On a related thought to Pier Luigi, I hear when you visit Antarctica smell disappears... but you do not realize this until you get back to mainland and start sensing smell again.
I was also thinking how smell as a sense is always disappearing. It has an alert quality. Once you sense it it goes away because you get used to it. To smell a scent again, you have to smell something else, then get back to it.
Julieta
--- On Fri, 1/21/11, 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: Friday, January 21, 2011, 2:13 PM
> to go back to the opening question -
> and with apologies, when Pier first
> posed the question of what was un-simulatable /
> unsimulable, before staring
> the discussion - I said something like "life"...I take it
> all back - it is
> death. death cannot be simulated, perhaps the final rasping
> breath can - but
> the completion of non - sense, the utter desolation of the
> senses, the
> unconditioned, a void: this surely cannot be simulated?
>
> derek
>
>
>
> On 20 January 2011 07:10, derek hales <hales.derek@gmail.com>
> wrote:
>
> > 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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