Exploring scent as
a creative way of life

Beyond words

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Recording devices are not innocent! They result from an objectivist epistemology and realist ontology.

Susan Naomi Nordstrom
researcher & methodologist
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Nordstrom, S. N. (2015). Not So Innocent Anymore Making Recording Devices Matter in Qualitative Interviews. Qualitative Inquiry, 21(4), 388–401, p. 388.

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White privilege is not just «in the head». It also is «in» the nose that smells, the back, neck, and other muscles that imperceptibly tighten with anxiety, and the eyes that see some but not all physical differences as significant.

Shannon Sullivan
philosopher
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Sullivan, S. (2006). Revealing whiteness: The unconscious habits of racial privilege. Indiana University Press, p. 188.

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Smell is, with its storing and retrieving characteristics, an associative and expansive rather than a distributive and limiting sensory mode. The lack of terminological paradigms as they exist for colors necessitates linguistic detour through the metaphoric, that is a breach of reference level in the text each time we attempt to describe smells adjectivally. The same holds true for the common reference to smells in terms of their origins. «It smells like» or «the smell of» expresses relations of combination and contiguity rather than of selection and similarity. These two points may serve as a preliminary explanation of why the sense of smell is so often considered the most apt to trigger memory. Its very linguistic structure brings up an Other, a reference to the outside.

Hans Rindisbacher
scholar of literary studies
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Rindisbacher, H. J. (1992). The smell of books: a cultural-historical study of olfactory perception in literature. Ann Arbor: University of Michigan Press, p. 15.

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The overall story that we are going to tell is one of a new product development process. The main challenge in our case is how the immaterial idea of the creative director can be passed on to the perfumers for them to materialize the idea into a perfume. Hence, the story is about finding an appropriate representation (materiality) of the idea which is readable to others; it is about crossing a deeply personal boundary to come to a visual materialization and about crossing a visual boundary to come to an olfac- tory materialization; it is about how materiality comes to matter in the process of materializing the immaterial.

Nada Endrissat & Claus Noppeney
writers
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Endrissat, N., & Noppeney, C. (2013). Materializing the Immaterial: Relational Movements in a Perfume’s Becoming. In P. R. Carlile, D. Nicolini, A. Langley, & H. Tsoukas (Eds.), How Matter Matters. Objects, Artifacts, and Materiality in Organization Studies (pp. 58–91). Oxford University Press, p. 66.

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The mood board allows the actors to establish personal associations while also giving a sense of direction to these ideas. They can appropriate the mood board to their own liking and have creative freedom to develop their sub-products in directions that they feel suitable.

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 aesthetic experience seems to be shared without having to be explicit (discursively agreeing) about the experience of the perfume that is emerging. (…) agreeing through language seems irrelevant. Instead, agreement on a pre-linguistic sensual level is achieved, and this is what matters the most. (…) What seems relevant is that the sense of what this scent might become is transpersonally felt and agreed upon. (…) It suggests that perfumers may not be after the right «representation» of the scent into language, but may need to engage in these conversations more to verify that subjective experience of the scent (as «good» or «bad» «pleasing» or «disgusting») is collectively shared. We suggest that, whatever the words used and even in spite of a difference in what is being said, it is this aesthetic and affective experience that has to be reached individually and shared to create a collectively shared sense of direction. This sharing can be done through words (in spite of their limitation), but also in relation to emotions expressed, facial expression, gestures, etc. (…) a shared experience of the scent is key not only in materializing it, but also in moving forward the process of creating a perfume.

Nada Entrissat, Vivianne Sergi & Claus Noppeney
researchers
Source ↓

Endrissat, Sergi, & Noppeney (2019). Evaluative moments in scent making: Exploring «sensing and experiencing» as constitutive of organizing. 34th EGOS Colloquium, Tallinn, Estonia, Sub-theme 5: Organization as Communication: The enduring and fading away of organizations

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