Total: 215 Season 3.5, episode 1 College friends Danny and Karl enter the sensorially real video game Striking Vipers, intending to beat the shit out of each other's avatars but instead having crazy, phenomenal sex.
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Below is a video of the 2014 series of scent concerts, which imagined what Hartmann might come up with using present technology, sensorially transporting their audience on an airplane and then hotel shuttle to Tokyo:
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The whole presentation is sensorially rich but risks being vapid — high on effect and low on pretty much everything else — until you learn that the voice accompanying the video belongs to the artist's mother, Patricia Satterwhite, who was schizophrenic and died in 2016.
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But instead of offering a short burst of terror followed by the prospect of a quick escape, this immersive, sensorially complex movie evokes the terrifying disorientation and loneliness of migration: the eerie sounds of sand crunching underfoot; the surreal sights of jugs of water left by well-wishers; fragments of voices heard over radio transmissions.
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Kandinsky's analyses on forms and colours result not from simple, arbitrary idea-associations but from the painter's inner experience. He spent years creating abstract, sensorially rich paintings, working with form and colour, tirelessly observing his own paintings and those of other artists, noting their effects on his sense of colour.Michel Henry, Seeing the invisible, on Kandinsky, Continuum, 2009, p. 5-11 This subjective experience is something that anyone can do—not scientific, objective observations but inner, subjective ones, what French philosopher Michel Henry calls "absolute subjectivity" or the "absolute phenomenological life".
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Treviranus has argued that the outliers in any society are frequently the true innovators. She writes that educating these people through electronic means (e-learning) makes very good sense, especially because this group may contain the shy, the gifted or sensorially challenged – plus, marginalization largely depends on context. Another observation that Treviranus makes is that by breaking down digital barriers and therefore making education more inclusive has advantages for all learners, including non-PWDs, such as causing the learning environment to become much more open, fluid and accepting of individual talents and interests. Taking further the abstract notion of serving individual learners, Treviranus discusses an accessibility strategy called Access For All that hones in on the need for accessible automated systems to collect resources and spread this network globally.
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Concrete art remained the basis of Neo-concrete art, but it was reformulated. Neo-Concrete artists adapted concrete art's geometric shapes and transformed them into organic three-dimensional objects to be manipulated by participants and to be experienced sensorially. The works intended to counteract the urban alienation created by a modern society and integrate both the intellect and the physical body for meditative experiences. In explaining her approach, Lygia Pape said: Pape specifically during her Neo-Concrete period was interested in the “proposal to ‘live the body.’”Rebollo Goncalvez, Lisbeth. “The Poetic Space by Lygia Pape.” ‘’Art Nexus’’ 10.81 (2011): 44-48. This phrase indicates Pape’s interest in how the physical body acts as our mediator for all sensual experiences. Pape sought to explore this idea of the body’s relation in space by creating multi-sensorial experiences in her artwork.
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In this overview of the way in which a specific form of arts-based environmental education developed in Finland the following core traits to be distinguished. First, one has to distinguish between the first phase of AEE in the 1970s which focused on visual imagery of the ecological crisis, and its second phase, when this perspective was complemented – if not to some extent replaced – by a more sensorially-grounded approach in which personal direct experiences of both the natural and built environment became characteristic. It is to this second phase of AEE, which emerged in the 1980s, that my attention is mostly focused, the idea that a relationship with nature can be built through the senses: the art teacher puts his or her trust in experiential learning and the teaching can move out of the classroom. The pupils are encouraged to open their senses by artistic practices, which can be almost anything from drawing and building out of natural materials to making conceptual art.
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