Berlin’s, Bauhaus-Archive, inspired my field work, and proposal for a sensorial story. It was especially inspiring for the gallery to be using braille labels for work, aimed at people with sensorial impairments.
Laszlo Moholy-Nagy, a professor at the Bauhaus, allowed others to cope with new technologies with the “education of the senses” within the school, with a means of producing new sensations through new relations.
Pedagogical reform movement = the training of body and sensory awareness. Moholy-Nagy wants to deal with the theory and practice of education, studying ‘the best way to teach’. In this case using the difference of the senses to test peoples realms of education and experience.
Merleau Ponty 1962, “Any object presented to one sense calls itself the concordant operation of all the other senses’
‘for the senses communicate with each other’ – Wilhelm flosser – the use of communication
“the form of objects is not their geometrical shape: it stands in relation to their specific nature and appeals to all the other senses as well as sight.” – Joseph Beuys quote,
- sensory impairments
- live in restricted environment
avoid stimulation – brain development, maintenance of our capacities
Encounter new stimuli in a safe setting, build up tolerance of stimuli, rehearse reactions to stimuli
Concise text patterend with strong sensory stimuli
I felt a sensation of stinging in my nose as I turned the pages. – uneasy reflection of viewer looking into the mirror pages.
Aromapoetry is a new kind of poetry in which the compositional unit (the poem) is made up of smells. The poet “writes” the smells by conceiving the poem as an olfactory experience and then employing multiple chemical procedures to achieve his poetic goals. It goes without saying that, as in any kind of poetry, the reader is an active participant that interprets and thus ascribes his or her own meanings to the poem beyond the writer’s original motivations.
In my book Aromapoetry, the first book ever written exclusively with smells, readers find twelve aromapoems that range widely in their material structure and semantic resonance. While I composed some of my aromapoems with only one or two molecules, most of them are composed of dozens of molecules each. In some cases, a single poem has distinct olfactory zones on the page—each comprised of dozens of molecules each. In other words, the level of molecular intricacy of the works in Aromapoetry varies from the very simple to the extremely complex.
I composed the twelve poems in Aromapoetry so as to provide the reader with a broad field of aromatic experiences. The titles simultaneously delineate and open up the semantic sphere of each work. Each poem is a distinct and self-contained composition. At the same time, the book has a dynamic internal rhythm produced through the alternation of different or contrasting smells.
Every poem in the book Aromapoetry employs nanotechnology by binding an extremely thin layer of porous glass (200 nanometers thick) to every page, trapping the odorants (i.e. the volatile molecules) and releasing them very slowly. Without this nanotechnology, the fragrances would quickly dissipate and the smells would no longer be experienced after a few days. To ensure even greater longevity, a set of small bottles is integrated into the book, allowing the reader to recharge every individual page. With an eye to the distant future, the book’s summary presents key molecules used in the production of each poem.
Aromapoetry is a book to be read with the nose.
I also thought of the idea of producing a multi-sensorial book which includes all 5 senses of hearing sounds, tasting flavours, touching textures, visual imagery/layering, and smelling different aromas.
Basing it on one object. That being a fish – adventurous but quite disturbing for the viewing audience, especially smell and taste.
a food form, lemon,
or plants such as ivy- garden, lavender- garden and sleep, rosemary- festive and aromatic
In my sensory story i want to enhance a process of slowing down an individual’s experience. Using 10 sentences, each partnered by a rich sensory stimulus and a narrative.
Ideas that I did not act upon, to use print of textured foods with acrylic/mark making materials onto a surface. As a visionary stimulus, to also pick up on patterns we’d relate to what we would smell, taste, hear, feel if that object was in front of us. Rather than creating a body of text, I’d rather keep it very abstract and conceptual to allow the audiences imagination to explore the different possibilities of what the object could be. A guessing game by using all their senses rather than just vision.