Exploring scent as
a creative way of life


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Fragrance is truth, and truth fragrance.

Antony Synnott
cultural sociologist
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Synnott, A. (1993). The body social: symbolism, self, and society. London; New York: Routledge, p. 192.

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When exarnining a composition (a perfume), the layman will give a subjective judgement: «I like it» or «I don’t like it». The hedonic reaction will be foremost. The well-informed amateur and the experienced professional artist will also react subjectively. However, they will proceed to a professional evaluation. If their senses of smell and taste have been developed methodically (which does not mean manipulated), they will forget the pleasant (or unpleasant) odour and concentrate only on its aesthetic features, on the construction which develops under their noses in an objective olfactory form. This form must be considered as an entity. ls it incoherent or homogeneous, boring or original, does it emanate an impression of harmony, does it have relief and character, or is it flat? ls it dynamic (without being overwhelming, heady, or heavy)? Does it have volume, is it sufficiently clinging? At the very best, the perfume form will seem both pleasant and beautiful.

Edmond Roudnitska
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Roudnitska, E. (1991). The Art of Perfumery. In P. M. Müller & D. Lamparsky (Eds.), Perfumes art, science and technology (pp. 3–48). Elsevier Applied Science, p. 8.

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The evaluation of the sub-products and the final product by the creative director is characterized by aesthetic judgments rather than technical features.

Nada Endrissat & Claus Noppeney
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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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