The expression ‘organization of perception’ appears in one of the first paragraphs of Walter Benjamin’s essay ‘The Work of Art in the Age of Its Technological Reproducibility’ (1935-36), in a passage that highlights the historical determination of sensory perception. The idea of the historicity of perception – which Benjamin found in art historians such as Alois Riegl, Franz Wickhoff, and Heinrich Wölfflin – lies at the very center of what one can consider his ‘media theory’. Yet the notion of an organization of perception also relates to the wider context of aesthetic theories and practices of the 1920s and 1930s, including a series of sensorial experiments exploring this link: Thus, in theorizing rhythm, the Soviet avantgarde negotiates b...