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)

Is the sense of smell a source of aesthetic perception? Traditional philosophical aesthetics has centered on vision and audition but eliminated smell for its subjective and inherently affective character. This article dismantles the myth that olfaction is an unsophisticated sense. It makes a case for olfactory aesthetics by integrating recent insights in neuroscience with traditional expertise about flavor and fragrance assessment in perfumery and wine tasting. My analysis concerns the importance of observational refinement in aesthetic experience. I argue that (...) the active engagement with stimulus features in perceptual processing shapes the phenomenological content, so much so that the perceptual structure of trained smelling varies significantly from naive smelling. In a second step, I interpret the processes that determine such perceptual refinement in the context of neural decision-making processes, and I end with a positive outlook on how research in neuroscience can be used to benefit philosophical aesthetics. (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)

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)

Jean-Luc Nancy'sOn the Commerce of Thinkingconcerns the particular communication of thoughts that takes place by means of the business of writing, producing, and selling books. His reflection is born out of his relation to the bookstore, in the first place his neighborhood one, but beyond that any such "perfumery, rotisserie, patisserie," as he calls them, dispensaries "of scents and flavors through which something like a fragrance or bouquet of the book is divined, presumed, sensed."On the Commerce of Thinking is (...) thus not only something of a semiology of the specific cultural practice that begins with the unique character of the writer's voice and culminates in a customer crossing the bookstore threshold, package under arm, on the way home to a comfortable chair, but also an understated yet persuasive plea in favor of an endangered species. In evoking the peddler who, in times past, plied the streets with books and pamphlets literally hanging off him, Nancy emphasizes the sensuality of this commerce and reminds us that this form of consumerism is like no other, one that ends in an experience-reading-that is the beginning of a limitless dispersion, metamorphosis, and dissemination of ideas. Making, selling, and buying books has all the elements of the exchange economy that Marx analyzedfrom commodification to fetishismyet each book retains throughout an absolute and unique value, that of its subject. With reading, it gets repeatedly reprinted and rebound. For Nancy, the book thus functions only if it remains at the same time open and shut, like some Moebius strip. Closed, it represents the Idea and takes its place in a canon by means of its monumental form and the title and author's name displayed on its spine. But it also opens itself to us, indeed consents to being shaken to its core, in being read each time anew. (shrink)