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Still image from video documentation by Jorge Pirogranados https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/ac8c9c3d-89da-4092-82e9-c5b2608a9c95/goldbard_tultepec_08.jpg Delirious Pyrotechnics: Decolonial AestheSis of a Total Sensory Phenomenon https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/81522f47-11dd-43c3-9965-8071c61902d7/goldbard_tultepec01.jpg Delirious Pyrotechnics: Decolonial AestheSis of a Total Sensory Phenomenon Toritos burning, Tultepec, Mexico, March 8, 2022. 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2026-01-09 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/3d87e083-0b31-43fa-b5a2-2c50c9221d4b/CoverDetail.jpg https://www.sensorydesign.ca/hse-abstracts-bios daily 0.75 2023-10-09 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/hse-introduction daily 0.75 2023-10-09 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/paterson-mark daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/ee6ad57b-e08c-4974-b546-d6386c25fd4d/5.1.jpg Paterson, Mark - Getting a grip on new objects, technologies, and sensations Figure 5.1 The PHANToM interface at CERTEC, University of Lund, Sweden, 2000. Author’s photograph https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/c6081342-6f1f-404a-8fd0-746b17c4cfba/5.2.jpg Paterson, Mark - Getting a grip on new objects, technologies, and sensations Figure 5.2 The ReachIn AB Desktop interface, integrating the PHANToM with a screen overlay. Photograph from ReachIn AB, Stockholm, 2000. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/b8f077db-7964-4eff-afbf-db40aea779ef/5.3.jpg Paterson, Mark - Getting a grip on new objects, technologies, and sensations Figure 5.3 A never-before published photograph of the author wearing Stenslie’s bodysuit during a research visit to Oslo, 2000. Author’s photograph. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/pink-sarah daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/bda727d9-3f82-4a4f-a736-c5c01328d08f/7.1.jpg Pink, Sarah - Sensory futures ethnography: sensing at the edge of the future Figure 7.1 Yolande Strengers and I visited Fred at home to film for the Air Futures documentary in the southern hemisphere spring in 2022. Image by Sarah Pink, ©Digital Energy Futures 2022. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/644906a2-6249-4a69-9a60-65ffc91be2d1/7.2.jpg Pink, Sarah - Sensory futures ethnography: sensing at the edge of the future Figure 7.2 Fred is committed to electric vehicles, plans to convert an existing car to electric, and keeps his motorbike and skateboard in his garage. Image by Sarah Pink, ©Digital Energy Futures 2022. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/c76d122b-f91e-467b-8cdb-95d5605ffce5/7.3.jpg Pink, Sarah - Sensory futures ethnography: sensing at the edge of the future Figure 7.3 Fred and his dog Taco showed us the air purifier in his study. Image by Sarah Pink, ©Digital Energy Futures 2022. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/e47fff17-3140-43b0-b1bb-5e69fefe505a/7.4.jpg Pink, Sarah - Sensory futures ethnography: sensing at the edge of the future Figure 7.4 The bedroom air purifier, set by the bed alongside electric device charging technologies. Image by Sarah Pink, ©Digital Energy Futures 2022. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/bille-mikkel daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/040412a7-7073-4490-bbb1-48bda92e7343/10.1.jpg Bille, Mikkel - Talking about felt spaces: on vagueness and clarity in interviews Figure. 10.1 Svend Aukens Plads, in Copenhagen Denmark. Photo by the author. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/waitt-harada daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/0a4f22d3-5c3a-4c19-87c5-09dc4f90d1c8/11.1.jpg Participatory sensory ethnography Figure 11.1 Wheelchair-mounted Go-pro. Video recording an everyday journey with carer. Reflected in recordings were bumps, rough surfaces, or steep angles; negotiating other pedestrians and traffic; lack of footpaths; or the height of counters in retail shops. These were starting points for conversations around the importance of mobility in everyday life for sustaining a sense of self and place. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/0267bf32-07ff-4edc-9d49-d83195d29c7d/11.2.jpg Participatory sensory ethnography Figure 11.2 Despite producing an instructional “how to mount a camera holder” video for coresearchers, carers and family members were often called upon to capture journeys by wheelchair on video as some recording equipment was not compatible with devices. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/a9a9d415-36fa-44dd-bc4e-0ab4c8453f04/11.3.jpg Participatory sensory ethnography Figure 11.3 The exhibition space (top) at the Ignite Accessible Community Gallery, Ballina, Northern Rivers, New South Wales, Australia, and Andy’s “get off the couch” photograph (bottom). The exhibition provided an opportunity for people who use motorized mobility devices to communicate their everyday mobility experiences to others. Photographs, paintings, videos, and embroideries illustrated their personal stories in a creative and sometimes humorous way. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/hennessy-smith-dipaola-nejad daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/ed9c78ed-643c-42dc-8e29-35900efab933/21.1.jpg Hennessy; Lynn Smith; DiPaola and Nejad Figure 21.1 AI-generated image from White Clouds in Blue Sky. Kate Hennessy et al. (2021). https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/b2b42529-c792-4398-9eb3-a42b81001a82/21.2.png Hennessy; Lynn Smith; DiPaola and Nejad Figure 21.2 Video still detail, “White Clouds in Blue Sky,” 2021. Kate Hennessy, Trudi Lynn Smith, and Steve DiPaola https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/cfdb5131-685f-47a6-a418-56763b4182bf/21.3.png Hennessy; Lynn Smith; DiPaola and Nejad Figure 21.3 Video still detail, “White Clouds in Blue Sky”, 2021. Kate Hennessy, Trudi Lynn Smith, and Steve DiPaola. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/226d3e61-6281-40cb-8238-778e3ce55596/21.4.png Hennessy; Lynn Smith; DiPaola and Nejad Figure 21.4 Video still, Proximal Interactions. Trudi Lynn Smith and Kate Hennessy (2017). https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/bbc458ed-39e7-4f40-82f1-62275b5243d2/21.5.jpg Hennessy; Lynn Smith; DiPaola and Nejad Figure 21.5 Installation detail, Paper Burn, Kate Hennessy and Trudi Lynn Smith (2017). Fugitives in the Archive, Royal British Columbia Museum, 2018–2019. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/3c1e0ee9-7bf0-4790-9caf-5173c43c6f55/21.6.png Hennessy; Lynn Smith; DiPaola and Nejad Figure 21.6 Video still, “White Clouds in Blue Sky,” 2021. Kate Hennessy, Trudi Lynn Smith, and Steve DiPaola. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/d7b23ed6-f462-4fb3-84f4-aa01204011d4/21.7.png Hennessy; Lynn Smith; DiPaola and Nejad Figure 21.7 Video still, “White Clouds in Blue Sky, 2021. Kate Hennessy, Trudi Lynn Smith, and Steve DiPaola. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/b03bd26e-69a2-4ef9-91ed-cd4a85e7af73/21.8.png Hennessy; Lynn Smith; DiPaola and Nejad Figure 21.8 AI-generated images. A man holding a camera; the floor is made of wood; a kitchen scene, in White Clouds in Blue Sky, 2021. Kate Hennessy, Trudi Lynn Smith, and Steve DiPaola. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/markuksela-vesa daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/c70da258-2101-41bf-9e20-ebf31c408202/22.1.jpg Markuksela, Vesa - Beyond the human: a sensory ethnographer’s gaze on sportfishing practice https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/friedner-michele daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/fd963b75-adfe-47a1-8856-2d4c57cae392/13.2.PNG Friedner, Michele - Political, economic, and relational production of sense Figure 13.1 A screenshot from the Cochlear App, dated August 15, which features a bar graph of time spent in speech for the last seven days, from Tuesday to Monday, with time in speech ranging from five to nine hours on each day. On the bottom of the screen, it says that the average over the last seven days is 6.8 hours. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/6d0f7daa-c1b7-4649-a658-e1ff6b121567/13.1.PNG Friedner, Michele - Political, economic, and relational production of sense Figure 13.2 A screenshot from the Cochlear App, dated August 30, which features a bar graph of time spent in speech for the last seven days, from Wednesday to Tuesday, with time in speech ranging from approximately 1.75 hours to 3.75 hours. On the bottom of the screen, it says that the average over the last seven days is 3.1 hours. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/fiore-elisa daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/19443dbd-405d-4f31-8209-e216e1bae6c4/23.2_png.png Fiore, Elisa - Sensing dirty matter Figure 23.2 The mosaic of spontaneous architecture in Tor Pignattara seen from my kitchen window. © E. Fiore, January 2018. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/b6dd6c9e-aaa9-44d7-a913-c00356edce7e/23.3_png.png Fiore, Elisa - Sensing dirty matter Figure 23.3 Burnt-up car-carcass in Giordano Sangalli Park. © E. Fiore, December 2017. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/f7ef9600-1c41-4289-9c5c-9e6b3d3d951f/23.1.jpg Fiore, Elisa - Sensing dirty matter Figure 23.1 Self-portrait with waste on a discarded mirror. © E. Fiore, September 2017. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/d43a8f34-760a-481b-9eaa-310195538f63/23.4.jpg Fiore, Elisa - Sensing dirty matter Figure 23.4 Mattresses under the arches of the Aqua Alexandrina at the Giordano Sangalli Park. © E. Fiore, October 2017 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/wright-chris daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/912c5f8d-1d71-42d4-9c93-4c2de942adcd/24.1.jpg Wright, Chris - Resonance Figure 24.1 Mountain near Yurutse. Photograph by the author. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/9fbe3fcc-7e80-41b1-9b0d-6e5b833f9d14/24.2.jpg Wright, Chris - Resonance Figure 24.2 Mountains seen through the windows of Rinchin Dorjay’s house at Yurutse. Photograph by the author. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/lupton-waton-wozniak-oconnor daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/4e3b1372-481e-4275-8c62-f631543d5011/25.1.jpg Lupton, Watson and Wozniak-O’Connor Figure 25.1 Images on Padlet used for the new health information metaphor activity. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/918d4e1a-0e65-4f0e-9905-62addd2050eb/25.2.JPG Lupton, Watson and Wozniak-O’Connor Figure 25.1 Images on Padlet used for the new health information metaphor activity. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/fe192a8e-9b9a-4440-abca-c48566021fa5/25.3.JPG Lupton, Watson and Wozniak-O’Connor Figure 25.1 Images on Padlet used for the new health information metaphor activity. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/charette-elliott daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/cabfdbd7-4eb6-4f42-810f-6510af0e1abd/28.1.png Charette, Michelle and Elliott, Denielle Figure 28.1 Artwork generated by a research participant. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/yoshimizu-ayaka daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/26fe55da-1118-4bca-b0ce-3e672feca7a3/29.1.JPG Yoshimizu, Ayaka Figure 29.1 Kuni’s grave, Mountain View Cemetery, “Vancouver,” unceded lands of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/vannini-phillip-april daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/2c8eac7e-199b-45cf-bdce-4aee7811822e/30.1.jpg Vannini, Phillip and Vannini, April Figure 30.1 “Senso unico.” Photograph by Phillip Vannini. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/drysdale-filmer daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/ab44200f-1d6a-4c35-825b-6a83d9ab1fa8/31.1.png Drysdale, Kerryn and Filmer, Jan Figure 31.1 One participant’s map of her queer geography. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/holsgens-sander daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/70640dc9-8643-4a79-b41a-cb900b8975e1/32.1.png Hölsgens, Sander Figure 32.1 Skateable begyon, still from VCR (2018). https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/e88d97f4-38a3-4c05-aa5e-336dbb9d901d/32.2.png Hölsgens, Sander Figure 32.2 Scan lines and artifacts in skatevideos, still from VCR (2018). https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/5b3ad29d-9e3c-4db6-a612-78e1f6c6b4e9/32.3.png Hölsgens, Sander Figure 32.3 Reenactments. Photo shoot against backdrop of found space, still from VCR (2018). https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/1c77058b-ef83-4c40-a1c1-8da7d7c74ee0/32.4.png Hölsgens, Sander Figure 32.4 Learning to see skateable space through media, still from VCR (2018). https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/cox-konishi daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/5117490e-cd9f-474a-8046-43280899e4b8/33.1.jpeg Cox, Rupert and Konishi, Junko Figure 33.1 The Kankaimon gate at Shuri castle, Naha city, Japan. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/834f67ff-dc71-4558-b625-30d07142643f/33.2.jpeg Cox, Rupert and Konishi, Junko Figure 33.2 Hiromu Ikeda gesturing to the uneven stone pavement at the Kankaimon gate. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/b2d4561e-4fbc-4c68-84a7-da46c758fcff/33.3.jpeg Cox, Rupert and Konishi, Junko Figure 33.3 Professor Hiramatsu (left) and Hiromu Ikeda, listening at the wall of one of Shuri castle’s utaki. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/irving-andrew daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/9a930141-543f-47f6-b460-d5c838b54e5a/35.1.jpg Irving, Andrew Figure 35.1 “Studying Hard,” KwaVulindelebe, South Africa. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/b3cfb9a1-8690-472d-b58e-e4e97e70f3ac/35.2.jpg Irving, Andrew Figure 35.2 “Barriers,” Soweto, South Africa. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/45e58534-9e93-4627-bb87-42e7407564fc/35.3.jpg Irving, Andrew Figure 35.3 “Swag,” Soweto, South Africa. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/6080c166-0659-4afd-b4a6-8364bdc37335/35.4.jpg Irving, Andrew Figure 35.4 “My Friend,” KwaVulindelebe, South Africa. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/1b35c90b-cc54-4d7e-831f-be163cec489a/35.5.jpg Irving, Andrew Figure 35.5 “Distant Hands,” KwaVulindelebe, South Africa. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/7619b49a-5845-4593-af65-076e973a27a0/35.6.jpg Irving, Andrew Figure 35.6 “Speed,” KwaVulindelebe, South Africa. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/83be4cf3-19f3-4371-bd28-36d94f5a3ed0/35.7.jpg Irving, Andrew Figure 35.7 “Jump!,” Soweto, South Africa. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/c919cc32-6421-4c02-b7de-f95523b03c3a/35.8.png Irving, Andrew Figure 35.8 “Frustration,” Durban, South Africa. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/f972b146-95ac-42c9-b804-85d391bdfaf2/35.9.png Irving, Andrew Figure 35.9 “Fear,” Durban, South Africa. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/fijn-kavesh daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/kasic-kathy daily 0.75 2023-10-17 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/566e84c2-2459-4f91-876c-ca2e090d0da2/CoverDetail.jpg https://www.sensorydesign.ca/redpath-sensing-introduction daily 0.75 2024-02-16 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/8611e7fd-3fbb-41fe-96b7-317f29f0322f/001.1+Figure+1+%28Left%29.JPG 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https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/c8ca57e1-a2a9-4669-9a47-84de803c9a95/008.1+-+Figure+8a.jpeg https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/ebd929bb-a93a-486b-a4d5-6c5e406af147/008.2+-+Figure+8b.jpeg https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/2ffe89a3-4a1f-468b-a509-1ff302601763/008.3+-+Figure+8c.jpeg https://www.sensorydesign.ca/redpath-picture-gallery daily 0.75 2024-02-16 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/5690261c-2eab-4ab6-b32f-325d230a7d04/01a.jpg Redpath Museum Picture Gallery https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/96e1e69c-4456-44af-8e47-d4c3abb7978b/02a.jpg Redpath Museum Picture Gallery https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/e390a626-935d-4cb7-b60d-2c8a6584389d/03a.jpg Redpath Museum Picture Gallery 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https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/8a8aa3bd-bd48-44a5-afad-bda433c67ae0/PLATE+1_1+Sensory+Archaeology+cover.jpg SENSE-MAKING: PLATES - PART I: Chapter 1 PLATE 1.1: Cover image: The Routledge Handbook of Sensory Archaeology, edited by Robin Speakes and Jo Day, 2020 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/95e115a7-747c-40a3-a699-5f1a7dfee1e8/PLATE+1_2+Intersensoriality+Adigard.jpg SENSE-MAKING: PLATES - PART I: Chapter 1 PLATE 1.2: "Intersensoriality", from The Collideroscope Series, Erik Adigard https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/29c55a62-7c37-412f-bfb4-e422c502b002/PLATE+1.3+Blur+Building.jpg SENSE-MAKING: PLATES - PART I: Chapter 1 PLATE 1.3: Blur Building, Swiss Expo 2002, designed by the firm of Diller, Scofidio and Renfro https://www.sensorydesign.ca/sensemaking-plates/project-four-l3zw3-fx8nz-28myj monthly 0.5 2025-08-14 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/1755195615491-VZ4LPW0ADR8DTH37P6PF/Fig%2B2_1%2BDurer.jpg SENSE-MAKING: PLATES - PART I: Chapter 2 Figure 2.1 Draughtsman Making a Perspective Drawing of a Recumbent Woman, by Albrecht Dürer, ca. 1600. The Metropolitan Museum of Art. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/3fe2c065-5b50-41d6-886d-47146ba8b10b/Fig+2_2+Head+Display.jpg SENSE-MAKING: PLATES - PART I: Chapter 2 Figure 2.2 Image of a Woman Wearing a Head Mounted Display and Data Glove. NASA’s Virtual Visual Environment Display, 1989. Photo: Wade Sisler. Courtesy of NASA. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/09f49db2-9e71-4c94-8fdf-e9d229c7ecee/Plate+1_4+Ways+of+Being.png SENSE-MAKING: PLATES - PART I: Chapter 2 PLATE 1.4: Cover image: Ways of Being. Animals, Plants, Machines: The Search for a Planetary Intelligence, James Bridle, 2022 https://www.sensorydesign.ca/sensemaking-plates/project-three-sng7y-a5bp5 monthly 0.5 2025-08-14 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/8504e57e-bf24-4fb2-8a64-c5019adc7d85/Plate+2_20+Ceiling+at+Venice+Biennale+Rem+Koolhaus.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.20: "Ceiling" as the thin space of the architect. Part of the Elements of Architecture exhibit by Office for Metropolitan Architecture. The dropped ceiling juxtaposed against the 1909 painted dome by Galileo Chini. Directed by Rem Koolhaus, Venice, Italy, 2013-14. Image courtesy of Guardian News & Media Ltd, Original photo caption: “Through the roof … the 'ceiling' room in the central pavilion – part of Rem Koolhaas's Fundamentals at the Venice Architecture Biennale. Photo: David Levene for the Guardian.” https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/f61c096f-6ded-4740-b645-e291f78a12b1/Plate+2_21+Mortar+and+Pestle.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.21: My mortar and pestle. 8” diameter, Thai granite. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/dc5697e4-8b0c-4868-8ce0-b388ff3276cb/Plate+2_22+Flowers+on+Wall+at+Thornbury.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.22: Living fragrant walls at Thornbury Castle: The sweetly scented white climbing Hydrangea Anomala framing the 1514 brick chimney at dawn on the south wall of the inner courtyard (left), roses on the Pleasure Garden wall facing east illuminated at sunrise (right). https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/a1f8821c-c0e2-4dc7-99f3-12991bf8a377/Plate+2_23+Fragrant+Wall+Collection.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 Plate 2.23: The “Fragrant Wall Collection.” Twenty-four fragrant wall panels. 1 foot x 1 foot x ½”. Lime plaster with fragrant pigments on drywall. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/dfb2f49c-6033-4a0c-b669-4bef03195970/Plate+2_24+Priming+wall+panels.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 Plate 2.24: Preparation of the wall panels. Top row left to right: mixing lime plaster slaked in 2008, adding water to rehydrate, it becomes a smooth buttery mixture after mixing; feeling the putty to assess readiness. Middle row left to right: cutting 1 foot x 1 foot x ½ inch drywall panels; applying the casein primer, gold-colored liquid protein (summer 2016). Bottom row left to right: the Kreidzeit casein used, mix test and setting in preparation for first coat of fragrant plaster. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/1c8e8530-3d35-4909-895c-cf813bebc30d/Plate+2_25+Collecting+Pigments+1.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.25: Collecting pigments in the Ottawa Valley https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/f0cbb241-21f6-4d2e-a175-84c348a0fb9c/Plate+2_26+Cooking+Dyes.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.26: Cooking dyes and testing colours. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/f21f4319-0eaa-4585-b727-feb8791efd06/Plate+2_27+Martino+Green.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.27: “Martino green panel.” One of 24 panels, each 1foot x 1foot x ½” thick. Sage, parsley, thyme, basil, lime plaster, ½” drywall. Using the recipe of Maestro Martino of Como in his Liber de arte coquinaria (recipe for Green Sauce, 77) for edible green pigment from dried garden herbs collected over the summer, working them in the mortar and pestle, then mixing them with lime plaster, the mixture was applied with traditional Venetian plastering tools in three thin layers which created a surface with visual, tactile and fragrant depth. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/f4194022-8c8e-4934-9b37-85cba184ac20/Plate+2_28+Overall+exhibit+Carleton.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.28: Dürer’s Nose exhibition including the fragrant wall panels (right rear wall) along with the lime plaster pigments and plaster samples (center table), tools and materials (placed on “fragrance tables” and in niche at the far left and far right). Lightroom Gallery, Carleton University, 20 February – 7 March 2017. Work originally exhibited in EV3.760, Concordia University, 9 August 2017. All work and exhibition installation by author. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/df90c320-76f4-45d7-a983-732f31d98814/Plate+2_29+Oriel+Window.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.29: Oriel window at Thornbury Castle. Drawing by A. Pugin in Examples of Gothic Architecture, Vol. II. (Edinburgh, 1895), Plate II. Public Domain. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/240cd37f-0449-4408-9670-e63e0deb8e4f/bee+boles.png SENSE-MAKING: PLATES - PART II: Chapter 6 Figure 6.1: Bee boles in niches along east wall of the pleasure garden at Thornbury Castle, 5 June 2018. Photo by author. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/7715cf2a-04d9-47fa-b550-598f1d7968ad/Plate+2_30+Pounding+Distilling+Assaying+Window.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.30: Pounding, distilling and assaying. Confectionary window pigments: a) green herbs from my garden, b) steeping saffron, c) casting saffron candy, d) using the copper alembic to distill mint, e) experimenting with temperature for candy, f) casting various pigment panes, g) successful edible glass from moulds, and h) expanding colour range. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/9b4e785d-7d4c-4944-9b58-82d5c68966b1/Plate+2_31+Flavour+Map+Confectionary+Window.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.31: “Flavour map” for the confectionary window. The window-glass works like a stained-glass panel, defined by the enfolding of taste and color. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/e8863701-ccc4-4a55-8dcb-b790d9a1e459/Plate+2_32+Mixing+Pigments+Casting+Candy.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.32: Mixing pigment paints and creating formwork for casting candy window https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/293ed52f-36b9-4cfe-aedd-ff999562990d/Plate+2_33+Confectionary+Window+Detail.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.33: Confectionary window detail. 24” x 16” x ¼” candy-glass window tinted with herbs, flowers and other fragrant and spicy pigments. Work originally exhibited in EV3.760, Concordia University, 9 August 2017 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/42f6a1dd-f1b2-4852-beb0-af48233954fd/Plate+2_34+Confectionary+Window.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.34: Confectionary window. An antidote for the sterility of contemporary window experiences. Honey, herbs, spices cast in a wooden frame. 16” x 24” https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/fb89b514-65d5-4c4b-b222-ea8879dc64bf/Plate+2_35+Cap+and+Flue+of+Chimney.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.35: View of the cap and flue of the 1514 brick chimneys at Thornbury atop the lodgings. Drone flight image by Ben Hayward (pilot) and Sheryl Boyle (conductor), 2017. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/3fa4561f-52c2-4dd9-a8f8-a5a0c8a9f17f/Plate+2_36+Plan+Showing+Chimneys.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.36: Plan of Thornbury Castle showing chimneys. These openings, which are joints between the earth and the sky (the site of architecture), are where the Noirmange sticks are inserted in the table. Drawing by author composed by fragments taken from The History of Thornbury Castle by Richard Ellis (Thornbury: Hamilton Adams and Richard Ellis, 1839). https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/18433074-b5b2-425c-81de-2c62aa1fc187/Plate+2_37+Grotesque+Chimney+Steps.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.37: The Grotesque Chimney. Steps for creating black charcoal drawing sticks by whittling willow twigs; separating the seed scales from the Cedar of Lebanon pinecones from Thornbury Castle and placing them both in tin Bianconeri boxes in a hot fire overnight, covered by black ash and red coals. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/8af93ff1-9580-4a0c-a61d-8a8795f7b502/Plate+2_38+Noirmange+Centers.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.38: Noirmange centers: charred willow twigs used for drawing, made by the author following Cennini Cennini’s recipe. 2” long. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/92aa7cb6-4fe0-4d91-aee1-9984068617d1/Plate+2_39+Well+cooked+willow_+Noirmange+drawing.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.39: Well-cooked willow drawing sticks. The Bianconeri candy tin has lost its painted label, the pure black “pencils” emerge and draw on the gesso panel beautifully, bringing it to life, and their lines can be erased by bread. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/907c6b0a-1082-41c7-8ed1-b862556b1b53/Plate+2_40+Collecting+Ingredients.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.40: Collecting ingredients for noirmange. Scraping pine resin from areas of the trees which have been scarred or broken naturally near Luskvile Falls (two left-hand images taken by Jane McDonald), wild rose petals collected along Wolf Trail (top three images), various soteltie recipes tried before this recipe settled on (middle right), and black ashes from a Thornbury Castle Cedar of Lebanon pinecone burned in a fire-pit along the Ottawa River (bottom right). https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/90c43838-a37e-4235-a04a-9a78d51ebf3b/Plate+2_41+Cooking+the+black+clay.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.41: Cooking the black clay: Pine pitch collected into popsicles for storage (right), and then melted in a jar over boiling water with the four other ingredients to create a malleable black clay. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/fbfda3ff-f571-466c-b919-83d1ac03a265/Plate+2_42+Return+to+Earth+5.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.42: Return to earth: Local wild-rose petals were collected and fermented for one lunar cycle to make a dark rose tea. The five ingredients of blancmange are 1) charred pine cones from Thornbury, 2) pine pitch glue made in the traditional way from locally collected pine pitch, ashes and beeswax, 4) oak gall ink and 5) the rosewater tea. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/1a3e3f7e-3646-4116-bf2f-035891f9e44d/Plate+2_43+Triptych+of+noirmange.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.43: Material Triptych for lime mortar: Blancmange : Noirmange. Using the same analogical relationship as revealed in Chapter 2, I create a third structure to work in concert with the first two using blackness as my contribution. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/1e0bcad3-d1f3-4b0a-9656-74dca68c5073/Plate+2_44+Noirmange+sticks+with+black+coats.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.44: Noirmange drawing sticks. As an instrument for drawing, these sotelties expand the visual dimension of drawing to heighten the lower senses including taste, touch and smell. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/7f0f9d58-6a2a-4e42-8b01-858627cb2c33/Plate+2_45+Gesso+on+Test+Board.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.45: Bone gesso applied to test board, following Cennino Cennini’s recipe (Chapter 5: The way to start to draw on tablets and the method). The board served as a test for the gesso mixtures, and for drawing with noirmange. My fingerprints are embedded into the surface as gesso is applied. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/e0af5c73-f82f-436e-9eac-c8fa4bc02fbf/Plate+2_46+Harvesting+Planks+from+my+House.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.46: Harvesting planks from my house in Ottawa. I salvaged the white pine used for the coal chute to my basement for the wood components of the table, leaving the hand-hewn edge of the carpenter before me; I reforged the nails which I removed into a hook to join the ancone. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/00786f76-c740-4772-9d47-474ca4ddd6a3/Plate+2_47+Building+3-legged+trestles.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.47: Building the three-legged trestles: I followed 15th century models, in particular the one in the Onze Lieve Vrouwe ter Potterie, Bruges, Belgium; cut the mortise and tenon joints, dry-fitted the parts and assessed the level. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/4897dd05-e84b-4039-a9a8-5008d81e37ca/Plate+2_48+Details+Trestle.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.48: Details and final assembly. I used the outline of a child’s top in the apex of the legs to encourage those who sit at the table to create ephemeral and playful lines on the white tabletop. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/b7cdc740-d878-4bc6-9e0a-48c43158181e/Plate+2_49+Constructing+Frame+Saw.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.49: Reconstructing a medieval framesaw to build the trestles. Having used a bucksaw at Peter Minter’s workshop (see Plate 1, Image d) I decided to make one using the guidelines from the St. Thomas Guild. The simple tension system created by twisting a peg through the top band pivots across the center to tighten the blade into place, and it can be disassembled into a slim bundle of sticks for easy transport. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/e4aad82c-3379-4835-8fb1-1fa93ed76586/Plate+2_50+Completed+Trestles.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.50: Completed trestles built by the author following measurements of the medieval trestles posted online by the St.Thomas Guild at https://thomasguild.blogspot.com/2012/07/a-15th-century-trestle-table-from-bruges.html of the 15th century trestle-table, part of the permanent exhibit at Onze Lieve Vrouwe ter Potterie, Bruges, Belgium. My reconstruction of these trestles is constructed from reclaimed lumber, with hand-made mortise and tenon joints and dowels following the design in Bruges. Upon completion it became apparent that they nested perfectly together. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/a679c85f-72b4-4f89-a318-ab2b78bf7725/Plate+2_51+Building+the+Ancona.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.51: Building the ancone. The wood panels are fitted together using hand-planes and spaces are drilled out for the two sets of heavy brass hinges, creating two “books” of wood. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/c717fb3f-f812-473c-bc14-af3cf7d0b782/Plate+2_52+Rabbit+Skin+glue.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.52: Preparing rabbit skin glue. Dried rabbit-skin was cooked in a double-boiler and then let rest overnight. The resulting glue, or size, is reheated before use, and painted onto the wooden panels, bonding with the next layer. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/5fe83fe8-4c89-4e7b-b569-c89fc4f1735b/Plate+2_53+Applying+Size+to+ancone.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 Plate 2.53: Applying the first coat of size to the pine ancone. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/ac3a9a52-7276-445b-963d-37ce968e3592/Plate+2_54A+Coat+1.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.54a: Coat 1 of bone gesso on ancone. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/ad5fea9c-db34-49b0-a7cc-c2489e02b059/Plate+2_55+Linen+surface+of+table.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.55: The wood grain disappears as the gesso is applied, and creates a surface resembling the look and texture of linen. From left to right, details from Coat 2, 3 and 4. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/663ff02b-5321-458e-86b9-e8890cb8a0ce/Plate+2_56+Table+Top.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.56: Table of Delight (recto): One coat of size and six layers of gesso on the top surface to make a good surface for drawing. The right image shows the ancone folded to reveal the rough underside. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/23e33ed2-b515-4b2a-a28d-d42d204c8921/Plate+2_57+North+Arrow+gilding.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.57: North Arrow for the drawing created by sanding and polishing a knot which had fallen out along the edge of the panel, gilding it and gluing it back in place with sweet pine pitch glue. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/7e6ebca5-4f7f-44ba-9232-5b5954b469f4/Plate+2_58+Pins+and+Strings.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.58: Using pins at the edge of the table, I stretch red string across the surface to delineate areas in the building plan where I will apply fragrances. The strings do not touch or mark the white surface, and are removed once the process is complete. The chimneys are located and holes drilled through the table for the Noirmange to be inserted, joining both sides of the table. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/0e2c3b58-6f81-48b4-9a52-09cff980e57e/Plate+2_59+Fragrance+Map+Legend.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.59: Fragrance Map legend. Zones of fragrance on the recto surface of the table. The lines shown on this image are used only to communicate the areas where I have rubbed fragrances into the table. The actual “drawing” is not perceived by the eyes, but rather by the sense of smell and touch when seated at the table. The black Noirmange fills the chimney pots with fragrant, sweet, tactile ink. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/35d9c342-7d49-475f-ace2-5e50b25ebd59/Plate+2_60+Fragrance+Map+Ingredients.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.60: Fragrance Map ingredients. Materials set in areas defined by threads delineate the zones of fragrance at Thornbury Castle. Threads are attached to brass nails at the edges of the ancone, making reference to the action used by scribes who used this technique to rule lines on parchment and also used by masons who placed batter-boards beyond the corners of buildings in order to “draw” the lines of the building onto the site. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/0a3e9bfd-8bea-49d1-8c4c-79c9f719d4f1/Plate+2_61+Noirmange+as+Key.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.61: Noirmange as key: Inserted through ancone like chimneys, the Noirmange bridges from recto to verso and joins the space of the workshop (verso) to the space of the Fragrance Map (recto) creating a projected field of sensory delight from which an architecture can emerge. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/e36c4f6b-9d98-4d16-86e0-3f77e42db7bb/Plate+2_62b+Table+of+Delight+Filled.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.62B (also Figure 6.2): Table of Delight filled (verso). A sensory toolbox for the artisan. Divided by sensations and qualities experienced in these exercises. Top right (fragrance), bottom right (sweetness), bottom left (luminosity), top left (colour). Objects are recessed allowing the panels to be separated into two halves, then folded into two “suitcases” for transport to the next project. The white fragrant recto side is protected on the inside of the suitcase. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/4c624748-26f7-451e-a49d-8c4d2866e64b/Plate+2_63+Table+folded+into+suitcases+with+sb.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.63: The Table of Delight folded. The two ancone are folded and tied, holding all the tools and substances for a journey to the next project. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/c97ba0cb-3ad6-4cd5-bb83-fc759acf540d/Plate+2_64+Pin+String+and+Silverpoint.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.64: Pin, string and silverpoint stylus used to inscribe the gesso with a circle, twice. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/1a26ae77-0bf4-4d66-bdb4-760fd5845838/Plate+2_65+Drawing+Blancmange.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.65: Drawing blancmange with silverpoint, preparing the Table of Delight for installation at the defence. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/93642a2b-233b-4e26-a2d2-9cec4a587d90/Plate+2_66+Sensory+Toolkits.jpeg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.66: Sensory toolkits for the defence committee. Due to Covid-19, in order for the Defence Committee to experience the Fragrance Drawing, boxes of the ingredients used to create the drawing were mailed to the committee along with a section of the gesso test panel and a Noirmange soteltie to draw with. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/3b6ffa50-b1ff-4e07-8ae0-047d1ca100ee/Plate+2_67+The+Dissertation+Table.jpg SENSE-MAKING: PLATES - PART II: Chapter 6 PLATE 2.67: The Defence Exhibition: The table was set with the fragrance kits before they were mailed out. Fragrant Wall (left), Confectionary Window (top right), Noirmange sotelties (center) and Table of Delight, recto side fragrant drawing prepared for others to draw upon it with the sweet Noirmange sticks at center. https://www.sensorydesign.ca/sensemaking-plates/project-two-ky966-jp6wy monthly 0.5 2025-08-14 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/b29773fa-baff-4b96-b7b5-320568ad7784/PLATE+2_10+Uroboros.png SENSE-MAKING: PLATES - PART II: Chapter 5 PLATE 2.10: “Uroboros” by Cleopatra the Alchemist. MS Marciana, gr. Z. 299 (10th Century), Biblioteca Nazionale Marciana, Venice, 188v. CSTOR.240.9949 VE0049_Gr_Z_0299_00584 ARM0000166, Public Domain. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/62ef4f9e-c872-4e3b-ac30-f7616d660a4f/Plate+2_11+Three+Mortars.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 PLATE 2.11: Mortar and pestle. Left to right, Fresco of two men working a mortar (fragment of a wall painting in the Tomb of the 18th Dynasty Egyptian Rekhmire drawn by author); Branches of tree bending inwards back into trunk as uroboros (by author); two women alternating strikes to the mortar, Source: John Ashton, The History of Bread: From Pre-Historic to Modern Times (London: The Religious Tract Society, 1904), 50. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/e13b499e-54ec-4c1f-a778-dcd2958b4514/Plate+2_12+Sichuan+Pepper+Wall.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 PLATE 2.12: Pepper house wall. Fragrant lime plaster wall based on traditional Sichuan wall. Nine different lighting conditions a) through g) conditions of same wall, h) Sichuan peppers, i) and j) author and work at exhibition at Centre de Design de l'Université du Québec a Montréal (l'UQAM), Montreal, Canada from 20 September - 21 October, 2007. Published in 70 architect(e)s : sur l'éthique de la poétique, 20 ans d'histoire et théorie de l'architecture à l'université McGill = On ethics and poetics, 20 years of history and theory of architecture at McGill University. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/6c4a2b9b-8d6e-486e-97a6-47f887addfb6/Plate+2_13+Transformations+of+Lime.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 PLATE 2.13: Experiencing the transformation of limestone, May 2008. The traditional lime kiln at Virginia Lime Works: a) side view showing the ramp atop the wooden retaining wall up to the top where lime is dropped into the kiln and b) front view including two doors at base for stoking the fire under the stones placed above in the cylinder, c) the kilnsperson stoking the fire overnight during firing, d) holding my first piece of quicklime – it is very light, like chalk, e) samples of quicklime and hydrated lime (quicklime with some water added), and f) Jimmy Price demonstrating slaking of lime (adding water) with steam rising from the heat of the reaction, and g) my bucket of quicklime, h) slaked quicklime applied to a brick wall as a limewash to protect the brick, i) applied in layers, the pure white eventually covers the original colours of the wall and leaves it matte white, and j) my slaked lime putty. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/eb678a09-3db7-461b-a9e7-bc21b4fa309c/Plate+2_14+Making+blancmange.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 PLATE 2.14: Making blancmange. a) soaking almonds to make almond milk, b) fine white sugar pounded in the mortar and pestle, c) boiling the chicken breast, d) inner flesh from manchet (medieval loaf) of white bread used for thickener, e) mortar and pestle used to pound ingredients, f) rosewater, g) pouring sugar into strained almond/chicken/bread mixture, h) cooking it in a copper pot, g) turning it out onto a board, and later h) rolling and charring blancmange black as done in earlier Arabic dishes and i) serving to friends. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/aafbb3e6-6098-4a7f-b975-181b7ecaa62d/Plate+2_15+Sugar+Loaf+Production.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 PLATE 2.15: Typical medieval sugarloaf production. Saccharum engraved by Jan van der Straet, Antwerp (c.1580-1605) British Museum number 1948,0410.4.203 © The Trustees of the British Museum. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/2807bafe-3571-47a4-8906-a767abdaad61/Figure+5_1+Analogical+ingredients.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 Figure 5.1: The five analogical ingredients of mortar (above) and blancmange (below). Courtesy of the author. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/45d7e386-a900-4e09-993b-41856cf2e33c/Plate+2_16+Birth_of_Virgin_Carpaccio.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 PLATE 2.16 (and Figure 5.2): The Birth of Mary by Vittore Carpaccio, c.1502-04, Painting at Accademia Carrara, Bergamo, Italy, oil on canvas, 127 x 129 cm. Public domain, via Wikimedia Commons available at https://www.wikiart.org/en/vittore-carpaccio/the-birth-of-the-virgin-1508 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/602a7525-45f9-45fe-aace-7cdf26c22c66/Plate+2_17+Impalliata.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 PLATE 2.17: Five-piece stacking birth set called an impalliata, by Cipriano Picolpasso in Li tre libre dell’arte del vassio (The Three Books of the Potters Art), about 1557, Castel Durante (now Urbania), pen and ink, 28 x 21.5 cm. Museum no. MSL/1861/7446, folio 16 recto. © Victoria and Albert Museum, London. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/59714348-b8f8-4a03-8a6d-1621d5768d22/Plate+2_18+Tacuinum+sanitatis.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 PLATE 2.18: Tacuinum sanitatus (The Medieval Health Handbook), entry for “Warm Water,” showing a typical chimney hood over a fire at the wall in the house. Vienna MS, f.89. unknown master, Public domain, via Wikimedia Commons. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/0412137b-272d-4d64-bbfc-5f969d215efc/Plate+2_19+Exchequer+Table.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 PLATE 2.19: Dublin Court of the Exchequer from “The Red Book of the Exchequer,” c.1420. Image from John Gilbert, Facsimilies of the National Manuscripts of Ireland, vol.3 (London 1879), plate 37. Public Domain. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/c5689347-c862-45cd-a288-d09b88797899/Figure+5_3+Compasses+with+Wings+of+imagination.jpg SENSE-MAKING: PLATES - PART II: Chapter 5 Figure 5.3: Compasses with the wings of imagination. Marco Frascari, 1991. Pen and ink on print. Collection of the author. https://www.sensorydesign.ca/sensemaking-plates/project-two-ky966-jp6wy-zkk7l monthly 0.5 2025-01-31 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/c58d43e2-5b76-432d-aeb1-05933b1021cb/Boyle_Sheryl.jpg SENSE-MAKING: PLATES - Biographies Sheryl Boyle is Associate Professor, Architecture and Director of the Carleton Sensory Architecture and Liminal Technologies (CSALT) lab at Carleton University. She holds a PhD in the Humanities (Arts and Science) from Concordia University, a Post-Professional Master of Architecture from McGill University and a Professional Architecture degree from Carleton. Her research is at the intersections of architecture, cooking, women, building and materiality. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/ee906571-af81-4a2a-add1-9cd720c101ee/Genevieve+closer.jpg SENSE-MAKING: PLATES - Biographies Genevieve Collins is a Postgraduate Researcher undertaking a PhD in Social Anthropology with Visual Media at the University of Manchester. She holds a Master of Arts in Social and Cultural Anthropology from Concordia University. Her research interests span art, science, and sensory anthropology, and her current research focuses on visual artists, environmental researchers, and sound recording in the Subarctic. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/e310cabb-7fbb-4c95-8c28-9d75fae54725/David+BW.jpg SENSE-MAKING: PLATES - Biographies David Howes is Distinguished Research Professor, Anthropology and Founding Director of the Centre for Sensory Studies at Concordia University, Montreal as well as an Adjunct Professor in the Faculty of Law at McGill University. In 2024, he was inducted into the Royal Society of Canada. Recent books include The Sensory Studies Manifesto (2022), Sensorial Investigations (2023) and Sensorium (2024). https://www.sensorydesign.ca/sensemaking-plates/abstracts monthly 0.5 2025-08-14 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/d4ebd4f9-c83d-486e-91f3-eb6928b0138a/PLATE+1_2+Intersensoriality+Adigard.jpg SENSE-MAKING: PLATES - Abstracts https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/a4f6b9a3-b36b-4018-abe2-f046b620bd81/red+string+in+a+jar.jpg SENSE-MAKING: PLATES - Abstracts https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/1a24b669-4ff7-4949-8f5e-9b7497ae7343/gold+drink.jpg SENSE-MAKING: PLATES - Abstracts https://www.sensorydesign.ca/sensemaking-plates/project-two-ky966-jp6wy-3268r-zmgc5 monthly 0.5 2025-08-14 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/60bdb956-ba6f-4bab-a307-bb98dac61a6c/Plate+3.3+ETHER+Invitation+imbued+with+Spacewalk+aroma.jpg SENSE-MAKING: PLATES - PART III: Chapter 8 PLATE 3.3 (also Figure 8.1): ETHER Invitation imbued with Spacewalk aroma https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/38b8ce6d-9bc3-48f7-8c68-af8eb791cd79/Plate+3.4+ETHER+Installation+view%2C+photo+by+Melina+Campos%2C+2021.JPG SENSE-MAKING: PLATES - PART III: Chapter 8 PLATE 3.4 (also Figure 8.2): ETHER Installation view, photo by Melina Campos, 2021 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/4174fd52-aa43-44fc-8160-2db5cb936ada/Plate+3.5+Projections+and+beverages+in+ETHER%2C+photo+by+Melina+Campos%2C+2021.JPG SENSE-MAKING: PLATES - PART III: Chapter 8 PLATE 3.5: Projections and beverages in ETHER, photo by Melina Campos, 2021 https://www.sensorydesign.ca/sensemaking-plates/project-two-ky966-jp6wy-3268r-zmgc5-zlfxm monthly 0.5 2025-08-14 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/87c385c4-7365-4c2c-a6e9-08813b61b250/Plate+3.1+Projections+and+aromas+in+ETHER%2C+photo+by+Melina+Campos%2C+2021.JPG SENSE-MAKING: PLATES - PART III: Chapter 7 PLATE 3.1: Projections and aromas in ETHER, photo by Melina Campos, 2021 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/8895699d-9621-489c-b27a-dec5b4bd6bad/Plate+3.2+Earthrise%2C+by+Bill+Anders+of+the+Apollo+8+mission+%28NASA%29%2C+1968.jpg SENSE-MAKING: PLATES - PART III: Chapter 7 PLATE 3.2 (also Figure 7.1): Earthrise, by Bill Anders of the Apollo 8 mission (NASA), 1968E https://www.sensorydesign.ca/sensemaking-plates/project-one-f5w4d-mf9md monthly 0.5 2025-08-15 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/085986bd-4c5d-46f9-baed-4a0be5613f3a/Plate+2_1+Perspective+view+of+Gloucester+from+the+Welsh+hills.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 PLATE 2.1: Gloucester as approached from the Welsh side of the Severn, shown without floodwaters which would have filled the flat area from foreground to city during high flood on Buckingham’s approach. “Perspective view of the City of Gloucester, in Gloucestershire” anonymous engraver, published in The Modern Universal Traveller, by Charles Burlington, about 1779. Copper engraved print, 30 x 19 cm to plate mark, plus margins. Image courtesy of www.antiqueprints.com. Public domain. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/1b0c71a4-eebc-4353-8481-89825b2b6369/Plate+2_2+Wyngaerde_Richmond_1562.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 PLATE 2.2: The new palace at Richmond as seen from the banks of the Thames, showing the palace flanked by walled grounds on both sides, and with a highly articulated roofline punctuated by several ornate brick chimneys. “Richmond Palace as seen from the SW,” by Anthony van den Wyngaerde, c.1558-62. Ashmolean Museum, Oxford. 20.1 x 89.7 cm. Retrieved from https://upload.wikimedia.org/wikipedia/commons/c/c7/Wyngaerde_Richmond_1562.jpg CC - Public domain. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/798c2b8f-343f-400b-b58a-6bd901d2fb19/Plate+2_3+Richmond+Palace+by+Buck.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 PLATE 2.3: The east entrance gate and walls of Richmond Palace opening on to the Great Court with a significant resemblance to Thornbury Castle. “The East view of Henry VII’s Palace on Richmond Green,” engraved by Samuel and Nathaniel Buck in Buck’s Antiquities, 1737. Royal Collection Trust RCIN 703008, © Her Majesty Queen Elizabeth II 2021, etching 15 x 10cms, retrieved from https://www.rct.uk/collection/703008/the-east-view-of-henry-viis-palace-on-richmond-green. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/bf2246f1-31d3-4b4b-9865-d8c3c4b7d4e5/Fig+4_1+Site+Plan+and+wind.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 Figure 4.1: (left image): Site plan and courtyards of Thornbury Castle and environs with castle and walls, church, missing the Great Hall at the open end of the Inner Court. This work is a derivative of a composite layer of 1:2500 scale Ordnance Survey Plans provided by the British Library and National Library of Scotland as part of the Know Your Place West Heritage Lottery Funded project (kypwest.org.uk). This initial Ordnance Survey was undertaken for Gloucestershire and Somerset—the Gloucestershire area was surveyed 1873–1884. Ordnance Survey 25, 1st Edition. Bristol City Council. https://maps.bristol.gov.uk/kyp/edition=som. GIS Datasets DB-755 (2013) licenced under CC BY-NC-SA 4.0. (right image): Site plan of Thornbury Castle showing former Great Hall and other structures demolished by Buckingham (dotted lines) to open up the Inner Court to the north-east winds (arrow). Walls redrawn using plan of building in Greater Medieval Houses of England and Wales, 1300–1500: Volume 3, Southern England by Emery, Figure 4.3) with all linework, corrections and additions by author. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/85618579-ffe1-4c7a-9ee6-4ff5f63ae46e/Plate+2_4+Overall+courtyard+plan+final.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 PLATE 2.4: Reconstructed plan by author: Thornbury Castle showing Inner Court opening to healthful north-east winds. The kitchen spaces and garden are on the north side, valuables in the west “fortified” side in the wardrobe and offices, and living quarters for the family on the south facing the fragrant Privy Garden. Construction would have taken place in the Inner Court as well as on the perimeter. Drawing by author composed by fragments taken from The History of Thornbury Castle by Richard Ellis (Thornbury: Hamilton Adams and Richard Ellis, 1839). Public Domain. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/ee744efa-163c-4607-8b6f-9330ab93e5cf/Fig+4_2+Edward+Stafford+1520.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 Figure 4.2: Portrait of Edward Stafford, Third Duke of Buckingham, with his sanguine complexion and full-figured physique. Magdalen College, Cambridge, 1520, artist unknown, oil on canvas, 74 cm × 62.5 cm. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/f8f1cdb7-2e49-440d-9a28-9a9d73208760/Plate+2_5+Thornbury+Castle+site+winds+final.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 PLATE 2.5: Wind Rose for Thornbury Castle showing annual wind directions. Each spoke indicates the frequency of winds from each direction (the longer the spoke, the more frequent the wind from that direction). The most common prevailing winds are from the south and west, and occur in the summer, fall and winter. Winds from the north-east occur predominantly in the spring when the gardens and orchards to the north-east are in bloom bringing healthy fresh air into the courtyards, captured by the open mouth of the U-shaped building. Historical wind rose diagram from www.meteoblue.com licenced under CC BY-NC-ND. Underlying map has been derived from a composite layer of 1:2500 scale Ordnace Survey Plans provided by the British Library and National Library of Scotland as part of the Know Your Place West Heritage Lottery Funded project (kypwest.org.uk). This initial Ordnace Survey was undertaken for Gloucestershire and Somerset - the Gloucestershire area was surveyed 1873-1884. Ordnance Survey 25, 1st Edition. Bristol City Council. https://maps.bristol.gov.uk/kyp/?edition=som. GIS Datasets DB-755 (2013) licenced under CC BY-NC-SA 4.0. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/76121a34-cb0e-47fb-a50e-f218e97af196/Plate+2_6+Elaborate+chimneys+at+Thornbury.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 PLATE 2.6: Main brick chimneys at Thornbury Castle built in the Inner Court, dated 1514. Drawing by A. Pugin and A.W. Pugin in Examples of Gothic Architecture, Vol. II, (Edinburgh:1895) Plate XV, p176. Retrieved from Internet Archive at https://archive.org/details/examplesofgothic02pugiuoft/page/n175/mode/2up , Public Domain. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/f392057a-7767-4240-a7b9-4e5ee383bda7/Plate+2_7+Porosity+of+Kitchens+in+Scappi%27s+Opera+.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 PLATE 2.7: Three kitchens and two details showing activity and porosity of the spaces with details of cooks’ waving to the reader/apprentice through the frame of the page. Bartolomeo Scappi, Opera, 1570. A) The Main Kitchen retrieved from https://www.flickr.com/photos/bibliodyssey/3353830798/sizes/o/, B) A Field Kitchen retrieved from https://www.flickr.com/photos/bibliodyssey/3353827202/sizes/h/, and C) The Room Next to the Kitchen retrieved from https://www.flickr.com/photos/bibliodyssey/3353830798/sizes/h/ Posted on Flickr by Peakay at http://bibliodyssey.blogspot.com/2009_03_15_archive.html, CC BY 2.0 license at https://creativecommons.org/licenses/by/2.0/. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/88931022-1366-4061-a17f-b2533aca98cb/Fig+4_3+Giulio_romano.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 Figure 4.3: Figure 4.3 Two Horae scattering flowers, watched by two satyrs, detail of the rustic banquet celebrating the marriage of Cupid and Psyche from the Sala di Amore e Psiche, 1528, fresco by Giulio Romano, Palazzo del Te, Mantua. Perspective angle leveled by author for this portion of the original image by Di Sailko copyright Creative Commons Attribution 3.0 Unported at https://it.wikipedia.org/wiki/Palazzo_Te#/media File:Giulio_romano,_rinaldo_mantovano_e_ benedetto_pagni,_camera_di_amore_e_psiche,_1526-28,_03.jpg https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/7227348c-323f-4526-95bf-4b0f26ebd592/Plate+2_8+Chimneys+at+Thornbury+Drone+Image.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 PLATE 2.8: Bird’s-eye view of the detailed chimneys over the lodging wing at Thornbury looking towards the kitchens with the Severn beyond. Drone footage by Ben Hayward (pilot) and Sheryl Boyle (conductor), June 2018. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/805301b4-5772-4d6d-941e-dcbcd043b983/Plate+2_9++Brick+making+with+Peter+Minter.jpg SENSE-MAKING: PLATES - PART II: Chapter 4 PLATE 2.9: Learning about cut-and-rubbed brickwork from Peter Minter, June 2018: a) bricks stacked in his dome kiln, b) feeling the unique proportions and weight of bricks from different periods of time, c) Peter describing how to feel the tension in the buck-saw, d) using the buck-saw to cut my bricks, e) sample of cut-and rubbed brickwork from Thornbury Castle in the Thornbury District Museum, f) Peter and I in the clay seam, g) learning to stack bricks for air-drying. https://www.sensorydesign.ca/appendix daily 0.75 2025-08-20 https://www.sensorydesign.ca/appendix/2-2narrators monthly 0.5 2025-01-31 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/e0b6f5b7-25c9-4ea2-bb35-5ab6dc3fb681/IMG_5127.jpeg https://www.sensorydesign.ca/appendix/2-4 monthly 0.5 2025-01-31 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/a626bb3e-2b8e-4c39-a824-5f3c13f3d9fe/England+Walking+Map+1500.jpg https://www.sensorydesign.ca/appendix/2-5 monthly 0.5 2025-01-31 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/eb678a09-3db7-461b-a9e7-bc21b4fa309c/Plate+2_14+Making+blancmange.jpg https://www.sensorydesign.ca/appendix/2-6 monthly 0.5 2025-02-01 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/293ed52f-36b9-4cfe-aedd-ff999562990d/Plate+2_33+Confectionary+Window+Detail.jpg https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/1e0bcad3-d1f3-4b0a-9656-74dca68c5073/Plate+2_44+Noirmange+sticks+with+black+coats.jpg https://www.sensorydesign.ca/appendix/2-7 monthly 0.5 2025-01-31 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/3b614835-3836-41b3-a78a-c4071422a038/Plate+2_64+Pin+String+and+Silverpoint.jpg https://www.sensorydesign.ca/appendix/3-1 monthly 0.5 2025-08-20 https://www.sensorydesign.ca/appendix/3-2 monthly 0.5 2025-01-31 https://www.sensorydesign.ca/appendix/3-4 monthly 0.5 2025-01-31 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/b19aa45c-5c32-48be-9cac-89809f15c7b3/Screenshot+2025-01-31+at+6.09.57%E2%80%AFPM.png https://www.sensorydesign.ca/appendix/3-3 monthly 0.5 2025-01-31 https://www.sensorydesign.ca/appendix/2-3 monthly 0.5 2025-01-31 https://www.sensorydesign.ca/appendix/2-1 monthly 0.5 2025-01-31 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/80436f8e-8da5-43d0-a8d7-a0cc3e15e4c7/Plate+2_3+Richmond+Palace+by+Buck.jpg APPENDIX - Appendix 2.1: Richmond Palace PLATE 2.3: The east entrance gate and walls of Richmond Palace opening on to the Great Court with a significant resemblance to Thornbury Castle. “The East view of Henry VII’s Palace on Richmond Green,” engraved by Samuel and Nathaniel Buck in Buck’s Antiquities, 1737. Royal Collection Trust RCIN 703008, © Her Majesty Queen Elizabeth II 2021, etching 15 x 10cms, retrieved from https://www.rct.uk/collection/703008/the-east-view-of-henry-viis-palace-on-richmond-green. https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/54854be8-4844-4b84-9e96-a41e328d5fbd/Plate+2_2+Wyngaerde_Richmond_1562.jpg APPENDIX - Appendix 2.1: Richmond Palace PLATE 2.2: The new palace at Richmond as seen from the banks of the Thames, showing the palace flanked by walled grounds on both sides, and with a highly articulated roofline punctuated by several ornate brick chimneys. “Richmond Palace as seen from the SW,” by Anthony van den Wyngaerde, c.1558-62. Ashmolean Museum, Oxford. 20.1 x 89.7 cm. Retrieved from https://upload.wikimedia.org/wikipedia/commons/c/c7/Wyngaerde_Richmond_1562.jpg CC - Public domain. https://www.sensorydesign.ca/appendix/3-5 monthly 0.5 2025-01-31 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/7f3a04ae-60e6-41e4-a5b8-cdea544753a1/Installation+view+of+ETHER%2C+by+Genevieve+Collins%2C+2021+.jpg APPENDIX - Appendix 3.5: ETHER Exhibition Images Installation view 1 of ETHER, by Genevieve Collins, 2021 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/570016d4-3d2b-40b7-9521-9e54df1bb690/Installation+view+of+ETHER%2C+by+Genevieve+Collins%2C+2021+%281%29.jpg APPENDIX - Appendix 3.5: ETHER Exhibition Images Installation view 2 of ETHER, by GEnevieve Collins, 2021 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/48c6e26c-8eaf-4deb-8882-16a7f3305942/Installation+view+of+ETHER%2C+by+Melina+Campos%2C+2021+.JPG APPENDIX - Appendix 3.5: ETHER Exhibition Images Installation view 3 of ETHER, by Melina Campos, 2021 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/26ad7d35-880c-434c-b94f-8e0a14c575d5/Installation+view+of+ETHER%2C+by+Melina+Campos%2C+2021+%281%29.JPG APPENDIX - Appendix 3.5: ETHER Exhibition Images Installation view 4 of ETHER, by Melina Campos, 2021 https://images.squarespace-cdn.com/content/v1/6296653a244d3c2ddaf91b88/55bac868-2830-400d-a319-628c879f6881/Installation+view+of+ETHER%2C+by+Melina+Campos%2C+2021+%282%29.jpg APPENDIX - Appendix 3.5: ETHER Exhibition Images Installation view 5 of ETHER, by Melina Campos, 2021 https://www.sensorydesign.ca/appendix/1-1 monthly 0.5 2025-02-02 https://www.sensorydesign.ca/portfolio-1 daily 0.75 2025-10-30 https://www.sensorydesign.ca/portfolio-1/project-six-6f87e-w8424 monthly 0.5 2022-05-31 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847359798-BCTJTJAS19PV54HL6VPM/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Six https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847359057-HKZQQP8MCEM0UI23R57B/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Six https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847357814-SZ205VXUQGAN268M8A18/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Six https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847356915-2V61708SR7M0A8IBEJLE/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Six https://www.sensorydesign.ca/portfolio-1/project-five-748cx-8sxkx monthly 0.5 2022-05-31 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847351213-Z61O7XETZM827W8NSG74/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847350665-9UOIWAR5X24UBW83TJJO/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847350097-XM9U6QFAY9KBBLO1AZSP/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847349536-9B5S5JDU6CTTOIHYQPE7/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847349032-KE99W4O3PP9147GHRC10/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847348472-8QESU05NL485EPY8X8XO/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847347954-P3IYHJRVJDA9HIJAOIYW/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Five https://www.sensorydesign.ca/portfolio-1/project-four-l3zw3-4de9g monthly 0.5 2022-05-31 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847904251-HVHUK3T1H2QCY05DRHU3/image-asset.jpeg https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847904480-AXE2TZ6WH1YWOYJELYQQ/image-asset.jpeg https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847904674-UXDT58LZUDAEN1C4LIKQ/image-asset.jpeg https://www.sensorydesign.ca/portfolio-1/project-three-sng7y-gynfs monthly 0.5 2022-05-31 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847347374-LRJZY9Z3THYAKKDMSW3J/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Three https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847346453-9Q5OWQYQKLUYSEI8HTQ9/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Three https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847345694-G1GWR6PECV9YV30U4V72/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Three https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847344987-MHQ4KNDFGIGPTF2COZ6C/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Three https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847343867-0L1OZAUWGMWQRU45XVH0/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Three https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847343275-2K532N6VSN9EQGN24WT6/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Three https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847342706-683IB8RMYZTUU4LFBADF/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Three https://www.sensorydesign.ca/portfolio-1/project-two-ky966-8ldyr monthly 0.5 2022-05-31 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847341420-H8BGVV7QHLUZ41NQKDDO/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Two https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847340763-INL9ICD0DK2G1M8D7C0L/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Two https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847340215-08399OG7B1B8UI9HK97O/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Two https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847339638-MF4NXTWSJ51TSBFP4AIM/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Two https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847337890-BMG68HKP3DXYMQZ6BZA6/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Two https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847337276-72BJU9SDMO608XKWX1Y0/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project Two https://www.sensorydesign.ca/portfolio-1/project-one-f5w4d-lxdle monthly 0.5 2022-05-31 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847336759-YACMFJPFHUW1OQZJXUUF/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project One https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847336169-ER4P81V0HWA3SH81W1QR/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project One https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847334968-DE82MACUOAUSEZT65M3H/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project One https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847334245-H430ILXV7TTE8OBGPEW8/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project One https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847333502-CVFRP4WIHRB50F56M888/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project One https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847332741-UB05QWW31DIDXCV1C06L/20140301_Trade-151_0124-copy.jpg Portfolio 1 - Project One https://www.sensorydesign.ca/sensitive-material daily 0.75 2026-03-14 https://www.sensorydesign.ca/sensitive-material/references monthly 0.5 2025-11-14 https://www.sensorydesign.ca/sensitive-material/related-interest monthly 0.5 2026-01-09 https://www.sensorydesign.ca/sensitive-material/probes monthly 0.5 2026-03-14 https://www.sensorydesign.ca/sensitive-material/presentations-publications monthly 0.5 2026-02-18 https://www.sensorydesign.ca/sensitive-material/people monthly 0.5 2026-01-09 https://www.sensorydesign.ca/sensitive-material/project-description monthly 0.5 2025-11-14