A sensorium (/sɛnˈsɔːrɪəm/) (plural: sensoria) is the apparatus of an organism's perception considered as a whole, the "seat of sensation" where it experiences, perceives and interprets the environments within which it lives. The term originally entered English from the Late Latin in the mid-17th century, from the stem sens- ("sense"). In earlier use it referred, in a broader sense, to the brain as the mind's organ (Oxford English Dictionary 1989). In medical, psychological, and physiological discourse it has come to refer to the total character of the unique and changing sensory environments perceived by individuals. These include the sensation, perception, and interpretation of information about the world around us by using faculties of the mind such as senses, phenomenal and psychological perception, cognition, and intelligence. Ratios of sensation In the 20th century the sensorium became a key part of the theories of Marshall McLuhan, Edmund Carpenter and Walter J. Ong (Carpenter and McLuhan 1960; Ong 1991). McLuhan, like his mentor Harold Innis, believed that media were biased according to time and space. He paid particular attention to what he called the sensorium, or the effects of media on our senses, positing that media affect us by manipulating the ratio of our senses. For example, the alphabet stresses the sense of sight, which in turn causes us to think in linear, objective terms. The medium of the alphabet thus has the effect of reshaping the way in which we, collectively and individually, perceive and understand our environment in what has been termed the Alphabet Effect. Focusing on variations in the sensorium across social contexts, these theorists collectively suggest that the world is explained and experienced differently depending on the specific "ratios of sense" that members of a culture share in the sensoria they learn to inhabit (Howes 1991, p. 8). More recent work has demonstrated that individuals may include in their unique sensoria perceptual proclivities that exceed their cultural norms; even when, as in the history of smell in the West, the sense in question is suppressed or mostly ignored (Classen, Howes and Synnott 1994). This interplay of various ways of conceiving the world could be compared to the experience of synesthesia, where stimulus of one sense causes a perception by another, seemingly unrelated sense, as in musicians who can taste the intervals between notes they hear (Beeli et al., 2005), or artists who can smell colors. Many individuals who have