Between Aisthēsis and Colere: Sensoria, Everyday Improvisation and Ethnographic Reality

Abstract

The individual experience of everyday city life is essentially an everyday improvisation among other people. It is in urban settings where socially structured formations of daily life meet purely individual situated experience in myriads of spontaneously created and shaped assemblages of everyday life. The visual perception of space, sonic orientation in a given place and olfactory plus tactile experience of the environment are the basic aesthetic performances in cultivating a common urban reality.

The author discusses specificities of anthropological knowledge derived from first hand experience of the life of other people in the field. To cope with the complexity of everyday urban improvisation, the author employs two ancient Greek terms to define the space of human interaction: aisthēsis, i.e., sensory perception, and the complex meaning of the Latin verb colere, from which the term culture is derived. The triangulation of everyday improvisation through the sensorial essence of everyday life complements the employment of two other ancient Greek terms, praxis and poiesis.

The basic empirical materials used to discuss everyday improvisation in an urban environment are collected narrations of sensory perception and individual lives from sensobiographic walks in Ljubljana, Turku and Brighton. Historically, in the West, the dominance of the senses has shifted from sound, touch and smell, orienting people in orally designed cultural domains, to sight.

Smelling is specific embeddedness in place. Its paradoxical position of sensing outside air deeply inside, integrated in breathing, but not always sensing anything special. At the crossroads of distant and close, inner and outer, olfactory experience is simultaneously existentially idiosyncratic and collectively shaped.

The paper’s main point is that there are no clear limits between the experienced past and the present. However, both are aesthetically and culturally inscribed in specific registers of individual, social, cultural and embodied memories. The same stands for an ethnographic practice.

Everyday life is a continuum of living, weaved together from many discontinuous contingencies. It consists of incongruent, incomplete and chaotic shifts. Repetitive social activities bring order into this everyday mess: rituals and work. For this reason, repetitive music is inevitable for establishing a common ground of the everyday. If ethnography ever touches reality, it is a continuous improvisation in everyday life, shared, collective, and peculiar individual improvisation.