essence in an immersive, multi-sensory way.

is also a book about animals as animals. Some scientists study the senses of other animals to better understand ourselves, using exceptional creatures like electric fish, bats, and owls as “model organisms” for exploring how our own sensory systems work. Others reverse-engineer animal senses to create new technologies: Lobster eyes have inspired space telescopes, the ears of a parasitic fly have influenced hearing aids, and military sonar has been honed by work on dolphin sonar. These are both reasonable motivations. I’m not interested in either. Animals are not just stand-ins for humans or fodder for brainstorming sessions. They have worth in themselves. We’ll explore their senses to better understand their lives. “They move finished and complete, gifted with extensions of the senses we have lost or never attained, living by voices we shall never hear,” wrote the American naturalist Henry Beston. “They are not brethren, they are not underlings; they are other nations, caught with ourselves in the net of life and time, fellow prisoners of the splendour and travail of the earth.

Chapter 2: The Blinders of the Senses: Awakening from the Sensory Dream Close your eyes and imagine standing in a garden. The air is fragrant with the scent of flowers, and the sun's warmth kisses your skin. You hear the rustle of leaves, the chirping of birds, and the distant hum of life. This sensory symphony envelops you, defining your experience of the world around you. But what if I told you that this symphony is both a blessing and a limitation? Welcome to the chapter where we pull back the curtain on the senses—the windows through which we perceive reality. These senses are our gateways to the world, allowing us to touch, taste, hear, see, and smell. They are our connection to the external, the bridge that links us to the physical universe. However, in their splendor lies a trap—a trap that keeps us tethered to the surface of existence. Picture this: you're in a theater, engrossed in a captivating movie. The screen and the story before you are so compelling that you forget you're sitting in a theater, watching a mere projection. In the same way, our senses project a vivid reality that captivates us, making us forget that they're just a means of perception, not the ultimate truth. Our senses act as both guides and misguides. They offer us a glimpse into the world, but they also distort reality. They're like a paintbrush in the hands of an artist, creating a beautiful but partial picture. We become so focused on this picture that we overlook the canvas on which it's painted—the canvas of consciousness. Consider the blind spots in your eyes. These are spots where you literally cannot see, yet your brain fills in the gaps seamlessly, creating a complete image. Similarly, our senses have "blind spots" when it comes to the inner world of thoughts, emotions, and consciousness. They excel at perceiving the external, but they struggle to illuminate the internal. Herein lies the paradox: while our senses are our windows to the world, they can also be our blinders, keeping us from seeing the whole picture. Just as a map provides information about the terrain but not the essence of a place, our senses provide data about the world but not the essence of our being. So, how do we escape this sensory dream and peer beyond the blinders? The answer lies in a shift of focus. We must turn our attention inwards, away from the dazzling spectacle of the external world. It's here, in the quietude of introspection, that we can begin to untangle the threads of our consciousness from the threads of sensation. In the coming pages, we'll delve into the paradox of perception and introspection. We'll journey through the ways our senses illuminate the external and yet leave us in the dark about the internal. And most importantly, we'll explore the profound power of looking beyond the surface, awakening to a reality that transcends the sensory landscape. So, get ready to peel back the layers of perception, to unveil the subtle dance between our senses and our consciousness. As we journey through this chapter, remember: just as a photograph captures a moment in time, our senses capture a moment in reality. But to grasp the essence of existence, we must go beyond the snapshot and embrace the living, breathing symphony of

That’s not necessarily bad—until it becomes so pleasing and engaging to the brain that we begin to prefer it to other less-stimulating, less-busy sensory input. An infant or toddler consumed by a screen is missing out on other critical forms of learning about the world. They should be exploring what things feel like, smell like, taste like. They should be making sense of their world using all their sensory tools.

NEXTUP predicts that your dreams will usually contain sensory perceptions, a narrative structure, and emotions, and they’ll have you as a player in the dream. They will juxtapose weakly associated concepts and events that you would not normally think of as going together, often giving your dreams a bizarre flavor. And their content will be related to your current concerns, usually with some connection to recent daytime thoughts, feelings, and events, but it will also include connections to older memories worth exploring in the context of these ongoing concerns. Let’s check out these predictions.

Tips for Play Turn it off Turn off the TV and the electronics! Imagination is an essential ingredient for play to have its positive effects. Create an enriching environment Studies show that a sensory-rich environment coupled with play facilitates cortical growth in the brain. Having a variety of materials around that can stimulate all of the senses—visual, auditory, tactile, and so on—enhances brain development during play. Use art Children’s brains grow when they make art. Therefore, don’t show them how to do it—just put out the art supplies and let them create spontaneously. Let them explore outside Get them outside as much as possible to play in nature—the woods, the park, the beach, wherever. Try to find safe areas where you aren’t afraid to let them be free and explore the environment. These are places they can really use their imaginations and have fun. Mix children of different ages

But, even under the best of circumstances, our senses are routinely subject to a surprising degree of distortion. Our perception—the way our brains decipher sensory information—and cognition—the way we think—follow suit. That includes outright fabrication and misremembering. In her delightful exploration of “wrongology,” journalist Kathryn Schulz

Once you achieve the certainty that happiness will not be found by getting more sensory pleasures or thinking more interesting thoughts, your commitment to inner exploration will deepen,

How do you build peaks? You create a positive moment with elements of elevation, insight, pride, and/or connection. We’ll explore those final three elements later, but for now, let’s focus on elevation. To elevate a moment, do three things: First, boost sensory appeal. Second

When I first tried a sensory deprivation tank, people thought I had lost my mind. In fact, I had found it.

Then there are the fully intentional pleasures, which, although in some way tied up with sensory or perceptual experience, are modes of exploration of the world. Aesthetic pleasures are like this. Aesthetic pleasures are contemplative - they involve studying an object OUTSIDE of the self, to which one is GIVING something (namely, attention and all that flows from it), and not TAKING, as in the pleasure that comes from drugs and drinks. Hence such pleasures are not addictive - there is no pathway to reward that can be short-circuited here, and a serotonin injection is not a cheap way of obtaining the experience of PARISFAL or THE MERCHANT OF VENICE.

Intuitively we all know that it is better to feel than to not feel. Our emotions are not a luxury but an essential aspect of our makeup. We have them not just for the pleasure of feeling but because they have crucial survival value. They orient us, interpret the world for us, give us vital information without which we cannot thrive. They tell us what is dangerous and what is benign, what threatens our existence and what will nurture our growth. Imagine how disabled we would be if we could not see or hear or taste or sense heat or cold or physical pain. To shut down emotions is to lose an indispensable part of our sensory apparatus and, beyond that, an indispensable part of who we are. Emotions are what make life worthwhile, exciting, challenging, and meaningful. They drive our explorations of the world, motivate our discoveries, and fuel our growth. Down to the very cellular level, human beings are either in defensive mode or in growth mode, but they cannot be in both at the same time. When children become invulnerable, they cease to relate to life as infinite possibility, to themselves as boundless potential, and to the world as a welcoming and nurturing arena for their self-expression. The invulnerability imposed by peer orientation imprisons children in their limitations and fears. No wonder so many of them these days are being treated for depression, anxiety, and other disorders. The love, attention, and security only adults can offer liberates children from the need to make themselves invulnerable and restores to them that potential for life and adventure that can never come from risky activities, extreme sports, or drugs. Without that safety our children are forced to sacrifice their capacity to grow and mature psychologically, to enter into meaningful relationships, and to pursue their deepest and most powerful urges for self-expression. In the final analysis, the flight from vulnerability is a flight from the self. If we do not hold our children close to us, the ultimate cost is the loss of their ability to hold on to their own truest selves.

In order to maximize the benefits of using low-dose psychedelics for creative breakthroughs as described in the prior chapter, the following six areas are important. Set: expectations and pre-session meetings Setting: physical atmosphere Substance: kind and dose Sitter: facilitator Session: time spent with facilitator Support: post-session work environment Set While all of the above factors are important, set is the most critical for problem solving. When psychedelics are taken for other purposes, people gravitate toward internal complexity, visual and sensory enhancements and distortions, and emotional intensity. To help participants achieve significant progress on their own intellectual problems, establishing the

Now comfortable in the cold dark, he explores his acquisition thoroughly; his arms and tentacles everywhere on her body, touching every curve, every marked definition of muscle or fat. She can't process all the things happening. There is too much to track. Too many arms and tentacles, too much sensory input for her small human mind. She wills him to touch anything. She wills him to see her body with his arms, his tentacles, his suckers, hooks and teeth, and his touch. She notices that he spends more time on her hard edges: her knees, her elbows, her hips — drawing a picture for himself of her external soft edge, and its strange hard interior frame that gives it an unmalleable alien shape.

Though we know precious little about how the brain works, our evolutionary history tells us this: The brain appears to be designed to (1) solve problems (2) related to surviving (3) in an unstable outdoor environment, and (4) to do so in nearly constant motion. I call this the brain’s performance envelope. Each subject in this book—exercise, sleep, stress, wiring, attention, memory, sensory integration, vision, music, gender, and exploration—relates to this performance envelope. We were in motion, getting lots of exercise. Environmental instability led to the extremely flexible way our brains are wired, allowing us to solve problems through exploration. To survive in the great outdoors, we needed to learn from our mistakes. That meant paying attention to certain things at the expense of others, and it meant creating memories in a particular way. Though we have been stuffing them into classrooms and cubicles for decades, our brains actually were built to survive in jungles and grasslands. We have not outgrown this.

Truth be told, the reality show itself quickly degenerated into a televisual soap opera that was not that different than old variety shows made for large audiences. And its audience was amplified at the usual rate of competing media, which leads to the self- propagation of the show via a prophetic method: self-fulfilling prophecy. In the end, the ratings for the show play part of the spiral and return cycle of the advertising flame. But all of this is of little interest. It is only the original idea which has any value: submitting a group to a sensory deprivation experiment ( Which in other times was a form of calculated torture. But are we not in the middle of exploring all the historical forms of torture, served in homeopathic doses, under the guise of mass culture or avant-garde art? This is precisely one of the principle themes of contemporary art.), in order to record the behavior of human molecules within a vacuum - and no doubt with the design of watching them tear each other apart in the artificial promiscuity. We have not yet reached this point, but this existential micro-situation functions as a universal metaphor for the modern being, holed up in his personal loft, which is no longer his physical or mental universe. It is his digital and tactile universe, of Turing’s “spectral body”, of the digital man, captured within the labyrinth of the networks, of man turned into his own (white) mouse.

American writer and biologist Frederick Kenyon (1867-1941) was the first to explore the inner workings of the bee brain. His 1896 study, in which he managed to dye and characterize numerous types of nerve cells of the bee brain, was, in the words of the world's foremost insect neuroanatomist, Nick Strausfeld, 'a supernova.' Not only did Kenyon draw the branching patterns of various neuron types in painstaking detail, but he also high­lighted, for the first time in any organism, that these fell into clearly identifi­able classes, which tended to be found only in certain areas of the brain. One such type he found in the mushroom bodies is the Kenyon cells, named in his honor. Their cell bodies -- the part of the neuron that con­tains the chromosomes and the DNA -- decoding machinery -- are in a peripheral area enclosed by the calyx of each mushroom body (the mush­room's 'head'), with a few additional ones on the sides of or underneath the calyces. A finely arbored dendritic tree (the branched struc­ture that is a nerve cell's signal 'receiver') extends into the mushroom body calyx, and a single axon (the neuron's 'information-sending output cable') extends from each cell into the mushroom body pedunculus (the mushroom's 'stalk'). Extrapolating from just a few of these characteristically shaped neu­rons that he could see, Kenyon suggested (correctly) that there must be tens of thousands of such similarly shaped cells, with parallel outputs into each mushroom body pedunculus. (In fact, there are about 170,000 Kenyon cells in each mushroom body.) He found neurons that connect the an­tennal lobes (the primary relays processing olfactory sensory input) with the mushroom body input region (the calyces, where the Kenyon cells have the fine dendritic trees) -- and even suggested, again correctly, that the mushroom bodies were centers of multisensory integration. Kenyon's 1896 brain wiring diagram [is a marvel]. It contains several classes of recognizable neuron types, with some suggestions for how they might be connected. Many neurons have extensions as widely branched as full­grown trees -- only, of course, much smaller. Consider that the drawing only shows around 20 of a honey bee brain's ~850,000 neurons. We now know that each neuron, through its many fine branches, can make up to 10,000 connection points (synapses) with other neurons. There may be a billion synapses in a honey bee's brain -- and, since the efficiency of synapses can be modified by experience, near-infinite possibility to alter the informa­tion flow through the brain by learning and memory. It is a mystery to me how, after the publication of such work as Kenyon's, anyone could have suggested that the insect brain is simple, or that the study of brain size could in any way be informative about the complexities of information pro­cessing inside a brain. Kenyon apparently suffered some of the anxieties all too familiar to many early-career researchers today. Despite his scientific accomplish­ments, he had trouble finding permanent employment, and moved be­tween institutions several times, facing continuous financial hardship. Eventually, he appears to have snapped, and in 1899 Kenyon was arrested for 'erratic and threatening behavior' toward colleagues, who subsequently accused him of insanity. Later that year, he was permanently confined to a lunatic asylum, apparently without any opportunity ever to rehabilitate himself, and he died there more than four decades later -- as Nick Strausfeld writes, 'unloved, forgotten, and alone.' It was not to be the last tragedy in the quest to understand the bee brain.

What if consciousness were to remove its focus from your personal set of thoughts, your personal set of emotions, and your limited sensory input? Would you become untethered from the bonds of the personal self and be set free to explore beyond? And how, exactly, did consciousness become bound to the personal self to begin with? The problem with even attempting to consider these questions is that they call for a discussion of what exists beyond the confines of the

What is sensory integration therapy? This form of occupational therapy helps children and adults with SPD (sensory processing disorder) use all their senses together. These are the senses of touch, taste, smell, sight, and hearing. Sensory integration therapy is claimed to help people with SPD respond to sensory inputs such as light, sound, touch, and others; and change challenging or repetitive behaviours. Someone in the family may have trouble receiving and responding to information through their senses. This is a condition called sensory processing disorder (SPD). These people are over-sensitive to things in their surroundings. This disorder is commonly identified in children and with conditions like autism spectrum disorder. The exact cause of sensory processing disorder is yet to be identified. However, previous studies have proven that over-sensitivity to light and sound has a strong genetic component. Other studies say that those with sensory processing conditions have abnormal brain activity when exposed simultaneously to light and sound. Treatment for sensory processing disorder in children and adults is called sensory integration therapy. Therapy sessions are play-oriented for children, so they should be fun and playful. This may include the use of swings, slides, and trampolines and may be able to calm an anxious child. In addition, children can make appropriate responses. They can also perform more normally. SPD can also affect adults Someone who struggles with SPD should consider receiving occupational therapy, which has an important role in identifying and treating sensory integration issues. Occupational therapists are health professionals using different therapeutic approaches so that people can do every work they need to do, inside and outside their homes. Through occupational therapy, affected individuals are helped to manage their immediate and long-term sensory symptoms. Sensory integration therapy for adults, especially for people living with dementia or Alzheimer's disease, may use everyday sounds, objects, foods, and other items to rouse their feelings and elicit positive responses. Suppose an adult is experiencing agitation or anxiety. In that case, soothing music can calm them, or smelling a scent familiar to them can help lessen their nervous excitement and encourage relaxation, as these things can stimulate their senses. Seniors with Alzheimer's/Dementia can regain their ability to connect with the world around them. This can help improve their well-being overall and quality of life. What Are The Benefits of Sensory Integration Therapy Sensory integration treatment offers several benefits to people with SPD: * efficient organisation of sensory information. These are the things the brain collects from one's senses - smell, touch, sight, etc. * Active involvement in an exploration of the environment. * Maximised ability to function in recreational and other daily activities. * Improved independence with daily living activities. * Improved performance in the home, school, and community. * self-regulations. Affected individuals get the ability to understand and manage their behaviours and understand their feelings about things that happen around them. * Sensory systems modulation. If you are searching for an occupational therapist to work with for a family with a sensory processing disorder, check out the Mission Walk Therapy & Rehabilitation Centre. The occupational therapy team of Mission Walk uses individualised care plans, along with the most advanced techniques, so that patients can perform games, school tasks, and other day-to-day activities with their best functional skills. Call Mission Walk today for more information or a free consultation on sensory integration therapy. Our customer service staff will be happy to help.

there must be an absolutely unavoidable requirement for sleep. It can’t be a function that simply requires lying down, closing the eyes, or being relaxed. Humans can do all these things without being asleep. Instead, these critical functions must require us to be cut off from the outside world, unaware of what is happening around us, and truly asleep. Offline memory processing precisely fits the bill. Our brains are not like DVRs, which can record an ongoing TV show while playing back an older recording to the screen. We cannot simultaneously pay attention to new sensory information and replay or analyze previously stored memories. It has to be one or the other.

Be curious about your child’s sensory preferences and then partner with your child to choose a coping strategy from this list—or come up with your own! •​Try a weighted blanket or item. •​Explore scents that are calming. •​Utilize fidget toys to help regulate. •​Teach key phrases for identifying sensory needs.

Review of Haunted by Obsession Overall Impression Haunted by Obsession is a gripping and intense story that skillfully blends elements of suspense, romance, and psychological intrigue. The narrative is immersive, drawing readers into a world where obsession, passion, and fear intertwine. The author does a commendable job of maintaining a tense atmosphere while developing complex and multi-layered characters. Strengths Engaging Plot – The storyline is compelling, keeping readers hooked with its mystery and emotional depth. The pacing is well-balanced, allowing tension to build gradually while delivering impactful revelations at the right moments. Character Development – The characters are well-crafted with distinct motivations and backstories. The protagonist's struggles feel real and evoke empathy, making them relatable despite the dark themes. Atmospheric Writing – The descriptions and settings contribute to the eerie and unsettling tone of the novel. The use of sensory details enhances the haunting ambiance, immersing the reader fully. Emotional Depth – The themes of obsession, love, and trauma are explored with sensitivity. The psychological elements add layers to the narrative, making it more than just a suspense story. Areas for Improvement Pacing in Certain Sections – While the overall pacing is strong, some sections could benefit from tighter editing to maintain tension and avoid unnecessary slowdowns. Character Motivations – Some characters' actions could be clarified further to deepen understanding of their psychological states and enhance believability. Dialogue Authenticity – While generally well-written, some dialogues could be more natural, reflecting how people speak in high-stakes situations. Ending Resolution – If the novel leans heavily on suspense, ensuring a satisfying resolution that ties up major plot points is crucial. Depending on the intended ending, more clarity might be needed to ensure reader satisfaction. Final Thoughts Haunted by Obsession is a compelling novel that masterfully explores dark emotions and intense relationships. With some fine-tuning in pacing and character depth, it has the potential to be even more impactful. Fans of psychological thrillers and dark romance will likely find it an engaging and thought-provoking read.

But now you know the specific cause of your difficulty with [certain tasks] and can explore ways around the overarousal they create. So there's really very little that you can't do if you find a way to do it in your own style.

The hand, for instance, is not simply a system of levers that makes it possible to grasp and manipulate objects, nor is it merely a sensory organ; it is in fact the instrument which makes possible many of our greatest technological and artistic achievements. It allows us to explore our world, to fashion instruments, to touch a loved one, and to create works of art. It is, to put it simply, an extension of the brain, without which the brain as we know it could not have evolved. The muscles that support upright posture, our shoulders, limbs, and voice—all are tangible aspects of our higher selves. To understand our physical design is to understand the underpinnings of our intellectual, social, and artistic lives.

To summarize, the movements we make are a bit more complicated than they might seem at first glance; they involve complex conversions between sensory predictions and motor actions. And the conversions themselves are constantly being tweaked as we learn more about ourselves and our environment. This learning is triggered by sensory prediction errors, or mismatches between what we expected to feel after moving and what we actually feel. Here we have explored this process of learning and culminated with the idea that to improve our future movements, our brain likely seeks advice from teaching systems embedded within our brain and spinal cord—namely, our reflexes.

SELECTIVE SUBJECTIVISM Let us suppose that an ichthyologist is exploring the life of the ocean. He casts a net into the water and brings up a fishy assortment. Surveying his catch, he proceeds in the usual manner of a scientist to systematise what it reveals. He arrives at two generalisations : (1) No sea-creature is less than two inches long. (2) All sea-creatures have gills. These are both true of his catch, and he assumes tentatively that they will remain true however often he repeats it. In applying this analogy, the catch stands for the body of knowledge which constitutes physical science, and the net for the sensory and intellectual equipment which we use in obtaining it. The casting of the net corresponds to observation; for knowledge which has not been or could not be obtained by observation is not admitted into physical science. An onlooker may object that the first generalisation is wrong. “There are plenty of sea-creatures under two inches long, only your net is not adapted to catch them. The ichthyologist dismisses this objection contemptuously. “Anything uncatchable by my net is ipso facto outside the scope of ichthyological knowledge, and is not part ot the kingdom of fishes which has been defined as the theme of ichthyological knowledge. In short, what my net can't catch isn’t fish.” Or— to translate the analogy— If you are not simply guessing, you arc claiming a knowledge ot the physical universe discovered in some other way than by the methods of physical science, and admittedly unvenfiablc by such methods. You are a metaphysician. Bah !

It is this heightened state that may produce several relatively new phenomena in childhood today. As the clinical psychologist Catherine Steiner-Adair,10 the author of The Big Disconnect: Protecting Childhood and Family Relationships in the Digital Age, observes, the most commonly heard complaint when children are asked to go off-line is “I’m bored.” Confronted with the dazzling possibilities for their attention on a nearby screen, young children quickly become awash with, then accustomed to, and ever so gradually semi-addicted to continuous sensory stimulation. When the constant level of stimulation is taken away, the children respond predictably with a seemingly overwhelming state of boredom. “I’m Bored.” There are different kinds of boredom. There is a natural boredom that is part of the woof of childhood that can often provide children with the impetus to create their own forms of entertainment and just plain fun. This is the boredom that Walter Benjamin described years ago as the “dream bird that hatches the egg of experience.”11 But there may also be an unnatural, culturally induced, new form of boredom that follows too much digital stimulation. This form of boredom may de-animate children in such a fashion as to prevent them from wanting to explore and create real-world experiences for themselves, particularly outside their rooms, houses, and schools. As Steiner-Adair wrote, “If they become addicted to playing on screens,12 children will not know how to move through that fugue state they call boredom, which is often a necessary prelude to creativity.” It would be an intellectual shame to think that in the spirit of giving our children as much as we can through the many creative offerings of the latest, enhanced e-books and technological innovations, we may inadvertently deprive them of the motivation and time necessary to build their own images of what is read and to construct their own imaginative off-line worlds that are the invisible habitats of childhood. Such cautions are neither a matter of nostalgic lament nor an exclusion of the powerful, exciting uses of the child’s imagination fostered by technology. We will return to such uses a little later. Nor should worries over a “lost childhood” be dismissed as a cultural (read Western) luxury. What of the real lost childhoods? one might ask, in which the daily struggle to survive trumps everything else? Those children are never far from my thoughts or my work every day of my life.

The conscious perception of a taste can be referred to as a quale, a singular sensation, such as when licking table salt. Yet the taste qualia we experience are actually comprised of separate attributes. Taste quale may be subdivided into the components of sensory quality (sweet, sour, salty, savory/umami, bitter, and perhaps a few others such as water taste, malty taste, or mineral taste); intensity (weak to strong); location (such as a bitter taste on the tip of the tongue or a bitter taste on the back of the tongue); and temporal dynamics (a short-lived taste or a lingering aftertaste). These features of taste are typically combined in the brain with a food’s other oral sensory and olfactory properties to create its flavor, to help us identify and recognize the food, to help reassure us that what we are experiencing is edible, and to create an association with how we feel after eating so that we can recognize the food at our next encounter and remember whether it was satisfying or made us sick.

This process of error correction is so fundamental to our biology that distinct circuits of the brain appear to coordinate learning that results from error. One of these error correction pathways involves the cerebellum.3 The cerebellum receives electrical information from a part of the brain stem called the inferior olive when a sensory prediction error occurs. The cerebellum uses these error signals to predict and correct for errors that might occur in the future.

In the globus pallidus, all of this sensory information is sifted and selected so that we can appropriately brace some parts of our bodies in order to support the desired movement in other parts. For instance, the back, shoulder, and arm must be suitably braced in order for the fingers to successfully manipulate a pencil on a page. These phenomena of “fixation” seem to be the elements added to coordinated movement by the globus pallidus. If a laboratory animal is electrically stimulated in this ganglion, it will become fixed in whatever position it had achieved at the onset of the stimulation, and it will remain fixed in that position until the stimulation ceases. The possible varieties of these fixations are endless, enabling us to brace all parts of our bodies in any shape the anatomy will allow. Without them, the violinist could not hold his instrument, the marksman could not steady his rifle, the artist could not hold his arm straight to daub the canvas, the host could not pour coffee from the pot. Typically, of course, we do not continue to explore the innumerable fixations of which we are capable. Our habits, our jobs, our social situations, our general dispositions all tend to urge us to prefer certain fixed positions over others. For each of us, our characteristic posture is nothing but a particular fixation to which we return again and again, until the idea that we might in fact stand up in a different way passes out of our conscious consideration.

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