Sound and Documentary in Cardiff and Miller's PandemoniumMain MenuWelcomeThe ProjectChapter 1: Pandemonium—Sensory Assault and DeprivationChapter 2: Sound Art—Narrative and NoiseChapter 3: Documentary—“Waking the Dead”Conclusions: Pandemonium, Radical Proximity, and ProtestAcknowledgmentsBibliographyAll MediaNews + UpdatesCecilia Wichmann570c894159ad998517c62537a60758b7099e0270
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12015-07-10T08:26:57-07:00Cecilia Wichmann570c894159ad998517c62537a60758b7099e027055423plain2015-10-03T18:26:11-07:00Cecilia Wichmann570c894159ad998517c62537a60758b7099e0270David Howes, “The Secret of Aesthetics Lies in the Conjugation of the Senses: The Museum as a Sensory Gymnasium,” in The Multisensory Museum: Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory, and Space, eds. Nina Levent and Alvaro Pascual-Leone (Lanham, MD: Rowman and Littlefield, 2014), 286. My analysis relies on Howes’ definition of “aesthetics” as “the conjugation of the senses,” in which it is their interplay and not their separation that is key. Howes traces this concept to Alexander Gottlieb Baumgarten’s 1750 Aesthetica, in which: “the aesthetic was rooted in the body, rather than the object, and turned on the disposition to sense acutely.”