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    <title>Earth's Smells Are Disappearing Because of Climate Change, and It's a Vast Cultural Loss</title>
    <dc:date>2026-04-09T20:32:36+00:00</dc:date>
    <link>https://www.smithsonianmag.com/science-nature/earths-smells-are-disappearing-because-of-climate-change-and-its-a-vast-cultural-loss-180988496/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A triple threat of pollution, extinction and warming temperatures is altering the way the planet smells. Scientists are only beginning to understand the stakes for humans"]]></description>
<dc:subject>smells smell scents climate climatechange globalwarming senses serenajampel science luciajacobs ceciliabembibre odeuropa noses sensing sensory multisensory jielingxiao multispecies morethanhuman well-being wellbeing rachelherz covid-19 coronavirus pandemic nature immunesystem idelfonsonogueira 2026</dc:subject>
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    <dc:date>2026-04-05T06:06:57+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["On flowers, perfume, and the science of smell"]]></description>
<dc:subject>smell scent science flowers perfume davidgeorgehaskell 2026 subconscience humans brain conciousness culture biology aromas senses sensory multisensory perfumes plants memories memory ecology</dc:subject>
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    <title>007 | Sensory Ecologies | Hsuan L. Hsu | Olfactory Futures and More-than-Human Intimacies - YouTube</title>
    <dc:date>2026-03-23T19:05:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=5rALPalmLOc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["SYMPOSIUM SENSORY ECOLOGIES
28 APRIL 2022

With the participation of
Anicka Yi, Mόnica Bello, Jane Calvert, Harmony Holiday, Hsuan L. Hsu, Studio Klarenbeek & Dros, Barbara Mazzolai

Video: Francesco Margaroli

Sensory Ecologies is an appointment of the Public Program | Anicka Yi dedicated to the exhibition “Metaspore” that expands and develops the concepts and ideas generated by the exhibited works. The Symposium brings together an interdisciplinary panel of speakers: Mόnica Bello, Curator and Head of Arts at CERN at the European Organization for Nuclear Research in Geneva; Jane Calvert, Sociologist of science, Professor of Science and Technology Studies at the University of Edinburgh; Harmony Holiday, multidisciplinary artist, writer and poet; Hsuan L. Hsu, Professor of English at the University of California Davis and the author of The Smell of Risk: Environmental Disparities and Olfactory Aesthetics (2020); Studio Klarenbeek & Dros a design studio based on research of sustainable projects and new materials; Barbara Mazzolai, Director of the Bioinspired Soft Robotics Laboratory at the Istituto Italiano di Tecnologia in Genoa.

They will address a central and urgent question of our times: can the biological sensorium (both human and non-human) be reconciled with contemporary technology?

Through diverse perspectives, the symposium seeks to build a constellation of knowledge and navigational tools, drawing from the disciplines of art and design, media studies, science and technology studies, general and synthetic biology, and literature.

During the evening a special projection of Anicka Yi’s The Flavor Genome (2016) will be screened in a 2D version, conceived as a reference point for the discussion. The Flavor Genome is a techno-sensual journey into the unexplored threshold of adaptation, mutation and hybridization of living organisms. Under the conceptual premise of the “Flavor Genome” the video performs a mapping of perceptual worlds, taking reality as matrices of perceived unique essences which could enable the potential for biodiverse intelligence sharing.

The symposium is curated by Giovanna Amadasi, Remina Greenfield and Anicka Yi."]]></description>
<dc:subject>hsuanhsu smell senses morethanhuman multispecies 2022 via:javierarbona technology nonhuman anickayi environment resistance colonialism colonization mónicabello janecalvery harmonyholiday studiolkarenbeek&amp;dros bararamazzolai</dc:subject>
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    <title>The Detectorists - A short film about otters and detection dogs. - YouTube</title>
    <dc:date>2026-01-06T18:30:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6rg6bcWI2Uo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Set against the serene backdrop of rural Wales, this short documentary follows wildlife ecologist Lee Jenkins and his two German Pointers—Neo and pup-in-training Cariad—as they search for elusive otters. Using scent detection to guide camera trap placement, the team gathers crucial evidence to protect these endangered animals. Shot from a dog’s-eye view with immersive cinematography, the film offers a poetic glimpse into conservation through the nose and eyes of a canine detective.

Supported by
https://southwalesottertrust.org.uk/

South Wales Otter Trust help to preserve the otter population in South Wales through study and education. Lee’s dogs, today, are used to aid in emergency otter rescues to reduce disturbance and help support otters in need, with years of training behind them. We urge dog owners to take care of their dogs in and around rivers for the safety of both your dogs and the wildlife that lives there. 

Directed by Sarah-Jane Walsh https://www.instagram.com/moralcoral/
Filmed by Natalie Clements natalieclements.co.uk
Focus puller Dan Read soulfilms.co.uk
Camera assistant Robyn Dean hhttps://www.linkedin.com/in/robyn-dean-481406106/
With South Wales Otter, Lee Jenkins and doggos Cariad and Neo 
Voice over by Angharad Parry https://ravenspointfilms.com/
Edited by Georgia Aviles https://www.linkedin.com/in/georgia-aviles-956628189/
Post production Gorilla - https://gorillagroup.tv/

Supported by and thanks to
South Wales Otter Trust
Newport City Council
Gorilla Academy
Gorilla Post Production"]]></description>
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<item rdf:about="https://pablohelguera.substack.com/p/olfactory-dialectics">
    <title>Olfactory Dialectics - Beautiful Eccentrics</title>
    <dc:date>2025-10-18T06:29:39+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/olfactory-dialectics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Learning through ambivalence and through our bodies."

...

"Augusto Boal often remarked and emphasized in his writings that the body often knows things of which the mind is ignorant. To that I might add that such embodied knowledge often emerges most clearly under conditions of tension, discomfort, or emotional ambivalence. It is precisely when the body is unsettled—out of sync with its surroundings or in conflict with its habitual responses—that it begins to articulate what language or conscious thought has not yet grasped.

I thought about that two weeks ago, while staying in a large hotel somewhere in New England. The hotel was nothing to write home about, mainly one of those nondescript business chain hotels. Walking through a large carpeted ballroom that leads to its conference rooms, I realized I was having an overwhelming sense of longing and strong connection with that environment, which seemed rather incongruous as I had never been there before, and I am unlikely to ever return. It took me a few moments to realize that the reason I was having these feelings was because of the ambient smell in that lobby: I realized it was the exact same smell of the hotel Camino Real in Polanco, to which I have very strong memories and personal connections. So, there I was, in this city in New England, suddenly bonding with this nondescript corporate-looking lobby, almost on the verge of tears.

As an immigrant, smell often played a strong role in reconstructing memories and helping me reclaim fragments of my own self. The mixed smell of cigar and wine took me back to the times when I would visit the house of my uncle, the Mexican poet Eduardo Lizalde, who spent his life seemingly forever installed in his living room packed to the ceiling with books and vinyl records, playing loud opera and lecturing someone about Góngora, Verdi, or Mexican politics. Since that time, I have associated a certain scent with libraries.

Then there are the smells that conjure up complex states of mind of moments that carry strong, ambivalent feelings.

An instance for me in that regard involves the streets of Barcelona. In September of 1991, I flew for the first time to Europe, to be an exchange student at the Universitat de Barcelona. My very first encounter with the city included an assault of extreme feelings: on the one hand, the thrill of freedom— for the first time in my life I was traveling alone, and the farthest I had ever been from anyone I knew— combined with the deep trepidation of the unexpected ( I was a 20-year-old with the naivete of a 15-year-old). I had to stay in a Youth hostel while I figured out where I could rent a room for the semester. As I walked the streets of the city, the first and most enduring image in my memory is the one of the famous “Flor de Barcelona” square tile that lines most of the streets of the Eixample, designed in 1906 by Josep Puig i Cadafalch and which have become emblematic of the city; the streets also had a flowery smell which I associated with the tiles. I always surmised that the smell ( a citrus-y/pine smell mixed with some kind of ammonia) was probably the result of perfumed detergent used by Barcelona’s city cleaning services, which tend to do very frequent street-washing. Since that era, every time I visit Barcelona I can still distinguish those smells.

These embodied contradictions—the wave of longing triggered by a hotel lobby, or the bittersweet smell of a city street—are among the most meaningful experiences I’ve had. And yet, they are entirely un-sharable in their specificity. No one else can inhabit the exact emotional architecture of those moments, because they are tethered to the idiosyncrasies of my memory, identity, and personal history. This realization creates both a limit and a challenge: I cannot transmit my experience directly, but I can try to construct situations that might provoke similarly unresolved, sensorial conundrums in others. In my work, I seek not to illustrate what I felt, but to create conditions where others might feel something of their own—something contradictory, elusive, and embodied.

Countless artists have incorporated smell into their work (Sissel Tolaas, Oswaldo Macia, Anicka Yi, Olafur Eliasson) and a myriad of exhibitions have explored the subject in depth—too many, in fact, to meaningfully summarize here. Fewer of those artists, however, produce work that intentionally seeks to create dialectical tension—and one artist who exemplifies this with particular force is Cildo Meireles.

In his installation Ku Kka Ka Kka (1992/1999), Meireles juxtaposes the romanticized symbolism of roses with the stench of excrement, collapsing the boundary between beauty and revulsion. The piece corrupts the aesthetic ideal with the filth it emerges from, exposing the hidden violence or hypocrisy behind notions of purity, religion, or utopia. An earlier work, Volátil (1980–), stages a different kind of confrontation. Visitors enter a dimly lit, enclosed room whose floor is covered in soft talcum powder; they are asked to remove their shoes and walk barefoot across this seemingly serene, almost ethereal surface. But soon they detect a faint smell of gas. Turning a corner, they encounter a burning candle—a quiet but devastating contradiction between sensual comfort and implied catastrophe.

Meireles, working within the richly complex terrain of Brazilian conceptual art, employs these sensory juxtapositions—seduction and danger, beauty and abjection—to evoke the deeply contradictory states of contemporary life. His installations mirror how we carry on with mundane routines while scrolling past genocide, seek pleasure and distraction amid outrageous injustice. The critique, however, is not delivered through didacticism, but through the most visceral, immediate register available: the senses. In this way, his work offers not just commentary, but a form of embodied knowledge.

Cildo Meireles’ work offers a compelling model for navigating the longstanding tension between confrontational activist art and aesthetically seductive, formally resolved work that sidesteps conflict. Rather than seeing these as irreconcilable poles—agitational vs. seductive—Meireles embraces contradiction as a generative force. His installations often provoke simultaneous sensations of attraction and discomfort, pleasure and threat, thereby enacting the very contradictions of the political and social realities they critique. The viewer’s body becomes the site of this ambivalence: invited to participate, yet implicated; seduced by beauty, yet disturbed by its implications. In this way, Meireles does not resolve the contradiction between activist urgency and aesthetic subtlety by choosing sides—he embodies it. His work reminds us that political clarity and formal complexity are not mutually exclusive, and that the most incisive art often emerges from the friction between the two.

Sensorial-based work further addresses a deeper problem of communication that I have previously written about: that rational, discursive argument often fails in the face of ideological entrenchment. In political climates shaped by cult-like adherence to dogma or charismatic authority, intellectual appeals and factual corrections are rarely persuasive. What breaks through instead—if anything can—is affect: the destabilizing force of contradiction, the emotional dissonance of beauty laced with threat, the felt experience of something being not quite right. Meireles bypasses the cerebral and engages the whole body, compelling the viewer to feel the contradiction before they can name it. In this sense, his work is not just political—it is pedagogical, emotional, and sensorial, proposing that true political insight arises not from argument, but from a deep, often unspoken encounter with complexity.

Clarity does not always arise from simplification—it often emerges from dissonance. In the realm of social practice, we have sometimes shied away from emotional complexity in favor of legibility, consensus-building, or moral clarity. But what if, instead, we embraced contradiction not as a failure of message but as an honest reflection of lived experience? What if we recognized that confrontation and seduction are not opposing strategies but two necessary poles in the dialectic of persuasion?

Too often, contemporary art defaults to intellectual frameworks or minimalist aesthetics, under the assumption that spareness signals seriousness. Yet austerity rarely captures the full emotional spectrum of injustice or the layered experience of those most affected by it. Sensorial engagement—particularly through modalities like smell, sound, and touch—offers an alternative pathway: one that invites the viewer not only to understand but to feel, to be moved not by argument but by the body's own unease, recognition, or longing. If we are to reach those who cannot be reasoned with, then perhaps we must first learn how to disarm them—gently, unsettlingly—through the senses.

This fall, I decided to incorporate a signature scent into Librería Donceles—my itinerant Spanish-language used bookstore installation—because I believe that the sensorial experience of books extends far beyond the visual or tactile. The distinctive aroma of a library completes the embodied encounter, not in a confrontational way, but as a quiet gesture of recovery: an invitation to reinhabit a fragment of lost cultural memory. It is, in essence, a bittersweet dream of analogue knowledge—one that drifts gently through the air, perfumed with the scent of aged paper, soft mildew, tobacco, leather bindings, and ancient mothballs. If knowledge has a smell, perhaps it is this: dense with time, intimate, and slightly melancholic. I am certainly taking a page— pun intended— from my uncle Eduardo’s library.

This is where I find myself returning again and again—not to resolution, but to unresolved sensation. If art with a social consciousness is to remain vital, it must become more attuned to how things are felt, not only thought; how contradiction is lived in the body, not only debated in words. The path forward, I believe, lies in fostering spaces of sensorial ambiguity—where we as viewers are invited to linger in discomfort, to hold complexity, and perhaps, to remember something we didn’t know we had forgotten."]]></description>
<dc:subject>pablohelguera 2025 augustoboal senses allthesenses smell olfaction scents bodies art experience consciousness multisensory environment memory eduardolizalde smells joseppuigicadafalch barcelona sensorial oswaldomacia sisseltolaas anickayi olafureliasson cildomeireles persuasion engagement</dc:subject>
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<item rdf:about="https://www.osmo.ai/">
    <title>Osmo</title>
    <dc:date>2025-05-15T18:30:50+00:00</dc:date>
    <link>https://www.osmo.ai/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Giving computers a sense of smell."

...

"In this new era, computers will generate smells like we generate images and sounds today.

To fulfill this vision, Osmo is bringing together an accomplished, multidisciplinary team to build on its world-class research.

The Osmo team has expertise spanning machine learning, sensory neuroscience, data science, engineering, fine fragrance, analytical chemistry, and product development."]]></description>
<dc:subject>smell osmo computers computing senses sensing sensors</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6f49dcead3ce/</dc:identifier>
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<item rdf:about="https://interconnected.org/home/2025/05/08/pigeons">
    <title>Homing pigeons fly by the scent of forests and the song of mountains (Interconnected)</title>
    <dc:date>2025-05-09T19:39:27+00:00</dc:date>
    <link>https://interconnected.org/home/2025/05/08/pigeons</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I assumed that birds use the geomagnetic field to fly halfway around the world. They don’t. Not all of them.

Homing pigeons, it turns out, use smell. At least for a few hundred miles. Although, at shorter distances:

<blockquote>within a familiar area, pigeons navigate by relying on landscape features memorised during their previous homing flights.</blockquote>

Beyond that… Forty years of olfactory navigation in birds (2013): "Forty years ago, Papi and colleagues discovered that anosmic pigeons cannot find their way home when released at unfamiliar locations."

The paper covers clever experiments that factor out magnetic and other mechanisms, and there’s evidence for the olfactory hypothesis:

<blockquote>Pigeons housed in aviaries provided with clockwise or counter-clockwise deflectors, once released, displayed a corresponding deflection in initial orientation.</blockquote>

Homing pigeons do particularly well in the Mediterranean "characterised by an environment richer in natural odours than elsewhere due to its high biodiversity of plant species."

Utterly fascinating to imagine what that smell-map is like:

<blockquote>the odour-based map does not have the structure of a map defined by a bicoordinate system, thereby giving the exact position and distance of two points with respect to each other. The olfactory map is supposed to provide information exclusively about the direction of displacement.</blockquote>

So homing pigeons don’t what3words themselves to a specific point but rather hot-and-cold themselves towards home.

They also memorise the smell-trajectory on the way out:

<blockquote>odours perceived during transportation indeed constituted a source of positional information</blockquote>

(Although it’s not essential.)

<blockquote>stable ratios, rather than the absolute concentrations, of at least three different volatile compounds are sufficient</blockquote>

It takes a while to learn. Homing pigeon navigational ontogeny (2024): "Learning of an olfactory map occurs during the first months after fledging, when pigeons memorize the odours carried by winds blowing at their home loft in association with the wind’s direction."

These are very dry statements. So there’s also Odors as navigational cues for pigeons (2020) talking about work in Tuscany:

<blockquote>Some of these compounds are emitted by trees, the pine fragrance one smells during a walk in the forest. Other pungent natural emissions come from the sea, while still further VOCs can be emitted from industry.</blockquote>

And what an insight into the world of a homing pigeon!

Beyond the smell-map range? Beyond ~200km, at a continental scale?

Homing pigeons listen to infrasound.

Infrasound detection by the homing pigeon: A behavioral audiogram (1979):

<blockquote>Homing pigeons could detect extremely low frequency sounds (infrasounds) as low as 0.05 Hz in a sound isolation chamber. …

Natural infrasounds come from many sources including weather patterns, topographic features, and ocean wave activity. Infrasounds propagate long distances and can be detected hundreds or even thousands of km away from their sources.</blockquote>

That is to say: "thunderstorms, magnetic storms, earthquakes, jet streams, mountain ranges, and rocket launchings" are all global landmarks for these birds.

Homing pigeons listen to the song of mountains and the ocean swell.

What a picture of our planet they have.

Although homing pigeons don’t rely on it, other birds do indeed use the geomagnetic field.

It’s in their eyes.

How evolution has optimized the magnetic sensor in birds (2024):

<blockquote>magnetoreception is based on a complex quantum mechanical process that takes place in certain cells in the retinas of migratory birds.</blockquote>

It’s migratory birds specifically: "cryptochrome 4 is more sensitive in robins than in chickens and pigeons."

Imagine being able to see an extra colour and that colour is north.

I went through a period attempting to imagine my way into the umwelt of a dog, how dogs perceive the universe (2004): "You don’t smell a lion, you smell 70% of the likelihood of a lion – is it nearby in space, or in time?"

<blockquote>There is no cognition step between sense and act with smell.

Smell is all about moving through the insides, through a field of intensities, of potential.</blockquote>

Whereas the world of vision, of surfaces, gives us room to think before acting.

Learning about homing pigeons takes me right back to those thoughts."]]></description>
<dc:subject>mattwebb 2025 pigeons nature wildlife navigation geomagneticfields homingpigeons smell senses maps mapping wayfinding sound olfaction smellmaps infrasounds sounds weather magnetism sensors sensing</dc:subject>
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<item rdf:about="https://emergencemagazine.org/practice/the-aromas-of-trees-five-practices/">
    <title>The Aroma of Trees – A Practice by David G. Haskell</title>
    <dc:date>2025-04-28T05:10:48+00:00</dc:date>
    <link>https://emergencemagazine.org/practice/the-aromas-of-trees-five-practices/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Aroma is the primary language of trees. They talk with molecules, conspiring with one another, beckoning fungi, scolding insects, and whispering to microbes. Aroma is also our primal tongue, a direct link to memory and emotion, an inheritance from the communicative networks that sustained the first animal cells. The receptors in our nasal passages are ready to listen. We have over one hundred different olfactory receptors, able to discern at least ten thousand odors. The English language is too meager to categorize this multiplicity, but our bodies know how to respond. Noses, though, need the help of conscious intention to put them in the right place.

As a child, my nose poked everywhere. Between the pages of a freshly printed newspaper, into the spice jars of the kitchen, over the goods at the fish market and cheesemonger’s, through steam from pots on the stove, and among the leaves of the garden. Later, grown older, I forgot to attend in this way. My eyes and ears asserted their self-proclaimed supremacy.

The rich, layered aroma of a ponderosa pine growing in the mountains of Colorado called me back. Sitting under its boughs, I reawakened to the delights of odor and the curiosity that comes from following my nose. I felt that the tree had flowed into me, lodging some of its stories in my body. Since then, tree aromas have been my teachers and guides.

Every tree offers us a wordless sensory experience, a connection that unites human bodies and consciousness to plants’ inner worlds. This encounter is reward enough. The particular aroma of a tree also contains stories, past and present. Our human aesthetic experience is a doorway to the trees’ inner worlds.

As you smell trees, try both a deep in-drawing of breath through the nostrils, then short, sharp sniffs. This changes the rate at which aromatic molecules hit your sensory cells: a slow caress or a vigorous rush. The combination opens aromatic layers of experience."]]></description>
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<item rdf:about="https://emergencemagazine.org/essay/eleven-ways/">
    <title>Eleven Ways of Smelling a Tree – David G. Haskell</title>
    <dc:date>2025-04-28T05:03:16+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/eleven-ways/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["David G. Haskell invites us into the unique and sometimes surprising aromas of eleven different species of trees."]]></description>
<dc:subject>davidhaskell 2020 smell smeels aroma senses trees wood sensory multisensory aromas odor odors</dc:subject>
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<item rdf:about="https://thereader.mitpress.mit.edu/olfactory-racism/">
    <title>Olfactory Racism | The MIT Press Reader</title>
    <dc:date>2025-04-22T21:21:59+00:00</dc:date>
    <link>https://thereader.mitpress.mit.edu/olfactory-racism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Scent has long been used to mark otherness, enforce hierarchies, and justify exclusion."]]></description>
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<item rdf:about="https://www.theguardian.com/lifeandstyle/2025/feb/07/experience-i-create-smells-that-scare-people">
    <title>Experience: I create smells that scare people | Life and style | The Guardian</title>
    <dc:date>2025-04-09T22:08:30+00:00</dc:date>
    <link>https://www.theguardian.com/lifeandstyle/2025/feb/07/experience-i-create-smells-that-scare-people</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The scents that get people gagging the most are usually bin juice or rotting fish"]]></description>
<dc:subject>smell smells senses liamfindlay 2025 experience</dc:subject>
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<item rdf:about="https://www.newyorker.com/magazine/2021/02/01/how-to-make-sense-of-scents">
    <title>How to Make Sense of Scents | The New Yorker</title>
    <dc:date>2025-04-09T21:50:59+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2021/02/01/how-to-make-sense-of-scents</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Can language ever capture the mysterious world of smells?"]]></description>
<dc:subject>smell smells scent senses language perfume chemistry coronavirus biology history 2021 rachelsyme</dc:subject>
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<item rdf:about="https://thewalrus.ca/smell-you-later-the-weird-science-of-how-sweat-attracts/">
    <title>Smell You Later: The Weird Science of How Sweat Attracts | The Walrus</title>
    <dc:date>2025-04-09T21:50:06+00:00</dc:date>
    <link>https://thewalrus.ca/smell-you-later-the-weird-science-of-how-sweat-attracts/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Smell is often dismissed as the least important sense. But it’s the funk that draws us together"]]></description>
<dc:subject>scent smell psychology culture 201 saraheverts sweat bodies senses</dc:subject>
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<item rdf:about="https://harpers.org/archive/2021/12/the-odor-of-things-solving-the-mysteries-of-scent/">
    <title>The Odor of Things, by Scott Sayare</title>
    <dc:date>2025-04-09T21:49:38+00:00</dc:date>
    <link>https://harpers.org/archive/2021/12/the-odor-of-things-solving-the-mysteries-of-scent/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Solving the mysteries of scent"]]></description>
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<item rdf:about="https://thekit.ca/beauty/fragrance/covid-relationship-smell/">
    <title>The Many Ways COVID Changed Our Relationship to Smell</title>
    <dc:date>2025-04-09T21:49:01+00:00</dc:date>
    <link>https://thekit.ca/beauty/fragrance/covid-relationship-smell/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Perfumer Dana El Masri on the place of the nose in a masked-up world"]]></description>
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<item rdf:about="https://www.noemamag.com/the-centuries-long-quest-for-the-scent-of-god/">
    <title>What Does God Smell Like? The Centuries-Long Quest For An Answer</title>
    <dc:date>2025-04-09T21:48:09+00:00</dc:date>
    <link>https://www.noemamag.com/the-centuries-long-quest-for-the-scent-of-god/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The precise odor of the divine has eluded humans for millennia, but that hasn’t stopped us from seeking it in the oddest places."]]></description>
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<item rdf:about="https://www.latimes.com/travel/story/2025-02-06/readers-share-the-smells-of-los-angeles">
    <title>We asked what smells best represent Los Angeles. Our readers answered - Los Angeles Times</title>
    <dc:date>2025-02-11T20:58:28+00:00</dc:date>
    <link>https://www.latimes.com/travel/story/2025-02-06/readers-share-the-smells-of-los-angeles</link>
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<item rdf:about="https://www.newstatesman.com/politics/media/2024/12/causing-a-stink-reflections-on-my-viral-phd">
    <title>Causing a stink: reflections on my viral PhD - New Statesman</title>
    <dc:date>2025-01-14T18:39:43+00:00</dc:date>
    <link>https://www.newstatesman.com/politics/media/2024/12/causing-a-stink-reflections-on-my-viral-phd</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Not all academics want their work to reach a public audience, but I do."

...

"As a literary scholar, I typically have a lot to say about main characters. It’s ironic, then, that when I became the main character of X for a week, I was left somewhat at a loss for words. The post that nearly 120 million people have seen is entirely innocuous: in it, I hold a hardbound copy of my PhD thesis on “Olfactory Ethics: The Politics of Smell in Modern and Contemporary Prose”. The photo was taken just before I submitted the copy to Cambridge University Library, the final requirement for my PhD to be approved, and the post is captioned “Thrilled to say I passed my viva with no corrections and am officially PhDone”.

My thesis explores how the literature of the past century records and critically engages with the importance of smell in society. I examine why certain writers use smell to characterise harmful attitudes towards objects of disgust or desire. Over the course of the thesis, I discuss how smell can create gender, class, sexual, racial, and even species power dynamics, although many of these identity categories prove to be interrelated in literature. We tend to think about discrimination and prejudice as primarily visual phenomena, but all of the senses are heavily influenced by culture, and the strong emotional reactions produced by smell make it particularly politically charged.

Initially, the post gained traction among kind strangers celebrating my achievement. Soon, however, it reached a much more hostile audience. I was swarmed with comments about the presumed content of my thesis, the political thrust behind it, and my “life choices” more generally. One of the top comments stated, “You would have spent your years better by getting married and having children”, while another referred to me as “The face of tyranny”. Posting the abstract of my PhD, to contextualise its title, turbocharged matters. Terms like “intersectionality” and “DEI” (Diversity, Equity and Inclusion) were wielded as though they were slurs, while real slurs were used more frequently than punctuation marks.

I was unperturbed by the bad faith criticisms – that studying for my PhD was a waste of time and money; that my chosen topic was too niche, or too “woke”. After all, we are not used to thinking about smell critically, and the role of the thesis is to provide evidence that this is necessary. I was, however, concerned to see the depth and scale of vitriol, which drew into sharp focus how many people (notably, American men) have extreme views about academia and the contributions of women. “This woman is why everything is falling apart”, one commenter wrote. “She got a PhD for this, and from the looks of her, she probably believes that this entitles her to an extremely high-status lifestyle”. Perhaps this should not surprise me: the President-elect of the United States has pledged to abolish the US Department of Education, reflecting exactly how valued academia is among his supporters.

My obligation to defend the value and quality of my thesis ended when I passed my viva, but I wanted to provide enough information for anyone viewing the post to make an informed judgement about both my thesis and the responses to it. This approach proved effective. As I’m writing, over 10,000 people across X, Bluesky, Instagram, LinkedIn, TikTok, and email have expressed that they would like to read my work and over 1,000 people have requested to read my thesis on the university’s repository, despite its embargo. I have seen many posts that are beginning to leverage the notion of “olfactory ethics” to better understand real-world scenarios, such as the viral “Imagine the smell” and “I know it smell crazy in there” memes that jest at the expense of South Asian communities. All of this is a testament to the intellectual curiosity and open-mindedness of so many people on X, no matter the forceful anti-intellectualism of my detractors.

Not every academic aims to reach a public audience with their work, which certainly does not invalidate their contributions. I do have that aim, however. This experience has been a welcome reminder that academic terminology can be alienating to those unfamiliar with it. It has better equipped me to share my ideas with wider audiences and will serve me well as I turn the thesis into a trade book. It was an uncomfortable week in the spotlight for a bookish introvert, but it has been enormously gratifying to see so many people engage with my work and I have greatly appreciated the good humour of so many commenters. As someone who usually tries to avoid social media, it still seems improbable to the point of absurdity that my post gained so much attention, but the support I have received from all over the world speaks to the profound kindness that continues to unite us, even while some are too quick to judge."]]></description>
<dc:subject>allylouks 2024 attention socialmedia academia highered highereducation exposure senses smell scents dissertations criticism literature society</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:31cbd2fba2fb/</dc:identifier>
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<item rdf:about="https://nautil.us/scent-makes-a-place-1175656/">
    <title>Scent Makes a Place - Nautilus</title>
    <dc:date>2025-01-05T05:09:18+00:00</dc:date>
    <link>https://nautil.us/scent-makes-a-place-1175656/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How the desert taught me to smell"
]]></description>
<dc:subject>2025 katykelleher senses smell desert deserts scente place</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b1c818cf6389/</dc:identifier>
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<item rdf:about="https://www.repository.cam.ac.uk/items/528f479f-fd3c-43fd-9463-7c2923560573">
    <title>Olfactory Ethics: The Politics of Smell in Modern and Contemporary Prose</title>
    <dc:date>2024-12-17T17:59:50+00:00</dc:date>
    <link>https://www.repository.cam.ac.uk/items/528f479f-fd3c-43fd-9463-7c2923560573</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This thesis studies how literature registers the importance of olfactory discourse—the language of smell and the olfactory imagination it creates—in structuring our social world. The broad aim of this thesis is to offer an intersectional and wide-ranging study of olfactory oppression by establishing the underlying logics that facilitate smell’s application in creating and subverting gender, class, sexual, racial and species power structures. I focus largely on prose fiction from the modern and contemporary periods so as to trace the legacy of olfactory prejudice into today and situate its contemporary relevance. I suggest that smell very often invokes identity in a way that signifies an individual’s worth and status in an inarguable manner that short-circuits conscious reflection. This can be accounted for by acknowledging olfaction’s strongly affective nature, which produces such strong bodily sensations and emotions that reflexivity is bypassed in favour of a behavioural or cognitive solution that assuages the intense feeling most immediately. Olfactory disgust, therefore, tends to result in rejection, while harmful forms of olfactory desire may result in sublimation or subjugation. My thesis is particularly attentive to tensions and ambivalences that complicate the typically bifurcated affective spectrum of olfactory experiences, drawing attention to (dis)pleasurable olfactory relations that have socio-political utility. I argue that literary fiction is not only an arena in which olfactory logics can be instantiated, but also a laboratory in which possibilities for new kinds of relations and connections can be fostered and tested.

Chapter One explores how smell can be used to indicate class antipathies, partly as they relate to homelessness, beginning with George Orwell’s seminal non-fiction text, The Road to Wigan Pier (1936), before considering Iain Sinclair’s The Last London (2017) and Bong Joon Ho’s Parasite (2019). In Chapter Two I explore the fantastical, idealistic, and utopic thinking that surrounds olfaction, which presents smell as fundamentally non-human, by addressing J. M. Coetzee’s Disgrace (1999), Virginia Woolf’s Flush (1933), Rachel Yoder’s Nightbitch (2021), and Laura Jean McKay’s The Animals in That Country (2020). Chapter Three focuses on the intersectional olfactory dimensions of ‘misogynoir’—the coextensive anti-Black racism and misogyny that Black women experience—and considers Toni Morrison’s Tar Baby (1981), Bernice McFadden’s Sugar (2000) and Raven Leilani’s Luster (2020). In Chapter Four, I conceptualise an oppressive olfactory logic, which is used against women and girls in order to legitimise their harassment or abuse, drawing primarily on Vladimir Nabokov’s Lolita (1955), but also Patrick Süskind’s Perfume (1985). Chapter Five discusses two forms of olfactory desire—perversion and queerness—which have separate moral valences. I address J. M. Coetzee’s The Master of Petersburg (1994), Ann Quin’s Berg (1964), and Sam Byers’ Come Join Our Disease (2020), and argue for fiction’s role in reorienting readers’ habitual relations to olfaction."

[via the unfortunate social media hubbub:
https://x.com/DrAllyLouks/status/1861872149373297078
https://x.com/DrAllyLouks/status/1862454376645677222
https://annehelen.substack.com/p/posting-less ]]]></description>
<dc:subject>smell literature 2024 senses language description amelialouks allylouks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:93638e27178e/</dc:identifier>
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<item rdf:about="https://psyche.co/films/for-a-chinese-tea-master-each-sip-is-a-rich-expression-of-memory">
    <title>Her scents of pu er | Psyche Films</title>
    <dc:date>2024-08-30T17:18:10+00:00</dc:date>
    <link>https://psyche.co/films/for-a-chinese-tea-master-each-sip-is-a-rich-expression-of-memory</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For a Chinese tea master, each sip is a rich expression of memory
For Yu Hui Tseng, drinking tea isn’t simply a daily habit or a cultural norm, but a spiritual practice at the very core of her being. A Chinese tea master, Tseng describes flavours with a rich, refined specificity. She finds aromas that evoke ‘an old trunk where clothes are stored with camphor’ or ‘bricks after a summer storm’. Each sip is imbued with a swirl of intermingling memories – of the life of the tea, and her own.

In Her Scents of Pu Er, the Paris-based filmmaker Anna-Claria Ostasenko Bogdanoff visits Maître Tseng in the tea cellar beneath her salon, Maison des Trois Thés (House of the Three Teas) in Paris. With the ageing vintages stacked ceiling-high behind her, Maître Tseng describes how each tea, like a person, expresses its own rich, evolving story, and how a once-unfashionable tea, pu er (or pu-erh), became her passion. Like her subject, Ostasenko Bogdanoff luxuriates in detail, assembling a beautifully shot sequence that weaves scenes from the elegantly adorned Maison des Trois Thés with images that conjure up the complex smells that Maître Tseng describes. The resulting film forms is its own intoxicating sensory experience, evoking the power of aromas and tastes to launch us into the past and to places as yet unknown."

[Direct link to video:
https://vimeo.com/900211313 ]]]></description>
<dc:subject>food drink memory tea senses sensory film yuhuitseng anna-clariaostasenkobogdanoff maîtretseng smell taste allthesenses video memories nostalgia transcendence experience</dc:subject>
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<item rdf:about="https://www.biographic.com/what-lies-beneath/">
    <title>What Lies Beneath - bioGraphic</title>
    <dc:date>2024-08-29T20:56:42+00:00</dc:date>
    <link>https://www.biographic.com/what-lies-beneath/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With their astounding sense of smell and ability to find what humans can’t see, dogs are quickly becoming some of conservationists’ best friends."

[See also:
https://nautil.us/the-conservationists-new-best-friend-707222/ ]]]></description>
<dc:subject>dogs multispecies morethanhuman conservation 2024 sophiehartley nature environment animals pets senses allthesenses smell sensing human-animalrelations human-animalrelationships douglasgimesy</dc:subject>
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<item rdf:about="https://www.aftelier.com/">
    <title>Aftelier Perfumes: Slow Scent</title>
    <dc:date>2024-08-20T02:45:59+00:00</dc:date>
    <link>https://www.aftelier.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hi, I'm Mandy Aftel! I create fragrances from my exquisite collection of sublime pure and natural essences from around the world, culled from years of searching for the most beautiful varieties. I blend and bottle the fragrances by hand in small batches in my Berkeley, California studio. Everything I make is free from synthetics, parabens, glycols, and petrochemicals. My products are sold exclusively on my website and when you come to visit the Aftel Archive of Curious Scents. I have written 6 books about fragrance and flavor, and I teach people how to create natural perfume through my workbooks and Zoom classes."]]></description>
<dc:subject>berkeley museums perfume mandyaftel smells senses scent fragrances smell bayarea scents fragrance archives</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fd444ba948b3/</dc:identifier>
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<item rdf:about="https://www.smithsonianmag.com/travel/this-california-museum-is-home-to-hundreds-of-natures-scents-180983171/">
    <title>This California Museum Is Home to Hundreds of Nature's Scents | Smithsonian</title>
    <dc:date>2024-08-20T02:44:54+00:00</dc:date>
    <link>https://www.smithsonianmag.com/travel/this-california-museum-is-home-to-hundreds-of-natures-scents-180983171/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Perfumer Mandy Aftel’s spellbinding collection of rare essences and artifacts is on display at the Aftel Archive of Curious Scents in Berkeley"

]]></description>
<dc:subject>perfume scent mandyaftel berkeley 2023 laurakiniry smell smells senses fragrances bayarea scents fragrance archives museums</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4ac605f165cc/</dc:identifier>
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<item rdf:about="https://nautil.us/the-conservationists-new-best-friend-707222/">
    <title>The Conservationist’s New Best Friend - Nautilus</title>
    <dc:date>2024-07-15T04:54:50+00:00</dc:date>
    <link>https://nautil.us/the-conservationists-new-best-friend-707222/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With their astounding sense of smell, dogs are helping to sniff out ecological trouble."

]]></description>
<dc:subject>dogs senses sensing smell environment 2024 sophiehartley morethanhuman multispecies human-animalrelations human-animalrelationships conservation nature animals pets allthesenses</dc:subject>
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<item rdf:about="https://www.sfchronicle.com/opinion/article/san-francisco-housing-prices-19470882.php">
    <title>I love SF but had to leave. Why? The same reason most people do</title>
    <dc:date>2024-06-20T21:37:59+00:00</dc:date>
    <link>https://www.sfchronicle.com/opinion/article/san-francisco-housing-prices-19470882.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Five years ago and a few weeks before I started at the Chronicle, I took a cab from SFO to a new acquaintance’s apartment in Potrero Hill, impulsively taking up her offer to house-sit while I looked for a place of my own. As we drove, the darkness of that evening, set against the almost cliff-like drop from the top of the hill, made the city’s skyline — the Italian dressing-bottle of the Transamerica building, the phallic Salesforce Tower, the crawling Christmas lights of the cars making their way in from the Bay Bridge — look as if it all appeared spontaneously out of some black void.

I never got tired of that view and the feeling it imparted, no matter where I was in the city. When I lived at the base of the famously crooked section of Lombard Street, I often queued up with the tourists to drive or walk down that incline, San Francisco’s downtown hovering on the horizon. When I moved to Twin Peaks, the frequently fog-obscured skyline looked almost cute at times, like a shy child’s feet peeking out from beneath a curtain. 

I loved lazily grazing on a croissant while walking down Clement Street, and I loved sitting in Dolores Park with friends (and it sometimes seemed like everyone else in the city), even when we’d all forgotten picnic blankets and resigned ourselves to gladly sitting on the undoubtedly dog pee-drenched grass.

That’s where I was when I broke the news that I was leaving.

“Boo!” one friend, a San Francisco native, bellowed.

Yeah, I know, I said. Deep down, I felt like I’d punked out on a city that needs all the enthusiasm it can get right now. 

But, frankly, I’ve known for a while that I needed to pack up and go; to try out other cities.

Urbanites have often liked to think of cities as people — consider Roma, the helmeted official deity of Rome — and maybe that’s why it’s so easy to feel like our presence within them is so intimate and special. The city allures, it betrays, it breaks your heart. Leaving hurts as much as a breakup, but in the best case, you come away from it realizing it was the right thing to do.

San Francisco is my gorgeous but high-maintenance ex; Berkeley, a strange and perhaps unambitious new love who makes things feel so easy.

In Berkeley, my rent for a similar amount of square footage is two-thirds of what I paid in San Francisco. I could end this article here because that counts for most of it, but my interest isn’t entirely financial.

Berkeley’s freaking weird.

There’s a guy who cycles down my street a few times a week, in the afternoons and sometimes 4 in the morning, yelling about something over and over in his megaphone. No one I’ve talked to knows what he’s saying. The nice unhoused person who stays near my building has a podcast. I’ve yet to listen, but I’m happy for him all the same. And the sole Tesla Cybertruck I’ve seen was wrapped in giant sandwich decals to advertise for a plant-based deli meat company.

Several restaurants and cafes in my low-key neighborhood are open past 10 p.m. on most nights, which, in the day-to-day experience, makes Berkeley feel way more like my hometown of New York City than San Francisco ever did.

You’re allowed to have a pad thai emergency at 1 a.m. here.

On a recent weekend, I stopped over at the Aftel Archive of Curious Scents, a garage-turned-museum off Shattuck Avenue, and used a paper cone to huff the tantalizing smells of hyraceum (hyrax poop), ambergris (whale poop) and roses.

And I’m actually interested in the conversations that I overhear when I’m outside; people don’t seem to talk about AI, money and property investments as much on the other side of the bay. 

While sourcing furniture from Facebook Marketplace, I’ve already had several conversations about all kinds of things with UC Berkeley students, the youngest people I’ve spoken to in months. I shared restaurant recommendations for their upcoming post-graduation road trips; my elder millennial back started to ache a little more when I realized they were born in a post-9/11 world. I feel fond and even protective of them, these young people who have already been through so much.

I never thought I’d leave San Francisco once I got to the Bay Area, but it’s not like I’ll never come back. I’m writing this in the Chronicle’s office on Mission Street, incidentally. And I still get a view of that skyline that I love so much — just from the bus with all the other commuters."]]></description>
<dc:subject>soleilho sanfrancisco berkeley 2024 mandyaftel smells senses scent perfume fragrances smell bayarea scents fragrance archives museums</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=EJXG-5mZfJM">
    <title>How do they know dogs are colorblind? (with Cleo Abram) - YouTube</title>
    <dc:date>2024-05-31T00:37:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=EJXG-5mZfJM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Apps claim to show you the colors dogs see – but where does that information come from?

WELCOME TO HOWTOWN! Our small but mighty team of two (Joss Fong and Adam Cole) digs into the evidence behind commonly held facts and claims in the news.

SELECTED SOURCES
“Color vision in the dog,” Jay Neitz et al., Visual Neuroscience (1989)
http://www.neitzvision.com/research/publications/publications/1989-Neitz-Color_vision_in_dog-VisNeuro.pdf

“Extensive Connections of the Canine Olfactory Pathway Revealed by Tractography and Dissection,” Erica Andrews et al., Journal of Neuroscience (2022)
https://www.jneurosci.org/content/42/33/6392/tab-article-info

Full source list: https://docs.google.com/document/d/1BASUXiFZqangBuxmIU9Die2sywoOUqQZEvSzqLF5Je4/edit 

BOOKS!
“An Immense World” by Ed Yong
https://www.goodreads.com/book/show/59575939-an-immense-world

“Inside of a Dog” by Alexandra Horowitz
https://www.goodreads.com/book/show/6332526-inside-of-a-dog

Chapters:
00:00 cleo’s question
00:28 color vision 101
02:19 testing a dog
05:06 complications
06:23 what the nose knows
09:19 umwelt
10:23 credits"

[also here:
https://aeon.co/videos/dog-vision-is-a-trendy-topic-but-what-can-we-really-know-about-how-they-see ]]]></description>
<dc:subject>dogs vision senses 2024 animals sight cleoabram jossfong adamcole colorblindness color jayneitz ericaandrews edyong alexandrahorowitz umwelt multispecies morethanhuman smell howtown</dc:subject>
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<item rdf:about="https://jackforster.substack.com/p/blasts-from-the-past-scent">
    <title>Blasts From The Past: Scent - by Jack Forster</title>
    <dc:date>2024-05-26T08:01:57+00:00</dc:date>
    <link>https://jackforster.substack.com/p/blasts-from-the-past-scent</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the interests of resurfacing things I have written that are not easy to find, I have gone back to a Blogspot site I started in 2009. At a certain age you hope your better stuff won’t vanish. Here is the first post from a blog (it was a real blog) that I started, called Digressions, based on a comment from Plato that someone made to Socrates – that his digressions were the most interesting thing about him. Me in 2009.

----

The idea of having a blog never particularly interested me before but I've been feeling more and more as if there are things I'd like to have on the 'net that don't necessarily fit well in some of the other venues I habitually use. Wristwatch discussion forums, for instance, are useful professionally and interesting personally, but they're hardly a good place for discussing (say) the neurophysiology of smell (or, in many cases, for being candid about watches in particular and the luxury goods world in general, for that matter.)

Which brings me to the subject of my first blog post, a wonderful book by Luca Turin called The Secret of Scent. It's been out a while -since 2006 -and it's interesting both as a sort of introduction to the fragrance industry (and it is an industry) and as a scientific detective story. The author's spent a good deal of his professional life researching the mechanisms by which we smell, and while he's profoundly fascinated by perfumes, their history, and their design, the book is equally an attempt to present a novel theory of how smell actually works. When I taught introductory neurology at the Swedish Institute we always had to gloss over a lot of the interesting details of how the special senses work -for one thing, stuff like conformational changes in photoreceptor pigments are not of immediate urgent importance to massage students, and for another the material came up at the end of the term, when I would have been hard pressed to get students to come to a lecture on how to use Swedish massage to cure cancer. So I'd parrot the conventional wisdom on olfaction: that odorant molecules bind to a repertoire of receptor molecules on the olfactory nerve endings, and that the almost infinite variety of scent sensations are achieved through the cognitive blending of a combination of receptor types.

Like most explanations of neurological events, there's an air of hopeful hand-waving about all this, and Turin uses the lush world of perfume chemistry to introduce an alternative theory, which is that what we're really detecting is the vibrational mode of odorant molecules. As a lapsed alternative medicine practitioner I'm predisposed to find anything that invokes molecular vibrations suspect, but as it turns out, the concept is based on well accepted chemical science -the vibrational mode of a molecule is more properly known as its Raman spectrum (after the Nobel Prize winning scientist, Chandrasekhara V. Raman, who discovered molecular spectra.) And there are databases of thousands of molecular spectra which have been developed since Raman became interested in the problem in the 1920s. While there are many open questions with the vibrational model, the notion that the nose functions as a spectroscope is a fascinating one. One olfaction researcher who pioneered the theory (Malcolm Dyson) wrote:

"Let us commence the inquiry with a simple case -selecting some group of substances with an indisputably characteristic odor which is unlike that of the vast majority. . . I have selected the mercaptans (-SH) as the most suitable; once their powerful and clinging odor has been observed it forms a most vivid impression and most chemists would recognize it again. . . Is there any corresponding characteristic feature in their Raman spectra? The answer is that there is indubitably a unique feature in the Raman spectrum of all alkyl mercaptans, a line with . . . frequency 2567-2580. No other compound has such a line."

Turin also writes very beautifully about the challenge of understanding science:

"In almost every science textbook, there is one point, usually of paragraph length, where the style of the author matches exactly one's style of understanding, and which we then grasp properly and permanently. The trick is then to read hundreds of books, so that the paragraphs gradually come to cover one's field of interest, like fliers strewn on a football pitch. This, over a period of about ten years, is what I tried to do with undergraduate solid state physics."

And for someone like me, who lies awake nights wondering if writing about luxury products for a living is really an intellectually respectable thing to do, there are his wonderful insider's observations on the frustrating mediocrity that he observes in his own industry:

"Ten years ago, a fine fragrance used to cost 200-300 euros per kilo. These days, 100 is considered expensive. Bear in mind that only 3 per cent or so of the price in the shop is the smell. The rest is packaging, advertising, and margins. The cheapness of the formula is the main reason why most 'fine' perfumes are total crap. Other reasons include slavish imitation, crass vulgarity, profound ignorance, fear of getting fired, and general lack of inventiveness and courage."]]></description>
<dc:subject>jackforster 2009 2024 fragrances perfume scent smell smells luxury lucaturin science watches physiology 2006 fragrance economics olfaction chandrasekhararaman ramanspectrum malcolmdyson</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=5eAUID4sClc">
    <title>Episodio 3 - ¿Por qué olemos así? | Por qué somos así - YouTube</title>
    <dc:date>2024-05-11T20:24:09+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=5eAUID4sClc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Por qué olemos así?

¿Han tenido alguna experiencia memorable con el olor extranjero? En este episodio tratamos de desenredar por qué en Colombia nos bañamos todos los días.

Somos @por.que.somos.asi en Instagram.
 ¡Síguenos por ahí!

Esta investigación fue hecha por la fundación Nerds de la Historia y la dirección estuvo a cargo de María Emilia Gouffray.
El guión fue escrito por Sebastián Castaño y María Paulina Baena.
Las voces de este capítulo fueron hechas por: Fidel Barboza, Álvaro García Trujillo, Sebastián Castro, Sindy Torres, Roger García, Fabián Melo y Marcela Robledo.   
El diseño sonoro es de Dominica Récords.

Si quieres saber más de este tema te recomendamos esta bibliografía:

-Hernández, Estíbaliz.  “Historia de las costumbres íntimas: Abluciones, mingitorios y otros hábitos higiénicos”. 23/11/2020. La reina de los mares - Hypotheses. Disponible en: https://reinamares.hypotheses.org/2290
-Universidad Técnica del Norte. “El agua en las culturas precolombinas”. Museo virtual: La casa del agua “Yaku Wasi“. Disponible en: https://recursosnaturales.utn.edu.ec/museodelagua/el-agua-en-las-culturas-precolombinas.html
-Spitaletta, Reinaldo. “Las porquerías que los españoles trajeron a América”. Disponible en: https://spitaletta.wordpress.com/tag/bano/
-De Gomara, Fransciso López. “Historia General de las Indias”. 1552. Versión digital disponible en: https://biblioteca.clacso.edu.ar/clacso/se/20190905104522/Historia_General_de_las_Indias_y_vida_de_Hernan_Cortes_Francisco_Lopez_de_Gomara.pdf
-Maria Ofelia Burgos Lingán. “El ritual del parto en los Andes”. 1994. Katholieke Universiteit Nijmegen.

Los recursos de internet en orden de aparición son:
-Los mexicanos huelen a leche:   
https://www.youtube.com/watch?v=sdK_fz8elzs

-Christian Nodal - Adiós amor:   
https://www.youtube.com/watch?v=ETLoTxVVvjM

-El Show de las Estrellas - Aguita pa’ mi gente:   
https://www.youtube.com/watch?v=CtfROOKxz7s

-Italiano diciendo limones:   
https://www.youtube.com/watch?v=NB7dEnAWJQU

-Himno de Guatavita: ​​⁠  
https://www.youtube.com/watch?v=4GBDA7xEQQU

-Niña diciendo que huele a hombre:   
https://www.youtube.com/watch?v=m1zsl_aH6_o

-Mujer diciendo “ostaculando”:
https://www.youtube.com/watch?v=9Ri9lNi2CLo "]]></description>
<dc:subject>smell latinamerica hygiene bathing colombia centralamerica brasil brazil mexico 2024 europe indigenous water health indigeneity aztec quechua precolumbian spain españa uk religion belief beliefs porquésomosasí</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.growbyginkgo.com/2020/12/16/god-scent/">
    <title>God Scent</title>
    <dc:date>2024-03-25T05:50:29+00:00</dc:date>
    <link>https://www.growbyginkgo.com/2020/12/16/god-scent/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Synthesizing the world’s holiest fragrance"
]]></description>
<dc:subject>2020 smell smells scents senses allthesenses fragrance sudeepagarwala</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.kqed.org/forum/2010101904491/berkeley-perfumer-mandy-aftel-on-the-curious-and-wondrous-world-of-fragrance">
    <title>Berkeley Perfumer Mandy Aftel on the 'Curious and Wondrous World of Fragrance' | KQED</title>
    <dc:date>2024-02-28T04:13:21+00:00</dc:date>
    <link>https://www.kqed.org/forum/2010101904491/berkeley-perfumer-mandy-aftel-on-the-curious-and-wondrous-world-of-fragrance</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“You don’t just smell an aroma; you fall into it,” writes artisan perfumer Mandy Aftel. And entering her exquisite small museum, the Aftel Archive of Curious Scents, tucked into a backyard in Berkeley, is to fall into an ancient, mysterious world. Amid centuries-old books, bottles and curios are natural fragrances that come from the secretions of civets and the bowels of sperm whales, as well as from resins, rare flowers, roots and so much more. We talk to Aftel about her collection, the art of building a fragrance, and her new book, “The Museum of Scent: Exploring the Curious and Wondrous World of Fragrance”.

Guests:

Mandy Aftel, artisan perfumer and founder, Aftelier Perfumes and the Aftel Archive of Curious Scents in Berkeley; author, "The Museum of Scent: Exploring the Curious and Wondrous World of Fragrance""]]></description>
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    <title>How smells can boost children’s learning and pleasure | Aeon Essays</title>
    <dc:date>2024-02-24T22:38:28+00:00</dc:date>
    <link>https://aeon.co/essays/how-smells-can-boost-childrens-learning-and-pleasure</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When scents are used to intensify a narrative, they heighten young readers’ emotions and enrich their memory banks"
]]></description>
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    <title>E-Nose Sniffs Out Coffee Varieties Nearly Perfectly - IEEE Spectrum</title>
    <dc:date>2024-01-17T20:43:01+00:00</dc:date>
    <link>https://spectrum.ieee.org/e-nose-coffee-classifier</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Like Shazam but for java, the tech can help quantify coffee signatures"]]></description>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:44483c883ae2/</dc:identifier>
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<item rdf:about="https://thedigradio.com/podcast/the-dig-presents-alien-jerky-sold-here/">
    <title>The Dig Presents: Alien Jerky Sold Here · The Dig</title>
    <dc:date>2023-09-16T19:11:27+00:00</dc:date>
    <link>https://thedigradio.com/podcast/the-dig-presents-alien-jerky-sold-here/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you look, you’ll see. Most people don’t look.

Produced by Stephen Cassidy Jones and Liza Yeager.

Edited by Mitchell Johnson, with editorial oversight from Daniel Denvir.

Featuring Mark Pilkington, Valerie Kuletz, and Trevor Paglen.

Topics: Extraterrestrial"]]></description>
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<item rdf:about="https://preludemag.com/posts/trance-essay-for-remembering-smells/">
    <title>Trance Essay for Remembering Smells | Prelude</title>
    <dc:date>2023-04-30T01:30:35+00:00</dc:date>
    <link>https://preludemag.com/posts/trance-essay-for-remembering-smells/</link>
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<item rdf:about="https://www.youtube.com/watch?v=Pzsjw-i6PNc">
    <title>The hidden sensory world of animals | Ed Yong - YouTube</title>
    <dc:date>2022-09-09T18:20:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Pzsjw-i6PNc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Catfish taste with their whole bodies - and that’s just one way animals sense the world totally differently than us."]]></description>
<dc:subject>edyong 2022 allthesenses senses morethanhuman multispecies animals birds sight vision hearing taste light smell smells touch video umvelt perception experience otters dogs spiders odor survival adaptation biology elephants owls behavior proust marcelproust fish catfish insects flies butterflies</dc:subject>
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<item rdf:about="https://daily.jstor.org/keeping-time-with-incense-clocks/">
    <title>Keeping Time with Incense Clocks - JSTOR Daily</title>
    <dc:date>2022-08-26T04:53:38+00:00</dc:date>
    <link>https://daily.jstor.org/keeping-time-with-incense-clocks/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As chronicled by Chinese poet Yu Jianwu, the use of fire and smoke for time measurement dates back to at least the sixth century CE."

...

"How do you know what time it is? Throughout history, we’ve traced the hours with shadows, sand, water, springs and wheels, and oscillating crystals. We’ve even planted clock-gardens full of blossoms that open and close at each hour of the day. Anything that moves with regularity, really, can become a timepiece. But I only know of one kind of timekeeper that was driven by fire: the incense clock.

The incense clock takes the form of a maze of incense, with a tiny ember slowly burning through it. Early in the Qing dynasty (1644–1911), incense clocks burned all night in Beijing’s tall drum tower, measuring out the time until the beating of the huge drum announced the end of the night watch.

According to historian Andrew B. Liu, incense had been used to measure time since at least the sixth century, when the poet Yu Jianwu wrote:

<blockquote>By burning incense [we] know the o’clock of the night,
With graduated candle [we] confirm the tally of the watch.</blockquote>

The incense clock takes the basic concept—timing by combustion—and elevates it to a new level of gorgeous complexity. Examining the example held by the Science Museum, I was struck by its diminutive size: no larger than a coffee mug. Yet its small compartments are carefully packed with everything it needs to operate. In the bottom tray, you’ll find a bite-sized shovel and damper; above that, a pan of wood ashes for laying out the incense trail; then, stacked on top, an array of stencils for laying out the labyrinths. As Silvio Bedini, historian of scientific instruments, explains in his extensive study of the use of fire and incense for time measurement in China and Japan, the variety allows for seasonal variation: longer paths to be burned through the endless winter nights, while shorter ones serve for summer.

To set the clock, start by smoothing the ashes with the damper until they are perfectly flat. Select your stencil, then use the sharp edge of the shovel to carve out a groove, following the pattern, and fill it with incense. Finally, cap it with the lacy lid to vent the smoke and control the flow of oxygen.

To track smaller intervals of time, place small markers at regular points along the path. Some versions had little chimneys dispersed across the lid, allowing the hour to be read based on which hole the smoke was venting through. And some users may have used different kinds of incense at different parts of the path, or inserted scented chips along the way, so that they could tell the time with just a sniff.

But just in case the scent of sandalwood wasn’t enough of an alert, people also contrived to create incense-based alarm clocks. A dragon-shaped fire clock offers a particularly beautiful example. The dragon’s elongated body formed an incense trough, across which stretched a series of threads. Small metal balls were attached to opposite ends of the threads. Dangling below the dragon’s belly, their weight held the threads taut. As the incense burned down, the heat broke the threads, freeing the balls to clink into a pan below and sound an alarm."]]></description>
<dc:subject>china clocks smell senses allthesense poetry history incense yujianwu timekeeping 2022</dc:subject>
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<item rdf:about="https://www.ottomanhistorypodcast.com/2018/06/istanbul-and-ottoman-olfactory-heritage.html">
    <title>Istanbul and the Ottoman Olfactory Heritage</title>
    <dc:date>2022-03-11T21:37:06+00:00</dc:date>
    <link>https://www.ottomanhistorypodcast.com/2018/06/istanbul-and-ottoman-olfactory-heritage.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What did Istanbul's Spice Bazaar smell like in Ottoman times? In this episode, we explore the historical smellscape of this iconic market space from its early history up to the present day. Through a story about Ottoman smells and their transformations in the twentieth century, we touch on the trade routes of exotic spices, Ottoman marketing practices, and the greener, more fragrant Istanbul that still lives in the memories of twentieth-century shopowners who spent their lives in and around the Bazaar. Finally, we consider how telling history through smell could change the way we think about the past and struggle to preserve it."]]></description>
<dc:subject>smell smells senses allthesenses perception memory emotion istanbul 2018 maps mapping markets ottoman history sensoryhistory sensoryethnography science spices scents incense laurendavis susannaferguson colonization colonialism vision hegemony enlightenment west westernism rosewater roseoil westernthough greeks romans plato visualsupremacy visionsupremacy aristotle touch taste sight hearing multisensory rogerbacon hierarchy sound charlesdarwin kant karlmarx immanuelkant hegemonyofvision observation imperialism environment anthropology smellappreciation regulation values geography pine cleaning ottomanempire ambergris space borders international cinnamon frankincense myrrh preservation records recording archives oraltradition stories dialog heritage chemistry perfume rose canon darwin türkiye turkey</dc:subject>
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<item rdf:about="https://theconvivialsociety.substack.com/p/understanding-mcluhan-a-conversation">
    <title>Understanding McLuhan: A Conversation with Andrew McLuhan</title>
    <dc:date>2022-01-07T20:46:39+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/understanding-mcluhan-a-conversation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to a special installment of the Convivial Society featuring my conversation with Andrew McLuhan. I can’t recall how or when I first encountered the work of Marshall McLuhan, I think it might’ve been through the writing of one of his most notable students, Neil Postman. I do know, however, that McLuhan, and others like Postman and Walter Ong who built on his work, became a cornerstone of my own thinking about media and technology. So it was a great pleasure to speak with his grandson Andrew, who is now stewarding and expanding the work of his grandfather and his father, Eric McLuhan, through the McLuhan Institute, of which he is the founder and director.

I learned a lot about McLuhan through this conversation and I think you’ll find it worth your time. A variety of resources and sites were mentioned throughout the conversation, and I’ve tried to provide links to all of those below. Above all, make sure you check out the McLuhan Institute and consider supporting Andrew’s work through his Patreon page."]]></description>
<dc:subject>lmsacasas 2022 ericmcluhan andrewmcluhan walterong neilpostman howweread howwethink howwewrite media medialiteracy mediastudies screentime children parenting literacy education academia scholarship highered highereducation language deschooling unschooling technology communication religion belief translation humans humanism theory senses allthesenses perception shannonweaver libraries archives catholicism bible dialog discovery conversation rhetoric tools internet web online collaboration footnotes annotation posttheory madiaecology jamesjoyce intertextual intertextuality references enddnotes marginalia normanmailer punk punkrock identity curiosity legacy companionship writing relationsips reading edwincarpenter buckminsterfuller whauden stephaniemcluhan davidstaines poetry form wterrencegordon douglascoupland grayareafoundation synthesis assignments pedagogy marshallmcluhan specialists generalists haroldinni thomasaquinas bodylanguage inevitability techdeterminism techvoluntarism francisbacon responsibility j</dc:subject>
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<item rdf:about="https://twitter.com/ThylacineReport/status/1395107317994213379">
    <title>Aadita Chaudhury on Twitter: &quot;My PhD is on fire and the way it reveals the fabric of racial capitalism globally. One of the people who agreed to participate in my research, a Palestinian artist, mentioned the burning of olive trees by Israel's forces - an</title>
    <dc:date>2021-05-20T04:16:51+00:00</dc:date>
    <link>https://twitter.com/ThylacineReport/status/1395107317994213379</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My PhD is on fire and the way it reveals the fabric of racial capitalism globally. One of the people who agreed to participate in my research, a Palestinian artist, mentioned the burning of olive trees by Israel's forces - and how the smell is engraved in collective memory.

I can't help but think about the more-than-human when it comes to settler colonial violence - in that it's not just genocide, but an extractive project that terraforms worlds and affects until those who are otherized are no longer in relation to, but are simply decorative.

Landscapes are relational entities to those who are colonized, but are mere sites of resource extraction and aesthetic reformulation for colonizers in new narratives. Collapsing of relationality is fundamental to the settler-colonial process.

When I think about relationship of place, smells, sights and sounds are embedded throughout. The violence, terraforming and the capture happens on each level."]]></description>
<dc:subject>aaditachaudhury 2021 land settlercolonialism israel multispecies morethanhuman olives memory allthesenses smell senses terraforming genocide landscape relationality violence place</dc:subject>
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<item rdf:about="https://lithub.com/how-a-year-without-my-library-has-changed-me/">
    <title>How a Year Without My Library Has Changed Me ‹ Literary Hub</title>
    <dc:date>2021-03-10T19:44:58+00:00</dc:date>
    <link>https://lithub.com/how-a-year-without-my-library-has-changed-me/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[““I go to libraries because they are the Ocean,” wrote Susan Howe, who compared her experience of libraries to Thoreau’s woods—wild, ripe for exploration. When Howe writes about libraries and archives, she uses words like “mystic” and “telepathy”.

The internet is vast and it is deep, but not mystic. Our experience of libraries, as Howe reminds us, is physical and material. The way we encounter an idea there can be traced to the moment we find it on a shelf, the warm light that hits your thigh as you sit in the oak reading chair with the flat, broad arms while strangers drift in and out of the periphery.

A library exists apart from the tempo of commerce. It is a place where, through quiet encounters with otherness, we are able to peaceably locate the edges of our finitude.”]]></description>
<dc:subject>laurendugraf 2021 covid-19 coronavirus pandemic libraries archives seattle language webyeats internet physical books mysticism senses smell commerce capitalism finitude anaisnin bookstores memory place anaïsnin otherness susanhowe</dc:subject>
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<item rdf:about="https://osmodrama.com/">
    <title>Osmodrama – Osmodrama is the art of timebased olfactory storytelling via Smeller 2.0.</title>
    <dc:date>2019-11-13T03:04:57+00:00</dc:date>
    <link>https://osmodrama.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Osmodrama is the art of timebased composing and storytelling with scents via Smeller 2.0. – Smeller 2.0 is a functional artwork and electronic instrument for the creation, recording and projection of distinct scent-sequences in collective experience. This opens up a new practice of olfactory art: Osmodrama.

You can support the ongoing art and science endeavour Osmodrama here."]]></description>
<dc:subject>composing smell smells storytelling experience osmodrama performance art science</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=VHpVIw-a9HM">
    <title>Teju Cole, &quot;Ethics&quot;, Lecture 3 of 3, 04.22.19 - YouTube</title>
    <dc:date>2019-06-02T22:38:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=VHpVIw-a9HM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The 2019 Berlin Family Lectures with Teju Cole
"Coming to Our Senses"
Lecture three: "Ethics"
April 22, 2019

How do our senses foster our moral understanding and ethical obligations to others? In the third and final lecture of the 2019 Randy L. and Melvin R. Berlin Family Lecture Series, acclaimed author, critic, and photographer Teju Cole thinks through how our senses can help us understand the plight of travelers and migrants. Cole implores us to recognize the mutual and unshirkable responsibilities that bind all human beings. 

This is the second lecture in a three-lecture series presented in the spring of 2019 at the University of Chicago.

Named for Randy L. and Melvin R. Berlin, the Berlin Family Lectures bring leading scholars, writers, and creative artists from around the world to the University of Chicago. Each visitor offers an extended series of lectures with the aim of interacting with the university community and developing a book for publication with the University of Chicago Press. Learn more at http://berlinfamilylectures.uchicago.edu.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to humanities@uchicago.edu."
]]></description>
<dc:subject>2019 tejucole ethics senses migrants migration travelers responsibility humanism lauraletinsky photography location situation howwewrite interconnectedness interconnected malta caravaggio art painting writing reading knowing knowledge seeing annecarson smell death grief dying interconnectivity</dc:subject>
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<item rdf:about="https://emergencemagazine.org/story/magic-and-the-machine/">
    <title>Magic and the Machine — Emergence Magazine</title>
    <dc:date>2019-06-01T22:50:07+00:00</dc:date>
    <link>https://emergencemagazine.org/story/magic-and-the-machine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Indeed, it is only when a traditionally oral culture becomes literate that the land seems to fall silent. Only as our senses transferred their animating magic to the written word did the other animals fall dumb, the trees and rocks become mute. For, to learn this new magic, we had to break the spontaneous participation of our eyes and ears in the enfolding terrain in order to recouple those senses with the flat surface of the page. I remember well, in first grade, the intensity with which I had to train my listening ears and my visual focus upon the letters in order to make each letter trigger a specific sound made by my mouth, such that now whenever I see the letter K, I instantly hear “kah” in my mind’s ear, and whenever I see an M, I hear “mmm.” If my ancestors once engaged in animistic participation with bent twigs, animal tracks, cliff-faces, and cloud shapes, I learned an analogous participation with the letter shapes upon the page. But notice: while a thundercloud or a raven might utter strange sounds and communicate strange sensations, the written letters always speak with a human tongue.

Hence, far from enacting a clear break with animism, alphabetic literacy can be recognized as a particularly potent form of animism, one which shifts the locus of magic—or meaning—away from our interactions with the more-than-human surroundings to the relation between ourselves and our own signs. Only as alphabetic literacy comes into a previously oral culture (often through Christian missionaries teaching how to read the Good Book) does that culture get the curious idea that language is an exclusively human property. The living land is no longer felt to hold and utter forth its own manifold meanings; the surrounding earth soon comes to be viewed as a mostly passive background upon which human history unfolds."


…

"For animism—the instinctive experience of reciprocity or exchange between the perceiver and the perceived—lies at the heart of all human perception. While such participatory experience may be displaced by our engagement with particular tools and technologies, it can never entirely be dispelled. Rather, different technologies tend to capture and channel our instinctive, animistic proclivities in particular ways."

…

"Despite the flimsy gesture toward a kind of magical reality, the fact is that we’re still speaking only to ourselves, to things that we have programmed to talk back to us. And so, after the initial novelty, which maybe lasts about twenty minutes, there’s nothing here that can surprise us, or yield a sense that we’re in communication with beings strangely different from ourselves."

…

"And maybe this attempt to recreate that primal experience of intimacy with the surrounding world will actually succeed. Certainly it’s giving rise to all sorts of fascinating gizmos and whimsical inventions. But it’s also bound to disappoint. The difficult magic of animistic perception, the utter weirdness and dark wonder that lives in any deeply place-based relation to the earth, is the felt sense of being in contact with wakeful forms of sentience that are richly different from one’s own—the experience of interaction with intelligences that are radically other from one’s own human style of intelligence. Yet when interacting with the smart objects that inhabit the always-online world of the internet of things, well, there’s no real otherness there. Of course, there’s the quasi-otherness of the program designers, and of the other people living their own wired lives; although just how other anybody will be when we’re all deploying various forms of the same software (and so all thinking by means of the same preprogrammed algorithms) is an open question. My point, however, is that there’s no radical otherness involved: it’s all humanly programmed, and it’s inhabited by us humans and our own humanly-built artifacts; it’s all basically a big extension of the human nervous system. As we enter more deeply into the world of ubiquitous computing, we increasingly seal ourselves into an exclusively human zone of interaction. We enter into a bizarre kind of intraspecies incest."

…

"Yet it’s the alterity or otherness of things—the weirdly different awareness of a humpback whale sounding its eerie glissandos through the depths, or an orb-weaver spider spinning the cosmos out of her abdomen; or the complex intelligence of an old-growth forest, dank with mushrooms and bracket fungi, humming with insects and haunted by owls—it’s the wild, more-than-human otherness of these powers that makes any attentive relation with such beings a genuine form of magic, a trancelike negotiation between outrageously divergent worlds.

Without such radical otherness, there’s no magic. Wandering around inside a huge extension of our own nervous system is not likely to bring a renewal of creaturely wonder, or a recovery of ancestral capacities. It may keep us fascinated for a time but also vaguely unsatisfied and so always thirsty for the next invention, the next gadget that might finally satisfy our craving, might assuage our vague sense that something momentous is missing. Except it won’t."

…

"Western navigators, long reliant on a large array of instruments, remain astonished by the ability of traditional seafaring peoples to find their way across the broad ocean by sensing subtle changes in the ocean currents, by tasting the wind and reading the weather, by conversing with the patterns in the night sky. Similarly, many bookish persons find themselves flummoxed by the ease with which citizens of traditionally oral, place-based cultures seem always to know where they are—their capacity to find their way even through dense forests without obvious landmarks—an innate orienting ability that arises when on intimate terms with the ground, with the plants, with the cycles of sun, moon, and stars. GPS seems to replicate this innate and fairly magical capacity, but instead of this knowledge arising from our bodily interchange with the earthly cosmos, here the knowledge arrives as a disembodied calculation by a complex of orbiting and ground-based computers."

…

"There is nothing “extra-sensory” about this kind of earthly clairvoyance. Rather, sensory perception functions here as a kind of glue, binding one’s individual nervous system into the larger ecosystem. When our animal senses are all awake, our skin rippling with sensations as we palpate the surroundings with ears and eyes and flaring nostrils, it sometimes happens that our body becomes part of the larger Body of the land—that our sensate flesh is taken up within the wider Flesh of the breathing Earth—and so we begin to glimpse events unfolding at other locations within the broad Body of the land. In hunting and gathering communities, individuals are apprenticed to the intricate life of the local earth from an early age, and in the absence of firearms, hunters often depend upon this richly sensorial, synaesthetic clairvoyance for regular success in the hunt. The smartphone replicates something of this old, ancestral experience of earthly acumen that has long been central to our species: the sense of being situated over Here, while knowing what’s going on over There."

…

"And so we remain transfixed by these tools, searching in and through our digital engagements for an encounter they seem to promise yet never really provide: the consummate encounter with otherness, with radical alterity, with styles of sensibility and intelligence that thoroughly exceed the limits of our own sentience. Yet there’s the paradox: for the more we engage these remarkable tools, the less available we are for any actual contact outside the purely human estate. In truth, the more we participate with these astonishing technologies, the more we seal ourselves into an exclusively human cocoon, and the more our animal senses—themselves co-evolved with the winds, the waters, and the many-voiced terrain—are blunted, rendering us ever more blind, ever more deaf, ever more impervious to the more-than-human Earth.

Which brings us, finally, back to our initial question: What is the primary relation, if there is any actual relation, between the two contrasting collective moods currently circulating through contemporary society—between the upbeat technological optimism coursing through many social circles and the mood of ecological despondency and grief that so many other persons seem to be feeling? As a writer who uses digital technology, I can affirm that these tools are enabling many useful, astounding, and even magical possibilities. But all this virtual magic is taking a steep toll. For many long years this techno-wizardry has been blunting our creaturely senses, interrupting the instinctive rapport between our senses and the earthly sensuous. It’s been short-circuiting the spontaneous reciprocity between our animal body and the animate terrain, disrupting the very attunement that keeps us apprised of what’s going on in our locale—the simple, somatic affinity that entangles our body with the bodies of other creatures, binding our sentience with that of the local earth. Today, caught up in our fascination with countless screen-fitted gadgets, we’re far more aloof from the life of the land around us, and hence much less likely to notice the steady plundering of these woodlands and wetlands, the choking of the winds and the waters by the noxious by-products of the many industries we now rely on. As these insults to the elemental earth pile up—as the waters are rendered lifeless by more chemical runoff, by more oil spills, by giant patches of plastic rotating in huge gyres; as more glaciers melt and more forests succumb to the stresses of a destabilized climate—the sensorial world of our carnal experience is increasingly filled with horrific wounds, wounds that we feel in our flesh whenever we dare to taste the world with our creaturely senses. It’s too damned painful. Hence there’s ever more reason to retreat from the body’s world, to avoid the sensuous terrain with its droughts and its floods and its flaring wildfires, taking refuge in ever more mediated and virtual spaces. Thus do we render ourselves ever more numb. Ever more deaf to the anguished cries of other creatures, ever more oblivious to the vanishing of species, ever more inured to the steady flattening of the Real. Ever more calloused and closed to the shuddering pain of the biosphere, breathing."]]></description>
<dc:subject>animism davidabram technology language alphabet writing oraltradition secondaryorality smarthphones gps multispecies morethanhuman canon literacy listening multisensory senses noticing nature intuition alterity otherness object animals wildlife plants rocks life living instinct internet web online maps mapping orientation cities sound smell texture touch humans smartdevices smarthomes internetofthings perception virtuality physical iot smarthome</dc:subject>
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<item rdf:about="https://www.aftelier.com/Default.asp">
    <title>Aftel Archive of Curious Scents</title>
    <dc:date>2018-11-04T01:08:27+00:00</dc:date>
    <link>https://www.aftelier.com/Default.asp</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[https://www.yelp.com/biz/aftel-archive-of-curious-scents-berkeley ]

"Hi, I'm Mandy Aftel! I fell in love with natural aromatics more than twenty-five years ago, and I have had the privilege to live and work in their world ever since. In my practice of perfumery, I have curated thousands of gorgeous essences from all over the world, many of them antiques themselves. I have written 4 books about natural perfumes, and teach people how to create natural perfumes through my workbooks and in-studio classes."]]></description>
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<item rdf:about="https://www.instagram.com/p/BmL784CHIlP/">
    <title>Jacob Sam-La Rose en Instagram: “Decluttering. These are the keepers. I harbour a fantasy of my future kids being fascinated with these in the same way I raided my mother’s…”</title>
    <dc:date>2018-08-10T00:07:29+00:00</dc:date>
    <link>https://www.instagram.com/p/BmL784CHIlP/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Decluttering. These are the keepers. I harbour a fantasy of my future kids being fascinated with these in the same way I raided my mother’s record collection. Not just for the music itself, but the cover design, the appeal of the tangible object... In a digital world, it’s good to have analog anchors..."

[Commented: "Oh, those spacial, ambient, tactile, smell, taste, and sound memories that come from the places where we are raised. Swoon. I just tracked down a book about whales that was in our house as a child. I’d been referencing it for years without remembering the name (The Whale), but recalling so many details of its contents and the situations I was in while pouring over the book. The confines of small-ish collections encourage repeated reencounters that just don’t come as easily in the near infinite expanse of YouTube, Spotify, etc. Maybe this is why I have been so keen to create my on digital collections, something that I can move around in over and over again?"]

[See also: https://www.instagram.com/p/BmL5xv5HcOo/]]]></description>
<dc:subject>jacobsam-larose 2018 decluttering memory space sound music collections senses mariekondo taste smell sounds place finite curation tangible tactile analog digital books childhood memories</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:30d08965ec73/</dc:identifier>
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<item rdf:about="https://www.npr.org/2016/10/04/496417068/from-fire-hydrants-to-rescue-work-dogs-perceive-the-world-through-smell">
    <title>From Fire Hydrants To Rescue Work, Dogs Perceive The World Through Smell : NPR</title>
    <dc:date>2018-05-19T20:22:37+00:00</dc:date>
    <link>https://www.npr.org/2016/10/04/496417068/from-fire-hydrants-to-rescue-work-dogs-perceive-the-world-through-smell</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Specially trained dogs have been known to sniff out explosives, drugs, missing persons and certain cancer cells, but author Alexandra Horowitz tells Fresh Air's Terry Gross that extraordinary olfactory abilities aren't just the domain of working dogs.

Horowitz says that all dogs have the ability to create "a picture of the world through smell," thanks, in part, to the design of their snouts. A canine's nose is "stereoscopic," she explains, which means that each nostril is controlled separately, allowing the dog not only to detect a particular smell, but also to locate it in space.

In her new book, Being a Dog, Horowitz discusses the mechanics of canine smell and explains how dogs can use their noses to understand what time of day it is or whether a storm is coming.

Horowitz warns that pulling dogs away from smell-rich environments, such as fire hydrants and tree trunks, can cause them to lose their predisposition to smell. When dogs are living in "our visual world," she says, "they start attending to our pointing and our gestures and our facial expressions more, and less to smells.""]]></description>
<dc:subject>smell smells dogs time 2016 multispecies animals pets morethanhuman</dc:subject>
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<item rdf:about="https://vimeo.com/85584034">
    <title>GhostFood on Vimeo</title>
    <dc:date>2018-05-19T19:15:58+00:00</dc:date>
    <link>https://vimeo.com/85584034</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["GhostFood explores eating in a future of and biodiversity loss brought on by climate change. The GhostFood mobile food trailer serves scent-food pairings that are consumed by the public using a wearable device that adapts human physiology to enable taste experiences of unavailable foods.

Created in collaboration with Miriam Songster. Commissioned by the Robert Rauschenberg Foundation for Marfa Dialogues/NY, with additional support provided by Takasago, NextFab Studios and Whole Foods. Marfa Dialogues/NY is a collaboration between the Robert Rauschenberg Foundation, Ballroom Marfa and the Public Concern Foundation. GhostFood was presented by Gallery Aferro in Newark, Rauschenberg Project Space in New York and by SteamWorkPhilly in Philadelphia."]]></description>
<dc:subject>2014 food miriamsongster climatechange speculativefiction speculativedesign physiology taste smell senses ghostfood extinction cod fish peanuts cocoa flavor multisensory flavors miriamsimun</dc:subject>
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<item rdf:about="https://s3.amazonaws.com/arena-attachments/1849868/aa62b75188cb68d88e4f8d6f51584e17.pdf?1520358163">
    <title>Designing with Smell</title>
    <dc:date>2018-05-19T19:14:32+00:00</dc:date>
    <link>https://s3.amazonaws.com/arena-attachments/1849868/aa62b75188cb68d88e4f8d6f51584e17.pdf?1520358163</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>smell smells senses sensoryethnography victoriahenshaw katemclean dominicmedway chrisperkins garywarnaby books toread design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://vimeo.com/232829385">
    <title>Eyeo 2017 - Sissel Tolaas on Vimeo</title>
    <dc:date>2018-04-05T15:23:23+00:00</dc:date>
    <link>https://vimeo.com/232829385</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sissel Tolaas at Eyeo 2017 
| Knows NOSE : NOSE Knows |
Sissel Tolaas is a professional InBetweener, smellresearcher & artist with a background in mathematics, chemical science, languages, and visual art. Since 1990, her work has been concentrated on the topic of smell, language and communication. She established the SMELL RE_searchLab Berlin in January 2004, supported by IFF (International Flavors & Fragrances Inc.).

Tolaas builds up several smell archives, one of which contains 7000 real smells from all over the world. Since 1998, she has done research projects called ‘City SmellScapes’ with 52 major cities around the world. She launched the world’s first Smell Memory Kit and is a founding member of the International Sleep Science and Technology Association, and the Institute of Functional Smells.

Her research has won recognition through numerous international honors and awards including the 2014 CEW award for chemistry & innovation; the 2009 Rouse Foundation Award from Harvard University GSD, the 2010 Ars Electronica Award in Linz, Austria and the 2010-2014 Synthetic Biology / Synthetic Aesthetics Award from Stanford and Edinburgh Universities including a residency at Harvard Medical School."]]></description>
<dc:subject>sisseltolaas art senses multisensory classideas smell scents smellscapes children play language communication</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=m1-r7CR6FsI">
    <title>Museums should activate multiple senses, not just the eyeball | Ellen Lupton | TEDxMidAtlantic - YouTube</title>
    <dc:date>2018-01-22T01:18:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=m1-r7CR6FsI</link>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cooper-hewitt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cooperhewitt"/>
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</item>
<item rdf:about="http://sensorymaps.com/">
    <title>Sensory Maps</title>
    <dc:date>2017-11-14T03:30:39+00:00</dc:date>
    <link>http://sensorymaps.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My name is Kate McLean, an artist and designer, creator of smellmaps of cities around the world. I focus on human perception of the urban smellscape. While the visual dominates in data representation I believe we should tap into alternative sensory modes for individual and shared interpretation of place.

Smells form part of our knowing, but are elusive, often disappearing before they can be described pinned down. Smell perception is an invisible and currently under-presented dataset with strong connections to emotions and memory. I am part of a small but growing number of innovative practitioners committed to the study and capture of this highly nuanced sensory field.

The tools of my trade include: individual group smellwalks, individual smellwalks (the “smellfie”), smell sketching, collaborative smellwalks, graphic design, motion graphics, smell generation and smell diffusion, all united by mapmaking. Download a copy of my smellfie guide to smellwalking.

In 2014 I worked with Mapamundistas in Pamplona creating a bespoke piece of design in situ late in October 2014 and year of “Smellmap: Amsterdam” research collaboration with Bernardo (Brian) Fleming of International Flavors and Fragrances saw a summary exhibition at Mediamatic in April 2014 and at IEEE VIS 2014 Arts Programme in Paris in November 2014.

This year I am working on a unique sensory audit with Guy’s Hospital and St. Thomas’ / FutureCity to generate a London Bridge smellmap for the KHP Cancer Arts Programme and am busy analysing the data and information from smellwalking in Singapore.

I am a PhD candidate (part-time) in Information Experience Design (IED) a the Royal College of Art, a marathon runner and snowboarder."

[via: https://twitter.com/the_jennitaur/status/930267808599961600

"where has this been all my life http://sensorymaps.com/wp-content/uploads/2015/10/Smellwalk_Intro_Kit_%C2%A9KateMcLean_2015.pdf "]

[See also: https://twitter.com/katemclean ]]]></description>
<dc:subject>maps mapping datavisualization visualization dataviz cartography katemclean sensory senses classideas cities sense mapmaking smell sensoryethnography ethnography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:23bdf119c39d/</dc:identifier>
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<item rdf:about="http://www.wiley.com/WileyCDA/WileyTitle/productCd-1119941288.html">
    <title>Wiley: The Eyes of the Skin: Architecture and the Senses, 3rd Edition - Juhani Pallasmaa</title>
    <dc:date>2017-08-26T22:18:57+00:00</dc:date>
    <link>http://www.wiley.com/WileyCDA/WileyTitle/productCd-1119941288.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["First published in 1996, The Eyes of the Skin has become a classic of architectural theory. It asks the far-reaching question why, when there are five senses, has one single sense – sight – become so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, it is a subject that has become all the more pressing and topical since the first edition’s publication in the mid-1990s. Juhani Pallasmaa argues that the suppression of the other four sensory realms has led to the overall impoverishment of our built environment, often diminishing the emphasis on the spatial experience of a building and architecture’s ability to inspire, engage and be wholly life enhancing.

For every student studying Pallasmaa’s classic text for the first time, The Eyes of the Skin is a revelation. It compellingly provides a totally fresh insight into architectural culture. This third edition meets readers’ desire for a further understanding of the context of Pallasmaa’s thinking by providing a new essay by architectural author and educator Peter MacKeith. This text combines both a biographical portrait of Pallasmaa and an outline of his architectural thinking, its origins and its relationship to the wider context of Nordic and European thought, past and present. The focus of the essay is on the fundamental humanity, insight and sensitivity of Pallasmaa’s approach to architecture, bringing him closer to the reader. This is illustrated by Pallasmaa’s sketches and photographs of his own work. The new edition also provides a foreword by the internationally renowned architect Steven Holl and a revised introduction by Pallasmaa himself."

[via: https://www.instagram.com/p/BYOgbLqHRWb/ ]

[two different PDFs at:

http://arts.berkeley.edu/wp-content/uploads/2016/01/Pallasmaa_The-Eyes-of-the-Skin.pdf
http://home.fa.utl.pt/~al7531/pedidos/livros/Juhani%20Pallasmaa%20-%20Eyes%20of%20the%20Skin.pdf ]]]></description>
<dc:subject>books toread architecture senses multisensory juhanipallasmaa humans bodies stevenholl sight smell sound taste texture touch humanism sfsh design peterkeith body</dc:subject>
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</item>
<item rdf:about="http://news.nationalgeographic.com/2016/04/160423-dogs-animals-pets-smell-science-scents/">
    <title>Why This Animal's Pee Smells Like Hot Buttered Popcorn</title>
    <dc:date>2016-12-25T08:05:09+00:00</dc:date>
    <link>http://news.nationalgeographic.com/2016/04/160423-dogs-animals-pets-smell-science-scents/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Southeast Asia's bearcat has a movie-theater aroma, but it's not the only animal that smells like snack foods.

…

POPCORN 
Binturongs, or bearcats, are neither bears nor cats. These Southeast Asian mammals are actually related to small forest predators like fossas, civets, and genets. They also happen to smell like hot buttered popcorn. 

…

CORN CHIPS 
Binturongs aren't the only beasts that smell of snack food. Paws of the domestic dog have a rep for smelling like corn chips. 

…

LEMON DROPS 
Ants love candy, so it's only fitting that the aptly named citronella ant, found throughout the United States, should smell like this lovely confection. 

…

ALMONDS AND CHERRY COLA 

You can find this nice combination of scents from the flat millipede of the U.S., which gives off a defensive spray that people compare to cherry, almond, or cherry cola. The smell is due to the insect's production of cyanide, which helps deter predators. 

…

MINTS 
After all these nibbles, you'll need a mint.  

The white admiral butterfly of the northeastern U.S. and Canada seems to smell like wintergreen—a group of aromatic plants—for a reason."
]]></description>
<dc:subject>smell scents animals food nature insects 2016</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:99f58717b092/</dc:identifier>
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</item>
<item rdf:about="http://blog.ayjay.org/uncategorized/alan-dreams-of-suya/">
    <title>Alan dreams of suya | Snakes and Ladders</title>
    <dc:date>2015-08-29T20:39:38+00:00</dc:date>
    <link>http://blog.ayjay.org/uncategorized/alan-dreams-of-suya/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I woke up in the middle of the night last night with an inexplicable but overwhelming craving for a food that I haven’t eaten in nearly 25 years. Suya: marinated, highly spiced slices of beef cooked over a wood or charcoal fire and served with sliced onions and, when I had it, anyway, plum tomatoes. (It turns out, comically enough, that the Wikipedia page for suya links to an article I published in 1992.) It’s a Nigerian treat, especially favored by the Hausa people in the north of the country, but I first tasted it in the city of Ilorin in the heart of Yorubaland.

It was early evening, and the suya vendor had set up his cart at the side of a road on which the chief government building of Kwara state stood facing the sharia court building, in a kind of standoff. I don’t know that I’ve ever smelled anything more mouth-watering than the aromas wafting from that cart, and though I haven’t thought about the experience in years, probably, when I woke up last night everything about that evening came back to me with an uncanny clarity — spreading the suya on its bed of newspaper out on the hood of a minivan, eating and talking quietly with my friends as others drifted to and from the cart … how wonderful that was. So many moments in life get lost in the jumble of everyday busyness, it’s a gift when something small and sweet makes a gentle return to memory, to presence."]]></description>
<dc:subject>food taste smell senses memory suya nigeria 2015 alanjacobs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fa1027ed158a/</dc:identifier>
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</item>
<item rdf:about="http://cargocollective.com/selwa/Radical-Sensing">
    <title>Radical Sensing - Selwa Sweidan</title>
    <dc:date>2015-08-16T05:40:20+00:00</dc:date>
    <link>http://cargocollective.com/selwa/Radical-Sensing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Radical Sensing is a speculative design project rooted in the sense of smell. Radical Sensing imagines a future in which people have chosen to replace their noses with a "super smelling" neuroprosthetic or a "post-nose” that amplifies, isolates, decodes and records scent with simple gestures and downloadable customizations.

Radical Sensing poses questions about the future of prosthetics. Can the voluntary removal of body organs, in favor of augmented replacements, become normative? 

Radical Sensing proposes a rearchitecting of the body, externally (though a wearable nose) and internally (through the neurological and experiential changes that arise when ehancing and even sharing the act of smelling).

Through performative prototyping, 3D modeling, user interviews, and a smell recording device - Radical Sensing raises questions about what it means to experience an enhanced sense of smell in the future, and what arises when we "live in our nose" in the present."

[See also:
https://vimeo.com/122488780
https://vimeo.com/124908121
https://vimeo.com/136255169 ]]]></description>
<dc:subject>smell senses speculativedesign selwasweidan prosthetics neuroprosthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f195377dce15/</dc:identifier>
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</item>
<item rdf:about="http://www.theatlantic.com/technology/archive/2015/03/finding-out-what-the-past-smelled-like/387352/">
    <title>Finding Out What the Past Smelled Like — The Atlantic</title>
    <dc:date>2015-03-20T09:51:21+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/2015/03/finding-out-what-the-past-smelled-like/387352/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Augmented reality could change the way we understand—and experience—history."

…

"It was the smell that hit me first, a heady mixture of roasting meat, woodsmoke, and farmyard manure. Nearby I could hear a low murmured conversation—but the words were muffled and unclear. I could see piles of stones clustered across the edge of a bleak Cornish moorland hillside and an ominous raincloud gathering over the closest hill.

But there were no houses, no people, and no welcome barbecue. With freezing fingers I held up my iPad, viewing the landscape through the camera feed. I saw the icons change as the GPS recognized my position and, as if by magic, the houses began to appear, each one loading onto the screen, materializing in position above the round piles of prehistoric stone. Using the screen as a guide, I picked my way through the virtual settlement, walking around the houses as if they were real. As I walked toward one, the sound of the conversation got louder, and I could hear the crackling of a fire. The smell of the meat got stronger, filling my nostrils and making my mouth water. I reached the door, and looked inside, expecting to feel the heat of a welcome fire and the shelter of the roof. But all I saw was a rendered straw floor. And as I lowered the iPad, I saw again a pile of stones no higher than my knee, arranged in a circle with a gap for a doorway. The raincloud is getting closer.

This was my experience during testing a prototype augmented-reality application I designed to allow an embodied exploration of past landscapes. I built the system using low-cost materials and cheap or free software. I’m an archaeologist, and I am particularly interested in finding out what it was like to live in the past. (I'm calling the app Dead Men’s Eyes, a name that comes from a short story by Montague Rhodes James in which a man discovers a pair of old binoculars made by an eccentric antiquarian. When he looks through them, he is shown a world that no longer exists, and sees grisly scenes from the past.)"]]></description>
<dc:subject>smell smellscapes maps mapping history 2015 augmentedreality stuarteve ar</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2807d3a18ba3/</dc:identifier>
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<item rdf:about="https://medium.com/re-form/how-to-pay-attention-4751adb53cb6">
    <title>How To Pay Attention — re:form — Medium</title>
    <dc:date>2014-12-23T18:56:46+00:00</dc:date>
    <link>https://medium.com/re-form/how-to-pay-attention-4751adb53cb6</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>attention art seeing waysofseeing situationist noticing 2014 canon classideas walking kennethgoldsmith strangers following perspective slow slowness looking waysoflooking slowart jenniferroberts vitoacconci pointofview scavengerhunts davidwondrich collections collecting gaïaorain ronabinay richardclarkson robertirwin lucyknops lawrenceweschler aaronhenkin johncage founditems poetry everyday repetition stevehamilton listening soundwalks maps mapping sound audio soundmapping marcweidenbaum smell senses sensory quiet jaceclayton djrupture andrewreiner technology miguelolivares soundscapes sight details design curriculum robwalker</dc:subject>
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<item rdf:about="http://www.nytimes.com/2014/09/07/opinion/sunday/how-culture-shapes-our-senses.html">
    <title>How Culture Shapes Our Senses - NYTimes.com</title>
    <dc:date>2014-09-10T01:27:41+00:00</dc:date>
    <link>http://www.nytimes.com/2014/09/07/opinion/sunday/how-culture-shapes-our-senses.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["FLORENCE, Italy — WE think of our senses as hard-wired gateways to the world. Many years ago the social psychologist Daryl J. Bem described the knowledge we gain from our senses as “zero-order beliefs,” so taken for granted that we do not even notice them as beliefs. The sky is blue. The fan hums. Ice is cold. That’s the nature of reality, and it seems peculiar that different people with their senses intact would experience it subjectively.

Yet they do. In recent years anthropologists have begun to point out that sensory perception is culturally specific. “Sensory perception,” Constance Classen, the author of “The Deepest Sense: A Cultural History of Touch,” says, “is a cultural as well as physical act.” It’s a controversial claim made famous by Marshall McLuhan’s insistence that nonliterate societies were governed by spoken words and sound, while literate societies experienced words visually and so were dominated by sight. Few anthropologists would accept that straightforwardly today. But more and more are willing to argue that sensory perception is as much about the cultural training of attention as it is about biological capacity.

Now they have some quantitative evidence to support the point. Recently, a team of anthropologists and psychologists at the Max Planck Institute for Psycholinguistics and Radboud University, both in Nijmegen, the Netherlands, set out to discover how language and culture affected sensory awareness. Under the leadership of Asifa Majid and Stephen C. Levinson, they made up a kit of systematic stimuli for the traditional five senses: for sight, color chips and geometric forms; for hearing, pitch, amplitude and rhythm variations; for smell, a set of scratch-and-sniff cards; and so forth. They took these kits to over 20 cultural groups around the world. Their results upend some of our basic assumptions.

For example, it’s fairly common, in scientific literature, to find the view that “humans are astonishingly bad at odor identification and naming,” as a recent review of 30 years of experiments concluded. When ordinary people are presented with the smell of ordinary substances (coffee, peanut butter, chocolate), they correctly identify about half of them. That’s why we think of scent as a trigger for personal memory — leading to the recall of something specific, particular, uniquely our own.

It turns out that the subjects of those 30 years of experiments were mostly English-speaking. Indeed, English speakers find it easy to identify the common color in milk and jasmine flowers (“white”) but not the common scent in, say, bat droppings and the leaf of ginger root. When the research team presented what should have been familiar scents to Americans — cinnamon, turpentine, lemon, rose and so forth — they were terrible at naming them. Americans, they wrote, said things like this when presented with the cinnamon scratch-and-sniff card: “I don’t know how to say that, sweet, yeah; I have tasted that gum like Big Red or something tastes like, what do I want to say? I can’t get the word. Jesus it’s like that gum smell like something like Big Red. Can I say that? O.K. Big Red, Big Red gum.”

When the research team visited the Jahai, rain-forest foragers on the Malay Peninsula, they found that the Jahai were succinct and more accurate with the scratch-and-sniff cards. In fact, they were about as good at naming what they smelled as what they saw. They do, in fact, have an abstract term for the shared odor in bat droppings and the leaf of ginger root. Abstract odor terms are common among people on the Malay Peninsula.

The team also found that several communities — speakers of Persian, Turkish and Zapotec — used different metaphors than English and Dutch speakers to describe pitch, or frequency: Sounds were thin or thick rather than high or low. In later work, they demonstrated that the metaphors were powerful enough to disrupt perception. When Dutch speakers heard a tone while being shown a mismatched height bar (e.g., a high tone and a low bar) and were asked to sing the tone, they sang a lower tone. But the perception wasn’t influenced when they were shown a thin or thick bar. When Persian speakers heard a tone and were shown a bar of mismatched thickness, however, they misremembered the tone — but not when they were shown a bar mismatched for height.

The team also found that some of these differences could change over time. They taught the Dutch speakers to think about pitch as thin or thick, and soon these participants, too, found that their memory of a tone was affected by being shown a bar that was too thick or too thin. They found that younger Cantonese speakers had fewer words for tastes and smells than older ones, a shift attributed to rapid socioeconomic development and Western-style schooling.

I wrote this in Florence, Italy, a city famous as a feast for the senses. People say that Florence teaches you to see differently — that as the soft light moves across the ocher buildings, you see colors you never noticed before.

It taught Kevin Systrom, a co-founder of Instagram, to see differently. He attributes his inspiration to a photography class he took in Florence while at a Stanford study-abroad program about a decade ago. His teacher took away his state-of-the-art camera and insisted he use an old plastic one instead, to change the way he saw. He loved those photos, the vintage feel of them, and the way the buildings looked in the light. He set out to recreate that look in the app he built. And that has changed the way many of us now see as well."]]></description>
<dc:subject>senses taste olfaction touch sight seeing noticing language languages culture darylbem tmluhrmann constanceclassen wcydwt glvo slow marshallmcluhan anthropology psychology perception sense asifamajid stephenlevinson sound hearing tone pitch rhythm color comparison schooling unschooling deschooling literacies literacy identification naming kevinsystrom smell</dc:subject>
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<item rdf:about="http://www.birds.cornell.edu/brp/elephant/cyclotis/language/language.html">
    <title>The Elephant Language</title>
    <dc:date>2014-04-23T20:29:54+00:00</dc:date>
    <link>http://www.birds.cornell.edu/brp/elephant/cyclotis/language/language.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Overview
Elephants live out their long lives in an exceptionally complex social network of persistent relationships. Their communication system, or language, is similarly complex. Vision and olfaction (smell), in addition to sound, are important for elephant communication.

The video and spectrogram below show an intense greeting between two African forest elephant females, Kate and Tess.

Each rumble appears as a stack of crescent-shaped lines in the spectrogram. These are called 'harmonics' and they are exact multiples of the frequency at which the vocal folds ('cords') vibrate. At several places in this vocal exchange, the voices of the two elephants overlap. This is very typical of greetings like this.

The Elephant Listening Project is focused on acoustic communication because forest elephants are very difficult to observe visually everywhere except during their brief visits to forest clearings. However, all three species of elephant (Asian, African savannah and African forest) make calls with fundamental frequencies below the lower limit of human hearing (20 Hz), in the range called infrasound. These infrasonic calls can travel far through the environment.

We are only in the early stages of decoding this language - understanding the meaning of specific signals so that we can use these to study forest elephants and help in their conservation.

For more videos linking behaviors and different types of calls, see: EleTalk
For a more detailed discussion of the elephant language, see the Dictionary"]]></description>
<dc:subject>animals language communication via:anne eletalk elephants vision smell olfaction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://doyle-scienceteach.blogspot.com/2014/04/on-bulls-and-blossoms.html">
    <title>Science teacher: On bulls and blossoms</title>
    <dc:date>2014-04-17T22:29:28+00:00</dc:date>
    <link>http://doyle-scienceteach.blogspot.com/2014/04/on-bulls-and-blossoms.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The cherry blossoms are a week late this year--they know better than I do when the bees will be around, so I do not begrudge their timing.

Several cherry trees line Liberty Street here in town, a road I've walked a few thousand times on my way to and from Bloomfield High School. A few have branches low enough for me to bury my nose into their blossoms, so I do, but not before I check for bees. The bees have work to do.

We are (mostly) visual creatures. We analyze light, look for patterns, capture it digitally so we can show others what we think we saw. We have cameras to compare our various abilities to capture light, to hold the world in a frame.

Me and my nose live in a different world, a world of curves not  angles, smudges not sharp borders, a world where time and distances dissolve into layers of fog swirling into each other.

Cameras capture the sensuous, pleasing the cortex, blending thought and analysis and the beauty of order; my nose triggers the sensual, flaring up the olfactory lobe, part of our more primitive brain, visceral, without language.

If you have never slid your nose into an hours old cherry blossom, no words can describe wash of peppery sweetness that takes you to nowhere but here now. Noses are like that.

Yellow pollen sticks to my nose like fairy dust.  I wipe it away, feeling vaguely self-conscious, ignoring the strangers who pause to stare at this madman burying his nose in the flowers.  It takes me a moment to regain my bearings. 

In a week the blossoms will be gone, and I will have nothing but a false memory left of what once was.

***

This cerebral, abstract culture of ours does not deal with noses well. Odors are just so hard to control, the memories they arouse so unpredictably deep, and the sense of smell is, well, too primitive for those of us who dwell in the abstract world of words, numbers, and big data.

We talk about stopping to smell the flowers, but we focus on the stopping, not the wave of sensuous, even sensual, deep aroma of flowers that give us reason to pause. What does it mean to stop and take a break, to get away from it all, when the all can be found in a moment spent on the edge of a city street, face buried in flowers.

One of my favorite books growing up was The Story of Ferdinand,  a bull who would rather spend his days buried in flowers than fighting. The book was banned in many countries. 

Things as they are would, of course, fall apart if too many children figured out that what we want them to want is more about success of our economy than about them them. Ferdinand is a dangerous role model.

You can live your life working for the next big thing, dreaming of your next vacation, your next car, your next hazelnut macchiato, You can dwell on the moments you will (or not) eventually have, but the idea of anything worthwhile is still just that--an abstract thought, reduced by the limits of imagination, and ultimately unsatisfying.

If you continue to see the kids in front of you as potential professionals, as potential thieves, as potential laborers or soldiers or teachers, you cannot see the child in front of you now, on a dreary April morning, here, in a room defined by its sharp edges and word salad on the walls.

Kids know if you're present in the classroom.  Passionate teachers are effective not so much for their passion, but for their presence. You can fake passion--teachers are good actors--but you cannot fake presence."]]></description>
<dc:subject>michaeldoyl life living teaching cv senses spring cherryblossoms blossoms vision smell scent teching howweteach presence passion ferdinandthebull canon tcsnmy unschooling deschooling education 2014</dc:subject>
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<item rdf:about="http://amyradcliffe.co.uk/Scent-ography-a-post-visual-past-time-1">
    <title>Amy Radcliffe: Scent-ography: a post-visual past time</title>
    <dc:date>2013-06-30T20:52:40+00:00</dc:date>
    <link>http://amyradcliffe.co.uk/Scent-ography-a-post-visual-past-time-1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Scent-ography: A post-visual past time

Our sense of smell is believed to have a direct link to our emotional memory. It is the sense that we react to most instinctually and also the furthest away from being stored or replicated digitally. From ambient smell-scapes to the utterly unique scent of an individual, our scent memory is a valuable resource yet to be systematically captured and archived.

If an analogue, amateur-friendly system of odour capture and synthesis could be developed, we could see a profound change in the way we regard the use and effect of smells in our daily lives. From manipulating our emotional wellbeing through prescribed nostalgia, to the functional use of conditioned scent memory, our olfactory sense could take on a much more conscious role in the way we consume and record the world.

How to succeed with your MADELEINE... [https://vimeo.com/68778690 ]

The Madeleine is, to all intents and purposes, an analogue odour camera. Based on current perfumery technology, Headspace Capture, The Madeleine works in much the same way as a 35mm camera. Just as the camera records the light information of a visual in order to create a replica The Madeleine records the molecular information of a smell."]]></description>
<dc:subject>via:ablerism scent-ography smell smells memory art artists amyradcliffe atemporality archiving nostalgia scentmemory senses smell-scapes</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://smellandthecity.wordpress.com/">
    <title>Smell and the City</title>
    <dc:date>2012-09-24T14:51:26+00:00</dc:date>
    <link>http://smellandthecity.wordpress.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This blog has been developed with a specific focus upon relationships between smell and the city and follows the hosting of an inter-disciplinary workshop on this subject at the University of Manchester in March 2012. The session identified a clear need for further research and projects in this field and provided the incentive for those who organised it (Chris Perkins, Dominic Medway, Kate McLean, Gary Warnaby and myself, Victoria Henshaw) to find a way to harness the enthusiasm and interest expressed by those attending by providing a forum where discussions can further develop and grow to include others.

We welcome the input of people from a range of disciplines and sectors therefore if you would like to write a piece or contribute a link to an article, or promote details of a relevant event, please email me at Victoria.henshaw@manchester.ac.uk"

[via: http://events.gsapp.org/event/smell-and-the-city ]]]></description>
<dc:subject>smellwalks walking victoriahenshaw smell cities</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:de1dd9033ce3/</dc:identifier>
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<item rdf:about="http://soulellis.com/2012/08/scanflipspread/">
    <title>Scan/flip/spread | Soulellis</title>
    <dc:date>2012-09-20T08:06:37+00:00</dc:date>
    <link>http://soulellis.com/2012/08/scanflipspread/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How we author, design and publish language-based communications is undergoing a radical shape-shift. The acceleration of the book (as commodity, technological device, art object) has entered a new stage of evolution in our trajectory towards constant presence and the post-human, and reading—the eye-brain processing of written culture—has much to lose, and gain, in the transformation.

What legacy of the book do we wish to bequeath to the future?

What is the futurestory of the book?

Several attributes of reading that are about to be lost, perhaps only temporarily (patina, olfactory, nostalgic), have opened up deep space for others (gestural, social, access, speed). And even more are on the way, as we prepare for the near-future absorption of the screen into the body (Google Glasses)…

…I propose a series of printed book experiments on the occasion of MutaMorphosis: Tribute to Uncertainty. These are actions of resistance—strategies for countering our growing need to read in haste. Three concepts will direct us to a poetic, if analog, investigation of book/time and the fast/slow speed of reading: scan, flip and spread. Working with found texts, public domain works, bot-generated ephemera and other digital artifacts, a printed book or short series of books that encourages and/or discourages slow reading will be produced as a limited print-on-demand edition for the MutaMorphosis conference (via Espresso Book Machine or other inexpensive digital-to-paper solution). The books will be distributed to all conference participants for discussion (panel, artist’s presentation or otherwise, TBD).

Scan/Flip/Spread puts forward the idea of the fast(er) book (print-on-demand) and braises it with the slow read. The investigation will explore the interface of the printed book—page-to-language ratio, typographic depth and density, page-turn-time, frame, weight, read rhythm, chance, flip speed and other formal aspects of the page; as well as content—questions of narrative, sense, curation and image/word play. Our goal, as a group, will be to create a space to embrace and counter the technologies of automation that are transforming language, visual culture, the page and reading—through the printed book object."]]></description>
<dc:subject>paulvirilio design longform automation dromosphere printondemand mutamorphosis uncertainty spread flip scan future ebooks bookfuturism googleglass speed access socialreading gestures nostalgia smell patina reading publishing books 2012 paulsoulellis slowreading slow selfpublishing self-publishing</dc:subject>
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</item>
<item rdf:about="http://www.sensorymaps.com/maps_cities/newport_smell.html">
    <title>Sensory Maps by Kate McLean</title>
    <dc:date>2012-09-17T07:04:12+00:00</dc:date>
    <link>http://www.sensorymaps.com/maps_cities/newport_smell.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Newport's scents are largely ocean-based; the ocean itself, the lobster bait, suntan oil from the bathing tourists, beach roses that brighten the low lying sand dunes. In contrast country smells of hay and juniper speak to the rural aspect of this diverse city. To be seen and sniffed at the Discover Newport Visitor Center from August 20, 2012.

Smells share an attribute with soundings in that they are constantly shifting. Combined with Newport's sailing legacy this was enough for me to base the visual lexicon on an NOAA chart.

Odor intensity is included for the first time one of my smell maps.

A detail of the downtown area as the smells congregate along Thames Street, Broadway and the Wharfs."]]></description>
<dc:subject>2012 sensorymaps senses mapping maps smells smell katemclean sensoryethnography ethnography</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6a6593ba77f7/</dc:identifier>
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<item rdf:about="http://www.newyorker.com/online/blogs/culture/2012/08/learning-how-to-eat-like-julia-child.html">
    <title>Learning How to Eat Like Julia Child : The New Yorker</title>
    <dc:date>2012-08-18T23:50:55+00:00</dc:date>
    <link>http://www.newyorker.com/online/blogs/culture/2012/08/learning-how-to-eat-like-julia-child.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[<blockquote>Julia learned how to eat. She did not preserve and shelter her plain, perfectly good Pasadena palate by moving to France and then cooking there, then writing books. She let herself taste and smell differently. She took seriously the smells and rhythms around her, and noticed how they changed her perception—and she came to like them.</blockquote>]]></description>
<dc:subject>thinking food cooking juliachild noticing taste smell observation presence hwotolive howtolisten howtonotice children curiosity attention 2012 via:litherland senses seeing feeling tasting smelling touching</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0f8a99abbcac/</dc:identifier>
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</item>
<item rdf:about="http://syntheticaesthetics.org/">
    <title>Synthetic Aesthetics</title>
    <dc:date>2012-06-04T04:20:45+00:00</dc:date>
    <link>http://syntheticaesthetics.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How would you design nature?

Synthetic Biology is a new approach to engineering biology, generally defined as the application of engineering principles – such as standardization and modularity - to the complexity of biology. The aim is to 'make biology easier to engineer', through the design and construction of new biological parts, devices, and systems, and the re-design of existing biological systems for useful purposes, from biofuels to new medical applications. Biology is becoming a new material for engineering - a new technology for design and construction."

[Vimeo channel: https://vimeo.com/channels/synthaes ]
[Flickr group: http://www.flickr.com/groups/synthaes/ ]]]></description>
<dc:subject>syntheticaesthetics industrialdesign tangibles futurism futures communication modularity environment plants nature architecture criticaldesign self-replication protocells bioart cyanobacteria oscillation structure smell symbiosis sisseltolaas christinaagapakis marianaleguia chrischafe hideoiwasaki oroncatts saschapohflepp sherefmansy davidbenjamin fernanfederici willcarey wendelllim interdisciplinarity interdisciplinary research aesthetics bioengineering syntheticbiology collaboration science art design biology daisyginsberg alexandradaisyginsberg</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e672f91a7b36/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:communication"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sisseltolaas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:christinaagapakis"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hideoiwasaki"/>
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</item>
<item rdf:about="http://www.theworld.org/2012/02/tasting-music/">
    <title>Synesthesia: Can You Taste the Difference Between Sounds? | PRI's The World</title>
    <dc:date>2012-02-22T12:36:58+00:00</dc:date>
    <link>http://www.theworld.org/2012/02/tasting-music/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Audio extra: Test yourself, can you taste the sounds?

Oxford University psychologist Charles Spence studies human senses and how they interact. In recent studies, he had people smell wines and sample chocolate, and then match the different aromas and flavors to different musical sounds.

He found that people tend to associate sweet tastes with high-pitched notes and the sounds of a piano. People match bitter flavors with low notes and brass instruments.

Spence wondered if he could put this finding to use. Could he use music to influence what people smell or taste?"]]></description>
<dc:subject>music flavor theworld audio sounds smells smell taste jamespetrie 2012 daphnemaurer charlesspence senses synesthesia</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4d27ff1b8a5d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theworld"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:smell"/>
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</item>
<item rdf:about="http://www.we-make-money-not-art.com/archives/2011/06/the-smell-of-control.php">
    <title>The Smell of Control: Fear, Focus, Trust - we make money not art</title>
    <dc:date>2011-07-04T23:48:15+00:00</dc:date>
    <link>http://www.we-make-money-not-art.com/archives/2011/06/the-smell-of-control.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What should a robot smell like? Kevin Grennan has augmented three existing industrial robots with 'sweat glands'. Each uses a specific property of human sub-conscious behaviour in response to a chemical stimulus: one makes humans about to undergo surgery more trustful, another one makes women working in production line more focused and the third one is a bomb disposal robot that emits the smell of fear.

The contrast between the physical anti-anthropomorphic nature of the machines and the olfactory anthropomorphism highlights the absurd nature of the trickery at play in all anthropomorphism…

The Smell of Control: Fear, Focus, Trust also involved demonstrating the limits of anthropomorphism. The video of the android's birthday shows a lovely android attempting to recreate the most straightforward moment of a birthday celebration: blowing the candles of the birthday cake…"]]></description>
<dc:subject>kevingrennan robots design anthropomorphism androids behavior ai senses smell uncannyvalley 2011 wmmna fear control trust réginedebatty artificialintelligence</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:446f11d584a9/</dc:identifier>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Binturong">
    <title>Binturong - Wikipedia</title>
    <dc:date>2011-05-01T21:08:50+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Binturong</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Binturong climbs trees and leaps from branch to branch, using its tail and claws to cling while searching for food. It can rotate its hind legs backwards so that its claws still have a grip when climbing down a tree head first.

The Binturong also uses its tail to communicate, through the scent glands located on either side of the anus in both males and females. The females also possess paired scent glands on either side of the vulva. The scent of Binturong musk is often compared to that of warm buttered popcorn and cornbread. The Binturong brushes its tail against trees and howls to announce its presence to other Binturongs."

[via: http://gaiwan.tumblr.com/post/5065673923/the-scent-of-binturong-musk-is-often-compared-to ]]]></description>
<dc:subject>animals biology binturong smell butteredpopcorn wikipedia scents cornbread food</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a84a9c5f86dd/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cornbread"/>
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