Andrea Resmini Limbic Resonances Editorial In the 2015 sci-fi thriller / drama series “Sense8”, written by the Wachowskis and J. Michael Straczynski and directed by the Wachowskis, the eight pro- tagonists — born on the same day in different parts of the world — form a cluster of people who can communicate telepathically, and experience and feel what any of the others is experiencing through some form of heightened “limbic resonance” [1]. Unbeknownst to them, they are what the show calls “homo sensorium” or “sensate”, the next step in the evolution of mankind [2]. Chased by a sinister shadow organization which seems bent on eradicating sensates from the gene pool, or maybe turn them into weapons, the group progresses from confusion and doubts about their own sanity to fully em- bracing their collective self — and the power that comes with it — and use it to fight back. An affirmative, heartfelt spectacle, but also a slow-burn that spends a lot of time on character development rather than on plot points or action se- quences, “Sense8” certainly may be read like a cinematic investigation of so- ciety’s current coming to terms with the collective presence made possible by digital and its consequences, the protagonists’ “limbic resonance” — their capacity to share and empathize and “be there” for each other — a sci-fi mus- ing on how “technology simultaneously unites and divides us” [3] and what could happen if empathy and a love of each other were what an online soci- ety could light up in people. “Sense8” can be, and has been, critically lauded for its take on identity and gender, but my love for the show originates from how clearly and deeply it cares for its characters and because of its ability to very explicitly capture today’s new sense of presence, the shared lives we all live, and make that “be- ing here and elsewhere” visible and meaningful to viewers in a way that only good storytelling can. The idea of writing about place and presence in “Sense8” — how shots and sequences are treated by the Wachowskis — has been at the back of my mind since 2015. Through the years, I have been infrequently but steadily adding notes and thoughts to a black notebook — now containing a mot- ley crew of entries discussing composition, timing, cuts, camera movements, point of view — and slowly working out a structure for what I believe is JOURNAL OF INFORMATION ARCHITECTURE FALL 2022, VOL 7 ISS 2 — Resonances 1