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“High stimulation is both exciting and confusing for people with ADHD, because they can get overwhelmed and overstimulated easily without realizing they are approaching that point.”
― Jenara Nerenberg, Divergent Mind: Thriving in a World That Wasn't Designed for You

“Sound waves, regardless of their frequency or intensity, can only be detected by the Mole Fly’s acute sense of smell—it is a little known fact that the Mole Fly’s auditory receptors do not, in fact, have a corresponding center in the brain designated for the purposes of processing sensory stimuli and so, these stimuli, instead of being siphoned out as noise, bypass the filters to be translated, oddly enough, by the part of the brain that processes smell. Consequently, the Mole Fly’s brain, in its inevitable confusion, understands sound as an aroma, rendering the boundary line between the auditory and olfactory sense indistinguishable.

Sounds, thus, come in a variety of scents with an intensity proportional to its frequency. Sounds of shorter wavelength, for example, are particularly pungent. What results is a species of creature that cannot conceptualize the possibility that sound and smell are separate entities, despite its ability to discriminate between the exactitudes of pitch, timbre, tone, scent, and flavor to an alarming degree of precision. Yet, despite this ability to hyper-analyze, they lack the cognitive skill to laterally link successions of either sound or smell into a meaningful context, resulting in the equivalent of a data overflow.
And this may be the most defining element of the Mole Fly’s behavior: a blatant disregard for the context of perception, in favor of analyzing those remote and diminutive properties that distinguish one element from another. While sensory continuity seems logical to their visual perception, as things are subject to change from moment-to-moment, such is not the case with their olfactory sense, as delays in sensing new smells are granted a degree of normality by the brain. Thus, the Mole Fly’s olfactory-auditory complex seems to be deprived of the sensory continuity otherwise afforded in the auditory senses of other species. And so, instead of sensing aromas and sounds continuously over a period of time—for example, instead of sensing them 24-30 times per second, as would be the case with their visual perception—they tend to process changes in sound and smell much more slowly, thereby preventing them from effectively plotting the variations thereof into an array or any kind of meaningful framework that would allow the information provided by their olfactory and auditory stimuli to be lasting in their usefulness.

The Mole flies, themselves, being the structurally-obsessed and compulsive creatures that they are, in all their habitual collecting, organizing, and re-organizing of found objects into mammoth installations of optimal functional value, are remarkably easy to control, especially as they are given to a rather false and arbitrary sense of hierarchy, ascribing positions—that are otherwise trivial, yet necessarily mundane if only to obscure their true purpose—with an unfathomable amount of honor, to the logical extreme that the few chosen to serve in their most esteemed ranks are imbued with a kind of obligatory arrogance that begins in the pupal stages and extends indefinitely, as they are further nurtured well into adulthood by a society that infuses its heroes of middle management with an immeasurable sense of importance—a kind of celebrity status recognized by the masses as a living embodiment of their ideals. And yet, despite this culture of celebrity worship and vicarious living, all whims and impulses fall subservient, dropping humbly to the knees—yes, Mole Flies do, in fact, have knees!—before the grace of the merciful Queen, who is, in actuality, just a puppet dictator installed by the Melic papacy, using an old recycled Damsel fly-fishing lure. The dummy is crude, but convincing, as the Mole flies treat it as they would their true-born queen.”
― Ashim Shanker, Don't Forget to Breathe

“...[B]y observing objects with my eyes and trying to comprehend them with each of my other senses I might blind my soul altogether... [like] when [people] watch and study an eclipse of the sun; they really do sometimes injure their eyes, unless they study its reflection in water or some other medium.”
― Socrates, Apology, Crito And Phaedo Of Socrates.

“The destruction of sight, wherever the injuries be sustained, follows the same law: all colours are affected in the first place, and lose their saturation. Then the spectrum is simplified, being reduced to four and
soon to two colours; finally a grey monochrome stage is reached, although the pathological colour is never identifiable with any normal one. Thus in central as in peripheral lesions ‘the loss of nervous substance results not only in a deficiency of certain qualities, but in the change to a less differentiated and more primitive structure��.”
― Maurice Merleau-Ponty, Phenomenology of Perception

“There are many things we don’t understand, and many ways to unlock the brain and maximize function. Don’t ever let anybody tell you it can’t be done.”
― Sally Fryer Dietz, When Kids Fly: Solutions for Children with Sensory Integration Challenges

“Modulation and processing of the range of sensory experiences allows for social engagement and attachment to others. A person who is easily overwhelmed by sounds, touch, movement, or visual stimulation may avoid interactions with
persons or situations that are highly stimulating. In contrast, the person who does not process sensory input unless it is very intense may develop a pattern of thrill seeking, high stimulation, and risky behavior.”
― Georgia A. Degangi, Dysregulated Adult: Integrated Treatment Approaches

“For possibly the first time in three decades, I’m not weighed down by trying to read someone’s colors and their facial expression and their body language and their tone and their words and also look out for jokes and sarcasm and flirting and secret insults and what is implied and what is left unspoken and somehow simultaneously filter out the chatter around me and the milk frother and the sensation of the chair under my bum and the movement of my fingers and position of my own feet and the breeze on my face and the sound of the doorbell ringing and the sound of my own heart and breath and the muscles in my own face.

For just a few seconds of my life I get to just be present, and it is joyful.”
― Holly Smale, Cassandra in Reverse

“I mean, we should probably have worked it out for ourselves, what with the lifelong obsession with Greek mythology and the rules and regulations and the need for quiet, dark rooms and the same restaurant and food over and over again and the sensory issues and the repetitive movements and the massive meltdowns, but we all just thought she was your bog-standard academic.”
― Holly Smale, Cassandra in Reverse

“Twenty-eight courses?" Dylan mused.
"Get comfortable," Grace said with anticipation.


They came on little spoons, tiny plates, in small glasses, atop mini-pedestals even speared and hung, suspended on custom-made wire serving devices like little edible works of art, which was entirely the point: mint-scented lamb lollypops, osetra and oysters on frothed tapioca, beet gazpacho and savory mustard shooters, foie gras porridge with a sweet ginger spritz in an atomizer, ankimo sashimi on house-made pop-rocks, plums in powdered yogurt, goat cheese marshmallows, venison maple syrup mastic, warm black truffle gumdrops with chilled sauternes centers. Foamed and freeze-dried, often accompanied by little spray bottles of fragrance and tiny scent-filled pillows, the food crackled and smoked and hissed and sizzled, appealing to all the senses. Thin slices of blast-frozen Kobe carpaccio were hung on little wire stands to thaw between courses at the table. All sorts of textures and presentations were set forth. Many were entirely novel and unexpected renderings of traditional dishes.
Intrigued and delighted by the sensory spectacle, Dylan and Grace enjoyed the experience immensely, oohing and aahing, and mostly laughing. For as strange as each course might be, as curious as the decorative objects that presented them, each one was an adventure of sorts, and without exception, each one was delicious, some to the point of profound. And each one came with an expertly matched extraordinary wine, in the precisely correct Riedel glass.”
― Jeffrey Stepakoff, The Orchard

“When feelings go on overload,
I pause and breathe
and all is . . . slowed.”
― Jolene Gutiérrez, Too Much!: An Overwhelming Day

“I've spent my entire life carefully regulating my environment and everything in it. Temperature. Light. Noise. Food. Textures. Routines. Rules. Emotions. People, especially when they're running in school corridors. I shape the world into one I can fit into more comfortably, and then ensure nobody touches it or messes it up.”
― Holly Smale, Cassandra in Reverse