Exploring scent as
a creative way of life

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In a practice-based research approach, it is crucial to be able to observe what people do, what their work is like, and what effort it takes to problem solve their respective combinations of objects and ends.

Paul Carlile
management researcher
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Carlile, P. R. (2002). A Pragmatic View of Knowledge and Boundaries: Boundary Objects in New Product Development. Organization Science, 13(4), 442–455, p. 447.

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The more objects are turned into things – that is, the more matters of facts are turned into matters of concern – the more they are rendered into objects of design through and through.

Bruno Latour
sociologist
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Latour, B. (2008). A Cautious Prometheus? A Few Steps Toward a Philosophy of Design. Keynote lecture for the Networks of Design meeting of the Design History Society Falmouth, Cornwall, 3rd September, p. 2.

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Smell is a quality not to be separated from matter.

Ivan van Block
writer
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Dühren, E. & van Bloch, I. (pseud.  (1934). Odoratus sexualis: a scientific and literary study of sexual scents and erotic perfumes, p. 14.

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Things form not so much a technological unconscious as a technological anteconscious; a «spreading so extensive that it can come to the surface in lives entirely different from the one beneath which it is currently sensed» (Schwenger 2006: 4), a warp and weft of inhuman traffic with its own indifferent geographies. But I want to see things as having one more disposition. That is, the way in which the human body interacts with other things. I do not want to count the body as separate from the thing world. Indeed, I think it could be argued that the human body is what it is because of its unparalleled ability to co-evolve with things, taking them in and adding them to different parts of the biological body to produce something which, if we could but see it, would resemble a constantly evolving distribution of different hybrids with different reaches.

Nigel Thrift
cultural theorist
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Thrift, N. (2008). Non-Representational Theory. Routledge, p. 10.

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The visual concept «supports coordination via processes of setting the scene, directing activities & aligning sub-products, and establishing a point of reference. It provides creative freedom via leaving room for interpretation, providing a source of inspiration, and allowing self-expression and signature style».

Nada Endrissat & Claus Noppeney
writers
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Endrissat, N., Islam, G., & Noppeney, C. (2016). Visual organizing: Balancing coordination and creative freedom via mood boards. Journal of Business Research, 69(7), 2353–2362, p. 2356.

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The mood board provides a common point of reference for the diverse development processes and guides the actors along their individual processes. Moreover, the mood board takes on an active role and demands definition, triggers discussion, and spurs the development on.

Nada Endrissat & Claus Noppeney
writers
Source ↓

Endrissat, N., Islam, G., & Noppeney, C. (2016). Visual organizing: Balancing coordination and creative freedom via mood boards. Journal of Business Research, 69(7), 2353–2362, p. 2356.

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Objects do not only engage in relationships with human actors but also in object–object relationships. For example, the relationship between the visual concept and the fragrance or between the excel sheet (formula) and the scent; these relationships take on complementary, recursive and co-depending forms.

Nada Endrissat & Claus Noppeney
writers
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Endrissat, N., & Noppeney, C. (2013). Materializing the immaterial: Relational movements in a perfume’s becoming. How matter matters: Objects, artifacts, and materiality in organization studies, 3, 58-91.

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Similarly, both the visual concept and the chemical formula involve using analogies. Yet only the visual concept is a driver of innovation, being based on an embodied cultural schema whose representation grounds innovations. The chemical formula, in other words, is empty of deeper meaning, and can only specify or represent aspects of the scent (although it does provide a limiting factor, based on the formulaic combinations known or archived by the perfumers). This is why, in the scent-formula interaction, adjustments are made to both artifacts, while in the scent-visual concept relation, the visual concept is fixed and only the scent is allowed to vary. The anchoring of the visual concept in a foundational schema means that, while both visual stimuli are sources of variability, only the visual concept is a source of innovation, in the above sense of a rediscovery and recombination of shared meaning.

Gazi Islam, Nada Entrisset & Claus Noppeney
organization scholars
Source ↓

Islam, Endrissat, & Noppeney (2016). Beyond «the Eye» of the Beholder: Scent innovation through analogical reconfiguration. Organization Studies, 37(6) 769–795.

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