--- On Wed, 1/19/11, derek hales <hales.derek@gmail.com> wrote:
From: derek hales <hales.derek@gmail.com>
Subject: Re: [Yasmin_discussions] Around Simulation II - Simulated Senses and the Un-Simulatable
To: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
Date: Wednesday, January 19, 2011, 11:10 PM
Dear Yasmin,
is the simulation of sense all we need for the real to become, in its
treatment as entirely rational, *the* simulation...
Derek
On 18 January 2011 18:03, Ennio Bertrand <enniobertrand@gmail.com> wrote:
> dear clarissa,
> about shent
> in 1996 I relized an installation to transmit perfumed photography by
> internet in 4 different places
> ennio bertrand
>
> On Tue, Jan 18, 2011 at 2:34 AM, Clarissa Ribeiro Pereira de Almeida <
> almeida.clarissa@gmail.com> wrote:
>
> > And here, something about "computer-controlled olfactory displays" and
> > smell
> > simulation...
> >
> >
> > On "Proustian effects"
> >
> > We can experience odors that tap into emotionally charged memories. This
> > phenomenon has its roots in the olfactory system – some smells can
> trigger
> > memories of events that take place many years earlier. A phenomenon of
> > Involuntary
> > memory. A very famous mention in literature of this kind of sensorial
> event
> > in the Marcel Proust novel *In Search of Lost Time*, where the
> > narrator experiences
> > an awakening upon tasting a madeleine dipped in tea:
> >
> >
> >
> > "She sent out for one of those short, plump little cakes called petites
> > madeleines, which look as though they had been moulded in the fluted
> > scallop
> > of a pilgrim's shell. And soon, mechanically, weary after a dull day with
> > the prospect of a depressing morrow, I raised to my lips a spoonful of
> the
> > tea in which I had soaked a morsel of the cake. No sooner had the warm
> > liquid, and the crumbs with it, touched my palate than a shudder ran
> > through
> > my whole body, and I stopped, intent upon the extraordinary changes that
> > were taking place…at once the vicissitudes of life had become indifferent
> > to
> > me, its disasters innocuous, its brevity illusory […]" (Marcel
> > Proust, *Remembrance
> > of Things Past, Volume 1: Swann's Way*. London: Chatto and Windus, 1922.)
> >
> >
> >
> > Recognizing *odors associated with meaningful places*:
> >
> > http://www.jstor.org/stable/10.5406/amerjpsyc.123.3.0281
> >
> > MIT Neuroscientists Explain 'Proustian Effect' Of Small Details Attached
> To
> > Big Memories:
> >
> >
> http://chem.info/News/Feeds/2011/01/topics-plant-operations-mit-neuroscientists-explain-proustian-effect-of-sm/
> >
> > Projection-Based Olfactory Display with Nose Tracking
> > ISBN: 0-7803-8415-6
> > Most attempts to realize an olfactory display have involved capturing and
> > synthesizing the odor. This work focus on spatio-temporal control of odor
> > rather than synthesizing odor itself:
> > http://www.computer.org/portal/web/csdl/doi/10.1109/VR.2004.1310054
> >
> >
> > <
> >
> http://chem.info/News/Feeds/2011/01/topics-plant-operations-mit-neuroscientists-explain-proustian-effect-of-sm/
> > >
> >
> > And here we can read about the *SubSmell System*:
> >
> > The idea of adding the SubSmell logo to the movie for describing the
> scent
> > of each event in the movie has been proposed to improve the current way
> of
> > seeing movies, which can perceive only pictures and sound. Using the
> > SubSmell, the audience can smell the movie. The audiences need a SubSmell
> > application to read a SubSmell and an olfactory display in order to
> release
> > scent.
> >
> > http://www.springerlink.com/content/p642p43x04n61567/
> >
> > A Thesis on "*Symbolic Olfactory Display*" exploring the problems and
> > possibilities of computer-controlled scent output.
> >
> > by Joseph Nathaniel Kaye
> >
> > S.B. Brain & Cognitive Science,
> >
> > Massachusetts Institute of Technology, 1999
> >
> >
> http://alumni.media.mit.edu/~jofish/thesis/symbolic_olfactory_display.html<http://alumni.media.mit.edu/%7Ejofish/thesis/symbolic_olfactory_display.html>
> <
> http://alumni.media.mit.edu/%7Ejofish/thesis/symbolic_olfactory_display.html
> >
> >
> >
> >
> >
> > Clarissa Ribeiro
> >
> >
> > 2011/1/17 Clarissa Ribeiro Pereira de Almeida <
> almeida.clarissa@gmail.com>
> >
> > > … "So what is un- un-simulatable? And why?"
> > >
> > >
> > >
> > > Here, just an instantaneous free writing exercise around the questions
> I
> > > want to share:
> > >
> > >
> > >
> > > *"A moist media pulp fiction (or an escape attempt from the
> > simulatable)"*
> > >
> > >
> > >
> > > A datacloud was fluctuating in a datasky. Radio waves were *flowing
> > by*slowly and dancing and shaking the cloud waves-particles. For a
> databeing
> > > who was observing the system, the scale was macro; the time was
> complex;
> > the
> > > sun was shining, as unusual. The cloud was so excited that was about to
> > rain
> > > and give birth to a moist context that could be the beginning of a new
> > > reality in a system of realities. Escaping from this about to born
> > reality,
> > > the moist nature of the rain was just a temporary sensorial illusion of
> > the
> > > databeing who was vibrating as the radio waves *pervase* its structure
> –
> > "
> > > *Take it as it comes /Specialize in having fun*". Suddenly, in an
> > > unpredictable instant, here comes the rain. By maters of the
> observation,
> > > the soft rain becomes a datapool where one can quantum jumping and meet
> a
> > > myriad of multiple selves. Entangled delicate un-simulatable reality.
> > Here
> > > comes the sun. It's all right!
> > >
> > >
> > >
> > > Clarissa Ribeiro
> > >
> > >
> > >
> > >
> > > 2011/1/17 Pier Luigi Capucci <plc@noemalab.org>
> > >
> > > Dear Yasminers,
> > >>
> > >> in this second discussion about the simulation issues the topics (the
> > >> un-simulatable and the simulation of the senses) are very different,
> > >> although related. In the remote and mediated communication some senses
> > we
> > >> normally use and that are very important in our everyday's life - like
> > smell
> > >> and touch - simply do not pass, they are not effective, are useless.
> > While
> > >> the simulation hugely involves the sight and the hear, which are the
> so
> > >> called "superior senses", all the other sensory information is dropped
> > out.
> > >>
> > >> Asimple information about the chemical senses:
> > >> http://www.slideshare.net/lwolberg/chemical-senses-smell-and-taste
> > >>
> > >> Many times we have heard about the need of restructuring and
> redefining
> > >> the communication, a critique about "balancing" and discussing the
> > >> communication's issues. Many important international events (like the
> > almost
> > >> concurrent Transmediale) seem devoted to the ethical issues of the
> > >> communication. But maybe the problem is at a more general level, on
> the
> > fact
> > >> that from a sensory viewpoint the remote and mediated communication is
> > >> poorer than the direct one because drops out an important part of the
> > way we
> > >> "get in touch" with each other. Hence we must admit we accepted to
> > >> communicate more rapidly, over greater distance, in an increasingly
> > >> affordable and economic way, but in exchange for an impoverished
> > >> communication.
> > >>
> > >> On the other side, in a world where the information is extensively
> > >> simulated by the mass media and the new media - a topic debated in our
> > first
> > >> discussion last year in Yasmin - is there anything which can't enter
> the
> > >> realm of simulation, which can't be simulated, hence reduced - since
> the
> > >> simulation is always a reduction of the phenomenon which is being
> > simulated?
> > >> So what is un-simultable? And why?
> > >>
> > >> What are the artist doing in this direction?
> > >>
> > >> Some more info later!
> > >>
> > >> Thank you and best,
> > >>
> > >> Pier Luigi
> > >>
> > >>
> > >> --
> > >> Pier Luigi Capucci
> > >> e-mail: plc@noemalab.org
> > >> web: http://www.noemalab.org/plc/plc.html
> > >> skype: plcapucci
> > >>
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> --
> *we-are-making-digital-art.com*
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