No one can smell pepper1:21
No one can smell pepper1:21
Modification by modification Christophe seeks a numerical feedback on digital scent technology project.
In an increasingly digital world the proximate senses of smell, touch and taste stand out. One cannot capture a smell and send it like a photo via email or other digital communication service. At least not yet. Nevertheless digital scent technology is a vibrant field attracting smart minds all over the world. As a perfumer, Christophe Laudamiel has been involved with some cutting edge projects from the very beginning.
During our observations Christophe developed some realistic scents (e.g. pepper, croissant; French bread etc.) that could work with some innovative digital scent transmission applications. In fact, it was a surprise to see how much the technology of the application can be a challenge to the design of a fragrance. Thus, the choice of a raisin as a carrier material can have a huge impact on the formula. In this case the evaluation followed a more systematic procedure as this clip shows: How precisely does this modification capture the desired scent? In other words: Is this really pepper? And how strong is the scent within the application? In other words: How strong is the pepper? Modification by modification Christophe Laudamiel seeks Christoph Hornetz’s numerical feedback on both questions.
(De)briefing a scent2:36
(De)briefing a scent2:36
What is challenging about talking about scents? Can scents have structure? How many dimensions does a scent have?
A meeting with Sebastian Fischenich, the creative director of Humiecki & Graef, provides an opportunity to reflect on the state of the project. The perfumer presents alternative modifications and clarifies next steps with the creative director. In this case the two evaluate alternative scent «structures,» an initially surprising metaphor used to capture the fleeting nature of the olfactory experience.
Evaluative moments2:33
Evaluative moments2:33
Three professionals engage in smelling and discussing an advanced modification of Meltmyheart, a fragrance by StrangeLove NYC.
We see how Christophe Laudamiel, Christoph Hornetz and the flavorist Marlene Staiger spontaneously share their impressions and associations. Apparently, there is no one way of evaluating a scent. A closer look reveals how micro-practices of smelling and using blotters can differ. Christophe is particularly interested how the other two experience a certain effect that he describes as «hot metal effect». The subtitles show how the three professionals cannot agree on what the dominant note of this scent smells like: caramel, coconut and hot metal stand next to each other. A shared interpretation of what they are actually smelling seems to be rather unimportant. Yet, something is achieved in this communication. It is neither explicit agreement nor disagreement. Instead it is the affective experience the three professionals express and collectively interpret as «good». And it is this affective experience that might be key to understanding how organizing is accomplished in a creative context. Is it possible that affects really constitute an organization?
