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>
>
>
>
>
> 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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> >>
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> >
> >
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*we-are-making-digital-art.com*
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