I will argue that aesthetically appreciating some perfumes and aesthetically appreciating nature can interact in intriguing ways. I shall identify three such ways, meant to be instructive rather than exhaustive. First, one can appreciate a natural scent, such as that of jasmine, through a perfume, that is, by means of its incorporation in a perfume. Secondly, in the case in which a natural scent (such as that of rose, or of fig) is artificially reproduced within the context of (...) a perfume, the full aesthetic appreciation of this perfume as an instance of clever design presupposes the aesthetic appreciation of nature—specifically, the aesthetic appreciation of the natural scent that is being artificially reproduced. Thirdly, nature-inspired perfumes can provide narratives that can usefully inform subsequent encounters with nature. (shrink)

In the Abhidharma texts, that flowers perfume sesame is used as a simile describing the mechanism of perfuming (_vāsanā_/_paribhāvanā_) in the context of meditative cultivation. According to the Sarvāstivādins, the meditative perfuming requires the co-existence of the perfumer and the perfumed. In comparison, the Yogācāra-vijñānavādins employ the same simile to explain their doctrine of the perfuming of all _dharma_s in _ālayavijñāna_, which demands the _bīja_ as the perfumed and the manifested _dharma_s as the perfumer to be simultaneous. My hypothesis (...) is that the Yogācāra idea of the perfuming of all _dharma_s is derived from the Abhidharma doctrine of meditative perfuming through the Sautrāntika theory of perfuming in non-concentrated (_asamāhita_) state. The idea of equating _vāsanā_ and _bīja_ probably took place under the doctrine of successive causality during the sectarian communication among the Sarvāstivādins, the Dārṣṭāntika-Sautrāntikas, and the early Mahāyānists. The Vaibhāṣika principle of simultaneous perfuming, which requires that the perfumed must co-exist with the perfumer, makes it possible in the Yogācāra-vijñānavāda that a _bīja_ in _ālayavijñāna_ is simultaneous with its manifestation. (shrink)

Cleopatra VII, the last of the Ptolemaic rulers of Egypt, reveled in perfume (Plutarch, Life of Marcus Antonius 26.2). She even used it in her seduction of the Roman general Marc Antony. Sailing up the river Cydnus to meet him, she reclined in a canopy spangled with gold, adorned like Venus in a painting. Boys dressed as cupids fanned her and wondrous scents from incense offerings wafted along the riverbanks. Not long after her death in August 30 BCE, a (...) book circulated under her name called Cleopatra’s Cosmetic, full of recipes for fragrant oils and cleansers (Totelin 2017: 114–18). (shrink)

Many cultures relate fragrances to the spiritual sphere. In Western culture, Christian tradition tends to present olfaction as a ‘spiritual’ and incorporeal sense. Moreover, Catholic religion traditionally attributes to some saints the capacity to emanate celestial fragrances that operate as indexical signs of their exceptional spiritual quality. This particular spiritual gift is known as osmogenesis. Although psychoanalysis and a part of contemporary scholarship and culture tend to place odors and olfaction at the core of bodily life, the parallel and antithetic (...) trend of connecting odors to the sphere of sacredness, spirituality and immateriality remains widespread: traces of this imagery can be found not only in figurative art and literature, but also in the communication strategies adopted by numerous brands to present their perfumes. By reconstructing and discussing some of the main features of the imaginary involving odors and spirituality, both inside and outside the circumscribed sphere of religion, this paper shows that the connection between fragrances and spirit unquestionably remains a relevant esthetic value in relation to olfactory perception in contemporary culture. (shrink)

The use of perfumes, incense, colognes, and plant and flower essences in Amazonian healing practices is a hallmark feature of vegetalismo, a form of healing in Peru’s Amazonian regions. Sprayed, smoked, rubbed on bodies, and poured in medicinal baths, these odorous tools are vital allies to the curandero for cleansing bodies and spaces, for protection, or to add potency to medicinal plants. Certain perfumes are more common than others, particularly the citrusy Agua de Florida, an 18th Century eau de cologne (...) from the United States. Focusing in on the history of Agua de Florida and its ubiquity in Western Amazonia, I suggest the necessity of a sensory anthropology for exploring the vast healing potential of vegetalismo. Going beyond the visual to consider other sensory experiences lends insight into the various healing mechanisms in Amazonian shamanism that are often overlooked by western epistemologies of health and healing. (shrink)

Some perfumers and users of perfume have claimed that the more complex perfumes should be appreciated as artworks and not merely as adornments. This essay contributes to the recent philosophical discussions of the issue. Part I explores the relation between adornment and art as Stephen Davies conceives of them. Part II examines the arguments Chiara Brozzo and Cynthia Freeland give for the current existence of art perfumes. Part III offers one kind of formal case for art perfumery by exploring (...) some limited structural analogies between perfume and music. Part IV proposes a set of distinctions among types of art perfumes. Part V discusses whether certain perfumes can be both art and adornment. (shrink)

Christianism often mentions perfumes. Its liturgy based on Scripture uses incense and balm. A reading from the Bible and the lives of saints reveals many extraordinary perfumes (“odours of sanctity”). The Virgin Mary holds extreme importance among saints and it is quite common to see her spreading miraculous fragrances. These are subtle, discrete but pleasant signals from Heaven. They are sent to everyone in order to convert non‑believers or turn back believers to the faith in God. The divine origin of (...) perfumes is tied up with the memories and hopes from Paradise. It marks bodies escaping from death and entering into eternal life. (shrink)

What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...) On the other hand, Jerrold Levinson’s intentional-historical definition and Dominic Lopes’s approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation. (shrink)

According to conceptual metaphor, this study finds and categorizes three metaphors in perfume commercials: FRAGRANCE IS ATTRACTION, FRAGRANCE IS EMOTION, and FRAGRANCE IS OBJECT. Drawing on the analytical tool of multimodal metaphor analysis, the study further analyzes how perfume commercials complete the metaphorical operation mechanism of mapping from visual and auditory modes to olfactory. It is found that, different from the traditional definition of a concrete source domain and an abstract target domain in conceptual metaphors, the joint participation (...) of multiple modes in commercials may cause a reversal of the degree of abstraction between the source and the target. Due to the limitation of transmitting olfactory information in fragrance commercials where the audience can only receive audible and visual information, “scent” becomes a more abstract concept, while the abstract concepts of “attraction” and “emotion” become a more concrete source. Additionally, the three metaphors’ advertising effects in fragrance commercials are evaluated. Theoretical implications for future studies in multimodal metaphor analysis are also discussed. (shrink)

Em Clarice Lispector (1920-1977), encontra-se um autêntico projeto literário, verificável a partir da absorção do ocasional, do cotidiano e até do corriqueiro como emissários de sentidos latentes, arquivos de questões irresolvidas, memórias palimpsésticas e sutis. Essas e outras características aparecem no delicado livro De Natura Florum (2021), lançado recentemente pela Global Editora, com ilustrações desenvolvidas por Elena Odriozola, que recebeu o prêmio nacional de ilustração e com projeto gráfico de Alejandro G. Schnetzer. O livro, anteriormente, foi publicado pela primeira vez, (...) em 03 de abril de 1971, no Jornal do Brasil (Rio de Janeiro) e em 1984 fez parte de uma seleção do livro de Crônicas A Descoberta do Mundo. (shrink)

Ibn Arab? (1165-1240) stands out for the immense magnitude of his work and for the depth and breadth of his thinking. His works are the result of divine inspiration and multiple mystical, visionary experiences in the course of a life devoted to teaching and travel throughout the Maghreb and the Middle East.

Musks, the foundation of many perfumes, as well as other ingredients of perfumes, were critical objects of study for establishing theoretical concepts about large ring chemical compounds and polymerization in the 1920s and 1930s. Because fragrance chemistry has been underdeveloped in the historiography, doubtless partly because it has become associated with the feminine, this has been ignored in the historiography. This essay highlights the strategic importance of perfume research, looking in particular at the work of Leopold Ružičkač, 1939 Nobel (...) laureate in chemistry who had close ties to the fragrance industry, and Wallace Carothers at DuPont, whose well-known work on polymerization was intimately concerned with large ring compounds, including musk, and which indeed led to DuPont producing a synthetic musk in the 1930s. (shrink)

We comment on certain features that second-level inference rules commonly used in mathematical proof sometimes have, sometimes lack: suppositions, indirectness, goal-simplification, goal-preservation and premise-preservation. The emphasis is on the roles of these features, which we call 'perfumes', in mathematical practice rather than on the space of all formal possibilities, deployment in proof-theory, or conventions for display in systems of natural deduction.

Perfumes embody a chemical record of style and technology. Blurring the boundary between what counts as natural and artificial in both a material and a perceptual sense, perfumery presents us with a domain of multiple disciplinary identities relevant to social studies: art, craft, and techno‐science. Despite its profound impact as a cultural practice, perfume has seldom featured in historical scholarship. The reason for this neglect is its inherently qualitative dimension: perfume cannot be understood via codified representation but requires (...) direct acquaintance with its sensory and material basis. The historical study of perfumery thus necessitates an experimental approach that comes not without challenge. This article looks at contemporary recreations of old perfumes to identify the difficulties involved in the experimental recreation of fragrances as sensory and performative artifacts. We highlight the need for a reconceptualization of methodology for inconcrete objects of study as part of the broader interest in experimental approaches to the humanities. (shrink)

This chapter contains sections titled: Chanel No. 5 and Perfume Fashions Coco Mademoiselle Ads Male Perfume Ads Celebrity Perfumes by Women of Color Perfume Aesthetics, Erotics, and Ethics Resisting the Fantasy: Erotics and Commodity Fetishism.

The Critical Imagination is a study of metaphor, imaginativeness, and criticism of the arts. Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating it, (...) seems to offer great scope for imagination. Hume, Kant, Oscar Wilde, Roger Scruton, and others have defended variations on this attractive idea. In this book, James Grant critically examines it. The first half explains the role imaginativeness plays in criticism. To do this, Grant answers three questions that are of interest in their own right. First, what are the aims of criticism? Is the point of criticizing a work to evaluate it, to explain it, to modify our response to it, or something else? Second, what is it to appreciate art? Third, what is imaginativeness? He gives new answers to all three questions, and uses them to explain the role of imaginativeness in criticism. The book's second half focuses on metaphor. Why are some metaphors so effective? How do we understand metaphors? Are some thoughts expressible only in metaphor? Grant's answers to these questions go against much current thinking in the philosophy of language. He uses these answers to explain why imaginative metaphors are so common in art criticism. The result is a rigorous and original theory of metaphor, criticism, imaginativeness, and their interrelations. (shrink)

Many individuals on the autism spectrum are hypersensitive to certain sensory stimuli. For this group, as well as for non-autistic individuals with sensory processing disorders, being exposed to e.g. fluorescent lights, perfume odours, and various sounds and noises can be real torment. In this article, I consider the normative implications of such offence for the design of office spaces, which is a topic that has not received any attention from philosophers. After identifying different ways in which the senses of (...) hypersensitive workers might be protected within these spaces, I show that many of such accommodations can be made at reasonable cost, before arguing that doing so ought to be a legal requirement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.1 (2000) 27-40 [Access article in PDF] Sensible Qualities: The Case of Sound Robert Pasnau University of Colorado 1. Background The Aristotelian tradition distinguishes the familiar five external senses from the less familiar internal senses. Aristotle himself did not in fact use this terminology of 'external' and 'internal,' but the division became common in the work of Arab and Hebrew philosophers, and in (...) the Latin West the distinction is taken for granted.1 I am going to put to one side the obscurities involved in the various internal senses of phantasia, imagination, memory, etc.; I will instead focus on the external senses. These five external senses—sight, hearing, smell, taste, touch—have their familiar counterparts in the external world: color, sound, odor, flavor, and the various tangible qualities. (The tangible qualities, unfortunately, resist being reduced to a single genus, and are typically listed as hot and cold, wet and dry, etc., where this etc. stands in for the complete list that one might or might not be able to give.2 ) These sensibilia (I will simply speak of sensibles) were known as the proper or special objects of the external senses.In addition to these proper objects, the senses were taken to have five common objects—size, shape, number, motion, rest—and also an unlimited variety of incidental objects, the per accidens sensibles—Coriscus, one's enemy, a horse race, etc. These per accidens sensibles are in a way the most interesting and important sense objects of all. They are interesting, first, inasmuch as one of the hardest and most interesting problems about perception is the problem of seeing as, which seems to be precisely the phenomenon at issue [End Page 27] here. They are important, also, inasmuch as genuine perception, as we now think of it, almost always involves the perception of something sensible per accidens. Our everyday sensory experiences revolve around the experience of seeing objects of certain kinds. We can of course step back and decide that what we are really seeing is colors and shapes. But that is not how we ordinarily see things.Despite their interest and importance, I want to put aside these per accidens sensibles, and focus instead on the common and proper sensibles, both of which Aristotle described as sensible per se (kath' hauta). In his classic statement on the objects of sensation, at De anima II 6, 418a7-25, Aristotle suggests that the grounds for distinguishing the per se from the per accidens are that the former sensibles are capable in their own right of making an impression on the senses. Color itself affects the external senses, and so does size. Coriscus, however, considered as Coriscus, does no such thing. He affects the senses only inasmuch as he is colored, perfumed, etc.3 To focus on the per se sensibles, then, is to focus on those things in the world that are suited to make impressions on the external senses.Why are some such sensibles proper, whereas others are common? The well-known rule of thumb here, reflected in how we refer to these sensibles, is that each proper sensible can be perceived by only one of the external senses. The common sensibles are those per se sensibles that fail this test. (Note that, of the common sensibles, only number, movement and rest are truly common to all five of the senses; shape and size are perceptible only by touch and sight.4 ) It is not clear, however, that this is the appropriate criterion for distinguishing the proper from the common sensibles. Albert the Great, for instance, argues that a proper sensible must meet three tests: (1) It is sensed by only one sense; (2) this sense is not capable of error with respect to it; and (3) the organ of this sense is naturally suited to be affected by it alone.5 The last of these tests is problematic, however, for at least two reasons. First, it is problematic for touch, given that the tangible qualities resist being reduced to a single genus. Second, more seriously... (shrink)

Virtuous Bodies breaks new ground in the field of Buddhist ethics by investigating the diverse roles bodies play in ethical development. Traditionally, Buddhists assumed a close connection between body and morality. Thus Buddhist literature contains descriptions of living beings that stink with sin, are disfigured by vices, or are perfumed and adorned with virtues. Taking an influential early medieval Indian Mahayana Buddhist text-Santideva's Compendium of Training (Siksasamuccaya)-as a case study, Susanne Mrozik demonstrates that Buddhists regarded ethical development as a process (...) of physical and moral transformation. Mrozik chooses The Compendium of Training because it quotes from over one hundred Buddhist scriptures, allowing her to reveal a broader Buddhist interest in the ethical significance of bodies. The text is a training manual for bodhisattvas, especially monastic bodhisattvas. In it, bodies function as markers of, and conditions for, one's own ethical development. Most strikingly, bodies also function as instruments for the ethical development of others. When living beings come into contact with the virtuous bodies of bodhisattvas, they are transformed physically and morally for the better. Virtuous Bodies explores both the centrality of bodies to the bodhisattva ideal and the corporeal specificity of that ideal. Arguing that the bodhisattva ideal is an embodied ethical ideal, Mrozik poses an array of fascinating questions: What does virtue look like? What kinds of physical features constitute virtuous bodies? What kinds of bodies have virtuous effects on others? Drawing on a range of contemporary theorists, this book engages in a feminist hermeneutics of recovery and suspicion in order to explore the ethical resources Buddhism offers to scholars and religious practitioners interested in the embodied nature of ethical ideals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On David Bentley Hart's Account of TraditionMatthew LeveringIn Tradition and Apocalypse, David Hart argues that "the concept of 'tradition' in the theological sense, however lucid and cogent it might appear to the eyes of faith, is incorrigibly obscure and incoherent."1 This claim coheres with the New Testament scholar Ernst Käsemann's notion of apocalyptic, as set forth in Käsemann's well known rhetorical questions—to which he answers in the negative—"Has there (...) ever been a theological system which has not collapsed? Have we been promised that we should know ourselves to be in possession of a theologia perennis?"2 For Käsemann, Christian theological "continuity" (if such there is) consists in "the hope of the manifestation of the Son of Man on his way to enthronement"3—Easter hope. Hart follows his own version of this path.Hart contends that he does not intend to overthrow the truth of the Nicene Creed.4 But he bemoans the claims of various Christian communities—Catholic, [End Page 215] Orthodox, Protestant—to have faithfully communicated the Gospel: "All Christian communions of any size or duration have their distinctive traditionalisms, their myths of continuity amidst rupture and rupture amidst continuity, their claims of doctrinal pedigree and of allegiance to the authority of the Christian past."5 Hart rejects all such ecclesial claims of dogmatic continuity and fidelity. Theologically, he deems it impossible for anyone "to say with absolute finality what the one true tradition is."6 Historically, he thinks it impossible to discern any "rational unity within the course of Christian tradition that one could confidently claim has been sustained intact amid the flux of times and cultures."7There are certain rhetorical emphases that stand out as Hart describes his own constructive view of Christian "tradition." He states that tradition is "the constant creative recollection of a promise whose fulfillment and ultimate meaning are yet to be unveiled"—not in the sense that the Church awaits the fullness that is to come and that dogmatic propositions, while true, are always inadequate to divine realities, but in the stronger sense of appealing to "a future apocalyptic horizon where the tradition's ultimate meaning is to be found" and rejecting "any reduction of that final revelation to whatever formulations of belief happen to be available at any given stage of doctrinal development." Hart depicts Christian tradition as an active transmission of a gift that remains fundamentally hidden and unknown. He invokes the image of "the impartation of a gift that remains sealed, a giving always deferred toward a future not yet known." There is a giving, but this giving is "always deferred," its future is "not yet known," and the gift itself "remains sealed." Hart argues that the "gift must remain sealed until the very end, so that the glory will not dissipate into ordinary time, whose atmosphere is incapable of sustaining and nourishing it." Time—history—cannot sustain or nourish the divine gift, and so it must be "sealed" until the end of time; and yet it can be known "in and as" ever-changing, historical tradition.8Tradition accomplishes this handing on of the sealed gift, says Hart, through its "ceaseless flow of... intertwining variations." Hart adds with regard to historicity and to "the animating impulse of the tradition": "Once that vital force has moved on to assume new living configurations, the attempt unnaturally to preserve earlier forms can achieve nothing but... the perfumed repose of a cadaver."9 The "earlier forms" that once [End Page 216] contained the "vital force" must constantly be reconfigured within tradition's "ceaseless flow."Hart pictures a destabilizing "play of tension and resolution, stability and disintegration," and he holds that we must possess a "positive desire for moments of dissolution" if we are to be faithful to "whatever is most original and most final in a tradition." Only thus can whatever is "most imperishable in a tradition... be fitfully perceived, or at least sensed," by those few persons spiritually and intellectually able to do so. By comparison, I would suggest that the core realities of faith can be much more than "fitfully perceived" or "sensed"; I think dogmatic formulations serve... (shrink)

A fully annotated translation of a manual written in the 12th century AD for the practical use of the Islamic inspector of markets. The manual deals with confectioners, perfumers, money-changers, slave traders, physicians, and veterinarians, outling their professions, ruses and tricks of the trade. The liveliness of description and anecdote, the concern with ordinary people aside from the sultans, wazirs and other government officials who are usually the focus of earlier Islamic writing, makes for fascinating reading.

ABSTRACT Some twenty years ago, sport philosopher Ken Saltman in ‘Men with Breasts’ argued that breasts in American culture signify nurturing motherhood, the object of love and desire, and are capable of selling numerous products from cars to perfume. Saltman focused on bodybuilding and argues that there is gender subversion in bodybuilding reinforced by stereotypical contradictoriness of gender norms, ideals and expectations. A dichotomy continues to exist in sport; women’s breasts are often viewed as incompatible with sport, especially with (...) respect to breastfeeding, as evidenced by the regulations leading up to the 2020 Tokyo games. Breasts are also viewed as nuisance in sport yet simultaneously breasts are highly sexually objectified which results in a challenging and sexist culture that women athletes are forced to navigate. In this article, I aim to provide an updated philosophical analysis on breasts, and argue that breasts continue to create a contested terrain for women athletes. In part one, I make a case for the sexual objectification of breasts and the sports bra in sport, and in section two, I focus on the incompatibility of breasts and challenges for breastfeeding athletes. (shrink)

During the summers of 2005 to 2009, Gustavo Bueno prepared five books that the publishing house Temas de Hoy, of Grupo Planeta, published during the fall (Spain is not a myth appeared in November 2005, Zapatero y el Pensamiento Alicia in October 2006, The Faith of the Atheist in October 2007, The Myth of the Right in October 2008). Some of the topics in those books were suggested by the publisher; The writing during the summer of 2009 was proposed by (...) the author: Democratic Corruption. Democracy and corruption. Under that label the first draft was typed in September, on Saint Matthew's Day. He then asked the publisher to modify the title, as it could scare away the bookstore public, so in its first revision, at the end of September, the book had already been renamed The stench of democracy (democracy and corruption). But since the term stench could also apparently hurt those who sell books, Bueno then proposed that it be titled, more poetically, The Secret Perfume of Democracy (thus the October 4 version), which also did not seem commercial enough. The final text delivered to the publisher, at the end of that month, was titled Democratic fundamentalism, with which it arrived in bookstores on January 13, 2010 with a subtitle given by the publisher, Spanish democracy under examination. In this edition, which makes up the fifth volume of the Complete Works, we maintain the name by which this work is known although we recover the subtitle that inspired its composition, Democracy and Corruption. In December 2009, having already reviewed the evidence for Democratic Fundamentalism, we noticed that a prominent individual from the Spanish Academy of Language had already published, five years earlier, another book with the same title, so it seemed appropriate. prepare the "label" corresponding to that phrase for the Finder of the Philosophy in Spanish project. When the book hit the shelves, Well, he had already published in El Catoblepas that month of January, a profound analysis, with a brilliant and far from simple classification, of the expression "democratic fundamentalism", based on the materials collected two weeks before in the label of the Finder. This "History (natural) of the expression democratic fundamentalism", written as stated after the book, thus becomes its essential complement, and that is why it is incorporated into this volume. In chapter 12 of Democratic Fundamentalism, Bueno deals with the degeneration of the principle of independence of the judicial power, which he exemplifies with the case of a judge corrupted by the Jesus Christ complex, so it was convenient to offer in this volume the scratch that in September of 2008 dedicated to a judge who was as divine as he was humanly self-conscious. This fifth volume is completed with two other scratches published in El Catoblepas, closely related to the subject of the book: "Corruption & Crisis" (February 2013) and "The Strong Ideas of Democratic Fundamentalism and Democratic Counterfundamentalism" (July 2014). On the page dedicated to this book on the Gustavo Bueno Foundation site, the reader can find several interviews compiled and some videos in which the author discusses this work. (shrink)

When Lysidamus arrives on stage in Plautus′ Casina, he delightedly announces that he is in love with the slave girl Casina. He is returning, he says, from an expedition to buy perfume which he hopes has made him appealing to his beloved. Casina′s name is derived from the fragrant spice casia. Cassia and the related spice cinnamon originate in the Far East and were imported to Rome through Arabia or Africa.Like other ancient spices, cassia was used as perfume, (...) condiment, and in medicinal and religious contexts. (shrink)

Odor detection and identification by machines is currently being done to evaluate perfumes, wine, olive, oil, and even find people buried in rubble. Extending body odor detection to authentication may seem far-fetched and unrealistic. Yet such an application is plausible, given that like a fingerprint or iris, the human body odor is unique. Although such technology still has strides to make before being applicable as either a stand-alone or supplemental technology to existing biometric tools, it still warrants research, especially in (...) how the technology is perceived. Numerous studies have addressed the public perception of biometric technologies, although odor scanning is one that has been under-addressed. This exploratory study addresses perceptions and attitudes of odor scanning and recommends directions for future research and practice. This study has found that odor scanning is little understood, and its benefit to security and privacy are perceived as low. Should body odor scanning develop into a viable method of biometric authentication, issues of perception and acceptance will need further attention by both research and practice. (shrink)

The surviving portion of the tenth-century Egyptian Muḥammad b. Aḥmad al-Tamīmī’s recently edited Ṭīb al-ʿarūs has several formulas relating to the dying and perfuming of textiles. Some refer to the use of carved molds to impress designs upon textiles. Tamīmī’s formulas treat in particular the application of gold leaf and perfumed dye pastes with blocks, but presuppose the technology of using blocks to apply designs to textiles and include a vocabulary of technical terms for the process. This textual evidence provides (...) additional context for surviving early medieval Islamic block-printed gilded textiles. The attestation of the use of blocks to decorate textiles is contemporary with the use of blocks to print Arabic amulet texts, known by the tenth century from extant specimens and some literary evidence. (shrink)

Cynthia's apparition is upbraiding Propertius ior having forgotten her so soon. In spite of their former love, he had not been present at her death, and, because of his neglect, her funeral had been a mean affair, lacking not merely any signs of affection, but any semblance of ordinary decent feeling. In a succession of couplets tracing the regular stages of a Roman funeral from the deathbed to the final rites of the cremation, this lack of respect and affection is (...) particularized: no loving voice had been heard in her dying moments ; her body had been laid out to await the funeral with little thought for what was seemly at such a time ; on the day of the funeral Propertius had not put on mourning or shown signs of grief ; the funeral procession had moved with indecorous haste to the city gate ; Propertius had not been present at the cremation, and no perfumes had been poured on the flames ; no customary final offerings had been made to the ashes. (shrink)

This paper is a comparative study of two texts separated by a considerable temporal-spatial gap. The methodological approach is, as we would like to define it, a-philological. Five central concepts drawn from the Dàshèng qǐxìn lùn, traditionally associated with Aśvaghoṣa, Paramārtha, and Śikṣānanda, shall be examined against the related ideas found in Ratnākaraśānti’s Prajñāpāramitopadeśa. Our observations are the following: 1) The two dimensions of the single mind advocated in the QXL are doctrinally identical to the two forms of the dependent (...) nature in the PPU. 2) The intermingling mind which is taken as ālayavijñāna in the QXL, corresponds to the imagination of the unreal in the PPU. 3) The mutual perfuming of the real and the unreal is in essence the same as the false inseparability of clear light and image in the PPU. 4) The essence of perception and its synonyms used in the QXL, its commentarial literature and other related texts, find equivalents such as prakāśamānatā, prakāśātmatā, saṃvedyatā, buddhilakṣaṇa, in the PPU. 5) The concept of activated perception in the QXL sheds light on a puzzling word in the PPU, arvāk, which can be interpreted as the opposite of “suddenly” in the QXL. Our investigation reaffirms the philosophical value as well as the religious legitimacy of the QXL, and it underscores the significance of the late mādhyamika texts for Buddhist Studies. (shrink)

The cultural background of the nard and its mention in connection with the Sulamite in the Song of Songs helps to understand Mary's gesture of anointing Jesus' feet . This was in thanksgiving for the resurrection. The nard as an exotic and strong aromatic plant acts mainly as a metaphor for life, love and value, confirmed by the symbolic values of the other plants mentioned with it in the Song . Special reference is made to its presentation as pistitós and (...) to its economic worth. John insists that the unction was performed on Jesus' feet; and this is the right way of anointing a man reclined for a banquet, while a previous anointing of the head remains plausible. The wiping up of the perfume on Mary's part hints to her participation in Jesus; both are defined by the significance of the nard. The nard was not used in any rite of kingship, nor for burial. And so Jesus' words referring to the poor and his burial are interpreted as an ironic reproach to Judas' criticism, and not as an explanation of Mary' gesture. The difficulty of combining the mention of some oil remaining for the future when all seems already poured out is solved by applying the narrative technique of presenting synchronicity and simultaneity. (shrink)

First exhibited in 1999, Jean-Luc Moulène's 24 Objets de Grève is a photographic archive printed in a range of different formats, portraying a variety of products made by French workers on strike between the 1970s and the 1990s. These comprise of scarves, T-shirts, dolls, geographical maps, cigarettes, facsimile banknotes, perfume bottles and other items. The objects were aimed at financially supporting the strikers and attracting the solidarity of the general public. Often destroyed after their use, they were not created (...) with the intention of being collected and exhibited as works of art. 24 Objets de Grève lends itself to multiple and seemingly contradictory readings: it can be read as a Rancerian celebration of the creativity of the working class or as its undue appropriation; as a commemoration of the history of the workers movement or as an act of forgetting and reification. This article explores the ambivalences, hiatuses and limitations of Moulène's project in relation to its representational strategies and the notion of emancipatory aesthetic elaborated by Jacques Rancière. (shrink)

Research into early Chinese olfactory culture is only just beginning. This paper argues that before the arrival of Buddhism, elite scent culture had already begun to be transformed by the importation of foreign aromatics, though these substances arrived shorn of their original cultural context. Prior to the importing of intense foreign perfumes, the aromatics available were mostly local, and traditional Chinese practice stressed the use of individual scents in religious contexts, a concept which also had a profound influence on secular (...) usage. The same is true of early osmographies, which link particular kinds of smells—including many that might be considered unpleasant—to the changing seasons. When foreign spices and aromatics arrived in China for the first time, a phenomenon later literature specifically associates with the reign of Han Wudi, this resulted in the development of new complex and powerful perfumes. This in turn may have had a significant impact upon the material culture of Han China, with the spread of personal scenting devices and incense burners. (shrink)

The woman who anoints Jesus is unique within Mark’s Gospel, since her action is to be remembered wherever the Gospel is proclaimed. She is portrayed as a prophetic figure because her act of anointing points to Jesus’ kingship, which is revealed at the time of his death. Her critics condemn her gift as wasteful, arguing that the perfume should have been sold and the money given to the poor. The Greek term ap ōa leia, however, may be translated as (...) ‘waste’ or ‘loss’. In the literary context of Mark’s Gospel the ‘waste’ of the perfume corresponds to the ‘loss’ of Jesus’ life, since it recalls the teaching of Jesus on discipleship in which the use of the cognate verb apollumi is used to show that only those willing to lose life will save life. The woman’s action of breaking the jar and pouring out the perfume foreshadows the Last Supper in which Jesus identifies the bread with his body, and refers to the cup of wine as his blood which is poured out for many. Her prophetic action aligns her with Jesus’ suffering and death, and her extravagance affirms the preciousness of life in the midst of death. The woman’s gift encapsulates the message of the Gospel because it foreshadows the new creation that comes about through Jesus’ death. (shrink)

The German filmmaker Alexander Kluge has long promoted cinema's relationship with the goals of human emancipation. Jean-Luc Godard and Filipino director Kidlat Tahimik also believe in cinema's ability to bring about what Theodor W. Adorno once called a "redeemed world." Situating the films of Godard, Tahimik, and Kluge within debates over social revolution, utopian ideals, and the unrealized potential of utopian thought and action, Christopher Pavsek showcases the strengths, weaknesses, and undeniable impact of their utopian visions on film's political evolution. (...) He discusses Godard's _Alphaville_ (1965) against _Germany Year 90 Nine-Zero_ (1991) and _JLG/JLG: Self-portrait in December _(1994), and he conducts the first scholarly reading of _Film Socialisme_ (2010). He considers Tahimik's virtually unknown masterpiece, _I Am Furious Yellow_ (1981--1991), along with _Perfumed Nightmare_ (1977) and _Turumba_ (1983); and he constructs a dialogue between Kluge's _Brutality in Stone_ (1961) and _Yesterday Girl_ (1965) and his later _The Assault of the Present on the Rest of Time_ (1985) and _Fruits of Trust_ (2009). (shrink)

En 'Cuestiones fundamentales de la sociología', texto hasta ahora inédito en castellano, Simmel sitúa el campo de investigación de esta disciplina como el espacio intermedio donde se produce el constante fluir de la interacción social, donde los encuentros generan actitudes y rituales, tanto en situaciones previstas como casuales y espontáneas. Por eso, Simmel incluye en su perspectiva sociológica fenómenos hasta ese momento desatendidos, como el secreto, el amor, la amistad, el adorno, el vestir, los perfumes, la hostilidad y la hospitalidad, (...) la fidelidad y la gratitud. Al evitar el estilo científico académico, Simmel crea un nuevo tipo de ciencia, que partiendo de una interrogación epistemológica y ontológica es capaz de proporcionar estructuras cognitivas sólidas acerca de las formas empíricas de lo social. De ahí que su 'sociología formal' desemboque en una 'sociología filosófica', desde la que plantea tres grandes oposiciones no superadas; entre individuo y sociedad, entre libertad e igualdad y entre socialismo e individualismo. Integrar estos contrastes en una síntesis es la gran tarea del futuro, 'una vez que el primado de las formas deje de ser patrimonio de la economía'. (shrink)

If we need a figure to indicate the way in which the influence of Plato has passed through Europe, we must liken it, not to a river continually at the flood, but to an expanding atmosphere enveloping and pervading whatever it meets, an atmosphere with a perfume that has made some sick and others open their nostrils to take in the seed and substance of a new life. A river makes a linear path which, except perhaps for a few (...) sinuosities and an occasional overflow, can be traced with relative ease; but an atmosphere, enlarging itself in all dimensions, with attenuation here and condensation there and precise limits nowhere, offers neither clue nor pattern for the inquisitive historian who would, seek to plot its course. We may be prepared to find it anywhere. So it is with the metaphysics of Plato. No sphere of learning or of art has kept beyond its reach. Anyone who, by comprehending its particular incidence and its total range, would write the most remarkable single chapter in the history, of thought, would have to search the minds not merely of philosophers but also of saints, scientists, poets, painters, sculptors, statesmen, and educationists of all ages. He would even have to search for the breath of it among the innumerable works of fiction that tumble mechanically from our modern undiscriminating presses. The following, for example, is pure Platonism: “We come from a world where we have known incredible standards of excellence, and we dimly remember beauties which we have not seized again; and we go back to that world. Uncle Pio and Camila Perichole were tormenting themselves in an effort to establish in Peru the standards of the theatre in some heaven whither Calderon had preceded them.” To understand, alike in its emotional beauty and in its scientific severity, the metaphysic that underlies such charming phrases is perhaps an obligation, almost a necessity, and certainly a privilege. (shrink)

Sentada en un bar, mientras Simone de Beauvoir lee mi artículo de la semana pasada, la miro. Ninguna madre burguesa tendría de qué quejarse: la señora Beauvoir tiene una blusa cuidadosamente planchada; está fresca como una rosa, su rostro es terso y limpio, de ella emana un discreto perfume, es verdaderamente perfecta. Su rebelión contra su familia y su entorno, tan bien descrita en las Memorias de una joven formal, no se muestra en los detalles de la vestimenta. No, (...) definitivamente, Simone de Beauvoir no tiene la agresividad "amazónica" al límite. (shrink)

Along the highways of Burma there is placed, at regular distances away from the dust of the road, and under the cool shade of a group of trees, a small wooden building called a "rest-house", where the weary traveller may rest a while, and allay his thirst and assuage his hunger and fatigue by partaking of the food and water which the kindly inhabitants place there as a religious duty.Along the great highway of life there are such resting places; away (...) from the heat of passion and the dust of disappointment, under the cool and refreshing shade of lowly Wisdom, are the humble, unimposing "rest-houses" of peace, and the little, almost unnoticed, byways of blessedness, where alone the weary and footsore can find strength and healing.Nor can these byways be ignored without suffering. Along the great road of life, hurrying, and eager to reach some illusive goal, presses the multitude, despising the apparently insignificant "rest-houses" of true thought, not heeding the narrow little byways of blessed action, which they regard as unimportant; and hour by hour men are fainting and falling, and numbers that cannot be counted perish of heart-hunger, heart-thirst, and heart-fatigue.But he who will step aside from the passionate press, and will deign to notice and to enter the byways which are here presented, his dusty feet shall press the incomparable flowers of blessedness, his eyes be gladdened with their beauty, and his mind refreshed with their sweet perfume. Rested and sustained, he will escape the fever and the delirium of life, and, strong and happy, he will not fall fainting in the dust, nor perish by the way, but will successfully accomplish his journey.James Allen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Three Odes HORACE (Translated by Charles Martin) To Marcus Vipsanius Agrippa No fears, Agrippa: your exploits will be Saluted by a bard who will eclipse Homer in singing your command of ships, Your winning use of cavalry. It won’t be us. Gifts far surpassing mine Are to be found in Varius, who sings Achilles’ spleen, Ulysses’ wanderings At sea, or Pelops’ nasty line. Of loftiness, we have a (...) deficit, And so our Muse forbids us to pursue Praising your glory and our Caesar’s too, Lest, overwrought, we lessen it. Varius is fit to sing of Mars arrayed In armor, of Meriones in dust, Or of those gods that Diomedes thrust His lance through, with Athena’s aid. Ours, the wine bar and the local fray, The bachelorettes whose nails leave livid traces We later notice on their boyfriends’ faces And lightly sing of, in our way. (Odes i.6) arion 28.3 winter 2021 74 threee odes To Leuconoe Stop seeking what the gods prohibit us from apprehending, Leuconoe—the date on which it all comes to an ending. Better to toss the Dream Book and accept whatever comes, Whether Jove sends more winters, or the last we’ll know now drums The Tuscan Sea into submission on opposing cliffs. Be wise—decant this evening’s wine, curtail your hopeful ifs: Live in the moment: as we speak, now is becoming then; And insofar as possible, ignore tomorrow’s, “When….” (Odes i.11) To Iccius Iccius, are you hot for Arabian Loot now, devising tactics to subjugate The previously undefeated Kings of Sabaea? Forging new fetters For the ferocious Medes while previsioning Your oriental sex-slave, unguarded by The boyfriend whom you’ve slain in battle? What perfumed page from some royal palace, Whose father taught him Sinoform archery, Will be your Ganymede? Oh, deny falling Rivers the right to scale steep mountains, Tell us the Tiber can’t flow back upstream, When you—who were once so very promising, Rush to exchange your Works of Panaetius AND those Platonic scrolls you scoured bookstalls in search of—for Spanish armor! (Odes i.29)... (shrink)

Conscious experience of the sensation of smell provides exemplars of the sensation exhibiting to us what it is like. These exemplars of experiences can become vehicles or terms of representation and meaning. I call this exemplar representation and the process exemplarization. The notion of exemplarization is indebted to Hume and Goodman. I modify the notion here to apply to the sensation of smell. Exemplar representation differs from verbal representation because the exemplar, like a sample, exhibits what the represented items smell (...) like, a perfume, a spice, or an animal. The exemplar represents the sensation and, at the same, represents external objects, my example is the spray of a skunk, by exhibiting what a skunk smells like. The exemplar is part of the meaning and conception of the external object. This solves the problem, as Reid insisted, of how experience of smell justifies perceptual belief in the existence of external objects. The meaning of thought and discourse about external objects is not exhausted by the exemplarization of the sensation of smell, but the exemplar becomes evidence of their existence as part of the meaning of what they smell like. The evidence and justification of the exemplar is fallible and defeasible. However, exemplar justification, when undefeated by error in the way it coheres with a background system, becomes knowledge of the external world. (shrink)

This analysis holds that just as wisdom is good for its own sake, the effervescent perfuming of aesthetic pleasure in rasa, camatkāra, need not be useful for a goal or purpose. However, there is an intellectual virtue in the act of aestheticizing the affective response of wonder. The “here and now” of the aestheticized emotion of wonder, adbhutarasa, is a moment of focus and attention regained as a logically atemporal, even timeless moment. As the carvaṇā process unfolds, adbhutarasa invites an (...) epistemic agent to give time through focused attention, a contemplative tarrying, or an unhurried attentional prolongation. Looking across Platonic, Cartesian, and Kantian traditions to answer the question of epistemic value in rasa experiences, I argue that an agent is moved, and moves into an evaluative mode through the lenses of the sublime and taste. Renewed vigor to see, feel, and contemplate how things are, thickens epistemic emotions. The agentive freedom of the rasika to affectively resonate with ideas re-cognitively makes adbhuta a vehicle of inquiry like none other. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Lily of the Valley, or Love as Breathing in the ScentChantal Jaquet (bio)The Lily of the Valley, published by Balzac in 1836, can be considered as a standard in olfactory literature since the novel is entirely built on the perception of odors and the central role of breathing in romantic relationships. As the title indicates, it is in the floral and olfactory registers that the essence of love (...) expresses itself. Perfume presides over the birth of love, the recognition of the other, and the definition of the woman's identity. We can read it as a poetics of breathing that tells another story and re-enchants the world. The Lily of the Valley offers a powerful antidote to the impediments to breathing nowadays. I try here to interpret it like an ode celebrating another way of inhaling the world through love and perfumes.Love at first scentThe Lily of the Valley tells the story of the platonic love of a young man, Felix, for a married woman, Madame de Mortsauf. From the beginning, their first meeting takes place under the auspices of breath and perfume. During a party, Felix, who is extremely bored, finds refuge on an abandoned bench; a woman, taking him for a child, sits next to him. Felix is then immediately drawn to the stranger's perfume and is pulled out of his sullen torpor to feel an unparalleled fascination:Immediately, I smelt a woman's fragrance which shone in my soul as oriental poetry was to shine later. I looked at my neighbour and was more dazzled by her than I had been by the ball.(15)Perfume thus triggers love and becomes the very essence of the beloved woman. Before he perceives any visual detail, Felix is flooded with an olfactory emotion, which will be taken over and amplified by the poetic evocation of the Orient and its fragrances. The woman's scent, which re-enchants his morose universe, dazzles him with its brilliance and eclipses vision by taking possession of its attributes. It is only afterward that he begins to examine the shoulders, bosom, and hair of the woman with the luminous perfume. It is the act of inhaling her perfume that triggers his [End Page 34] love at first sight and wrests the following confession from him: "All of a sudden, I was in love" (16).This primacy of olfaction and breathing continue to hold true in the absence of the beloved when the latter is no longer smelled, but simply evoked: "At the thought that my queen-elect lived in Touraine I breathed the air with delight [...]" (16). The feelings that develop even before a second meeting takes place do not belie the first romantic olfactory sensation, but strengthen it following a process of crystallization that transforms the soulmate into a fragrant flower. The stranger, under the influence of Felix's poetic imagination, becomes the lily of the valley, a symbol of beauty and purity. Despondent over the disappearance of the woman he loves, whose name he does not even know, the young man, pressured by his family to seek distraction, travels to Touraine, to the Château de Frapesle, to stay with a friend of his mother's. He discovers a magnificent valley near Montbazon, which, in his eyes, can only be where his beloved resides. Here we see the perspicacity of the lover who picks up the scent of his beloved and sees her face in the landscape:She lived there. My heart had not misled me. [...] She was, as you already know, though you know nothing yet, THE LILY OF THIS VALLEY, where she grew for Heaven, filling it with the perfume of her virtues.(18)The olfactory dimension of the lily prevails here over floral vision. It is the perfume of her virtues exhaled in the valley that defines the beloved permanently and immemorially, and makes her into a celestial creature with the odor of sanctity. The use of the imperfect tense in "she was the lily" evokes the magic of a love story that seems like a fairy tale. She was the lily, because once upon a time there was a woman who... (shrink)

As I move through the garden, something, a strange species of writing, hovers before me like the perfume of a wild rose. I read the words: Metaphor is a plant. That is to say, plants are metaphors for metaphor. This message, then, this vegetal missive, appears to be constituted by a kind of phyto- or antho-morphism, reading by way of a metaphorical vegetal life. But as I continue to write, as I ‘extend’ myself, as Derrida does, ‘by force of (...) play’, I find that this, in the end, will have been an extended metaphor. (shrink)