SENSORY EXPERIMENTS, SENSORY ORDERS, AND AESTHETIC EDUCATION

Abstract

Erica Fretwell's Sensory Experiments: Psychophysics, Race, and the Aesthetics of Feeling (2020) raises crucial questions about the making of a concept of difference through marshaling the senses to the ends of a sensory order in postbellum United States. In this essay, I argue that Fretwell's book has opened a crucial horizon for rethinking how race and ideas of difference marking gender and disability were remade through the short-lived but deeply consequential science of psychophysics. While the study focuses on how psychophysics and its aftermaths recast questions of difference in the US, Fretwell indirectly poses a major challenge for the critique of the twentieth-century experience of race elsewhere—for example, of apartheid in South Africa. In this review essay, I argue that, beyond the US, Fretwell's meticulously elaborated argument renews approaches to the problem and problematization of race and difference. Read in relation to the making of race in South Africa, the book inadvertently brings into view a deceptive plot of petty apartheid, a banal everyday constitution of a sensory order that shares its origins in the discourse of psychophysics. When placed alongside the more pronounced forms of grand apartheid, the resultant psychophysical aesthesis conscripts the human sensorium to a cybernetic mode of power that shifts between a racialization of labor and a racialization of desire. Fretwell effectively invites us to consider the endpoints of psychophysics in a hierarchy of the senses, for which an aesthetic education may yet be required to short-circuit and reroute the senses through intervals of synesthesia.