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
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
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
of Things Past, Volume 1: Swann's Way*. London: Chatto and Windus, 1922.)
Recognizing *odors associated with meaningful places*:
MIT Neuroscientists Explain 'Proustian Effect' Of Small Details Attached To
Projection-Based Olfactory Display with Nose Tracking
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:
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
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
2011/1/17 Clarissa Ribeiro Pereira de Almeida <firstname.lastname@example.org>
> … "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 <email@example.com>
> 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:
>> 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
>> 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: firstname.lastname@example.org
>> web: http://www.noemalab.org/plc/plc.html
>> skype: plcapucci
>> Yasmin_discussions mailing list
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HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.