Sensory Awareness Foundation


Algo nos visita y algo nos deja (Things come and go.)

This article is in English and Spanish. Este artículo está en inglés y español.

Miren Salmerón vive en Legazpi, España donde practica como un oesteopath pediátrico.
Ella es un líder autorizado del conocimiento sensorial, que ofrece a personas de todas las edades.
Miren Salmeron lives in Legazpi, Spain where she practices as a Pediatric Oesteopath.
She is an authorized leader of Sensory Awareness which she offers to people of all ages..

¿Estás en un momento de cambio en tu vida? ¿Tal vez, inmerso en un momento de que algo se cierra y algo nuevo se está abriendo camino?

Si nos paramos a pensar un poquito, esto ya sucede a cada instante.

En cada respiración que viene y se va

…Algo nos visita y algo nos deja

…O al caminar

…Llegamos a un paso, y al poco, ya llegamos a uno nuevo

…Pero, puede que también estés inmerso en cambios más significativos en tu vida

…Y en este momento, no sientas más que incertidumbre y un suelo inestable bajo tus pies

…Si es así, puede que en un taller de Consiencia Sensorial encuentres aliados y recursos que te ayuden a vivir este momento.

A través de diferentes prácticas, exploraremos el contacto con nosotros mismos, con este instante, con todo lo que nos rodea. A través de la experiencia es como aprendemos

…Así lo hicimos tiempo atrás cuando comenzamos a dar nuestros primeros pasos en la verticalidad

…Sólo necesita su curiosidad y la presencia.




Are you in a time of change in your life?

Maybe, immersed in a time when something is closing and something new is opening up?

If you think about it a little, this is already happening at every moment …. In every breath that comes and goes …

Something comes to us and something leaves us..

… or walking …. We complete a step, and soon as we begin a new one.

But you might also be overwhelmed by more significant changes in your life

…. And right now, you may feel nothing more than uncertainty and a shaky ground beneath your feet.

Sensory Awareness can help you to connect with allies and resources that are always there for you, to help you to live in this moment.

Through different practices, we explore contact with ourselves, right now, and with everything that surrounds us.

We learn through experiencing.

Just as we did long ago when we began to take our first steps, standing upright.

You need only your curiosity and presence.

Visit her website:

Tibetan Nun Refugees and Sensory Awareness

Years ago, Judyth O. Weaver, PhD was invited to Dharamsala, India to work with Tibetan Buddhist Nuns who were living there as refugees in exile. This story is quoted from an article on her website: Touching Our Human Essence – Leading Sensory Awareness Classes in Different Cultures. Click here to read the full article including several moving and insightful stories about offering Sensory Awareness to people from diverse cultures and backgrounds.

Judyth Weaver in Dharamsala, India

“Many of the nuns had escaped from Tibet, having been tortured and abused in various horrible ways; their’s is not a way of life that affords the time and space to “be sensitive” but which demands a sensitivity and paying attention to what is happening in order to survive. They have many physical complaints – among the most common are severe headaches, neck, back and joint pains, and gastrointestinal problems.” Fifteen nuns showed up for the first workshop.

Judyth writes that initially when working in pairs “their concern was so focused on the other person”, that they were not aware of their own experiences but very tuned into that of their partner in the experiment.

“As we worked they gradually became more sensitive to all that was happening, within themselves and others. What fun to watch them recognize the movement and affect of their own breath in their bellies, in their lung tips, and then being able to more sensitively recognize it within the other person and thereby receive more information regarding working with the other person, the whole person.”

“The progression during the ten days, two classes a day was exciting and gratifying. They learned some therapeutic massage techniques, specific to their needs. We also focused on foot reflexology and I was able to teach them a bit about the cranium and how to begin to work with that. Sensory Awareness was a basis of it all: the awareness of how to approach a person to touch, the sensitivities and respect required in the giver and the receiver, the affects and responses. They learned the power of contact in the somatic realm and how much can be accomplished, and the efficacy and healing that is possible by the grand simplicity of being there on all levels.”

Weaver has continued to support these wonderful, courageous people, offering Sensory Awareness and anything else from her broad background that could be beneficial.

In 2016, Judyth was in Dharamsala, India to witness the Dalai Lama in the conferment of the Geshema Degree to twenty Tibetan nuns. They are the first females to earn this degree which often requires over 20 years of study. A Geshema Degree is equivalent to a PhD in Buddhist philosophy.


Judyth Weaver with Elizabeth Castagna at the 2017 East Coast workshop

What are the differences of leading this work in different cultures?My answer is basically, “none.” The culture that Sensory Awareness works with is the human culture; the specific country, language, or way of dressing is not the level where we meet. Our work goes underneath the vagaries of cultural experience and reaches down to the foundational essence of human nature. I am awed and thrilled about our basic humanity every time an experiment is met with honesty and human grace and a person, no matter what their homeland, is affected.This does not mean that there are not many cultural concerns and variations that need to be attended to. On the contrary, I want to be especially careful and not violate any cultural issues so that the students may feel safe and free to explore without worry that they be offended or need to protect themselves. I err on the side of safety, and consequently many experimenting situations that I would use in my familiar western context, I forego in other countries.”



Overcoming obstacles: Carol Buck’s story

Over 40 years ago, Carol Buck was in despair. She had gradually lost much or her mobility and was diagnosed with Scleroderma, a terrible degenerative connective tissue disease. At that time, her doctor told her there was no treatment and no cure and she should get her affairs in order. A soulful, talented cellist, Carol could only hold down the strings of her cello using the index finger of her left hand.

Somehow, she happened to go to a Sensory Awareness class led by Charlotte Selver and she felt a difference right away. “I could feel where the frozen areas in my tissues met the areas that were still alive.” That was the late summer. Charlotte invited her to participate in an intensive study group that Fall where she would experience Sensory Awareness daily. By December, she was moving with much more ease. Her recovery continued as she continued to study and practice Sensing. Now, in her 70s, still agile and mobile, she performs in several musical ensembles in New York City and is a member of the Sensory Awareness Leaders Guild. In November 2016, she played with the Ron Carter Nonet at the new Blue Note in Beijing, China.  Carter is the most recorded jazz bassist in the world. He is pretty picky about his cellists but Carol has played with the ‘Nonet’ for years. Sensory Awareness is not snake oil. There are no guarantees of  ‘cures’, but this is a true story and there are many more like it. Profound awareness helps us to be fully present for our unique individual experience of health and disease.  From that place, we are more responsive and able to cope with whatever comes in new and surprising ways.


A pot of tea

This article is in English and Spanish. Este artículo está en inglés y español.

I would like to share a simple story that has been important to me. Last year a friend gave us a very nice glass teapot, but when trying it the first day, tea spilled over the sides as the lid was a little unstable. My first reaction was to exchange it for one that worked better, but I really liked that glass teapot, and it was a gift… So I started serving tea carefully without tilting too much, feeling the weight changes when serving, and it worked perfectly! So suddenly it turned out to be that every morning I was “forced” into Sensing for breakfast! And it is wonderful. And after all this time, when it’s tea time, we look at each other, my wife and I, and smile before deciding whose turn it is…

And actually when we look around, we are surrounded by opportunities, invitations to connect with ourselves in everything we do, in our own home, with every door we open…

En Español

Me gustaría compartir una sencilla historia que para mí ha resultado importante. El año pasado un amigo nos regaló un teapot de cristal muy lindo, pero al probarlo el primer día se derramó el té por los lados,ya que tiene la tapa un poco inestable. La primera reacción fue ir a cambiarla por otra que funcionara mejor, pero en realidad me gustaba esa de cristal, y además era un regalo… Así que empecé a servir el té con mucho cuidado, sin inclinarlo demasiado, sintiendo los cambios de peso  al servir, y funcionó perfectamente! Así que de repente me encontré cada mañana con que la tetera me “obligaba” a hacer sensing para desayunar! Y es maravilloso.

Y después de todo este tiempo, a la hora de servir el té, nos miramos mi mujer y yo, y sonreímos antes de decidir a quién le toca…

Y en realidad cuando miramos a nuestro alrededor, estamos rodeados de oportunidades, de invitaciones a conectar con nosotros mismos en cada cosa que hacemos, con cada puerta que abrimos…


Enric Bruguera offers Sensory Awareness workshops in Spain, Chile, Mexico and India.
He lives with his wife, Nuria Vives (also a leader in Sensory Awareness, in Palafruguell (Girona), Spain. They are both members of the Sensory Awareness Leaders Guild. Enric is also a professional photographer. Visit his website: Click here!

Steps to Seeing with Bob Smith

Taking a fresh look at the natural world – with or without a camera – is at the heart of Bob Smith’s Steps to Seeing classes on Monhegan Island in Maine. Bob has been offering these classes for many years in the summer months and he will do so again this summer. Stefan Laeng interviewed Bob about his experience with Sensory Awareness  on March 23, 2015 in Brooklyn, New York. The following excerpt focuses on these classes that Bob offers to visitors of Monhegan Island, Maine. Bob and his wife, Penny Smith, are long-time members of the Sensory Awareness Leaders Guild. They both lead classes on Monhegan Island every summer.

Stefan: When you are on Monhegan, you offer classes based on your experience as a photographer.

Bob: Yes, the Steps to Seeing walks are offered twice a week, one in the morning, one in the afternoon.

Stefan: And the people you get are people who happen be on Monhegan. They are not necessarily interested in Sensory Awareness.

Bob: Yes. We’re speaking about people who have no connection to the work. The idea of the walk began because of people who visited my studio and after hiking around the island they came back and said, “I saw your work, and when I went on the trails I suddenly saw so much more than I’ve ever seen before.” This tossed things up for me and I began to ask myself, what I could do with that? It was music to my ears and I thought, why not take people out to the landscape and share with them how I see it.

Stefan: Tell me a few things that you do in such a class

Bob: I go out to Lobster Cove because that’s the easiest area to access. I ask them to walk in silence and just see what they see along the way. Then, when we’re out there, I start with some experiments, trying to get them to be quiet and see what’s around them. I traditionally have an order of things, a progression. I begin by asking them to find a place where they can stand securely because we’re going to work at times with our eyes closed. Then I ask that they turn around themselves and see the landscape.

Stefan: With a wide view….

Bob: Yes, we’re on a knoll overlooking Lobster Cove. Then I’ll ask them to close their eyes. Our main focus is the visual but all the other sense experiences are available. For example, if it’s a sunny day, I might ask if they can know where the sun is in the sky, without seeing the sun. I’ll ask them if they can tell in which direction the breeze is blowing. Usually there is on the island some movement of air and you can tell which direction it is coming from. Then I ask if they can notice any fragrances in the air. Finally, I ask them to open their eyes again.

Stefan: And maybe hearing? There would also be sounds.

Bob: Yes, the sounds, the ocean, and the birds. Then they open their eyes and I ask them to begin turning around themselves slowly. I suggest to them that there are three ways of seeing the landscape. There’s the vista, the distance, there is middle ground, and then the close by. I ask them to turn around themselves, being aware of these three divisions while they’re observing and seeing the landscape. And then, when they get back to where they began, I ask them to start circling again in the opposite direction. I find that one thing adjacent to another can appear differently, depending on which way you’re turning, what you see.

“There are paintings everywhere!”

Then I ask them to come together and we share what the experiences have been for that first part. What I find is that most of the comments are that the experience of seeing what’s nearby was new for them, that they hadn’t really noticed what’s in this immediate area.

Stefan: Interesting.

Bob: We then proceed further down to the cove and I start working with the contrasts that I see in the landscape. Because I’m trying to build a bridge for them so that they’ll see more and more and more, so that they have a foundation that’s being built upon by contrast. I find what comes to my consciousness in seeing is through contrast. I ask them to just look directly in front of them and name a contrast that they see.

Stefan: Something specific.

Bob: No, we’re working in general terms. For example, the contrast of color in the landscape. I’ll ask them to notice what comes to them in contrasting colors. Then I ask them to slowly turn around themselves, seeing the one contrast, just color, that they can see all around. When we’re down at the cove other major contrasts are the lights and darks, of rocks, plants, and flowers, the hard and the soft, different shapes, different sizes, and different textures. Whether something is moving or in stasis, living and not living. Any number of contrasts. Then, as they name the contrast, they turn around themselves, and I ask them, if they’ve turned in one direction the first time, to turn in the other direction the second time. The reality is that they can be seeing the same objects but the objects would be revealing themselves in different contrasts. Something next to something they would see that they didn’t even see the first time. My hope is that they can finally build or construct this view of the landscape where they see much more.
I have these rectangular pieces of corrugated where I’ve cut out a window. I call them my automatic cameras. I distribute them and ask that each person go to a place nearby that interests them from their circling experience and that they work in forming compositions with either their camera or with this cutout to see what they see. They spend perhaps ten minutes by themselves in this way.

Stefan: I like that. I especially like the idea of working with these frames instead of a camera.

Bob: Yes. I prefer working with the frames. They’re so flexible. You can bring them to you or further away from you, holding them at any angle, it’s really marvelous. Then we get together and we talk about what we’ve seen.

I then lead them to the third and final area, at the rocks where you can see the crashing waves. We look back to where we began and I’m telling them that the vista, the mid range and the nearby, where we’re standing at the final area is the exact obverse of where we began. Where we’re standing now was the vista before. Now it’s the close by.

I’m trying to have them realize that wherever they are they have this possibility of seeing so much more. I again ask them to go into the area with their cutouts and cameras. They’re working for maybe ten or fifteen minutes. Then we get together finally to discuss the entire experience. Invariably, the comments center on the coming to quiet, stepping away from what their normal activities are, and then the ability of having the experience of seeing much more of what’s around them. I share with them that we all came together at a certain time of the day, under certain weather and tide conditions, and that all this can change quite rapidly – that there are endless possibilities.

There was one comment that was made by a fellow that was so profound, yet such an economy of words, the statement was beautiful, it was indelibly etched upon my mind. He just blurted out, he said, “There are paintings everywhere!” I loved it.There are paintings everywhere. Wow. Along the way, several others had told me that “Steps to Seeing” has changed their lives. What a joy to hear.

Stefan: That’s beautiful. And this is something you developed on you own, just following your interest.

Bob: Yes. I have no idea what they’re going to do the following day, or weeks, or months – in their own lives. But I know that in that moment, that period of time, I’ve given them the opportunity to do things differently, or see things differently. They’re really in a different place as far as receptivity to what’s around them.

Stefan: And it’s not about photography, it’s about seeing.

Bob: Yes, it’s seeing. My sign for the walk says that you don’t need a camera.

Stefan: I love taking photographs. But the part with the cutout, the frame, I’m finding very intriguing because you can’t keep the picture, you have to be open for that moment.

Bob: Yes, and there truly are an infinite number of compositions that come to you as you move.

Stefan: Yes. I want to explore this also, I really like the idea.

Finally, I asked Bob if he had ever considered offering such walks in New York City, to which he responded no, because it is for him very much something that belongs to the natural world of Monhegan. But he then added:

Bob: I don’t know were we’re all going because when I’m on a bus or subway I’m interested in what I see around me. And what I see now are young people – predominantly young people – glued to their devices and completely oblivious to their surroundings. I don’t know what kind of a world that’s going to be that we’re going to inherit but it’s really strange to me.

Bob Smith can be reached at: