A sensorium (pl.: sensoria) is the apparatus of an organism's perception considered as a whole. It is the "seat of sensation" where it experiences, perceives and interprets the environments within which it lives. The term originally entered English from the Late Latin in the mid-17th century, from the stem sens- ("sense"). In earlier use it referred, in a broader sense, to the brain as the mind's organ (Oxford English Dictionary 1989). In medical, psychological, and physiological discourse it has come to refer to the total character of the unique and changing sensory environments perceived by individuals. These include the sensation, perception, and interpretation of information about the world around us by using faculties of the mind such as senses, phenomenal and psychological perception, cognition, and intelligence.
Ratios of sensation In the 20th century, the sensorium became a key part of the theories of Marshall McLuhan, Edmund Carpenter and Walter J. Ong (Carpenter and McLuhan 1960; Ong 1991). McLuhan, like his mentor Harold Innis, believed that media were biased according to time and space. He paid particular attention to what he called the sensorium, or the effects of media on our senses, positing that media affect us by manipulating the ratio of our senses. For example, the alphabet stresses the sense of sight, which in turn causes us to think in linear, objective terms. The medium of the alphabet thus has the effect of reshaping the way in which we, collectively and individually, perceive and understand our environment in what has been termed the Alphabet Effect. Focusing on variations in the sensorium across social contexts, these theorists collectively suggest that the world is explained and experienced differently depending on the specific "ratios of sense" that members of a culture share in the sensoria they learn to inhabit (Howes 1991, p. 8). More recent work has demonstrated that individuals may include in their unique sensoria perceptual proclivities that exceed their cultural norms; even when, as in the history of smell in the West, the sense in question is suppressed or mostly ignored (Classen, Howes and Synnott 1994). This interplay of various ways of conceiving the world could be compared to the experience of synesthesia, where stimulus of one sense causes a perception by another, seemingly unrelated sense, as in musicians who can taste the intervals between notes they hear (Beeli et al., 2005), or artists who can smell colors. Many individuals who have one or more senses restricted or lost develop a sensorium with a ratio of sense which favors those they possess more fully. Frequently the blind or deaf speak of a compensating effect, whereby their sense of touch or smell becomes more acute, changing the way they perceive and reason about the world; especially telling examples are found in the cases of "wild children", whose early childhoods were spent in abusive, neglected, or non-human environments, both intensifying and minimizing perceptual abilities (Classen 1991).
Development of unique sensoria in cultures and individuals Although some consider these modalities abnormal, it is more likely that these examples demonstrate the contextual and socially learned nature of sensation. A 'normal' sensorium and a 'synesthetic' one differ based on the division, connection, and interplay of the body's manifold sensory apparatus. A synesthete has simply developed a different set of relationships, including cognitive or interpretive skills which deliver unique abilities and understanding of the world (Beeli et al., 2005). The sensorium is a creation of the physical, biological, social, and cultural environments of the individual organism and its relationships while being in the world. What is considered a strange blurring of sensation from one perspective, is a normal and 'natural' way of perception of the world in another, and indeed many individuals and their cultures develop sensoria fundamentally different from the vision-centric modality of most Western science and culture. One revealing contrast is the thought of a former Russian on the matter:
The dictionary of the Russian language...defines the sense of touch as follows: "In reality all five senses can be reduced to one---the sense of touch. The tongue and palate sense the food; the ear, sound waves; the nose, emanations; the eyes, rays of light." That is why in all textbooks the sense of touch is always mentioned first. It means to ascertain, to perceive, by body, hand or fingers (Anonymous 1953). As David Howes explains:
The reference to Russian textbooks treating touch first, in contrast to American psychology textbooks which always begin with sight, is confirmed by other observers (Simon 1957) and serves to highlight how the hierarchization of the senses can vary significantly even between cultures belonging to the same general tradition (here, that of "the West") (2003, pp. 12-13).
… excerpt ends here. Continue reading the full article.
