09:30 - Somewhat clean bedsheets (Bedroom)
09:44 - Soap & shampoo (Bathroom)
09:52 - Toothpaste & Deodorant (Bathroom)
10:01 - Cocoa Krispies (Kitchen)
11:55 - Chicken Soup (Kitchen)
11:59 - Fresh Air (Outside Apartment)
12:03 - Car Smog (13th Street)
12:22 - Plastic (Studio)
1:34 - More Car Smog (University Avenue)
1:55 - Ink (CFOP)
2:19 - Meatball Sub (Subway)
3:01 - ??? (horrible fridge smell)
4:55 - Popcorn (Studio)
5:59 - Even more car smog (13th Street)
6:29 - Laundry sheets & Bleach (Laundry room)
7:01 - Goldfish (Bedroom)
7:14 - Damp Laundry (laundry room)
8:11 - Clean Laundry (laundry room --> bedroom)
9:04 - Dusky medicine bottle (Bedroom)
10:50 - Gummi Bears (Bedroom)
11:22 - Toothpaste, Minty Floss, Minty Mouthwash (bathroom)
12:23 - Book pages (bedroom)
12:59 - horrible old metallic lamp chain (bedroom)
Monday, February 28, 2011
Project II Musings
My personal feelings on food is that it's a bare necessity for survival and nothing more. Some live to eat, I eat to live. It seems kind of harsh and almost closed minded even to not really revel in the glory of food, glorious food, but I've never thought of food as a large part of my life. I don't eat heaps of junk, but I'm not exactly the healthiest eater either; I'm somewhat in the middle somewhere. As such I have a few potential topics I've been thinking about working with.
- Food in its most broken down, convenience-ized form. I'm not talking about fast food or microwave dinners, I mean stuff like astronaut food, food rations in the armed forces, instances where foodstuffs are broken down and reformed into these bland masses that we ingest. Like my views, the visual spectacle and pleasure, the textures and the aurora of food, has been eliminated, resulting in a food product that you eat as a block or through a tube, receiving the nutrients and energy easily.
- Going off of that a bit, I've always liked in movies or cartoons showcasing a future in which food is in pill form. It alludes to food being a sort of cure-for-what-ails-yah, like a Tylenol, a cure for hunger rather than a headache. It's the ultimate version of my previous example, all the alleged majesty of food eliminated in favor of a small pill. There's also the whole idea of synthesized tastes that can go with this sort of manufactured food pill idea.
- The food pyramid has also been very interesting to me, with its urgings of how much you should eat of each group a day. I can see a project where you input what you've eaten that day, and it generates how much left of each food group you have, in an eerily, not precisely accurately, exact detail. I don't know if that could even work though. The code could be based on word prompts, but it would be impossible to be able to register every possible food item, or a general term for it. Plus we do crits in the morning and people will probably have only had one grain, possibly a fruit, or possibly nothing, so I don't know about that. There's also the great pushing from sugar companies to include their products in the pyramid in a favorable light, changing "eat sweets sparingly" to something a bit more open, like "eat sweets occasionally" or something like that. A battle atop the Food Pyramid... sounds epic to me.
- Food in its most broken down, convenience-ized form. I'm not talking about fast food or microwave dinners, I mean stuff like astronaut food, food rations in the armed forces, instances where foodstuffs are broken down and reformed into these bland masses that we ingest. Like my views, the visual spectacle and pleasure, the textures and the aurora of food, has been eliminated, resulting in a food product that you eat as a block or through a tube, receiving the nutrients and energy easily.
- Going off of that a bit, I've always liked in movies or cartoons showcasing a future in which food is in pill form. It alludes to food being a sort of cure-for-what-ails-yah, like a Tylenol, a cure for hunger rather than a headache. It's the ultimate version of my previous example, all the alleged majesty of food eliminated in favor of a small pill. There's also the whole idea of synthesized tastes that can go with this sort of manufactured food pill idea.
- The food pyramid has also been very interesting to me, with its urgings of how much you should eat of each group a day. I can see a project where you input what you've eaten that day, and it generates how much left of each food group you have, in an eerily, not precisely accurately, exact detail. I don't know if that could even work though. The code could be based on word prompts, but it would be impossible to be able to register every possible food item, or a general term for it. Plus we do crits in the morning and people will probably have only had one grain, possibly a fruit, or possibly nothing, so I don't know about that. There's also the great pushing from sugar companies to include their products in the pyramid in a favorable light, changing "eat sweets sparingly" to something a bit more open, like "eat sweets occasionally" or something like that. A battle atop the Food Pyramid... sounds epic to me.
Annie Lanzillatto - How to Cook a Heart
Annie Lanzillatto is a writer and performer, currently a writer in residence at the Santa Fe Art Institute. She has been awarded for her poetry and her performance shows and pieces. "How to Cook a Heart" is a piece performed on the streets of New York during the Arthur Avenue Market fair. Working in tandem with butcher extraordinaire Mario Ribaudo, this piece speaks to different areas of our human connection to food. The meat of the piece features Ribaudo slicing, chopping and serving up cow and lamb hearts, singing joyously as he does so. The act of cooking up hearts stems from Lanzillatto's mother, a work-a-day woman who had an abrupt aneurysm whilst cooking pasta. After an operation and lengthy recovery, she told her daughter to take her back to Avenue Street to cook. The ritual of food and preparation becomes incredibly meaningful to people, and people put a lot of themselves into their work. Ribauldo's hearts basically become an extension of himself, if you'll excuse the pun, he's putting his heart into his work, and it shows.
Greg and Adam - Instructions
I was trying to find more information about the artists in this section. Its pretty difficult though. I am interested in the work of Antoni Miralda, but I can't find anything but a few collections of images. There is very little info on him or his restaurant Big Fish.
What I did find is a artical about his show from 2008 called Power Food http://artpulsemagazine.com/power-food-antoni-miralda-at-artium-basque-country/, in which he analyzed the relationships of drugs, power, and politics behind energy drinks.
http://www.lespressesdureel.com/EN/ouvrage.php?id=1907&menu= pages from his book
A youtube video in spanish that shows much of the work discussed in the article.
Images from his big fish restaurant http://www.seacex.es/Spanish/Art/Artists/Paginas/Artist_41.aspx
Adam - Project 2 Idea
I'm still deciding exactly what I'm going to do for my food project. Right now I'm thinking about producing either a cookbook or maybe a cookbook website that gives instructions for preparing meals that combine bitter or sour food with sweet food to create a pleasing outcome.
I was inspired by our food experiments in class where we combined unlike tastes to see what the combinations would produce. The project would be a continuation of this assignment presented as a cohesive collection.
At this point I haven't decided if I want to have my opinions of the tastes given with the cooking instructions or if I want the active cooks to discover it on their own and submit their opinions. This would work if I choose to do a website. If I choose to do a cookbook I would design places for the individuals to write in their own book for future reference to themselves.
I was inspired by our food experiments in class where we combined unlike tastes to see what the combinations would produce. The project would be a continuation of this assignment presented as a cohesive collection.
At this point I haven't decided if I want to have my opinions of the tastes given with the cooking instructions or if I want the active cooks to discover it on their own and submit their opinions. This would work if I choose to do a website. If I choose to do a cookbook I would design places for the individuals to write in their own book for future reference to themselves.
Adam & Greg - Playing with the senses
Instructions:
Allan Kaprow:
He was an American painter that pioneered in establishing the concepts of performance art. He played a key role in the development of the site-specific installation projects the “Environment” and “Happening” in the 1950s and 60s. Over time Kaprow’s events evolved into what he called “Activities” which allowed individuals to study normal human activities in an everyday situation. He rarely recorded his happenings in order to make them more first-person experiential.
Allan Kaprow:
He was an American painter that pioneered in establishing the concepts of performance art. He played a key role in the development of the site-specific installation projects the “Environment” and “Happening” in the 1950s and 60s. Over time Kaprow’s events evolved into what he called “Activities” which allowed individuals to study normal human activities in an everyday situation. He rarely recorded his happenings in order to make them more first-person experiential.
Alex + Kelsey Playing the Senses Artist Response
"I represent reality in food." - Alicia Rios
Alicia Rios began her career in the early 90s and in 1995 she co-founded Ali&Cia. She has produced performances, installations, and "sensory concerts." She showcases events all over the world in a range of environments. The collective is very diverse and always involved in some sort of sensory project.
In the performance, she performs mastication with her entire body instead of her teeth. She turns something that is private, the act of chewing, into a public display of the usually concealed act. She is extending the abilities of the mouth and "externalizes" its function. In other performances, she uses her entire torso and body to "chew" the food. For example, she rolls around on a mattress with potato chips on it. The audience is challenged with the visual imagery involved with mashing food yet it is something that happens every time we eat. She is also employing "external sensory organs" in a way that they are never utilized. This performance is similar to the futurists, they too 'chewed' with their hands in what they called "prelabial tactile pleasure."
"The distinguished food writer for American Vogue, Jeffrey Steingarten hailed it as "a major event in the 50.000 year history of gastronomy... The point" said Mr Steingarten, was that Ms Rios had taken the act of masticating food out of its context by using the external organs, the fingers, instead of the smaller internal ones, teeth, tongue, and palate. She had thus made public an act which is essentially private."
-Paul Levy, The Wall Street Journal, 21.7.93
Her website: http://www.alicia-rios.com/en/food/food.html
Narayan: Project II
I am trying to decide whether I want to focus on food as a ritual or food as a commodity. I am very familiar with eating food as ritual. I grew up in a family practicing a strict Ayur-Vedic diet. This diet is a very ancient and holistic practice that requires vegetarianism, eating only certain foods during certain times of the year and day, and eating only the freshest foods available. Not only are there very specific set of directions for selecting foods and preparing them, but also about certain mantras for offering the food to god and being grateful for it. I am also very interested in contemporary food issues and the problems with factory farming. I am thinking of ways to integrate both interests.
Narayan/Rudy: Consumption-Rirkrit Tiravanija
Rirkrit Tiravanija is a contemporary artist working in New York. He works mainly in installation art, encompassing everything from food, music, and architecture. Living and socializing, and their intrinsic consumptive character. His work in the early 90's involved cooking meals for gallery-goers. He is often hailed as a pioneer of relational art, having integrated his role as an artist directly to society and human relations.
Scent Tests
5 Selected smells:
- Eucalyptus - It smelled like Vick's vaporub which I have used for colds since I was a kid.
- Anise - It smelled like black licorice which I have loved all my life and so it was a welcomed scent.
- Jasmine - It reminded me of the smell of an old person's clothing or home. Not enjoyable.
- Citronella - A familiar scent that reminded me of family cookouts.
- Orange - Obviously a familiar smell. It has such a refreshing and bright smell.
5 Combinations:
- Almond + Imitation Vanilla
A nice scent reminiscent of home baking
- Texas Cedar Wood + Orange
An interesting but very nice scent. It might be a good scent for a car or study.
- Anise + Eucalyptus
Interesting and strong but not very enjoyable.
- Vanilla + Peppermint
A nice scent but very strong in such a strong form.
- Clove Bud + Lemon
An interesting contrast but not as successful as I had hoped.
- Eucalyptus - It smelled like Vick's vaporub which I have used for colds since I was a kid.
- Anise - It smelled like black licorice which I have loved all my life and so it was a welcomed scent.
- Jasmine - It reminded me of the smell of an old person's clothing or home. Not enjoyable.
- Citronella - A familiar scent that reminded me of family cookouts.
- Orange - Obviously a familiar smell. It has such a refreshing and bright smell.
5 Combinations:
- Almond + Imitation Vanilla
A nice scent reminiscent of home baking
- Texas Cedar Wood + Orange
An interesting but very nice scent. It might be a good scent for a car or study.
- Anise + Eucalyptus
Interesting and strong but not very enjoyable.
- Vanilla + Peppermint
A nice scent but very strong in such a strong form.
- Clove Bud + Lemon
An interesting contrast but not as successful as I had hoped.
Early Ideas
I am going to write about some of my ideas briefly. There are some similar themes I am interested in.
1.Continue (finish) study on fake food - For a video course, a part of my project involved cutting up fake food to show its insides. I am interested in the construction of fake food (usually Styrofoam, sand, concrete, and really realistic fake flesh) as a metaphor for the actual nutritional value, waste, and industrial chemicals used to create our actual food. I have a few ideas on filling trees with fake fruit, or to continue dissecting fake fruit to show its contents.
2. Raw Foodism - I have had a fascination with raw foodism for about a year now. There are many foods that I enjoy raw (or close to raw) much more than when they are cooked. I find the pure color, crunchiness, and pure flavor to be much more fulfilling than it sitting in boiling water or covered with spices and sauces. I have received some strange looks at a restaurant when I asked for my veggies just a little bit cooked with my steak being more cooked. I wonder if there is an art experience that could share my love of this with people, or a performance where I live that lifestyle in a unique way.
3. Nutritional Block - I like the famous futuristic movie scenes that show food as being bland / disgusting but having the required nutrients. I would like to make a substance that appears gross but has a great nutritional value but also has an unexpected great taste.
4.Stink Bomb - I would like to create a stink bomb that smells universally 'good'. I think it would be interesting to clear an area using only a strong perfume or normally likable scent.
5.Urinal Cakes - I hate the idea of using these as air fresheners. They are targets for peeing, not generally considered a nice smelling potpourri of scent. I could think of some funny and subversive pieces of urinal cakes placed around campus and town that deal with scent, public urination, and other issues.
6. Still life - I had the idea for a computer vision piece that tries to deal with the classic painting idea of the still life. A monitor, exposed computer, webcam, and bowl of fruit could create a unique aesthetic experience where one questions the role of the computer in our life and food system.
7.Relational Aesthetics Critique - set up a situation in which art could happen, but people are too intimidated by the lack of direction and the gallery to do anything. I would think that a stocked kitchen in a gallery with no input from an artist or anyone else might just sit there and rot.
8. No Food Coloring - common foods without visual additives might be interesting to see. A table setting with colorless jello, clear coke, white meat, gallery white mac and cheese would be interesting
9. Documenting the making of processed food. - Have a cooking show performance or data visualization of what is behind popular food. It is believed that coca-cola still uses coca leaves that have been processed to remove the cocaine from them.
10.Taste Sound - a device that can both be tasted and heard through the mouth. synesthesia devices.
11. Online Food Databases - I would like to continue my database work with online recipe sites. I could think of interesting things that could happen if one was to try to find the worst liked recipe online or some new way to find recipes and be inspired by food. Here are some poorly liked meals
The Absolute worst meals on allrecipes (http://allrecipes.com/Recipes/Main-Dish/ViewAll.aspx?SortBy=Rating&Direction=Descending&Page=429)
12.Food History - Create Meals that illustrate changing beliefs in the 20th century. Relate hardships and a changing history to the immediacy of food.
Sunday, February 27, 2011
Playing to the Senses
This is a pretty lengthy text, so I will try to pick out the parts that were most relevant to me. I am trying to build a belief of what I feel about food / taste / smell and what I want to say about it. I did get a lot of ideas from reading the text, so I am glad that I spent some time with it.
Futurists and Food
I think I am interested in the separation of the nutritious by using a pill from the food that should be saved for art. I am interested in the ways that they explored how to separate every sense and then to combine them in strange ways. Their performances were interesting, in that all of the participants were aware that they were tasting things that were not at all edible, but had flavor. They experimented with the stomach as a canvas to paint and had strange recipes that called for music and food performance mixed together.
Reading this gave me a lot of ideas for my project. I am very interested in working with things that are not normally tasted and with combining senses and working towards Synesthesia. I am really interested in creating something that can be both tasted and heard. I know there used to be candy that you could buy called Hasbro sound bites that transmitted sound through candy into your teeth and then your ear. I am interested in the experience that could happen if an object you were tasting also was releasing noise.
Barbara Smith's "Ritual Meal" - This sounds like it would have been an interesting installation to see. I was really interested in how much context changes the perception of food and drink. Eating meat while in a surgery room brings many connotations with it that are not normally there. It would be interesting to try to eat a meal with just surgical instruments.
There was some other interesting stuff. I like the ramp project and some of the others. Like always though, I have some issues with some of the relational aesthetics projects. I don't like that there concept is that everyday acts of life are art, and that it then becomes impossible to critique. I still have issues with the leftovers of some party you were not invited to being a piece of art to inspire you to think about something differently.
Olfactory Exercise
I would've scanned the page in but my handwriting's kind of small...
2.18.11 1:15 Kitchen Frosted Mini Wheats
2.18.11 1:17 Kitchen Chocolate Milk
2.18.11 1:36 Bathroom Soap
2.18.11 1:39 Bathroom Deodorant
2.18.11 2:51 Broward Fried Food
2.18.11 3:01 Little Warm Air
2.18.11 3:56 Bathroom Cleaning Chemicals
2.18.11 4:02 Bedroom Popcorn
2.18.11 6:27 Kitchen Chicken
2.18.11 7:15 Carrabba's Lemonade
2.18.11 7:21 Carrabba's Soup - Chicken, Noodles, Vegetables
2.18.11 7:43 Carrabba's Manicotti Pasta
2.18.11 8:14 Target Perfume
2.18.11 8:40 Dining Room Red Velvet Cake
2.18.11 11:20 Bathroom Soap
2.18.11 1:15 Kitchen Frosted Mini Wheats
2.18.11 1:17 Kitchen Chocolate Milk
2.18.11 1:36 Bathroom Soap
2.18.11 1:39 Bathroom Deodorant
2.18.11 2:51 Broward Fried Food
2.18.11 3:01 Little Warm Air
2.18.11 3:56 Bathroom Cleaning Chemicals
2.18.11 4:02 Bedroom Popcorn
2.18.11 6:27 Kitchen Chicken
2.18.11 7:15 Carrabba's Lemonade
2.18.11 7:21 Carrabba's Soup - Chicken, Noodles, Vegetables
2.18.11 7:43 Carrabba's Manicotti Pasta
2.18.11 8:14 Target Perfume
2.18.11 8:40 Dining Room Red Velvet Cake
2.18.11 11:20 Bathroom Soap
Friday, February 25, 2011
Smell Log
Time duration: 8:45am, 19th, Feb-8:45am, 20th, Feb
8:45am Cleanser toothpaste towel moister-Apartment bathroom
9:00am Clean clothes-Apartment bedroom closet
9:10am Banana-Apartment kitchen
9:30am Trees-SW 13th ST, in front of Apartment
9:35am Sunshine-Bus stop
9:45am Stinky fart smell-Bus
10:05am Perfume-University Ave.
11:30am Pizza-Leonardo's pizza
11:35am Salad-Leonardo's pizza
11:35am Rolls-Leonardo's pizza
12:30am crowd of people-University Ave.
1:00pm Coffee-Starbucks@Lib west
1:25pm Books-Lib west
5:30pm Dish soup-Apartment kitchen
5:45pm Green pepper-Apartment kitchen
5:55pm Cooked beef-Apartment kitchen
5:55pm Cooked tomatoes-Apartment kitchen
6:00pm Fired rice-Apartment kitchen
7:00pm Marker-Apartment bedroom
8:30pm Apple-Apartment bedroom
8:50pm Soy milk-Apartment badroon
9:30pm Shampoo towel lotion-Apartment bathroom
10:20pm Book-Apartment bedroom
11:30pm Clean sheet and pillow-Apartment bedroom
Thursday, February 24, 2011
Project 2 Musings
So in Installation earlier today my original installation idea got atom-smashed with my Mapping Project idea, with legos and meth abound! So this got me thinking about this project coming up - specifically the relationship of food and drugs (and legos and marketing).
I was trying to figure out Meth and what it is about it that makes it so pervasive. I believe it's more than just it's addictiveness, which uses the reward system in an outpouring of dopamine (as well as norepinephrine and serotonin), because it is bitter and difficult to make. But I guess it can't be that difficult if so many people are making them in home labs, especially considering that they usually occur in rural areas, which tells me that these aren't educated scientists making the stuff. Plus, add the juxtapostion of Legoland, a themepark designated for children 6-12 years of age, the large quantities of meth found in Polk County are even more apparent, at least to me. The drug industry thrives on people buying the stuff and then getting addicted, so they come up with all sorts of schemes to lure new customers in, which includes young people. We already see a lot of this with tobacco companies making sweet versions of cigarettes with cutesy child-magnet advertising, with the hopes of turning younger people into habitual smokers.
This is also true in the hard drug realm. I remember watching a TV special about Marijuana in which they debated its legalization, going back and forth between the pros and the cons. While I do not pretend to be an expert in this realm, I was curious when I saw some of the innovation happening in California, where medicinal marijuana has been legalized in certain amounts. Marijuana dispensaries are where patients with prescriptions can pick up their allotted amount, and it's not always just the fluffy green stuff that they end up getting - marijuana has been put in chocolate bars, peanut butter, cookies, all sorts of things you can dream up. While in this sense, especially since having marijuana without a prescription is still highly illegal, it's not directly a marketing scheme targeting children, there is a similar thing happening with meth that most certainly is.
This is probably common knowledge to those in tune with drug culture, but meth is sometimes cut with sugary drink powder to cut the bitterness of the chemical and to give it a pretty color, both of which encourage young first-timers to try it. Basically, they are using colorful, sweet additives to cover up the harshness of the chemical. This seems similar to my mapping project in which legoland, with it's bright colors and saccharine concept, has been covering up the many problems that plague my community.
In another direction, with food production there is always the desire, at least in the United States, to eat a lot, which is why we have the problem of obesity. Ironically, meth is also used as a treatment for obesity, meth disguised under the name Desoxyn. What if this marketing technique of putting meth in foods were spun in this direction - eat all you want and loose weight. For the obese, food in a way is an addiction to be sure, not just a necessity for survival. Compulsive overeating is a disorder that plagues people likening the addiction to food to that of cocaine. (Note, not all people who are obese have this disorder) Meth is also highly addictive, with the relationship of the neurotransmitter serotonin as the reward system in common.
So what would be the implications of meth-laced foods, especially sweet ones? Meth is not a cure for compulsive overeating but it is used to combat obesity. It also is addictive. Would this turn those who are not compulsive overeaters into one? I know I am not going to be able to get my hands on meth without getting in serious trouble, and I'm not interested in breaking the law. This is just an interesting thing to think about, mostly that strange relationship meth and legoland has. I want to make lego chocolates now! In fact, mass produced foods already contain additives that make them addictive. Caffeine is one that sticks out - stop consuming caffeine and you fall into withdrawal, like headaches.
I should note that there is no official meth-capital of the world, nor does Polk County wish to have that title, but it's just an unavoidable truth that we are up there in the concentration of meth-labs, busts, and acquisitions, and certainly the capital of Florida at least.
Also, I'm not sure if I can work with these subjects while still a student. So... this might change.
I was trying to figure out Meth and what it is about it that makes it so pervasive. I believe it's more than just it's addictiveness, which uses the reward system in an outpouring of dopamine (as well as norepinephrine and serotonin), because it is bitter and difficult to make. But I guess it can't be that difficult if so many people are making them in home labs, especially considering that they usually occur in rural areas, which tells me that these aren't educated scientists making the stuff. Plus, add the juxtapostion of Legoland, a themepark designated for children 6-12 years of age, the large quantities of meth found in Polk County are even more apparent, at least to me. The drug industry thrives on people buying the stuff and then getting addicted, so they come up with all sorts of schemes to lure new customers in, which includes young people. We already see a lot of this with tobacco companies making sweet versions of cigarettes with cutesy child-magnet advertising, with the hopes of turning younger people into habitual smokers.
This is also true in the hard drug realm. I remember watching a TV special about Marijuana in which they debated its legalization, going back and forth between the pros and the cons. While I do not pretend to be an expert in this realm, I was curious when I saw some of the innovation happening in California, where medicinal marijuana has been legalized in certain amounts. Marijuana dispensaries are where patients with prescriptions can pick up their allotted amount, and it's not always just the fluffy green stuff that they end up getting - marijuana has been put in chocolate bars, peanut butter, cookies, all sorts of things you can dream up. While in this sense, especially since having marijuana without a prescription is still highly illegal, it's not directly a marketing scheme targeting children, there is a similar thing happening with meth that most certainly is.
This is probably common knowledge to those in tune with drug culture, but meth is sometimes cut with sugary drink powder to cut the bitterness of the chemical and to give it a pretty color, both of which encourage young first-timers to try it. Basically, they are using colorful, sweet additives to cover up the harshness of the chemical. This seems similar to my mapping project in which legoland, with it's bright colors and saccharine concept, has been covering up the many problems that plague my community.
In another direction, with food production there is always the desire, at least in the United States, to eat a lot, which is why we have the problem of obesity. Ironically, meth is also used as a treatment for obesity, meth disguised under the name Desoxyn. What if this marketing technique of putting meth in foods were spun in this direction - eat all you want and loose weight. For the obese, food in a way is an addiction to be sure, not just a necessity for survival. Compulsive overeating is a disorder that plagues people likening the addiction to food to that of cocaine. (Note, not all people who are obese have this disorder) Meth is also highly addictive, with the relationship of the neurotransmitter serotonin as the reward system in common.
So what would be the implications of meth-laced foods, especially sweet ones? Meth is not a cure for compulsive overeating but it is used to combat obesity. It also is addictive. Would this turn those who are not compulsive overeaters into one? I know I am not going to be able to get my hands on meth without getting in serious trouble, and I'm not interested in breaking the law. This is just an interesting thing to think about, mostly that strange relationship meth and legoland has. I want to make lego chocolates now! In fact, mass produced foods already contain additives that make them addictive. Caffeine is one that sticks out - stop consuming caffeine and you fall into withdrawal, like headaches.
I should note that there is no official meth-capital of the world, nor does Polk County wish to have that title, but it's just an unavoidable truth that we are up there in the concentration of meth-labs, busts, and acquisitions, and certainly the capital of Florida at least.
Also, I'm not sure if I can work with these subjects while still a student. So... this might change.
Log of Smell
Starting time: 10:00 AM, 02.18.11
Ending time: 10:00 AM, 02.19.11
02.18.11
AM
1. 10:04 - Kitchen - Artificially scented dishsoap (some kind of citrus)
2. 10:09 - Kitchen - Frying butter
3. 10:15 - Kitchen - Frying eggs
4. 10:30 - Bedroom - Artificially flavored maple syrup, real coffee, real honey
5. 10:50 - Kitchen - Same dishsoap from earlier
6. 11:08 - Bathroom - Minty toothpaste
7. 11:35 - Bedroom - Lavender, powdery clothes
8. 11:41 - Bedroom - Stinky kitty litter
9. 11:42 - Bedroom - Febreeze air freshener
PM
10. 12:29 - Car - Old soda cups and warm plastic
11. 1:13 - Paynes Prairie (Bolen Bluff) - Bitter orange leaf
12. 1:36 - Paynes Prairie - Sweet flowers, pollen
13. 1:49 - Paynes Prairie - Horse droppings
14. 2:15 - Paynes Prairie - Live horses, grass
15. 2:55 - Paynes Prairie - Swampy, green algae
16. 3:30 - McDonalds - Frying oil, salt
17. 3:35 - McDonalds - Peppermint and alcohol hand sanitizer
18. 4:00 - Wards - Vegetables, very green smelling
19. 4:19 - Salvation Army - Dusty, sweaty space
20. 4:38 - Walmart (baking asile) - Sweet, sugary, cardboard-y
21. 5:23 - ABC - Alcohol
22. 5:45 - Kitchen - Brown sugar, burbon, soy sauce, garlic
23. 8:14 - Reitz Union - Popcorn
24. 8:26 - UF Observatory - Wet grass
25. 9:30 - Reitz Union Lawn - Sweaty people
26. 11:47 - Bedroom - Fresh litter (baking soda-y)
02.19.11
AM
27. 12:03 - Bedroom - Soy sauce, kittens
28. 8:46 - Bathroom - Minty toothpaste
29. 9:05 - Kitchen - Coffee
30. 9:09 - Fring bacon, yeast, crisco
This entire experience was interesting. I randomly decided to do this last friday thinking that my day would be uneventful as usual, but on the contrary, that day my boyfriend and I decided to do lots and lots of stuff. As I was still reeling from the scent tour we did the class prior to this, I was already smelling lots of things, but when my boyfriend, the cook, is around, the smells always get intensified. I probably could've done this log for the whole weekend, and in further detail, but logging was getting in the way of experiencing, and there was a LOT to experience (wild horses on Paynes Prairie!).
Ending time: 10:00 AM, 02.19.11
02.18.11
AM
1. 10:04 - Kitchen - Artificially scented dishsoap (some kind of citrus)
2. 10:09 - Kitchen - Frying butter
3. 10:15 - Kitchen - Frying eggs
4. 10:30 - Bedroom - Artificially flavored maple syrup, real coffee, real honey
5. 10:50 - Kitchen - Same dishsoap from earlier
6. 11:08 - Bathroom - Minty toothpaste
7. 11:35 - Bedroom - Lavender, powdery clothes
8. 11:41 - Bedroom - Stinky kitty litter
9. 11:42 - Bedroom - Febreeze air freshener
PM
10. 12:29 - Car - Old soda cups and warm plastic
11. 1:13 - Paynes Prairie (Bolen Bluff) - Bitter orange leaf
12. 1:36 - Paynes Prairie - Sweet flowers, pollen
13. 1:49 - Paynes Prairie - Horse droppings
14. 2:15 - Paynes Prairie - Live horses, grass
15. 2:55 - Paynes Prairie - Swampy, green algae
16. 3:30 - McDonalds - Frying oil, salt
17. 3:35 - McDonalds - Peppermint and alcohol hand sanitizer
18. 4:00 - Wards - Vegetables, very green smelling
19. 4:19 - Salvation Army - Dusty, sweaty space
20. 4:38 - Walmart (baking asile) - Sweet, sugary, cardboard-y
21. 5:23 - ABC - Alcohol
22. 5:45 - Kitchen - Brown sugar, burbon, soy sauce, garlic
23. 8:14 - Reitz Union - Popcorn
24. 8:26 - UF Observatory - Wet grass
25. 9:30 - Reitz Union Lawn - Sweaty people
26. 11:47 - Bedroom - Fresh litter (baking soda-y)
02.19.11
AM
27. 12:03 - Bedroom - Soy sauce, kittens
28. 8:46 - Bathroom - Minty toothpaste
29. 9:05 - Kitchen - Coffee
30. 9:09 - Fring bacon, yeast, crisco
This entire experience was interesting. I randomly decided to do this last friday thinking that my day would be uneventful as usual, but on the contrary, that day my boyfriend and I decided to do lots and lots of stuff. As I was still reeling from the scent tour we did the class prior to this, I was already smelling lots of things, but when my boyfriend, the cook, is around, the smells always get intensified. I probably could've done this log for the whole weekend, and in further detail, but logging was getting in the way of experiencing, and there was a LOT to experience (wild horses on Paynes Prairie!).
Project 2
I'm really focused on fast food at the moment for this project. Specifically the idea of fast food packaging and how it's presented to us as consumers. I've been looking at the symbols that strike me as a fast food meal--a cup, a fry box, and a sandwich wrapper. I'm thinking of how the design on the outside of these items impacts us. I noticed that they're often a clean, plain white with minimal distractions (besides a logo), like so many gallery spaces. I want to use the laser cutter to sculpt these objects myself, but somehow alter our traditional perception of them. Maybe by altering what sort of food/beverage goes into them, or how they look, etc.
I've also had feedback about how scale plays an important role. A lot of restaurants don't even sell "Small" anythings anymore, the smallest size is usually Medium, which is still growing in size at some establishments. An idea could be to massively scale up the cup, fry box, and sandwich wrapper following this train of thought. Or even to scale them down to miniscule proportions. There are a lot of ideas floating around, I just need to narrow down the process some more.
I've also had feedback about how scale plays an important role. A lot of restaurants don't even sell "Small" anythings anymore, the smallest size is usually Medium, which is still growing in size at some establishments. An idea could be to massively scale up the cup, fry box, and sandwich wrapper following this train of thought. Or even to scale them down to miniscule proportions. There are a lot of ideas floating around, I just need to narrow down the process some more.
Project 1 Images
I had some preliminary images posted before, but I thought I should probably have the final images here as well.
Wednesday, February 23, 2011
Putrescine
Putrescine is a bad smelling chemical composition that contributes to such odors as decaying flesh, bad breath, and vaginosis. It is created from amino acid break down in organisms, and is poisonous in large doses.
NH2(CH2)4NH2
NH2(CH2)4NH2
Response to Questions for Ursitti and Tollas
What is non visual aesthetics? What is the value of aesthetics?
She prefer the word paradox to describe the contradiction. It is a paradox in a sense to make work that is invisible within the context of art which in our culture is focused on the visual.
How does the museum sanitize aesthetic experience?
It's a way of making and reading that does not privilege the visual, or that takes into consideration aspects of a work that are sensory in general. According to the author, aesthetics tries to make a place for the primacy of experience in knowledge production. So the different, subjective ways we individually perceive things is invaluable.
What according to Ursitti is the relationship between scent and the gallery or museum?According to Ursitti, verything that is no-visual is in a dangerous situation. She perceives art is a multi- sensory rather than mono-sensory experience.
What sort of contradiction would an artist who deliberately does not document his work have to live with?She prefer the word paradox to describe the contradiction. It is a paradox in a sense to make work that is invisible within the context of art which in our culture is focused on the visual.
How does the museum sanitize aesthetic experience?
Western aesthetics separates the senses as it is unable to cope with the body, and that the whole history of the museum is about the sanitation of aesthetic experience, through this separation of the senses.
What are some examples of how aesthetics carry political and social values?Artists participate in all kinds of projects. Nowadays it seems to be a trend that artists concern much about making difference in the current community rather than just self-exploration. That is, to let more people get involved and try to further influence them.
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
I think this issue is dealt with the impacts of technology. The more we rely on technology, the more we distance ourselves from nature. It's true that technology has brought us many benefits and made our life more convenient, but we should keep in mind that we need to think and act independently rather than copy what others do. And to fully experience the smell, sound, visual and other senses is a good way for us to understand nature.
I think this issue is dealt with the impacts of technology. The more we rely on technology, the more we distance ourselves from nature. It's true that technology has brought us many benefits and made our life more convenient, but we should keep in mind that we need to think and act independently rather than copy what others do. And to fully experience the smell, sound, visual and other senses is a good way for us to understand nature.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
In Rome, she took a lot of what she learned about the senses, applied it to what she was looking at and tried to filter it into my thinking/making. she tried to be really conscious of how they made her feel, how a work, something that she was making in the studio, or a situation engages her through the senses. How something visual can suggest taste or touch.
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.Language communication could be misleading all the time. Language has many limitations. It limits and defines things too much. There are always things that escape language. Scent is a concrete example of this. There are no words for the sensations we smell. Only metaphors and crude dichotomies of good and bad. To me verbal and nonverbal communication is all together; neither of them should be ignored
isovaleric acid
isovaleric acid- a fatty acid with a pungent taste and disagreeable odor that is found in valerian and other plant products, as well as in cheese. It also occurs as a metabolite of the amino acid leucine and is found in the sweat of feet and in the urine of patients with smallpox, hepatitis, and typhus. It has been used commercially in a variety of drugs, perfumes, and flavorings.Odor: Cheesy, Rancid, but its volatile esters have pleasing scents and are used widely in perfumery.
Heptanoic Acid
a.k.a. Enanthoic Acid
- Organic compound
- Clear to pale yellow in appearance
- component in metalworking fluid, surfactants, surfactants. lubricants, detergents, oily, agents, emulsifiers, wetting agents
- In it's natural state it it has a foul odor
- Slightly soluble in water but very soluble in ethanol and ether
- Used in the preparation of fragrances, artificial flavors, and cigarettes
Renate- Ursitti Questions
What is non visual aesthetics? What is the value of aesthetics?
It is composed of all the things that cannot be experienced by seeing alone. It relies on using the senses as a whole, not just our eyes.
What according to Ursitti is the relationship between scent and the gallery or museum?
From the 19th century quote that was given, it seems that the gallery is at such an elevated status that foul odors should never belong there. The museum would smell "empyrian" because lower class people did not "foul" the air with the smell of their bodies.
The fact that the gallery, in this day, tried to "censor" Ursitti's work with the scent of an onion is further proof of this idea that the gallery should never smell foul. smell=status for the gallery, and I feel that's true for a lot of other places as well.
What sort of contradiction would an artist who deliberately does not document his work have to live with?
The world is so focused on the visual, however the work cannot even be experienced in this way, it is "invisible" to the majority of the people, who cannot be there in person to experience the artwork.
How does the museum sanitize aesthetic experience?
Aesthetic experience is "sanitized" by separating the senses. There is a preconception that all artwork must be experienced visually, especially in a museum setting (how often are we allowed to touch or sniff or even taste the artwork??) Using the other senses might be a "distraction" from experiencing the work visually, which seems the be the sense that is valued the most when experiencing art.
What are some examples of how aesthetics carry political and social values?
What we learn about, in respect to art, can be a direct reflection of the values and politics of the people teaching it. I know this has been the topic of discussion in much of my art education classes. When classrooms focus on teaching mostly western art, students have a narrowed view of the world that reflects the views and values of only western society, and in the past this was done on purpose to protect pride and confidence of the people in their own country. Today, it is growing more popular to try and incorporate more world art to open up wider perspectives for students.
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
I think this might be related Tino Sehgal's desire to have people experience his work in the flesh instead of looking at documentation of the work. With technology we have the ability to learn about vast amounts of art, just by visiting an artists website, performing a Gooogle image search, or watching a performance on Youtube. Although we have a lot of information about these artists and their work, we're not really experiencing it.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
She learned about how we experience things with more than one sense at a time, and that sense do not work alone as we've often thought. Because of the way our senses work, we create installation artwork to create experiences beyond just the traditional idea of "viewing" art. She also states later on the interview that Her work with dolphins taught her a lot about communication processes and that carries over into the communication of art.
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
I think that it is much harder to describe a smell using words because the words we use seem to trigger images. If you say something smells stinky,we often see an image of something that smells bad before we can try and image a stinky smell. Also, can we imagine smells? I've just thought of that as I was typing. I'm not sure that I can. I can think about a smell, but I cannot bring the same sensation that comes with actually smelling that smell. With vision it's easier to experience, because I think our thoughts are either visual of language based. We think in words and images, but not tastes, touches, or smells. Those senses are different for some reason.
It is composed of all the things that cannot be experienced by seeing alone. It relies on using the senses as a whole, not just our eyes.
What according to Ursitti is the relationship between scent and the gallery or museum?
From the 19th century quote that was given, it seems that the gallery is at such an elevated status that foul odors should never belong there. The museum would smell "empyrian" because lower class people did not "foul" the air with the smell of their bodies.
The fact that the gallery, in this day, tried to "censor" Ursitti's work with the scent of an onion is further proof of this idea that the gallery should never smell foul. smell=status for the gallery, and I feel that's true for a lot of other places as well.
What sort of contradiction would an artist who deliberately does not document his work have to live with?
The world is so focused on the visual, however the work cannot even be experienced in this way, it is "invisible" to the majority of the people, who cannot be there in person to experience the artwork.
How does the museum sanitize aesthetic experience?
Aesthetic experience is "sanitized" by separating the senses. There is a preconception that all artwork must be experienced visually, especially in a museum setting (how often are we allowed to touch or sniff or even taste the artwork??) Using the other senses might be a "distraction" from experiencing the work visually, which seems the be the sense that is valued the most when experiencing art.
What are some examples of how aesthetics carry political and social values?
What we learn about, in respect to art, can be a direct reflection of the values and politics of the people teaching it. I know this has been the topic of discussion in much of my art education classes. When classrooms focus on teaching mostly western art, students have a narrowed view of the world that reflects the views and values of only western society, and in the past this was done on purpose to protect pride and confidence of the people in their own country. Today, it is growing more popular to try and incorporate more world art to open up wider perspectives for students.
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
I think this might be related Tino Sehgal's desire to have people experience his work in the flesh instead of looking at documentation of the work. With technology we have the ability to learn about vast amounts of art, just by visiting an artists website, performing a Gooogle image search, or watching a performance on Youtube. Although we have a lot of information about these artists and their work, we're not really experiencing it.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
She learned about how we experience things with more than one sense at a time, and that sense do not work alone as we've often thought. Because of the way our senses work, we create installation artwork to create experiences beyond just the traditional idea of "viewing" art. She also states later on the interview that Her work with dolphins taught her a lot about communication processes and that carries over into the communication of art.
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
I think that it is much harder to describe a smell using words because the words we use seem to trigger images. If you say something smells stinky,we often see an image of something that smells bad before we can try and image a stinky smell. Also, can we imagine smells? I've just thought of that as I was typing. I'm not sure that I can. I can think about a smell, but I cannot bring the same sensation that comes with actually smelling that smell. With vision it's easier to experience, because I think our thoughts are either visual of language based. We think in words and images, but not tastes, touches, or smells. Those senses are different for some reason.
Kelsey and her responses to the Ursitti and Tolla REadings
What is non visual aesthetics? What is the value of aesthetics?
What according to Ursitti is the relationship between scent and the gallery or museum?
What sort of contradiction would an artist who deliberately does not document his work have to live with?
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
A non visual aesthetic is something you cannot see, and for some reason it is less valued in society and different spheres of influence as animalistic and crude. From the readings the only people interested in Ursitti's work were corporations and the scientific community.
What according to Ursitti is the relationship between scent and the gallery or museum?
She said that the gallery is naturally filled with the scent of the bodies that go through it. I really liked her pieces where she had the sweaty men mark the walls with the natural smell of human scent. Then removed the men, and had the public smell where they were. Without the visual, people found the odor pleasant.
What sort of contradiction would an artist who deliberately does not document his work have to live with?
He would not necessarily have anything to look back on his work, so he might have random work based on commissions and inspired as he goes along.
How does the museum sanitize aesthetic experience?
They try to hide the smells from the people, making the smell match the surrounds, "clean" and white. Like the smell piece in the reading where the gallery director put an onion on the air freshener to "make the smell less overpowering for the visitors." Its like desiccating the artist's work.
What are some examples of how aesthetics carry political and social values?
When you bring forth the fact that our smells are controlled and sanitized for us. Art that deals with how culture makes us think a certain way, tells us that we must smell a certain way. I really liked Ursitti's perfume bottles that were aesthetic mimicries of expensive perfume bottles, but they contained sweat.
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
I remember that part, it was difficult for me to digest. I think he's saying that we engage the world through a computer, our phones instead of each other- like a blindness. We probably won't communicate at all. Kind of like the movie Wall-E.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
She used the same technology and practices that big industry used to hide smells or cancel them out, but she used them for her own means- manipulating smells how she wanted them to turn out.
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
Ursitti did her ABC's smell piece, trying to create a language based on smell. Smell are seen as very visceral, human things. They evoke emotions and come with a lot more debate. ie. the reading said if you have a red ball, people will agree that its a red ball, if you have a smell, people will tend to disagree what it exactly is.
Adam - Questions
What is non visual aesthetics? What is the value of aesthetics?
- It is something that we can't visually sense and it is valued less in our world because our society typically depends on sight as their standard interface
What according to Ursitti is the relationship between scent and the gallery or museum?
- Ursitti said that smell acts as an unwanted distraction in the gallery setting, a place that primarily values visuals
What sort of contradiction would an artist who deliberately does not document his work have to live with?
- If you don't document your work than each presentation or performance becomes more important of an event but you may also have trouble explaining your pieces or getting it into an exhibition.
How does the museum sanitize aesthetic experience?
- The museum supplies a clean, organized environment but it also comes loaded with meaning applying its own set of connotations
What are some examples of how aesthetics carry political and social values?
- We acknowledge the things that are culturally relevant to our society and tend to turn a blind eye to things that do not fit with in our world
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
- We are becoming use to having technology aid us in so many aspects of our live that we find ourselves paying less and less attention to the aesthetics of our surroundings
How did Clara Ursitti integrate the scientific information she learned into her art practice?
- She integrated it into her art practice by researching the human reaction to smells and applying them in affective ways
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
- This is a good point. There are so many more commonly used ways to describe what is visually present than there are descriptions for smell. If you see something you can discuss everything from shape, to color, to specific physical features. If you smell something typically you say if it smells good or bad. If you elaborate on anything it usually triggers a visual memory.
- It is something that we can't visually sense and it is valued less in our world because our society typically depends on sight as their standard interface
What according to Ursitti is the relationship between scent and the gallery or museum?
- Ursitti said that smell acts as an unwanted distraction in the gallery setting, a place that primarily values visuals
What sort of contradiction would an artist who deliberately does not document his work have to live with?
- If you don't document your work than each presentation or performance becomes more important of an event but you may also have trouble explaining your pieces or getting it into an exhibition.
How does the museum sanitize aesthetic experience?
- The museum supplies a clean, organized environment but it also comes loaded with meaning applying its own set of connotations
What are some examples of how aesthetics carry political and social values?
- We acknowledge the things that are culturally relevant to our society and tend to turn a blind eye to things that do not fit with in our world
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
- We are becoming use to having technology aid us in so many aspects of our live that we find ourselves paying less and less attention to the aesthetics of our surroundings
How did Clara Ursitti integrate the scientific information she learned into her art practice?
- She integrated it into her art practice by researching the human reaction to smells and applying them in affective ways
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
- This is a good point. There are so many more commonly used ways to describe what is visually present than there are descriptions for smell. If you see something you can discuss everything from shape, to color, to specific physical features. If you smell something typically you say if it smells good or bad. If you elaborate on anything it usually triggers a visual memory.
2-methyl acetonic acid-JIng
2-methyl acetonic acid is one of the synonmys of acetonic acid. Acetonic acid is commonly known as vinegar acid. A colorless crystal. Derived from the ether admission moist prism, at 50 ° C sublimation, in which steam volatile. The temperature 82 ° C ~ 83. The boiling point 212 ° C. Soluble in water, ethanol, ether and benzene heat. Cold benzene-soluble. Dehydration into methyl acrylate. Used in the manufacture of methyl acrylate ester and isobutylene. May isobutylene by liquid or by the oxidation of isobutane and isobutylene with direct oxidation of nitric acid obtained.
2-methyl acetonic acid:
Molecular formula : C4H8O2
MW : 88.11
CAS No. :79-31-2
nature : density 0.948. -47 ° C melting point. 153-154 ° C boiling point. 1.392-1.394 refractive index. A flash point of 59 ° C. Water-soluble 210 g / L (20 ° C).
MW : 88.11
CAS No. :79-31-2
nature : density 0.948. -47 ° C melting point. 153-154 ° C boiling point. 1.392-1.394 refractive index. A flash point of 59 ° C. Water-soluble 210 g / L (20 ° C).
Portrait in Scent & Reading Questions
butyric acid - Butyric acid is found in butter, parmesan cheese, vomit, and as a product of anaerobic fermentation (including in the colon and as body odor). It has an unpleasant smell and acrid taste, with a sweetish aftertaste (similar toether).
The substance has also been used as a noxious, nausea-inducing repellent by anti-whaling protesters, against Japanese whaling crews,[5] as well as by anti-abortion protestors to disrupt and harass clinics.
androstene dieneone - Androstenedione is the common precursor of male and female sex hormones.
skatole - It occurs naturally in feces (it is produced fromtryptophan in the mammalian digestive tract), and coal tar, and has a strong fecal odor. In low concentrations it has a flowery smell and is found in severalflowers and essential oils, including those of orange blossoms, jasmine, andZiziphus mauritiana. It is used as a fragrance and fixative in many perfumes and as an aroma compound. Its name is derived from the Greek root skato- meaning "dung".
skatole was listed as one of the 599 additives to cigarettes.[4] It is added as a flavoring ingredient.
Reading Questions
1. Non-visual aethetics - This is the idea of making art that is not solely fixed on the visual and the eye and tries to use other senses. The value of aethetics is that it is a philosophy of the meaning behind art, nature, and culture.
2.Smell is normally an intrusion on the gallery space. The white cube normally tries to retain a blank appearance and smell is perceived as an uncontrolled addition to the space.
3.An artist who does not document his work would have to live with the idea that only those that visit in the flesh are able to actually see it. Tino Sehgal seems to use this to his advantage though, and he uses the 2nd hand accounts to create myths behind his work.
4.The museum sanitizes aesthetic experience by only focusing in on one sense and making the others taboo. For example you can't touch paintings or most sculptures, and a work about sound is always separated from the visual work.
5.
Renate- Chemicals
Acedic Acid- the ingredient in vinegar that attributes to it's sharp taste and smell.
2-Mercaptoethanol- a chemical compound that can break down protein bonds. It is used to isolate RNA, and is considered toxic, and has a foul odor.
2-Mercaptoethanol- a chemical compound that can break down protein bonds. It is used to isolate RNA, and is considered toxic, and has a foul odor.
Adam - Heptanethiol
1-Heptanethiol
Identifications
It is a flavoring agent typically used in meat products and gravies. Also used in non-alcoholic beverages.
* Formula: CH3[CH2]6SH
Elements: Carbon, Hydrogen, Sulfur
* CAS Number: 1639-09-4
* CCOHS Record Number: 313
* RTECS Number: MJ1400000
* Synonyms/Related:
o 1-Heptanethiol
o Heptyl mercaptan
o Heptyl thiol
o Heptylthiol
o n-Heptyl mercaptan
o n-Heptylmercaptan
o USAF EK-2122
Properties
* Incompatiblities:
o alkali metals
o oxidizers
o reducing agents
o strong acids
o strong bases
Health & Regulatory Guidelines
* NIOSH Guidelines:
o Ceiling: 0.5 ppm
o Conversion: 1 PPM = 5.41 mg/m3@ 25°C & 1ATM
Scent
* pungent sulfurous sweaty skunky onion vegetable
Appearance
* colorless clear liquid
Identifications
It is a flavoring agent typically used in meat products and gravies. Also used in non-alcoholic beverages.
* Formula: CH3[CH2]6SH
Elements: Carbon, Hydrogen, Sulfur
* CAS Number: 1639-09-4
* CCOHS Record Number: 313
* RTECS Number: MJ1400000
* Synonyms/Related:
o 1-Heptanethiol
o Heptyl mercaptan
o Heptyl thiol
o Heptylthiol
o n-Heptyl mercaptan
o n-Heptylmercaptan
o USAF EK-2122
Properties
* Incompatiblities:
o alkali metals
o oxidizers
o reducing agents
o strong acids
o strong bases
Health & Regulatory Guidelines
* NIOSH Guidelines:
o Ceiling: 0.5 ppm
o Conversion: 1 PPM = 5.41 mg/m3@ 25°C & 1ATM
Scent
* pungent sulfurous sweaty skunky onion vegetable
Appearance
* colorless clear liquid
Reading Questions
What is non visual aesthetics? What is the value of aesthetics?
Non visual aesthetics relates to a form of creating or comprehending information outside of just visual perception. Aesthetics is a subjective matter that manifests differently for people depending on their past experiences.
What according to Ursitti is the relationship between scent and the gallery or museum?
Vision is generally privileged over smell in American culture, especially in the gallery. Scent is seen as an intrusion or distraction in the gallery, as something to be covered up so as not to impose on the audience's viewing pleasure.
What sort of contradiction would an artist who deliberately does not document his work have to live with?
Smell can't be captured through video or written documentation. It can really only be fully experienced at the time of the scent's release, creating a sort of one-time live performance for the audience.
How does the museum sanitize aesthetic experience?
Through separation of the senses. In the pristine gallery. we can look, but we are conditioned to refrain from smelling, touching, or tasting artwork in the space.
What are some examples of how aesthetics carry political and social values?
As an example, propaganda posters can have political aesthetics. Constructivist posters in early 20th century Germany used specific colors and shapes to represent certain factions or parties. I think the "human smell" has been attributed a very negative connotation associated with poor hygiene.
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
It relates to documentation of experience compared to live experience. Globalization of technology allows us to see visuals and hear sounds of events from all across the world instantly. Becoming used to this privilege we lose sight of what it's actually like to see something before our eyes or hear sounds in our vicinity.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
She had become more conscious of how the sense work not in isolation, but in conjunction with each other. Smell influences taste, and can be influenced by other sense. There's a harmony among them.
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
I think they're pretty similar situations actually. One part of the article mentioned how, when describing smell, we can't say exactly what it is--only what it smells like. But color is the same way. I can say the sky is blue, or my shirt is blue, or that door is blue, but I can't tell you what blue is without using examples and pointing at it. It's a fundamental sensory building block that's difficult to break down.
Non visual aesthetics relates to a form of creating or comprehending information outside of just visual perception. Aesthetics is a subjective matter that manifests differently for people depending on their past experiences.
What according to Ursitti is the relationship between scent and the gallery or museum?
Vision is generally privileged over smell in American culture, especially in the gallery. Scent is seen as an intrusion or distraction in the gallery, as something to be covered up so as not to impose on the audience's viewing pleasure.
What sort of contradiction would an artist who deliberately does not document his work have to live with?
Smell can't be captured through video or written documentation. It can really only be fully experienced at the time of the scent's release, creating a sort of one-time live performance for the audience.
How does the museum sanitize aesthetic experience?
Through separation of the senses. In the pristine gallery. we can look, but we are conditioned to refrain from smelling, touching, or tasting artwork in the space.
What are some examples of how aesthetics carry political and social values?
As an example, propaganda posters can have political aesthetics. Constructivist posters in early 20th century Germany used specific colors and shapes to represent certain factions or parties. I think the "human smell" has been attributed a very negative connotation associated with poor hygiene.
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
It relates to documentation of experience compared to live experience. Globalization of technology allows us to see visuals and hear sounds of events from all across the world instantly. Becoming used to this privilege we lose sight of what it's actually like to see something before our eyes or hear sounds in our vicinity.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
She had become more conscious of how the sense work not in isolation, but in conjunction with each other. Smell influences taste, and can be influenced by other sense. There's a harmony among them.
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
I think they're pretty similar situations actually. One part of the article mentioned how, when describing smell, we can't say exactly what it is--only what it smells like. But color is the same way. I can say the sky is blue, or my shirt is blue, or that door is blue, but I can't tell you what blue is without using examples and pointing at it. It's a fundamental sensory building block that's difficult to break down.
Chemical, questions, more stuff
Carbon disulfide is a colorless liquid that smells like chloroform, though the impure form used in most industrial senses smells more like rotting radishes. It is used for fumigation in airtight storage warehouses or other confining areas, insecticide, and material in rayon and cellophane. Carbon disulfide has a tumultuous effect on the nervous system, and can be considered life-threatening.
Questions:
What is non visual aesthetics? What is the value of aesthetics?
Non-visual aesthetics are the reactionary elements to a piece that aren't actually part of the piece itself: its placement in space, the time it's there, the history behind it, other events either major or minor of a person's life who's looking at it. The aesthetics of a piece give it a tone and a context for which to be examined and experienced.
What according to Ursitti is the relationship between scent and the gallery or museum?
Scent is one of the varying factors that helps separate one from the sterile white-cube museum space. When used properly, smell can be a unique experience all on its own in use of a piece.
What sort of contradiction would an artist who deliberately does not document his work have to live with?
An official documentation of the work does not exist, but one utilizes a variety of media to promote and publicize the work, essentially documenting it in a way.
How does the museum sanitize aesthetic experience?
An institutionalized gallery space is going to call for some degree of conformity, forcing all pieces to fit a certain kind of aurora, all depending on what the gallery is looking for and their mindset. The individual aesthetic experience of a piece may be tampered by its need to fit in the gallery setting.
What are some examples of how aesthetics carry political and social values?
Aesthetics that hold value to our everyday lives tend to give us a greater emotional connection, since they're issues that are meaningful to us.
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
Some have said technology has sterilized us (figuratively) and how we look at the world and experience things. In a world of iPhones and Blackberries and being bantered at 24/7, we can find ourselves distracted with what's in front of us. This is kind of a danger, but nothing that we can't work out ourselves if we utilize a little control over technology's role in our lives.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
The other day we discussed whether smell was more felt or less mediated than vision. Maybe where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
Language is something that can be misconstrued or misinterpreted; it's all relative to how it's used, who it's used with, etc. Vision and smell are more definitive forms of sensory output; they're constant experiences; though they may inspire different things to different people based upon their own experiences.
Questions:
What is non visual aesthetics? What is the value of aesthetics?
Non-visual aesthetics are the reactionary elements to a piece that aren't actually part of the piece itself: its placement in space, the time it's there, the history behind it, other events either major or minor of a person's life who's looking at it. The aesthetics of a piece give it a tone and a context for which to be examined and experienced.
What according to Ursitti is the relationship between scent and the gallery or museum?
Scent is one of the varying factors that helps separate one from the sterile white-cube museum space. When used properly, smell can be a unique experience all on its own in use of a piece.
What sort of contradiction would an artist who deliberately does not document his work have to live with?
An official documentation of the work does not exist, but one utilizes a variety of media to promote and publicize the work, essentially documenting it in a way.
How does the museum sanitize aesthetic experience?
An institutionalized gallery space is going to call for some degree of conformity, forcing all pieces to fit a certain kind of aurora, all depending on what the gallery is looking for and their mindset. The individual aesthetic experience of a piece may be tampered by its need to fit in the gallery setting.
What are some examples of how aesthetics carry political and social values?
Aesthetics that hold value to our everyday lives tend to give us a greater emotional connection, since they're issues that are meaningful to us.
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
Some have said technology has sterilized us (figuratively) and how we look at the world and experience things. In a world of iPhones and Blackberries and being bantered at 24/7, we can find ourselves distracted with what's in front of us. This is kind of a danger, but nothing that we can't work out ourselves if we utilize a little control over technology's role in our lives.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
The other day we discussed whether smell was more felt or less mediated than vision. Maybe where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
Language is something that can be misconstrued or misinterpreted; it's all relative to how it's used, who it's used with, etc. Vision and smell are more definitive forms of sensory output; they're constant experiences; though they may inspire different things to different people based upon their own experiences.
questions for Ursitti and Tollas
What is non visual aesthetics? What is the value of aesthetics?
What according to Ursitti is the relationship between scent and the gallery or museum?
What sort of contradiction would an artist who deliberately does not document his work have to live with?
How does the museum sanitize aesthetic experience?
What are some examples of how aesthetics carry political and social values?
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
What according to Ursitti is the relationship between scent and the gallery or museum?
What sort of contradiction would an artist who deliberately does not document his work have to live with?
How does the museum sanitize aesthetic experience?
What are some examples of how aesthetics carry political and social values?
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
Ursitti Sketch/Reading Questions/Project Ideas
Ursitti Sketch
Trimethylamine is a product of decomposition of plants and animals. It is the substance mainly responsible for the odor often associated with fouling fish, some infections, and bad breath. It is also associated with taking large doses of choline and carnitine. Acetone is naturally produced and disposed of in the human body as a result of normal metabolic processes. Reproductive toxicity tests show that it has low potential to cause reproductive problems. In fact, the body naturally increases the level of acetone in pregnant women, nursing mothers and children because their higher energy requirements lead to higher levels of acetone production.
Ursitti Questions
What is non visual aesthetics? What is the value of aesthetics?
Non visual aesthetics are those that integrate other senses into the idea of aesthetics, without privileging the visual. Synesthetes combine one or more sense, observing an aesthetic that is not purely visual. The value of aesthetics is that it sees the senses as a form of knowledge.
What according to Ursitti is the relationship between scent and the gallery or museum?
What according to Ursitti is the relationship between scent and the gallery or museum?
In the gallery, scent is usually discouraged because it contaminates the space and takes away from the visual experience that the viewers want to have with the visual artworks. Scents are seen as a distraction.
What sort of contradiction would an artist who deliberately does not document his work have to live with?
What sort of contradiction would an artist who deliberately does not document his work have to live with?
With Ursitti in particular, the documentation of a work that is ephemeral and difficult to document in a visual sense, and the contradiction comes in that documenting in a visual sense brings people to experience the work, and when the work is all about experience, no documentation makes it difficult to know about the work in the first place.
How does the museum sanitize aesthetic experience?
How does the museum sanitize aesthetic experience?
The museum sanitizes aesthetic experience through the separation of the senses.
What are some examples of how aesthetics carry political and social values?
What are some examples of how aesthetics carry political and social values?
Aesthetics are subjective, just like political and social values. Aesthetics are learned as a relationship of many different parts of culture and is like learning to read, and when we can say that something is aesthetically pleasing, it means that we have personally decided that a series of conditions have been met (maybe intuitively), just like political values have a series of conditions that should be met in order to see something as morally right or socially just.
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
Comment upon Paul Virilio's statement that we are losing the ability to engage with the aesthetic because of the technology and this in turn has made us lose the ability to engage full stop with what we are looking at in front of us in the real world.
Technology mediates almost everything we do today, from creating artificial scents to transferring books from a paper format to a digital format. Communication is heavily mediated by technology, and we can already see the communication problems arising from how we speak through technology and how we speak in real life situations. Technology is also moving at such a fast pace and makes tasks easier for us that we fall into the problem of having time to just stop and smell the roses when we have so much to do, so much potential with all this technology.
How did Clara Ursitti integrate the scientific information she learned into her art practice?
How did Clara Ursitti integrate the scientific information she learned into her art practice?
Ursitti learned all about scents ar the Crossmodal Research Laboratory in Oxford and learned about all sorts of techniques to see what people could smell and what smells did to people. She worked this into her work in thinking about how different senses would work together, like how something fuzzy would smell, what red would smell like, etc.
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
The other day we discussed whether smell was more felt or less mediated than vision. Maybe what where we should have directed the conversation was to the role of language as a mediation for vision vs language as a mediation for smell. Comment upon this.
Ursitti talks about how language in itself is inadequate because it's just a series of compromises, because while we may be speaking the exact same language, there is no way we can be sure that there won't be any misunderstandings along the way. Still, we can be more sure that when we say "dog" all english speakers can see the same visual concept of "dog," but if we say that something smells "green," the various different personal interpretations and lack of an olfactory language makes it near impossible to find a consensus.
Project 2
For this project I am really interested in the whole idea of scents and collecting scents, maybe because of the numerous texts and artists we have been innundated with, and partially because of my obsession with Perfume.
Tuesday, February 22, 2011
Adam - Scent Exercise
Scents:
Imitation Coconut Extract - reminded me of the beach/ suntan lotion
Jasmine Intoxication - reminds me of my grandma's garden
Imitation Vanilla Extract - reminds me of coffee creamer
Imitation Butter Flavor - reminds me of movie popcorn
Imitation Banana Extract - reminds me of a banana flavored popsicle
Scent Combinations:
Imitation Coconut and Vanilla Extract - smells like super strong suntan lotion
Eucalyptus and Peppermint - smells like a candy cane and a Christmas tree
Myrrh and Frankincense - smells like really strong cleaner or an air freshener
Peppermint and Vanilla - smells like a candy cane
Lemon and Vanilla Extract - smells like lemon bars
Imitation Coconut Extract - reminded me of the beach/ suntan lotion
Jasmine Intoxication - reminds me of my grandma's garden
Imitation Vanilla Extract - reminds me of coffee creamer
Imitation Butter Flavor - reminds me of movie popcorn
Imitation Banana Extract - reminds me of a banana flavored popsicle
Scent Combinations:
Imitation Coconut and Vanilla Extract - smells like super strong suntan lotion
Eucalyptus and Peppermint - smells like a candy cane and a Christmas tree
Myrrh and Frankincense - smells like really strong cleaner or an air freshener
Peppermint and Vanilla - smells like a candy cane
Lemon and Vanilla Extract - smells like lemon bars
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