Dans le Noir? Eating in the dark: sensation and conviviality in a lightless place

Drawing on ethnographic interviews with customers, this paper looks at the experience of dining at Dans le Noir?, a restaurant in London where eating is carried out in complete darkness. As an exemplary gastro-tourist site within the expanding leisure economy at which sensory alterity is sought, we argue that the transformation of the usual unreflexive habits of sensing while dining offer opportunities to encounter difference and reflect upon our culturally located ways of sensing the world. In focusing upon the altered experience of apprehending space, eating and socialising in the absence of light, we contend that this dining experience offers broader suggestions about how we might reconsider the qualities and potentialities of darkness, a condition which has been historically feared and reviled in the west.

Colour Sensation and Empathy: Arthur Schopenhauer's Negative Philosophy and Colour Theory as the Basis of an Elemental Colour Architecture

Arthur Schopenhauer proposed a theory of colour as a consequence of his first hand knowledge of J.W. Goethe’s experiments with color phenomena. This colour theory can be used to explore an interesting proposition Schopenhauer made about architecture. For Schopenhauer, architecture is about feelings, not about functions or forms, its purpose as an art is to reveal the principles of primitive forces, specifically gravity and rigidity. For Schopenhauer, architecture expresses these forces in the poised equilibrium of massive structures built out of stone. Schopenhauer was inclined to believed that architecture had already achieved its most perfect expression in Greek temple architecture. However; he did offer one possibility for architectural research: this was the suggestion that architecture was also concerned with the expression of light. It seems never to have occurred to Schopenhauer to use his colour theory to speculate about light in architecture. This paper explores some of the implications of Schopenhauer’s theory of colour for his aesthetics of architecture?

Embodied perspective-taking indicated by selective disruption from aberrant self motion

Spatial perspective-taking that involves imagined changes in one’s spatial orientation is facilitated by vestibular stimulation inducing a congruent sensation of self-motion. We examined further the role of vestibular resources in perspective-taking by evaluating whether aberrant and conflicting vestibular stimulation impaired perspective-taking performance. Participants (N = 39) undertook either an “own body transformation” (OBT)task, requiring speeded spatial judgments made from the perspective of a schematic figure, or a control task requiring reconfiguration of spatial mappings from one’s own visuo-spatial perspective. These tasks were performed both without and with vestibular stimulation by whole-body Coriolis motion, according to a repeated measures design, balanced for order. Vestibular stimulation was found to impair performance during the first minute post stimulus relative to the stationary condition. This disruption was task-specific, affecting only the OBT task and not the control task, and dissipated by the second minute post-stimulus. Our experiment thus demonstrates selective temporary impairment of perspective-taking from aberrant vestibular stimulation, implying that uncompromised vestibular resources are necessary for efficient perspective-taking. This finding provides evidence for an embodied mechanism for perspective-taking whereby vestibular input contributes to multisensory processing underlying bodily and social cognition. Ultimately, this knowledge may contribute to the design of interventions that help patients suffering sudden vertigo adapt to the cognitive difficulties caused by aberrant vestibular stimulation.

England's Yellow Peril: Sinophobia and the Great War

As England suffered heavy casualties at the front during World War One, the nation closed ranks against outsiders at home. England sought to reaffirm its racial dominance at the heart of the empire, and the Chinese in London became the principal scapegoat for anti-foreign sentiment. A combination of propaganda and popular culture, from the daily paper to the latest theatre sensation, fanned the flames of national resentment into a raging Sinophobia. Opium smoking, gambling and interracial romance became synonymous with London's Limehouse Chinatown, which was exoticised by Sax Rohmer's evil mastermind Fu Manchu and Thomas Burke's tales of lowlife love. England's Yellow Peril exploded in the midst of a catastrophic war and defined the representation of Chinese abroad in the decades to come.