chasing he ag an silence — smell as
a medium o a is ic c ea ion
guilhe me ui o mi anda gaspa
Mas e in Mul imedia o he Uni e si y o Po o
Supe iso : Rui Penha (PhD)
July 2019
guilhe me ui o mi anda gaspa , 2018
chasing he ag an silence — smell as a medium
o a is ic c ea ion
guilhe me ui o mi anda gaspa
Mas e in Mul imedia o he Uni e si y o Po o
App o ed in public de ence by he ju y:
Chai : B uno Sé gio Gonçal es Gies ei a (PhD)
Ex e nal Examine : Ped o Tudela (PhD)
Supe iso : Rui Penha (PhD)

Abs ac
Why do we lea n o see, bu no o smell?
The i e-sense di ision es ablished a cul u al p edominance o sigh and hea ing
abo e he emaining senses. In he
occiden
, smell has had a seconda y ole, whe eas in
o he con ex s he ela ion wi h ol ac ion is indissociable om cul u al and social
o ganiza ion. Philosophical adi ion has denied ol ac ion aes he ic capabili ies and
consequen ly, a is ic ones oo. This hesis ques ions whe he his is a he a lack o
awa eness, educa ion and exploi a ion o he sense o smell, as opposed o an inhe en
limi a ion o he sense i sel . Con empo a y a is ic p ac ice, inc easingly di e si ied in i s
o ms o exp ession, sees a g owing numbe o a is s using smell as a medium.
The de elopmen o a pe o mance, he p ac ical componen o his p ojec , led o a
pe sonal explo a ion o smell as a medium, in o de o cla i y my own ela ionship wi h
smell, and i s a is ic capabili ies - con ibu ing o he de elopmen o a
poiesis
o smell.
Resumo
Po que ap endemos a e , mas não a chei a ?
A di isão em cinco sen idos, es abeleceu uma p edominância cul u al da isão e
audição sob e os es an es sen idos. Num con ex o
ociden al
o chei o é colocado em
segundo plano, nou os con ex os a elação com o ol ac o é indissociá el da o ganização
social e cul u al. A adição ilosó ica con e iu ao ol ac o a incapacidade de p opo ciona
uma expe iência es é ica e po consequência, a ís ica. Es e abalho coloca em ques ão se
se a a an es de uma al a de consciencialização, educação e explo ação do ol ac o, em
oposição a uma limi ação ine en e ao sen ido em si. A p á ica a ís ica con empo ânea,
cada ez mais di e si icada nas suas o mas de exp essão, ê um c escen e núme o de
a is as a u iliza o chei o como meio.
O desen ol imen o de uma pe o mance, a componen e p á ica des e p ojec o,
conduziu uma explo ação pessoal do chei o como meio, de o ma a escla ece a minha
p óp ia elação com o ol ac o, e as suas capacidades a ís icas — con ibuindo pa a o
desen ol imen o de uma
poiesis
do chei o.
Acknowledgemen s
(…) udo quan o é nome de homem ai aqui, udo quan o é ida ambém, sob e udo
se a ibulada, p incipalmen e se mise á el, já que não podemos ala -lhes das idas,
po an as se em, ao menos deixemos os nomes esc i os, é essa a nossa ob igação, só
pa a isso esc e emos, o ná-los imo ais, pois aí icam, se de nós depende, Alcino;
B ás, C is ó ão, Daniel, Egas, Fi mino, Ge aldo, Ho ácio, Isid o, Ju ino, Luís, Ma colino,
Nicano , Ono e, Paulo, Qui é io, Ru ino, Sebas ião, Tadeu, Ubaldo, Valé io, Xa ie ,
Zaca ias, uma le a de cada um pa a ica em odos ep esen ados, po en u a nem
odos es es nomes se ão os p óp ios do empo e do luga , menos ainda da gen e, mas,
enquan o não se acaba quem abalhe, não se acaba ão os abalhos, e alguns des es
es a ão no u u o de alguns daqueles, à espe a de quem ie a e o nome e a p o issão.
(Sa amago, 1982, p. 162)
Ao Alexand e, B uno, Ca los, Diogo, Esme alda, Fe nando, Guilhe me, Hugo, Inês,
Joana, Leono , Mimi, Nuno, O quídea, Ped o, Quim, Rui, Sa a, Tiago, Ulisses, Ve a, Xis o,
Zília.
Ob igad
x i
Lis o Full-Page Figu es
Decaying oses. 34
The able wi h he objec s awai ing he pe o mance. Algae, eucalyp us,
cinnamon, lowe pe als, gasoline, ma ches. In his pic u e, he glass
bo le wi h gasoline is behind he pe i dish ins ead o i s middle. 51

In oduc ion
1
1. In oduc ion
E e y day, e e y momen , h ough ou li e we a e s imula ed h ough ou senses. We
pe cei e and c ea e knowledge abou he wo ld and abou ou sel es. Unde s anding how
cul u e, psychology and physiology changes ou idea o
sel
can lead o a g ea e
enjoymen o li e.
This esea ch is an explo a ion o smell as a medium o a is ic exp ession, inspi ed
by li e, a , in ui ion and igno an bliss. I aims, h ough he de elopmen o a pe o mance,
and a e lec ion on ol ac o y a and cul u e, o c ea e a pe sonal unde s anding o he
medium. Sha ing his expe ience is a o m o hanking he wo ld and an a emp o
con ibu e o he de elopmen o a
poiesis
o smell.
1.1 Mo i a ion
The e is no pa icula i y as o why his hesis became wha i in ended o be. I
o igina es om a mix u e o ne e knowing wha o do and an o e whelming desi e o
lea n and eel as much as possible. My pa en s ook me o a lo o museums and conce s
as I g ew and I was lucky enough o a el qui e a bi , so I’ e been ascina ed by cul u e and
na u e since hen, especially hose ha a e cul u ally dis an o me.
My academic pa h has mos ly been a ound he mul imedia ealm, dealing wi h sound
and image in hei in e sec ions wi h a , echnology and science. Wo king wi h music
shows, I ha e been a olun ee , coo dina o , backline ech, e c. a es i als, bu also as a
ligh and p ojec ion a is . I low h ough his pa h o o e lapping senso ial expe iences o
ligh and sound ou o my lo e o music and ligh bu also owing o how inspi ed I eel
when wi nessing pe o mances. I am deeply o e whelmed by he senso ial s imulus o
bo h sound and ligh and ha is why I ha e been close o hose a eas.
Bu he e is mo e o he senses han sigh and hea ing. I cook almos e e y day,
de eloping my sense o as e and ol ac ion. Wi h cooking you ha e a e y hands-on
app oach o lea ning, i you exagge a e on he spices, you’ll eel i
i s -mou h
, and adap
he nex ime.
Some win e s ago, while hanging wi h wo iends a a local music enue I decided o
open wo ange ines wi hou anyone no icing. My wo iends we e suddenly con used and
su p ised gi en he sudden ou -o -con ex s imulus, some hing I ound e y amusing and
2
in e es ing. Fas - o wa d a ew yea s and I ind mysel opening a ange ine du ing a
p esen a ion-pe o mance o a piece de eloped by mysel o a uni e si y class on digi al
sound syn hesis. Along ha same pa h, o a class on gene a i e music, I de eloped a piece
based on he ambien music wo ks o Hi oshi Yoshimu a ha inco po a ed incense as a
undamen al elemen o he mul i-modal and imme si e cha ac e is ic o ha wo k.
This hesis and wo k a e a pe pe ua ion o ha same pa h, now wi h a sys ema ic
app oach. Wo king wi h smell comes as a p ocess o de eloping my senso y-cogni i e
capabili ies as well as he capabili ies o hose accompanying and su ounding me. To
sha e wi h o he s is he goal o his hesis (and maybe o li e). The pe o ma i e na u e o
his wo k aims o c ea e a conscious s a e upon he spec a o , awa e o he sel , he
en i onmen and he ela ionship be ween bo h.
1.2 P ojec and Objec i es
How does smell as a medium in luence he c ea ion and p esen a ion o a
pe o mance?
Th ough a highly au o-e hnog aphic jou ney, he wo k p ocess will e lec my alues
and p eoccupa ions as an indi idual. The expe iences made aim o c ea e any ype o
awa eness o he spec a o ’s s a e as a senso ial being, ecological conce ns, o induce any
o m o ca ha sis, enjoymen , o happiness.
The me hodological app oach o his hesis ques ions’ will be an a s-based esea ch.
Con en ional desc ip ion o his me hod may sugges a cyclical app oach o he wo k ha
luc ua es be ween ac ion and e lec ion. I pe cei e he c ea i e p ocess necessa y o
a is ic wo k as a p ocess o disco e y, as much abou he opic and me hods, as i is abou
he indi idual. By s udying ela ed opics and p e ious achie emen s in he ield, a is ic
o no , he employmen o his me hodology pu sues a be e in o med and mo e impac ul
wo k (Sa in-Baden & Wimpenny, 2014).
None heless, he ques ions may only become clea when he answe s a e shown.
1.3 Disse a ion S uc u e
This disse a ion is comp ised o 4 chap e s, he p esen one which se es as an
in oduc ion ega ding he mo i a ion and p ojec .
Chap e 2,
Li e a u e Re iew
, ha o e iews opics ega ding smell and i s ela ion o
se e al aspec s o cul u e and aes he ics.
Chap e 3,
Chasing he F ag an Silence
, ha makes a b ie e e ence o he E hos and
e e ences ha p ecede he wo k. I hen desc ibes he wo k de elopmen in he o m o
expe imen s and e lec ions.
Chap e 4,
Conclusions
, summa izes and p esen s some inal ega ds ela ed o he
de elopmen o his hesis.
Smell and Cul u e
3
2. Smell and Cul u e
We b ea he in — ai lows h ough ou nasal passage, in o he ol ac o y epi helium.
Ol ac o y in o ma ion om odo ous molecules is ansduced in o elec ic signals by
means o ol ac o y ecep o neu ons, among o he cells (Pu es, e al., 2001).
As elegan ly pu by Ch is ina M. Agapakis and Sissel Tolaas in hei pape Smelling
in Mul iple Dimensions (2012):
How molecules in e ac wi h he ol ac o y sys em is a complex p ocess
ans o ming chemical signals in o neu al impulses and conscious pe cep ions,
go e ned by he physics and chemis y o he molecules, he gene ics and s uc u e
o he ol ac o y ecep o s, he neu al a chi ec u e o he pa hways ha in e p e
smells, as well as he psychological, social, and cul u al con ex o molecules and
odo s.
Th ough ou li e we a e cons an ly being s imula ed. Smell, commonly ega ded as
he less ele an o he i e classically di ided senses in wes e n cul u e, is none heless
pa o ou means o pe cei ing. Wha Immanuel Kan dismisses as “ he mos ung a e ul”
and “ he mos dispensable” o senses, oo “ lee ing and ansien ” as ci ed by Ba wich
(2014), has been gaining a en ion and ele ance in he con empo a y cul u al pa adigm.
I he hie a chy o senso ial pe cep ion as es ablished by A is o elian adi ion was
uni e sal, i should be e lec ed on he languages o he wo ld in a simila o m, as some
aspec s o pe cep ion would be close o consciousness and he e o e o language. Majid
e al. (2018) “ es ed wi h s imuli om he i e basic senses (…) o elici desc ip ions in 20
di e se languages, including 3 un ela ed sign languages” o see i his hie a chy was
indeed uni e sal. By compa ing he eedback gi en wi hin each language’s indi iduals,
hey c ea ed he senso ial hie a chy based on mean codabili y (highes in e speake
ag eemen ) o each language.
4
Figu e 1 — “The hie a chy o he senses ac oss languages acco ding o he mean
codabili y o each domain, wi h he p esumed uni e sal A is o elian hie a chy on Top.
The e is no uni e sal hie a chy o he senses ac oss di e se languages wo ldwide.”
Adap ed om
Di e en ial coding o pe cep ion in he wo ld’s languages
, by Majid e al.,
2018, h ps://www.pnas.o g/con en /115/45/11369
This idea o a p e alence o some senses o e o he s, in luences ou ways o
expe iencing eali y. This in u n impac s he isibili y o he di e en o ms o exp ession.
Ranciè e (2004) no es ha “S a emen s o o ms o exp ession undoub edly depend on
his o ically cons i u ed sys ems o possibili ies ha de e mine o ms o isibili y o
c i e ia o e alua ion” (p.50). I is he e o e only na u al ha we as a wes e n socie y a e
no equipped wi h he same c i ique capabili ies o discuss ma e s ega ding smell as we
a e o discuss sigh o hea ing. Such disc epancy ises om he cul u al p e alence o
ce ain exp essions h oughou he cen u ies pai ed wi h wha a as a ma ke and s a us
symbol has alued h oughou ime. Fo an a is ic objec o be bo e as a s a us symbol, i
mus be o angible exis ence, o i no , he e a e no means o ep esen ing he social
s a us o i s possession. Smell is ansien in p esence, and in isible in o m.
Al hough cul u ally nuanced, he e is much o be in e ed h ough smell. We may no
see ha he yoghu is due, bu we immedia ely ely on smell o make ha judgemen . The
ood le o e s may s ill look good bu i hey smell o en, hey will p obably as e bad, and
Smell and Cul u e
5
i wa ns us, om expe ience and passed down knowledge ha i s bes no o be ea en. Ou
sense o smell can e en lead o p og ess in he medical sciences. Joy Milne, a hype osmic
indi idual
1
, disco e ed she could de ec Pa kinson disease by odou alone by no icing a
change in smell in he husband, 10 yea s ea lie om him being diagnosed (Quigley, 2019).
Upon u he in es iga ion, dis inc ola iles o Pa kinson disease we e ound in human
skin sebum (T i edi, e al., 2019). This disco e y, al hough no a cu e, could be c ucial in
alle ia ing he li e o hose connec ed o Pa kinson.
Smell has his powe o anspo ing us h ough ime and space, a amilia expe ience
o many people. The hippocampus, an essen ial pa o he b ain o he ep esen a ion o
spa io empo al con ex s in ela ion o senso ial s imulus, is c ucial in he o ma ion o
episodic memo y (Aq abawi & Kim, 2018). The common e olu iona y his o y o he
ol ac o y co ex and he hippocampus lead o a “wha -when-whe e” memo y o ma ion
associa ed wi h ol ac ion. “These odo eng ams in eg a e he exac place and ime a
pa icula smell was wo en in o a unique neu al apes y ha holds dis inc i e wha -
when-and-whe e smell memo ies.” (Be gland, 2018). Aq abawi and Kim (2018) esea ch
also ad ances ou knowledge owa ds a be e unde s anding o Alzheime , as one o he
i s symp oms is he loss o smell-based memo y in humans and he ea ly b ain
degene a ions coincide wi h he a eas necessa y o he o ma ion o hese memo ies
(Be gland, 2018). I ecall momen s when a sudden smell anspo ed me o e y speci ic
si ua ions, some imes no a all ela ed o he cu en si ua ion I was in. Smell has i idly
anspo ed me o he apa men I once s ayed in wi h my amily in Rome se e al yea s
be o e and, as I walk in o my g andma’s ki chen a nigh , I eel he smell o he yoghu
cake she used o make when we wen o isi he .
2.1 Ri uals o Smell
The e a e and ha e been many cul u al pe spec i es ega ding smell (in he b oades
sense o he wo d), encompassing he poli ical, economic, social, eligious, e c. sphe es.
E en wi hin wes e n socie y he pe spec i es and me hods changed wi h he passage o
ime.
2.1.1 Roman Exube ance
Romans enjoyed ag an dinne pa ies and pa ades, endowed hemsel es wi h lo al
and pe umed c owns, ga lands and ga men s o bes ow upon hemsel es he essence o
di ini y (G ine , 2010). No only did his lowe y a oma iza ion o he ai p o ec he homes
om nega i e spi i s, i was also expec ed ha social e en s would p esen as such,
displaying exo ic a mosphe es and gi ing he gues s wi h lowe s (Pepe, 2000).
1
hype osmia — a heigh ened sense o smell.

6
2.1.2 Egyp ian T anscendence
Egyp ians employed he i ualis ic usage o smells oo. Fo he Sun God “E e y day
hey make a iple o e ing o incense o he Sun, an o e ing o esin a sun ise, o my h
a midday, and o he so‑called cyphi a sunse ;” (Plu a ch, 1936, p. 127). Cyphi, o as mo e
commonly known (as in e ed om he esul s om sea ch engines), Kyphi ( he La inised
e sion o he G eek ansla ion o Kp. ). Kyphi was a conca ena ion o ing edien s used
in he o m o incense, whose p epa a ion was highly i ualized and anscenden al in
na u e as hey we e “compounded, no a andom, bu while he sac ed w i ings a e being
ead o he pe ume s as hey mix he ing edien s.” (Plu a ch, 1936, p. 187). Plu a ch u he
ela es he bu ning o each speci ic ype o incense o he na u e o he used ma e ials in
each o he h ee momen s and he pe cei ed composi ion o ai a he ime.
(…) esin and my h esul om he ac ion o he sun when he ees exude hem
in esponse o he hea . O he ing edien s which compose cyphi, he e a e some
which deligh mo e in he nigh , ha is, hose which a e won o h i e in cold winds
and shadows and dews and dampness. Fo he ligh o day is single and simple, and
Pinda says ha he sun is seen " h ough he dese ed ae he ." Bu he ai a nigh is
a composi e mix u e made up o many ligh s and o ces, e en as hough seeds om
e e y s a we e showe ed down in o one place. Ve y app op ia ely, he e o e, hey
bu n esin and my h in he day ime, o hese a e simple subs ances and ha e hei
o igin om he sun; bu he cyphi, since i is compounded o ing edien s o all so s
o quali ies, hey o e a nigh all. (p. 189-191)
E en in dea h smell played an impo an ole. In hei a e -li e belie , he God Anubis
would sni he mummy and only le he pu e mo e on o pa adise. As such, swee -smelling
he bs and plan s would help he deceased, emo ing he smell o dea h and pu i ying he
co pse (Hill, 2016). In some cases, emnan s o he smells a e s ill de ec able o his day
(Pepe, 2000).
2.1.3 The Th ee Magi Gi s and Ch is iani y
As he s o y goes, Jesus was gi ed by he Magi wo ag an i ems ou o h ee gi s —
my h and ankincense. Theologis s om he middle-ages came o a ibu e o hese gi s
a p ophe ical symbolism de i ed om he cha ac e is ics o he smells, My h means
bi e , as was he li e o Jesus (Ve beek, 2018c), bu he gi s hemsel es we e pe cei ed as
aluable i ems.
Ea ly Ch is ian alues di e en ia ed hemsel es om he luxu ious p ac ices o he
oman empi e, denying hei “sensual lus ”. None heless, smell s ill held a hea y symbolic
Smell and Cul u e
7
and inancial alue, i o gods and migh y ule s. As Ca o Ve beek s a es in he blog pos
You See Mo e wi h and Ol ac o y Gaze: he F ag an Dimensions o he Ado a ion o he
Mys ic Lamb by Van Eyck (1430 – 1432) (2018d):
Any o e ing o God in he Bible, is always a bu n o e ing, no ma e i hey a e
animals, o ag an esins. Only when smoke ises ‘pe umum’, i can each he
nos ils o he di ine being (beings in ancien cul u es). Smoke anscends he
ma e ial in o imma e ial ma e and ‘pleases God’.
2.1.4 T ob iand Magic
The na i es o T ob iand Island in B i ish New Guinea, as o 1929, had a complex social
dynamic ha ook smell and i s ela ion o cleanliness, lo e and mo al in o high ega d.
The ul ima e insul s and mo al de ia ions would all deal wi h exc emen as i should play
no pa in he p ope conduc o an indi idual. In he usage o magic smell plays he mos
impo an o oles. As Malinowski (1929) obse ed:
Indeed, he sense o smell is he mos impo an ac o in he laying o spells on
people; magic, in o de o achie e i s g ea es po ency, mus en e h ough he nose.
Lo e cha ms a e bo ne in o he ic im on he scen o some spellbound a oma ic
subs ance. In he second and e y dange ous s age o so ce y, he objec o compound
o e which black magic has been done is bu ned, and he smoke en e s h ough he
nos ils in o he body agains which i is di ec ed and causes disease {silam ). Fo his
eason, houses a e ne e buil on piles in he T ob iands, as i would g ea ly acili a e
his s age in he so ce e 's wo k. Thus he idea o magical in ec ion h ough he nose
exe cises a conside able in luence on he cul u e o he na i es.
The malignan wi ches {mulukwausi) a e belie ed o emi a smell eminiscen o
exc emen . This smell is much ea ed, especially by people who a e sailing, o
wi ches a e e y dange ous on wa e . In gene al he smell o o du e and decomposing
ma e is hough o be noxious o human heal h. (p.449-450)
8
2.1.5 Andamese Na u e Cycles
The Andamese Islande s associa ed smells wi h he cyclici y and spi i uali y o
na u e. As o 1906, hey had a calenda sys em based on he succession o blossoming
plan s, whe e he smells would announce he a i al o he di e en pa s o he yea . The
i s mens ua ion came wi h a name change o one o he blossoming lowe s a ha e y
same momen — a name bo e ill he i s child was bi hed (Radcli e-B own, 1922, p. 119),
as ui bea ing plan s.
They also a ibu ed o smell an impo an ole in hei belie sys em. The na i es
belie ed in he necessi y o he use o “
odu
clay a e ea ing because hei bodies gi e o
an odou which would a ac he spi i s i hey did no pain hemsel es.” o hey “see in
his odou gi en o a e ea ing, a mani es a ion o he ene gy ha has been abso bed wi h
he ood” (Radcli e-B own, 1922, p. 312). Smell was also esponsible o disease and healing,
wa ding o animals, spoiling ood and changing he wea he , among o he e ec s.
2.1.6 Sigh in a Dense Fo es
Habi a ional con ex is ele an enough o shape senso ial p e alence. The densi y o
he o es in alida es sigh as he p ima y o ien a ing sense. As odou s abound in he
dense o es a mosphe e, so should he usage o ol ac ion, as exempli ied by he Umeda o
New Guinea, and he Desana o Colombia (Classen, Howes, & Synno , 1994, p. 98).
2.1.7 Se e Ndu Acidic Spi i Wo ld
As desc ibed by Classen, e al. (1994) many socie ies de eloped complex osmological
sys ems (ol ac ion-based cosmologies), explaining he cycles o li e and social dynamics,
om i ualis ic o o ganiza ional, in ela ion o hei pe cep ion o smells and he
cha ac e is ics o hei sou ces. The Se e Ndu o Senegal, conside , in hei ol ac o y
classi ica ion sys em, spi i ual beings o be Acidic.
The explana ion o his associa ion comes om he ac ha he Se e Ndu
employ he ac id smoke o ce ain acidic-smelling plan s o chase away snakes,
which a e associa ed wi h he spi i wo ld. The acidic odou o some o hese plan s
is, indeed, so s ong ha i can cause a pe son o ain . Such odou s may be used by
he Se e Ndu o assis a pe son who is in a coma o die by chasing he spi i ou o
he body. These associa ions a e appa en ly so po en ha hey ha e had he e ec o
pe manen ly scen ing he Se e Ndu spi i wo ld wi h an acidic and ac id odou .
(Classen, Howes, & Synno , 1994, p. 104)
Smell and Cul u e
9
2.1.8 Incense and Koudou「香道」
Incense, in he wes e n used o he wo d, is usually associa ed wi h ma e ials in he
o m o a s ick ha , h ough di ec bu ning, elease ag an smoke. The e a e many usages
o incense e.g. aes he ics, medi a ion, he apy, ce emony, odou masking, epelling
insec s, ime keeping, e c. (Incense, 2019). Using di e en ma e ials, ecipes and shapes,
hey accompany he de elopmen o di e en cul u es h oughou he wo ld and ime. The
ma e ials used in some ecipes became highly co e ed, p omo ing economic de elopmen
bu also dispu es o e land and con ol o he incense ade ou es, as was he case wi h
ankincense (Middle Eas Ins i u e, 2018).
One o he h ee majo classical a s o Japanese cul u e, along wi h ea ce emony and
lowe a angemen , is he incense ce emony — Koudou
2
. Li e ally ansla ed as
he way o
he ag ance
, koudou is a pa h o spi i ual and senso ial awa eness h ough ocused ac s
o smelling.
I may seem o be all abou he sense o smell, bu he sec e o kodo is in
"lis ening." The pa icipan s don' "smell" ( he Japanese e b 'kagu') he incense o
ag an wood, bu a he "lis en" (kiku) o i , opening up no so much hei nasal
passages as hei hea and spi i . (Japan Zone, s.d.)
As wi h simila Japanese i uals and aes he ics, Koudou de eloped in o a o malized
e ined a , pe o med acco ding o ce ain ules and manne s.
No longe an innocen pas ime, Koh-Do p e ailed beyond he samu ai and cou
class. As in ellec ual people such as w i e s, a is s, a luen me chan s and
landowne s s a ed o adop i s o mali ies, incense exe ed a g ea in luence on
callig aphy, li e a u e and ea ce emony, occupying a p ecious posi ion as an
in angible and spi i ual asse o he ime. (Nippon Kodo, s.d.)
Koudou is bo h an oppo uni y o imp o e you well-being, h ough mind ul
awa eness, bu i is also a game. The incense guessing games, he Kumikou, a e he games
played du ing he incense ce emony. The e a e se e al a ia ions o games in exis ence,
o en based on seasonal hemes, his o y, classic li e a u e, poe y, o a el (Incense
Making, s.d.).
2
I w i e 香道 as koudou （こうどう） as i is he di ec ansli e a ion o he wo d. I may appea
elsewhe e as koh-do, kodo, kōdō.
16
wi h he o he senses. A sound can be chilling (cold), a colou can be ho , some hing may
as e g een, a smell can be ound, and so o h.
Shine (A Scen s: Pe ume, Design and Ol ac o y A , 2015) discusses Sc u on’s
c i ique o smell as only capable o con eying meaning h ough associa ion by elabo a ing
on he c ea ion o a pe ume by Jean-Claude Ellena. Shine s a es ha many pe ume s
a emp o go beyond his associa ion o exempli ica ion by exp essing eelings e oked by
expe iences.
Un ja din en médi e ané
, eleased by He mès in 2003 and designed by Ellena,
a emps o ec ea e he poe ic memo y o an a oma ic ga den in Tunisia.
On a isi o an a oma ic ga den in Tunisia one day, he wa ched a young woman
ea a ig lea and sni i wi h pleasu e and on his e u n o F ance, he a emp ed o
c ea e an ol ac o y equi alen o his expe ience.
Such exp essi e a emp is much like ha o pain ing, w i ing o composing. I is
de i ed om an in en ion o e oca ion by means o a c ea i e app oach, c ea ed
consciously wi h emo ional and c ea i e in en . No a copy c ea ed by means o chemical
analysis bu a c ea i e ac o e oca ion. The expe ience o he ga den is e lec ed in he
in e nal s uc u e o he pe ume, ans o ming he associa ions in o he expe ience o he
ga den.
Pe ume making is, in i s essence, an ac o consciously o ganizing elemen s
acco ding o a s uc u e ha ela es o he ola ili y o he compounds p esen , pai ed wi h
he in en ion o achie e a de e mined wea ing expe ience. This is enough o a e u a ion
o he claim ha smell canno p esen s uc u e. Pe umes a e commonly p esen ed as
ha ing a py amidal s uc u e, composed o base, hea (middle) and head ( op) no es ha ,
h ough ime, due o hei inhe en ola ili ies p esen he comple e composi ion. Despi e
being he mos commonly p esen ed s uc u e he e a e o he o ms such as he chyp e
ha “like a musical sona a, has a clea p og ession o hemes, om elegan ly sou o
esinous/swee , down o mossy/ea hy, bu all wo k oge he in simul aneous ha mony,
becoming mo e han he sum o hei pa s.” (Vosnaki, 2012).
Foul smells can c ea e equally alid expe iences al hough o a mo e p o oca i e
na u e. By con on ing he audience wi h he use o malodo ous subs ances he Dadais s
and Fu u is s sough a up u e wi h he s a us quo — he a an -ga de e sus he
disin e es ed public, he ansg essing o he aes he ic con en ions and c ea ing a s a e o
conscious p esence. This conscious p esence can be exploi ed o con ey meaning h ough
a e y isce al and in ense expe ience as he ones smell allows (D obnick, 2018). Cla a
U si i’s 2015 wo k,
Monumen
, commissioned o he exhibi ion
The Smell o Wa
, in
ememb ance o he 100 h anni e sa y o he gas a acks o he i s wo ld wa (De Cupe e,
2015), explo es his isce al aspec o smell o ansmi he a oci ies commi ed. As he
a is ’s websi e s a es, “The scen o decaying human lesh and mis apou dispe sed in o
an emp y oom e e y hal hou , simila o he daily inging o chu ch bells.” (U si i, 2015).
This o mless p esence seemed o exude om he e y building i was lodged in, e oking
he epu posing o buildings o wa ela ed uses, such as hospi als, e uge and mo gues
(D obnick, 2018). The inging o he bells, also ela ing o he chu ch’s announcemen o

Smell and Cul u e
17
he deceased and he con inuous li e aking o wa on a s eady hy hm. De i ed om i s
epheme al and embodied expe ience he ambiance o wa is b ough upon he smelle
c ea ing an in ense expe ience, whe eas a common s a ua y monumen , dis anced by ime
and he s illness o he ep esen a ion, c ea es an ‘immuni y o de achmen ’ as says
li e a y schola Sco J. Juengel, ci ed by D obnick (2018).
Figu e 4 — “The scen o decaying human lesh and mis apou dispe sed in o an emp y
oom e e y hal hou , simila o he daily inging o chu ch bells”. Re ie ed om
Monumen
, by Cla a U si i, 2015, h ps://www.cla au si i.com/monumen .h m.
The epheme al na u e o smell, despi e all he challenges i p esen s o he pe cei e
and he a is , is me ely a consequence o he medium. This in insic cha ac e is ic, as
seen in he abo e example, can be exploi ed in a ou o he message o be ansmi ed.
Li e is epheme al and so is e e y hing else.
All s imuli a e epheme al as hei mani es a ion ceases once he sou ce is no longe
p esen . Al hough I ha en’ ponde ed much on he di e ences be ween smell and sound,
ega ding hei sou ces, i seems o me ha echnology has acili a ed he access o sound
as a epea able medium in a massi e scale. I could be a gued ha a mass-p oduced
pe ume sha es some simila i ies o a eco ded sound, as i allows o epea ed usage.
When hinking abou pe o ma i e o a is ic usages he echnology isn’ so appa en o
es ablished in smell as i is in sound. This hasn’ s opped a is and de elope s om being
18
in en i e and c ea ing ools sui ed o hei needs. Maybe all you need some imes is a well-
placed an.
These challenges also ex end o e o he display and cu a ion o ol ac o y wo ks. The
mode nis whi e-cube ideal o an exhibi ion space is a consequence o he isual
p edominance o he a wo ld. The ans-co po eal essence o smell as a medium, o ces
he use o be in con ac wi h he wo k whe eas sigh allows o a dis anced and de ached
con empla ion. The body has no choice bu o espass he spec a o ba ie as he ai i sel
is necessa y o i s su i al. Hsu (2016) obse es ha , i he ai o he museum is used as
he aes he ic medium “and highligh s he mani old ways in which ou bodies li e ally
inco po a e ha ai , ol ac o y a is especially e ec i e in d ama izing ai bo ne
en i onmen al isks.”. I is also an e ec i e means o pu he body back in o he isual,
a emp ing o educe he dis ancing, colonizing and oyeu is ic gaze (A & Resea ch,
2008). To con amina e he p is ine whi e cube wi h he body is o make e iden he odo ous
exuda ions ha ou na u al bodies emi e u ing, he hygienic, sani ized and eli is
museum space (D obnik in A &Resea ch (2008)).
2.2 Ol ac o y A is s and Wo ks
This sub-chap e p esen s some con empo a y a is s ha e lec upon and/o use
ol ac ion as an exp essi e elemen o hei wo ks. As I’ e ne e seen, o smelled, any o he
wo ks he e p esen , i should be no ed ha my ela ionship wi h hese pieces is one o
dis an app ecia ion, be i emo ional o in ellec ual.
2.2.1 Maki Ueda
2.2.1.1 Sukebeningen
Sukebeningen is a yp ic o pe o mances ha e ol e a ound hemes o e o icism
and cul u al aes he ics and nuances. The pe o mances a e named The Ta ooe , Moon,
and Shijuha e. The second, Moon, is a mul i-senso ial expe ience explo ed in he o m o
an e o ic dance pe o mance.
The concep o his wo k is an ins alla ion o kehai, a Japanese wo d which
means 'a ague sense o he p esence o some hing'. When one pe cei es o becomes
awa e o an indica ion ha somebody/some hing exis s a ound him/he , many
acul ies o senses con ibu e o pick up ha . (…) The audi o ium is in comple e
da kness, supp essing he sense o sigh , and making o he modali ies mo e
sensi i e. The sea s in he audi o ium a e a anged wi h in e als, h ough which he
dance will dance, keeping an in ima e p oximi y o he audience. (Ueda, 2013b)
Smell and Cul u e
19
The dance wea s a pe ume on he body enhancing he
kehai
as she mo es h ough
he audi o ium. The scen , designed by Maki Ueda, an ol ac o y a is , is ha “o a lowe
ha blooms a nigh o a ac mo hs” (Ueda, 2013b). The mo emen , he p oximi y wi h
and wi hou ouch, he idea o a sense o p esence, and he lowe ha a ac s mo hs, all
a e in ima ely connec ed wi h he e o ic na u e o he wo k.
This idea o ex ending he p esence o he body, es ablishing a connec ion be o e
he e is a physical one, highligh s he ai -bo ne na u e o he sense o smell. Th ough he
expanded bodily olume, he physical bounda ies o he dance dilu e in o he
en i onmen . I smell is pa o he sel whe e exac ly does he limi lie.
A dialogue o in imacy in he da kness o he audi o ium, e lec ing he e o ic
sensibili y o hose in ol ed and hus, hei di e en cul u al aes he ics (sukebeningen,
n.d.).
Figu e 5 — S ill image om Moon. Re ie ed om
whi e nigh lowe [p e iew]
, by
Sukebeningen, 2011, h ps:// imeo.com/32662398
2.2.1.2 Ol ac o y Laby in h Ve .1
Ol ac o y Laby in h Ve .1 is he i s i e a ion o a smell ins alla ion ha explo es he
spa ial, all-a ound expe ience o ol ac ion. Bo les con aining ag an oil a e suspended in
a g id con igu a ion, hanging om he ceiling wi h candle ope, p og essi ely occupying
he space as he oil is abso bed. The smell, el om a 20cm dis ance, can be expe ienced
by walking h ough he g id spacing, 40-50cm wide. Th ee di e en smells we e used and
placed in a way ha o m bo le o bo le, you can ollow he smell in a line o clus e , a
play ul expe ience (Ueda, 2013a).
20
I ied o exclude isual and audible aspec s in his wo k as much as possible.
I le he wo k explain i sel a he han doing so in wo ds. Ins ead smells and space
communica e wi h you physical sensa ions, allowing you o p ojec images and
play sounds in he mind. I belie e ha smell possesses such powe . (Ueda, 2013a)
Figu e 6 — Pho o o Ol ac o y Laby in h Ve .1 ins alla ion a ATSUKOBAROUGH.
Re ie ed om
Flick
, by Maki Ueda, 2013,
h ps://www. lick .com/pho os/31300603@N06/10798965144/
2.2.2 Pe e de Cupe e
2.2.2.1 Smoke Flowe s
Smoke Flowe s is an ins alla ion piece by ol ac o y a is Pe e de Cupe e. In his
wo k, a lowe a angemen is equipped wi h he means o
ake e enge
on he human
popula ion by egu gi a ing indus ial ai pollu ion. Whe e one would expec he lowe o
exude a ag an and swee smell, we a e p esen ed wi h qui e he opposi e expe ience.
Wha a i s looks like a pic u esque se ing, soon becomes qui e d ama ic.
The smelle , “ ealizing ha he hin o smoke con ains he scen o in ense ai
pollu ion and no he pleasan scen o a lowe , (…) is o ced o ques ion, e lec and go
back o na u e.” — a c i ique on socie ies’ de achmen om na u e, and c i ique on he
Smell and Cul u e
21
u ban and indus ial pollu ion (Cupe e, 2018). No only is na u e su e ing om ou ac ion,
bu we, as na u e, su e as well.
Figu e 7 — Pho o o lowe s expelling smoke. Re ie ed om
Smoke Flowe s in Venice
, by
Pe e De Cupe e, 2017,
h p://www.pe e decupe e.ne /index.php?op ion=com_con en & iew=a icle&id=187:smo
ke- lowe s-in- enice&ca id=1:exhibi ion-news&I emid=98
2.2.2.2 The De lowe ing
This ol ac o y sculp u e piece plays on he no ion o i gin Ma y as a symbol o pu i y
and sac edness o women and he pu ely in ima e smell o a agina. The name,
The
De lowe ing
, is a e e ence o he ac o losing you i gini y — he pu eness o he sel ,
mel s, and he aginal luids a e eed on o he wo ld. The aboo aspec s o emale sexuali y
a e add essed h ough he in imacy o he smell and he in i a ion o in e ac wi h i . The
eal smell is used, c ea ed om eal women om di e en o igins, dis illed in special ways
by a Ge man lab (F ank, 2017).
Du ing one hou a s a ue made o ozen holy wa e mel s. In he s a ue is a spo
wi h eal aginal scen ! When he Madonna mel s he aginal scen s a s o mix wi h
he holy wa e . In he oom you s a smelling he beau y o woman. When ouching

22
he mel ed liquid, he o iginal aginal scen s ays on you inge o a long ime.
(Cupe e, 2014)
Figu e 8 — The Madonna s a ue made o ozen holy wa e . Re ie ed om
The
De lowe ing
, by Pe e De Cupe e, 2014, h ps:// imeo.com/109588701
2.2.3 Paul Vanouse
2.2.3.1 Labo
Wha does labo smell like? Labo is a dynamic, sel - egula ing a ins alla ion ha e-
c ea es he scen o people exe ing hemsel es unde s ess ul condi ions. (…) c ea ed by
bac e ia p opaga ing in he h ee glass bio eac o s. Each bio eac o incuba es a unique
species o human skin bac e ia esponsible o he p ima y scen o swea ing bodies (…).
As hese bac e ia me abolize simple suga s and a s, hey c ea e he dis inc smells
associa ed wi h human exe ion, s ess and anxie y. Thei scen s combine in he cen al
chambe wi h which a swea shop icon, he whi e -shi , is in used as he scen s a e
dissemina ed. The scen in ensi ies h oughou he exhibi ion. (Vanouse, 2019a)
Smell and Cul u e
23
In his wo k, a is Paul Vanouse explo es hemes o human exploi a ion by using he
smell o swea , some hing in ima ely ela ed o he body. I jux aposes hemes o indus ial
changes om human and machine labou o mic obial manu ac u ing. As he mic obes
wo k in o de o su i e, a pa allel is es ablished be ween he i esome wo king condi ions
o a swea shop scena io and he mic obial wo ld. "In Labo , he mic oo ganisms i onically
p oduce he scen o swea , no as a ulga bi-p oduc o p oduc ion, like in ac o ies o he
19 h and 20 h cen u ies, bu as a nos algic end-p oduc .” (Vanouse, 2019a). I also e lec s
on he de ini ion o sel . Al hough we ecognize he smell o swea as coming om ou
body i is he esul o bac e ial mani es a ion ha esponds o ou emo ional, physical,
and heal h s a e. These se e al ypes o mic obes he human body elies on o su i e, a
su passes he numbe o human body cells.
This wo k won he A s Elec onica Golden Nica awa d o he A i icial In elligence &
Li e A (2019b), e idencing ha smell is s eadily occupying mo e space in he a wo ld.
Figu e 9 — Labo ins alla ion. Re ie ed om
PRIX ARS
, by Paul Vanouse, 2019,
h ps://calls.a s.elec onica.a /p ix2019/p ixwinne /33175/
2.2.4 Oswaldo Maciá
2.2.4.1 The Ope a o C oss-pollina ion
Oswaldo Maciá is a Colombian bo n, London based a is ha explo es a non
ocula cen ic unde s anding o he a s, so ha his “wo k opens i sel o subjec i i y o e
objec i i y, expe ience o e knowledge” (Maciá, 2017).
24
The Ope a o C oss-pollina ion, a 2018 Ol ac o y-acous ic sculp u e and ambisonics
composi ion 22.2, is an imme si e en i onmen ha sea ches o he senses in “ he ague
on ie whe e knowledge ends and igno ance begins.”, a oiding he isual ep esen a ion
o p omo e senso ial dialogue (Maciá, 2018). The piece also echoes he decaying s a e o
na u e, e e encing he symbio ic ela ionship be ween insec s and plan s o he
en i onmen .
Two- hi ds o all species on Ea h a e insec s. Whe eas o chids and insec s
lou ish in hei symbiosis, human ado a ion o he o chid has led us o cu he lowe s
o o chids, o ge ing hey a e he sexual o gans o he plan , and o pull he scen om
hei pe als— he ol ac o y ehicle ha encou ages pollina ion. Jus one kilo o
jasmine pe ume equi es eigh o en million indi idual lowe s. Meanwhile, we
exp ess ou ha ed o insec s by umiga ing hem wi h chemicals. I is well
documen ed ha bu e lies and bees ha e been disappea ing in Eu ope and No h
Ame ica, bu esea che s a e equally conce ned abou o he insec s, impo an bo h
as pollina o s and as elemen s in he ood chain. (Maciá, 2018)
Figu e 10 — The Ope a o C oss-pollina ion, Re ie ed om
The Ope a o C oss-
pollina ion
, by Oswaldo Maciá, 2018, h ps://www.oswaldomacia.com/ he-ope a-o -c oss-
pollina ion
Smell and Cul u e
25
2.2.4.2 T ilogy o Th ee Timb es
T ilogy o Th ee Timb es
is a wo k ha add esses he mig an in lux in Eu ope,
inspi ed by G eek agedies and he ac ual ongoing humani a ian c isis wi h he e ugees.
By playing wi h no ions o belonging, home, e i o y, daily li e, and human condi ion, his
ol ac o y-acous ic scena io depic s a complex socio-poli ical si ua ion.
Di use s ill he space wi h he scen o eshly baked b ead, an a oma associa ed
wi h home. A he cen e a e h ee objec s: a ood-mixe , a ence and a piece o
conc e e holding a iolin bow and a bell. A wen y- wo channel sound composi ion is
o med om wind, wa e , ib a ing me al ences and ul asound nigh calls o
ka ydids - a a ie y o g asshoppe p oducing a noise ha exceeds he equency o
human hea ing. These a e he sounds o bo de s and mig a ions. (Maciá, 2016)
Figu e 11 — The isual aspec o he ins alla ion showcasing he objec s p esen ,
Re ie ed om
T ilogy o Th ee Timb es
, by Oswaldo Maciá, 2016,
h ps://www.oswaldomacia.com/copy-o - ables-o - he-wind
32
Looking o new smell ma e ials I wen o he Chinese supe ma ke Chen in Po o.
Looking h ough he spice’s aisle, I no iced hey had d ied galangal, a ype o hizome o
he ginge amily. I had al eady smelled he essen ial oil o one ype o galangal bu ne e
in d ied o m, al hough I ecognized some simila aspec s o he smell. Cu ious as o how
hyd a ion would a ec he smell, I imme sed close o 25g o d ied galangal in a glass ja
and le o he 25g wi hou wa e inside ano he glass ja . In he e y beginning he smells
we e pe cep ibly he same. Th ee days la e he smell was mo e concen a ed in bo h, he
in used one s a ed o ha e some alcoholic p esence and he d ied one some mus a d
no es. One week passed and he liquid one had small ci cula whi e mould pa ches. A
couple o days la e , wi h la ge moulds, he smell had a eshe p esence, whe eas he
d ied one emained simila in smell and concen a ion. Two weeks a e he ini ial
momen , he in used galangal had a men hola ed smell, almos like some o m o emedy
bu wi h he o iginal p o ile s ill p esen , a woody ginge smell. F om he e onwa ds, i
quickly became much mo e acidic, eminiscen o pineapple, men hol and wood. I also
s a ed o sligh ly i i a e he h oa when smelled. The d ied coun e pa became swee e
wi h no es o wood and mus a d.
In using se e al ood g ade algae in wa e o see which would u n ou o ha e a smell
close o he sea I p epa ed h ee glass ja s o be s o ed in he idge. Wai ing a couple o
days o smell as hese would change, I no iced only wo had a smell ha eminded me o
he sea b eeze. The hi d ja , he one wi h b ined kombu, emained in he idge as i s smell
was e y neu al. A ew weeks la e , I checked i he algae we e s ill good o be ea en, o
a oid was ing hem. No icing whi e ma e de eloping on he su ace, ungi I assumed, I
decided o smell he ja o see i i was ancid. To my su p ise, he ja ’s smell was no ancid
a all and now had a pleasan ma i ime smell. A couple weeks u he , now wi h e en mo e
whi e ma e he smell was sligh ly mo e in ense bu had de eloped some s ong
p esences. I wouldn’ desc ibe hem as o en, bu i su ely ended owa ds ha di ec ion.
The concen a ion o he o e all ma i ime smell, al hough a e y speci ic one, anspo ed
me in o Lisbon’s Oceana ium a Pa que das Nações. This smell was e y simila o he
pa s o he aqua ium ha a e accessible h ough he su ace o he wa e , wi h b idges
a e sing he ec ea ed en i onmen s. Al hough no su e which o he exhibi s i
eminded me o i had ha in ense smell o encapsula ed aqua ic en i onmen . I hink i
was ei he he penguins o he o e s.
I a emp ed o ex ac he smell o o ange ee lowe s by means o oil mace a ion. Fo
his I cu he lowe s in o small sized pieces o inc ease he exposu e a ea. The oil used
was almond oil, which was easily accessible o me and only had a mild smell. Pou ed
inside a glass ja wi h he oil on op, he lowe s we e le o in use o a ound h ee weeks,
jus be o e hey s a ed o show signs o oxida ion. To inc ease he in ensi y he smell o
lowe s, a new ba ch could be used, a e exp essing he oil ou o he olde ones o ensu e
maximum e ec i eness. E e y day I would shake he mix u e o mechanically aid he
ou pu o he oils. Day by day he smell changed in cha ac e , om a pu ely almond oil
smell o one wi h an added a oma. The new smell did no cap u e he eeling o he lowe s
al hough i had some o he hea iness o hei smell.

Chasing he F ag an Silence
33
Figu e 13 — Flowe pieces mace a ing in oil.
Ano he expe ience ega ding his ans o ma ion is he change o smell in ipping
ui s. I is a e y joy ul expe ience o me o wi ness he ansi ioning o smells in a
pineapple o melon, o any o he ui , as hey occupy he li ing oom space day by day,
and ell you when hey a e he bes o be ea en o i hey ha e ipened oo much.
Ano he sublime expe ience o me is he smell o dimly li decaying lowe s. The
sub le ligh exace ba es he deepness o he changing colou s and allows me o
con empla e he smell wi h a heigh ened dep h— no me ely a lowe bu a momen in li e.
A li le o Junichi o Tanizaki’s
In P aise o Shadows
and Okaku a Kakuzo
The Book o Tea
.
34
Chasing he F ag an Silence
35
3.1.6 “How o Con use You Senses?”
B owsing h ough Maki Ueda’s blog — Scen Labo a o y, I ead some pos s abou a
wo kshop gi en in Oc obe 2009 a he Willem de Kooning A Academy, Ro e dam, in he
Ne he lands. The heme o he wo kshop was “
How o con use he sense o smell and/o
as e, by means o he isual sense?
” (Ueda, 2009). The blog pos displayed he di e en
ou comes he pa icipan s achie ed, which, pai ed wi h some commen s by Ueda, e ealed
an in e es ing mindse o ackle his challenge.
Ini ially I had planned o u ilize he smell o cinnamon, sp ead in he oom om
hidden sou ces, o igge people in o expec ing a desse ha would as e like ha . I ied
making cookies ha as ed like ege able cu y. Fo his I used, whi e beans, g ound
cummings, cu y spice mix, cu cuma, oa s ( o he cookie look), lou , coconu oil, baking
soda. Al hough he as e was o cu y i was no in ense enough, and he consis ency was
pa icula ly dis an o ha o a cookie and mo e like an o en cooked bean bu ge . The
mois u e p esen in he beans p obably had oo much o an impac in he consis ency. To
achie e a g ea e spice la ou , in using hem in he oil could p obably lead o a s onge
as e, bu i would p obably inc ease he p esence o smell as well.
No only does he cooking i sel p esen a challenge, i is also i al o ensu e ha only
when placed in he mou h he ick is e ealed. Fo ha , he p esence o he “simula ed”
smell mus be g ea e han ha o he ood ea en. Conside ing his, I ponde ed i ubbing
he cinnamon essen ial oil in he pla e, u ensils and my own w is s would s eng hen his
concealmen . The logic behind placing i on my own body was o allow he smell o be
sp ead as I would mo e in he space o se e people hei pa in a i ualis ic me hod.
The second a emp was o c ea e a me engue ha would as e like shii ake
mush ooms and soy sauce bu looked like i was s awbe y la ou ed. Fo he me engue,
aqua aba om canned chickpeas was used, ins ead o eggs, as i can c ea e s i peaks. Fo
he ed colou o s awbe y, bee oo was used. Icing suga was mixed in and small
me engues we e made. Due o he canned chickpeas ha ing sal and he la ge amoun o
suga needed o he p ope consis ency, he inal la ou mainly e lec ed hese wo
componen s, sal y and suga y. The mush ooms and bee oo pa s we e no el a all.
To ackle he excessi e sal iness, ano he a emp was done wi h aw chickpeas,
cooked wi hou sal . Du ing he p e-soaking, se e al shee s o no i algae and kombu algae
s ips we e added o he in usion and hen o he cooking. This was o c ea e me engues
ha had a ma ine as e, like ish, bu ob ained om seaweed. The mix u e had a pale b own
colou so he smell o cinnamon would p obably be a sa e be o his e sion. No suga
was used o he mix u e, o concen a e o he maximum he ma ine la ou , bu he
me engues did no o m in he o en.
Ponde ing on how o success ully ick he isual-smell- as e expec a ion wi h a
simple app oach I hough o gela ine. I usually has a s ong colou ep esen ing he
la ou and he smell, a e se ing in he eeze , is ela i ely sub le. This p esen ed an
oppo uni y o use he colou and lack o smell in a ou o he illusion. Th ough in usions
i is also possible o c ea e ligh colou ed o anspa en liquids ha ha e a lo o la ou .
Pai ed wi h he simula ed smell in space i could lead o a success ul a emp .
36
The i s a emp was o c ea e a ishy/ma ine as ing gela ine ha would smell like
lemon. The same app oach wi h he essen ial oil in he u ensils and body was going o be
used. Algae was soaked in wa e o le he la ou s in use and cu cuma was added o c ea e
a yellowe hue in he liquid. E e y hing was hea ed in a pan o u he in use he wa e
wi h he ing edien s’ as e. Aga -aga , an alga based gela inising agen , was added a e
emo ing he solid ing edien s. The liquid was pou ed in ice making o ms and pu in he
e ige a o o se . As some he algae used we e p ese ed in sal , he la ou became oo
in ense and no sui able o be se ed. A sub le app oach needed o be made.
Re lec ing on he ing edien s o use o he gela ine, aspa agus came o mind.
Aspa agus has an in e es ing ela ion wi h he sense o smell as i p oduces a e y dis inc
change o smell in u ine as i is diges ed (O'Neil, 2010). This would u he ex end he
impac o his expe imen beyond he ea ing-smelling illusion. Only pa o he popula ion
possesses he necessa y genes o de ec his change in smell, me being one o hem. Gi en
he size o each indi idual gela ine, he aspa agus concen a ion p obably needs o be
qui e high o he changes in u ine smell o ake e ec .
Some aspa agus we e cu and boiled in a small amoun o wa e , jus enough o
subme se all he ing edien s, a ound 200 millili es. Aga -aga was added a e emo ing
and d aining he liquid ou o he solid pa s, a necessa y s ep o secu e he anspa ency
o he gela ine. I was pou ed o e ice o ms and le o es . A e i solidi ied, a li le
amoun o g ound suga was pou ed o e he su ace o each indi idual gela ine.
When s o ing he gela ines, a pape clo h wi h hidden lemon peel inside was placed
on he bo om o he packaging. A small co on disk wi h lemon essen ial oil was also
added inside he clo h. Due o hei slippe iness and o acili a e ea ing, wood oo hpicks
we e a ailable o use. The oo hpicks we e in used wi h a small amoun o lemon essen ial
oil in hei cen al pa . As ime passed, he smell inside he packaging in ensi ied. When
smelled, whils using he oo hpick, he gela ine ga e away a sensa ion o lemon. I old
people he la ou was lemon and one o hem held i o hei nose and desc ibed he smell
as a pleasan one. Al hough he smell was somewha in ense, he as e o he aspa agus
gela ine was qui e mild, which coincided wi h he eedback gi en. The as e was desc ibed
as nei he s ong no lemon. Li le a e ea ing I old e e yone ha he con en was
aspa agus and ha he smell o lemon was ob ained om sou ces ex e nal o he gela ine.
E e yone ac ed wi h su p ise as i wasn’ expec ed in any way.
Figu e 14 — Aspa agus "lemon" gela ines.
Chasing he F ag an Silence
37
3.1.7 The Seed om he Sac ed Ceiba T ee
I was walking h ough he o es in he s a e o Chiapas, Mexico and, along wi h ou
Lacandón guide (descenden o he Maya), isi ed a sac ed Ceiba ee. This ee, o some
o he p e-Hispanic esiden s o Mexico and neighbou ing coun ies, had a anscenden al
cha ac e , as i connec ed he sky and he unde wo ld o he human ealm (PL, 2016). The
ee was e y imposing by i sel bu as we ook shel e below i and we e p epa ing o lea e,
he ee d opped a seed igh in on o me. I picked i up and smelled i igh away. I was
appalled by i s emendously s ong smell o ish. This was e y cu ious as such a ishy
and ma i ime smell was no a all wha I would expec , especially gi en my su oundings.
A e y impo an lesson gi en by na u e.
3.1.8 Sp ing Flowe s in Chu ch
Romania is a e y eligious coun y and in Bucha es , he capi al, he e a e plen y o
chu ches. While isi ing he
Bise ica Rusă
(S . Nicholas Russian Chu ch), he smell o
lowe s was pe cei able in all he in e io . Along wi h he e y silen a mosphe e and
eligious o namen s and pain ings, he smell b ough he chu ch o a ealm o i s own,
sepa a ed om he ex e io ci y li e. Flowe s and he esu gence o li e in sp ing, Eas e
app oaching wi h he ebi h o Ch is , i all o e lapped symbolically. The ai had his
eeling o anscendence, e y poe ic and ag an .
Figu e 15 — Flowe s inside Bise ica Rusă.

38
3.1.9 Sea B eeze
Concep ualizing an ins alla ion ha would jux apose he smell o he sea wi h he
smell o indus y (plas ics) and decay, I wen o he beach o inhale he ai and y o
unde s and i s cha ac e is ic odou . F om p e ious smelling expe iences and by cooking
wi h algae I easoned ha I could ge he smell o he sea b eeze by collec ing algae.
This easoning was u he del ed wi h esea ch ega ding wha pe ume s used o
con ey he sensa ion o sea, a subs ance called Calone 1951, also known as wa e melon
ke one. This syn he ic chemical’s o iginal in en ion was o be a ood addi i e ha
ec ea ed he as e and a oma o wa e melon, bu he smell was ound o be much close
o a esh sea-b eeze scen when p ope ly dilu ed (Behnke, 2015). Al hough o a syn he ic
na u e, calone’s chemical s uc u e is alike me aboli es p oduced by ce ain algae, an
impo an componen in he ol ac o y imp ession o he esh seasho e (Jensen, n.d.). As
a pe ume ing edien i was esponsible o de ining an en i e gen e (Helbig, 2019) and was
pa icula ly popula in he 1990’s, used in amous pe umes like Jacques Ca allie
L’eau
d’Issey
eleased by Issey Miyake, Pie e Bou don’s
Cool Wa e
eleased by Da ido , Albe o
Mo illas’
Acqua di Gio
eleased by Gio gio A mani (F ag an ica, 2019), all e e encing wa e
in hei name.
Going no h o Leça da Palmei a, o P aia de Lab uge. The beaches in his a ea ha e
a eas wi h ocky sho eline and when he e is a low ide, hese a e easily accessible. Fo
he low and high ide imes, I consul ed he Po uguese na y’s hyd og aphical ins i u e
websi e (Ins i u o Hid og á ico, 2019), as sugges ed by a sea-knowledgeable iend whose
b o he is a ma ine biologis . Using Bo Jensen’s websi e as a e e ence (Jensen, n.d.) I
asked his iend’s b o he i he algae ha he websi e e e ed o,
Ec oca pus siliculosus
(Ec oca paceae) was p esen in he su ounding beaches, o which I ecei ed a posi i e
answe . His ad ice was o ake an image o he algae wi h me as i was qui e di icul o ell
hem apa . Upon a i ing a he beach, I ook some ime o hank he sea and i s li e, o I
was he e o ake some algae wi h me and lea n om i .
I app oached some unco e ed ocks and gazing upon he shades o g een, pu ple and
b owns, s a ed smelling. The e we e as many shapes and colou s o algae as he e we e
smells and in ensi ies. Some algae had no no iceable smell and some imes i was di icul
o di e en ia e he ambien smell om he algae I was smelling di ec ly. The ac o
collec ing he algae was qui e in ense as I emained silen o se e al hou s. I ended up
aking 6 di e en ypes o algae wi h me s o ed in glass ja s wi h sea wa e . Du ing his
p ocess I picked up a lo o ga bage, especially inside he wa e , ca ching se e al plas ic
s aws, caps, ubes, bags and andom pieces. I pu hem in he ecycle bin la e .
I le he algae s ay in sea wa e o a day bu no icing ha he smell was becoming
ancid I d ained hem ou . As he wa e was accele a ing he decomposi ion o he algae, I
decided o d y hem ou by exposing hem o sunligh . I laid hem ou in he balcony o e
pape clo h o a ew hou s. As he wind en e ed he li ing oom, a wonde ul sea b eeze
smell was coming in. I el like li ing nea he sea as he smell was jus like he eal hing.
A e comple ely d ied I s o ed he algae in glass ja s and closed hem. Some de eloped
e y in e es ing smells, all sligh ly di e en om one ano he . I s o ed he h ee bes
specimens as he emaining ei he didn’ ha e enough smell o had oo s ong o a ancid
p esence.
Chasing he F ag an Silence
39
Figu e 16 — Some o he algae a he beach and he collec ed pieces o plas ic below.
40
3.2 Smell Pe o mance
One o he main ou pu s o his hesis is a pe o mance ha uses he sense o smell
as i s main medium o exp ession. The accumula ion o he p e ious expe iences and
e lec ions on smell, along wi h he s udy o p e-exis ing wo ks, in luenced and led he
decisions ha shaped he pe o mance.
Thinking on how o p esen he pe o mance he e we e many ideas on which smells
o use, he concep ual app oach o ake, he p esen a ion me hods, e c. The ecological
heme was he s uc u al basis and he only hing ha was p obably cons an h oughou
he p ocess. E en so, as he me hods o p esen ing change, he concep ual aspec s needed
o be adap ed o hose same changes. I wan ed o ha e a wo k ha , h ough ime,
con as ed a smell ha was pe cei ed as coming om na u e, wi h a smell ha was
pe cei ed as a pollu an . In he ini ial concep ualiza ion, i would s a wi h he smell o
seasho e and end as he smell o plas ic. Th ough his jux aposi ion o smells, I wan ed o
b ing he issue o plas ic pollu ion in he ocean, and plas ic o e use in gene al daily li e.
Obli ious as o how o app oach he pe o mance me hod I sho ly de ia ed owa ds
he idea o p esen ing he wo k as an ins alla ion. In his ins alla ion piece, he smell o
he sea would be dispe sed h ough mis , and a candle would ansi ion om a lo al smell
o he smell o pollu ion as i would bu n. The candle has a symbolic conno a ion
commonly associa ed wi h eligious p ac ices, wo ship, he deceased, and I wan ed o
explo e his. The e’s also he componen o passing ime as i bu ns and ans o ms, om
one smell o he o he , om candle o he lack he eo , om li e o dea h. Designed o be
p esen ed in a small ishe man chapel, he place would s eng hen his ma i ime and
i ualis ic connec ion.
Hoping o unde s and how some o he concep ual and ex ac ion echniques should
be ackled and a emp ing o o e come some a ising p oblems, I had a con e sa ion wi h
smell a is Maki Ueda on he hi d o Ap il 2019. A e s udying he wo k and blog
6
I
p epa ed some ques ions add essing some ex ac ion echniques ha I did no unde s and
comple ely (o a all) and asked some ques ions ega ding he insigh on smell as a
medium in ela ion o wha I wan ed o do. Ueda sugges ed ha , o a spa ial ins alla ion,
he eal ma e ial should be used, as opposed o a o m o ex ac ion. He a guing was ha
he human nose is qui e good a de ec ing he di e ence be ween he eal smell and an
ex ac ed smell. The equi ed p ocesses and manipula ions change he na u e o he smell.
No only ha bu ex ac ion o en equi es big p ocesses, demanding knowledge abou he
ma e ials, ha dwa e and ime. Ex ac ions o en become qui e concen a ed and a e
di icul o manipula e in o di e en media hence he inadequa e spa ial use o he
ins alla ion. While discussing my idea, I became awa e ha he ole ha he candle akes,
o being an elemen in cha ge o ansi ioning be ween smells could be unde aken by
mysel as he ac i e agen o change. The human pe o ma i e aspec o he piece was
again in conside a ion.
Thinking on how o inco po a e he pe o ma i e aspec back, I emembe ed
100
Keyboa ds
, an ins alla ion-pe o mance piece by Japanese a is ASUNA, which I
6
h ps://scen -lab.blogspo .com/
Chasing he F ag an Silence
41
wi nessed in Se al es o O MUSEU COMO PERFORMANCE (ASUNA, 2018). In his
pe o mance, ASUNA lays ou on he loo , in a ci cula ashion, 100 oy keyboa ds. As hey
a e u ned on, an au al space o in e e ence is c ea ed by he imb e and onal di e ences
be ween he keyboa ds. Ci cula ing he space, one ge s o expe ience he di e ences in
sound. I was in e es ed in his ela ionship be ween unique au al e ec s and spa ial
posi ioning, so I s a ed o plan a simila pe o ma i e app oach wi h smell.
Figu e 17 — ASUNA in Se al es. Re ie ed om
Se al es Facebook
, by Se al es, 2018,
h ps://www. acebook.com/ undacaose al es/pho os/a.64590663655/10156738871453656
The same “sea o pollu ion” s yle was going o be used bu he s uc u al aspec was
now di e en . I planned o es a smell p og ession ha g ew in o a highe deg ee o
an h opogenic in ol emen . I would s a wi h he ma i ime, de elop in o o es s and
woods, lowe s, spices and a he end, indus ial. The ci cula con igu a ion would ha e, a
he begging and a he edges, he smell o he sea, which would be ac i a ed g adually o
he smell o occupy he space and he nos ils. The sea would be p esen h oughou he
pe o mance as a base no e/en i onmen . Inside he ci cle, se e al ma e ials in di e en
o ms, oils, liquids, lowe s, ba k, e c, would be manipula ed, e ealed and hidden, c ea ing
he p og ession. Depending on whe e you s ood, you would expe ience a di e en ol ac o y
highligh as he piece was composed.
48
cap and cen ed in a anspa en glass pe i dish. Being anspa en , he clea pu ple o he
gasoline was isible. The ma ches we e kep inside he ma ch box, which ea u ed ed
chilis and peppe g ain on op. The i s ou smells would be handed o he gues s,
explo ing he p oximi y and in imacy ac o , whe eas he gasoline and he ma ches would
be a a dis ance, a e sing he ai in he oom, explo ing he eelings o an icipa ion.
Selec ing he con aine s o each o he smell sou ces was a ca e ully hough p ocess.
The e needed o be an aes he ical ha mony be ween all he objec s p esen and each
package should enhance he expe ience o each smell.
The oom also had o be p epa ed o enhance he expe ience o smell and o ele a e
he pe o mance o an indi idualized momen in ime and space. The main goal was o
ocus on ol ac ion. The isual componen o he p esen a ion was educed o a minimum
by con olling he ligh s and da kening e e y hing else. The sounds we e solely hose
coming om he manipula ion o he smell objec s and he uncon ollable ambien sounds
coming om he ou side. Reducing he usable space wi h black cu ains and modula
walls, he oom had a mo e con olled ai low, he space became comple ely da k and he
lu e e e be a ion and e e be a ion ime we e educed. Two emo ely dimmable ligh s
we e ins alled, wi h o ange il e s o make he colou empe a u e ho e , and wi h panels
ha can modula e he ligh dispe sion. One was aimed owa ds he back o he benches
whe e people would be si ing and he o he owa ds he desk whe e he smell objec s we e
placed.

Chasing he F ag an Silence
49
Figu e 23 — Rep esen a ion o he pe o mance space. No in scale. On he le , ou sea s
a e ep esen ed wi h squa es, on he igh , he able wi h a simpli ica ion o he smell
objec s. The o ange iangles ep esen he ligh s and hei di ec ion. The blue line
ep esen s he di ec ion o he ai low, om op o bo om. The bo om le opening
shows he en ance in o he space.
3.2.3.1 Unused Smell Sou ces and Techniques
I knew I wan ed o use he bu ning smell be o e knowing which sou ce I was going o
use o he smell. Ini ially I in ended o use pape as i was easily accessible, simple o
handle, and could be manipula ed in o a cus om design. I s a ed o c ea e py amidical
s and designs wi h nickel wi e o hold he pape . As soon as I had my i s s and design, I
s uck some pape in i and bu n i . Al hough i had a smell ecognizable as bu ning, i had
a swee no e, somehow like anilla. This smell p o ile wasn’ adequa e o he use I wan ed
o gi e i .
I had an “ah-ha” momen when p epa ing oas and a small piece go s uck on he
esis o s. Tha was a good bu ning smell o use, bu logis ically much mo e elabo a e.
Using an ac ual oas e was ou o he ques ion as i s o mal cha ac e is ic wouldn’ blend
in he emaining i ems aes he ics. I a emp ed o educe i o he minimal se up necessa y
wi h help om a knowledgeable iend in he ields o elec o echnics.
Using wo ce amic esis o s in pa allel, bo h physically and ci cui -wise, I connec ed
hem di ec ly o an adequa e powe supply o exploi hei hea as much as possible. I
placed a piece o b ead om he day be o e, oughly 2cm3 in size, on op o he esis o s
and wai ed. I ook close o 2 minu es o he smell o s a o be no iceable. By lipping he
b ead, I could see ha i had bu n qui e a bi . I was a success, bu he ime i ook o hea
and he lack o es s wi h he ull pe o mance se up made his me hod oo un eliable o
p esen ing. The addi ion o elec onic componen s also came wi h he added endea ou o
secu ely and nea ly o ganizing he cables and componen s.
Figu e 24 — Ce amic esis o , isually simila o he ones used. Adap ed om
h ps://www.pa s-exp ess.com/Da a/De aul /Images/Ca alog/O iginal/016-100_HR_0.jpg
50
A simila conclusion was a i ed a ega ding he usage o he ul asonic mis make s
wi h wa e and essen ial oil smells. The e was a long ime whe e hey s ill belonged o he
smell i ems, bu I ealized ha , composi ionally i wouldn’ make sense. The adequa e
con aine was e en ually ound, al hough p obably he ha des o, as he aes he ic aspec
was p eceded by unc ional ones ( he wid h-heigh - olume ela ionship equi ed).
The e is a lo o inhe en po en ial in he usage o essen ial oils p o ided you ha e
access o hem. Due o hei long his o y and he ise o a oma he apy in ecen imes he e
a e se e al mix u es on he in e ne which can inspi e a new c ea ion. In my case, I was
going o c ea e a wood ela ed composi ion. I had imagined he di use aking he place o
he cinnamon in he sequence. This posed a concep ual p oblem as i used he dis anced
expe ience o smell, diminishing he impac o lea ing i la e o gasoline.
The pe asi eness o essen ial oils in mis is qui e high, making i ha de o con ol
in a scena io ha p eceded he ending momen s. Since gasoline was going o be he ending
base one o he pe o mance, i would be less impac ul i some o he oil emained p esen
in he wa e o in he ai . To educe his possibili y, a ca e ully con olled quan i y o oil
could be used, o example wi h a pipe e.
Chasing he F ag an Silence
51
52
3.2.4 Pe o mance
On he wen y hi d o May 2019, he pe o mance was p esen ed a o al o nine imes,
o nine di e en g oups o a o al o 38 people. All he a endees we e di ec ly in i ed and
inqui ed abou hei a ailabili y o ha day. C ea ing ha mony be ween indi iduals was
he ocus ega ding he planning o hese sessions. Many people we e no awa e o wha
was going o happen o whom was o come. Taking ad an age o ha I in i ed people who
a e iends o in some kind o ela ionship, people ha a e iends bu ha en’ seen each
o he in a while, people ha may no be iends bu sha e much in common and could ha e
good con e sa ions be o e o a e wa ds, e c. Al hough his may seem an accesso y o he
p esen a ion i sel , i only made sense his way. Sha ing he expe ience wi h o he s is wha
eally ma e s. In e -indi idual ha mony was a ele an pa o he p ocess as i ep esen s
a la ge pu sui o equilib ium and happiness.
The i s session, a 10:15 in he mo ning was p esen ed o ou people. I awai ed he
pa icipan s a he s udio’s doo and accompanied hem o he oom be o e he
pe o mance space. In he pe o mance space only he ligh ha illumina ed he s ools
was li , albei dimly. S anding a he en ance I in i ed hem in and di ec ed hem o he
sea s while mo ing owa ds my posi ion nea he able. The numbe o sea s a ailable was
exac ly he numbe o people coming o each session, ano he endea ou in he pu sui o
ha mony. The space was so da k, a sensa ion heigh ened om ansi ion om dayligh
in o an unde g ound place, ha he i s pe son o si aced he opposi e di ec ion. As soon
as e e yone sa acing me, and I was s anding in my place, I u ned on he ligh ha
illumina ed he able. This had qui e an impac as he da kness made he able inexis en
p io o ha momen .
Inspi ed by he ea ce emony’s cho eog aphed mo emen , I ca e ully picked up he
i s i em in a i ualized manne . I o a ed he ce amic bowl in be ween my hands, using
wo pa ial o a ion mo emen s. Now, he d agon ly d awing aced he gues s. I li ed he
bowl wi h bo h hands and bowed sligh ly, aking a deep, long inhala ion ocusing on he
algae smell. Mo ing he bowl downwa ds I exhaled, s ill concen a ing on he ol ac o y
sensa ions. I hen epea ed his inhala ion-exhala ion cycle once mo e. By pe o ming
hese mo emen s, I could in a way ins uc wi hou e bal communica ion, on how o
app oach he smell i ems and se a empo o he pe o mance. I app oached he gues
close o my igh side and, slowly leaning o wa d wi h bo h a ms, p esen ed he i s i em.
Mo ing back bu s ill acing he gues s I e ea ed o my posi ion behind he able, now a
li le bi u he back in o he da kness and oughly aligned wi h he i s i em’s posi ion.
I awai ed as he gues s smelled and passed he i em along. Each ook hei ime and
app oach o smelling, al hough somewha like wha I had done mysel . Taking he hin
om he o a ion mo emen s I had ini ially done, one gues no ed ha , mimicking he
mo emen and smelling a di e en pa o he algae, he smell was pe cep ually e y
di e en . As he i em was passed o he las pe son, I mo ed o he le side o he able,
awai ing he momen he las pe son would be eady. I app oached he las gues and,
ex ending bo h a ms o wa d wi h a sligh bow, ook he i em in o my own hands, mo ed
backwa ds and ca e ully placed i in he same place i had been be o e.
In his i s session, I u ned o he ligh behind he gues s as soon as I u ned on he
able’s ligh . Al hough ideal o educe he isual componen , his posed a p oblem o me as
i was e y di icul o pe cei e when he las pe son had s opped smelling. As such, I
Chasing he F ag an Silence
53
decided o u n he ligh back on o he ollowing i em. As no ed by one o he gues s a
he end, his u ning o and back on made hem awa e o he ligh , a ec ing hei capaci y
o ully concen a e on he smell. Taking hei ad ice and my own necessi y, o he
emaining sessions, he ligh s ayed on bu a a e y low in ensi y. Ano he gues no ed
ha , due o he da kness, when ans e ing he i em, hei hands/bodies would ouch,
aiding he ansi ion. This b ough an in e es ing co po eal elemen o he in e ac ion.
P oceeding o he second i em, I picked up he wooden bowl wi h he eucalyp us buds
and la ende . I shook i sligh ly wi h a ci cula mo emen o ea ange he con en s inside,
a ec ing he balance o he smells. I hen epea ed he smelling, handing and e ie ing
mo emen s done be o e. The eucalyp us is a e y amilia smell in Po ugal and is
he e o e easily iden i iable. Due o he smell-memo y ela ionship, his smell was
pa icula ly s ong o some people in e ms o e oking hings pas . Du ing he ou h
session, one o he gues s who is pa icula ly akin o smells, aking a long ime smelling
each o he i ems, sha ed a s o y ega ding he eucalyp us smell. She had spen 9 yea s in
a eligious boa ding school which had a la ge e ain wi h eucalyp us. She used o un
away ea ly in he mo ning in o a ca e as she did no wan o go o mo ning’s eligious
p ac ice. While hiding in he ca e, e e y hing she could smell was he smell o eucalyp us,
awai ing he nuns ha would e en ually ind he . Unsu e i my ac ions had igge ed
unpleasan eelings, I am none heless e y g a e ul ha ha pe son sha ed wi h me and
he emaining gues s some hing so pe sonal o he expe ience.
These i s wo smells also had a s onge physical sensa ion o wo o he gues s in
he 7 h session. They desc ibed eeling ligh headed and ha he smell had “pie ced” deeply
in o hem. The e we e some e e ences o his ype o physical senso ial aspec o he
expe ience bu no a lo . A leas in compa ison o memo y ela ed expe iences. I wonde
i i could be ela ed o a isual-cen ic ype o obse a ion ha does no pay much ega d
o he physical sensa ion. Pe pe ua ed by he mode nis model o a museum and he
body-a objec dis anced in e ac ion. Pe haps an inc eased exposu e o smell ela ed
expe iences could make people mo e mind ul o hei bodily expe iences and help hem
desc ibe be e he ol ac o y sensa ions. The hi d smell also had a mo e physical
sensa ion o some o he gues s.
I chose a aw cinnamon s ick o he hi d smell-objec . Visually i looks like wood
ba k because ha is exac ly wha i is. Se e al species o ees belong o he
Cinnamomum
genus, bu only a ew a e g own o comme cial spice use. Mos in e na ional comme ce
comes om a ela ed species also e e ed o as Cassia (Cinnamon, 2019), a name de i ed
om Heb ew
q' si-ah
"cassia," om
qa sa
" o cu o , s ip o ba k." (Online E ymology
Dic iona y, s.d.). Cinnamon s icks a e usually small and e y cu led so he odds o
ecognizing i as cinnamon we e small. The s icks used we e a ound 20cm. I would pick i
up wi h bo h hands, one a each side, li ing i up, and, placing he humbs in he middle,
would b eak i in hal , eleasing some dus and sound in o he ai . I s acked hem bo h and
b ough hem close o my nose. I would in en ionally smell di e en places, a emp ing o
indica e ha a di e en expe ience would be had. The edge whe e he ba k had been
b oken had a much s onge smell, much mo e ecognizable as he ypical cinnamon
p o ile. The emaining pa s o he wood had a di e en balance o he smell wi h a mo e
ci ic p esence. The gues s unde s ood his and men ioned hese di e ences. I app oached
he i s gues and used bo h hands o e ically p esen he wo s acked s icks. One gues
ema ked ha she had o con ol he sel o no cough because she el he cinnamon dus

54
in he s ick i i a e he h oa . I mo ed back, awai ed he passing o he i em, ecei ed i
om he las gues , and placed i in i s s a ing posi ion. As I would always b eak he s ick,
I eplaced i wi h a new one o each session, s o ing he b oken pa s o la e use.
The ollowing i em was he ea-caddy wi h ose pe als. The isual componen hin ed
a he in e io con en qui e di ec ly in his one bu e en so, no e e yone ecognized he
smell as lo al. I held he ea-caddy in i s place on he able wi h he le hand and wi h he
igh , slowly emo ed he ex e nal lid, aligning i on he able wi h he base. I hen emo ed
he inne lid and placed i behind he ou e one, also aligned. I li ed he con aine , placing
my igh hand below i and smelled. I hen epea ed he handing, ecei ing and placing
back on he able, lea ing he con aine open. This smell was ose pe als, collec ed om
my g andmo he ’s ga den. No om he lowe s bu om he loo . I did no wan o cause
s ess o he plan and lowe and hus only used pe als ha had al eady allen. I gen ly
emo ed any insec ha migh ha e been on he pe als and placed hem in he lowe bed.
While indi idually sub le, when oge he in a ja he smell had a s onge p esence.
None heless, i had, o me, an elegan ail y. As an al e na i e, I had a ja wi h lemon ee
lowe pe als s o ed, picked om a iend’s ga den. Fo he second session I decided o mix
he lemon lowe pe als in he ea-caddy along he ose pe als. The smell o he ci us
lowe s is e y compelling, as p e iously men ioned in he changing seasons subchap e .
I doub ed mixing he pe als he ollowing session, ecognizing ha he smell, now wi h a
di e en complexi y, was con using and no longe ma ched he sensa ion I had en isioned
o ha smell momen . I kep hinking abou sepa a ing he pe als bu as he day wen
along, I ne e go o i . Sepa a ely, each o he lowe s is e y in e es ing bu hey ca y
e y di e en sensa ions and did no mix well in his case. I ac ed impulsi ely and should
ha e e lec ed on his. As people did no epea he sessions, he change was no
pe cei able o he gues s. As someone ha was he e h ough all o hem, i would ha e
been o me mo e in e es ing o see how he ose pe als smell changed h ough he day.
By he se en h session, when smelling he pe als, i el like aw po a oes. Cu iously, one
o he gues s o ha e y same session made a commen ega ding ha and assumed he
in e io o he ea-caddy had po a o peels. This senso ial co obo a ion h ough ision is
qui e cu ious. I i smells like po a oes and looks enough like i , hen i p obably is. When
asking i i was indeed po a oes, o he s om he same session ac ed su p ised, denying
ha possibili y as i was an imp obable desc ip ion o hem. The ea-caddy so a was he
only con aine ha kep he smell sou ce occluded om di ec sigh , and mos gues s
peeked inside he ube o see. One gues in he i s session hough ha , de i ed om
looking, i was o ange peel. Upon using ol ac ion, hey immedia ely ealized i was lowe s.
This was an in e es ing occu ence as i hin s a he isual pe asi eness in knowledge
acquisi ion.
Flowe pe als was he las smell ha was handed o he gues s. The ollowing wo
smells elied no on physical p oximi y bu explo ed he ae ial and dis anced expe ience
o ol ac ion. A small 8mL glass ube wi h gasoline s ood closed on op o an 8cm in
diame e pe i dish lined wi h a ci cula pape clo h o he same size. S ill in i s posi ion, I
emo ed he ube’s lid. I li ed i and pou ed 2-3ml on o he pe i dish, placed i on he able
su ace, aligning i wi h he dish’s cen e. I s epped back, s ood in he same place and
coun ed o 30, o allow he smell o dispe se. The small amoun used, along wi h he small
ube se ed o con as he size wi h he usual in ensi y ha he smell has. Howe e ,
gasoline was he smell ha posed he la ges amoun o p oblems ega ding i s pe cep ion.
Chasing he F ag an Silence
55
The i s session’s gues s had no p oblem in his ega d, bu in he second one a couple o
gues s didn’ eel he smell. A aid ha his would epea i sel , I changed, h oughou he
day my app oach o he gasoline smell objec . I was no able o unde s and wha made
gasoline impe cep ible o some al hough I assume i was p obably he ai low in he oom
pai ed wi h some gues s’ highe h eshold le el o pe cep ion o smalle awa eness o he
smell. And i did no seem o be di ec ly ela ed o he amoun pou ed in o he pe i dish
as i luc ua ed a mos 1ml. Pe haps when some gasoline d opped on o he ableclo h and
in o my hands i aided in he dispe sion o he smell. By he six h session I was li ing he
pe i dish sligh ly and il ing i in a ci cula mo ion as I gen ly blew in o i . This ensu ed
ha he smell eached e e y gues . E en when doing so, I s epped back and coun ed o 30.
By p esen ing a smell ha he gues s could eel a a dis ance, I wan ed o e e ence he
expe iences o smell ha one encoun e s in olun a ily and hei al e na i e modali y o
pe cep ion. I is impo an o no e ha no gues said ha hey had isually iden i ied he
liquid as gasoline while s ill inside he glass ube. Some assumed, due o he colou and
appea ance, ha i was some so o pe ume. As he smell a elled he ai and s a ed o
be pe cep ible some gues s s a ed ha i i s appea ed as a mo e alcoholic subs ance and
only u he in ime, hey ecognized i as gasoline. Pe haps due o he di e ence in
ola ili y o he componen s p esen in he liquid — I don’ know. Gasoline had his
expe ience ha , as soon as you el i , i was di icul o no be awa e o i . Due o his ac o
and wan ing o use he small-scale con aine o highligh i s po ency I es ed di e en
con aine s and he mos e icien way o dispe se wi h hem whils isually e e encing
he chemical na u e o he smell objec . I concluded ha , o he ube used, emo ing he
lid would no be enough, a leas a he dis ance ha he gues s we e si ing and in he
empo al hy hm ha he pe o mance had. While es ing wi h jus he lid emo ed he
pe cei ed smell had a di e en balance o i , mo e akin o some so o alcohol. I assumed
ha he sho opening a ec ed he liquid’s ola ile elemen s abili y o dispe se
simul aneously.
A e wai ing, I app oached he las i em — he ma chbox. I li ed and opened i ,
emo ing h ee ma ches and holding hem oge he wi h my igh -hand inge s. I ligh ed
hem all oge he , il ed hem downwa ds o le he wood bu n hal -way and hen, wi h a
long and in ense exhala ion, blew he smoke owa ds he gues s, pu ing ou he i e in he
p ocess. I placed he box in i s o iginal place now wi h he ma ches on op o i . I s epped
back, disc e ely u ned o he ligh s ha li he gues s i s , hen he one ha li he able.
S anding s ill in he da kness, I coun ed o 60 and u ned he ligh s back on in he e e se
o de , inc easing hei in ensi y o b ing mo e ligh o he oom. This, along wi h a di e en
acial exp ession, signalled he end o he pe o mance, opening he space o in e ac ion.
Se e al gues s we e ala med when hey ealized ha I was holding ma ches, ea ing ha I
would se he gasoline aligh . In he second session I belie e, one gues couldn’ eel he
bu ning smell and o he ollowing sessions I s a ed o place mysel aligned wi h he
cen al axis o he able when blowing he ma ches.
In he momen s a e he pe o mance mos people ga e eedback, alking abou how
hey el , wha hey we e expec ing, wha did he smells mean, sha ing expe iences ela ed
o he smells, which smells hey liked he bes o which ones hey disliked a lo , e c. One
gues in he i s session, coming om an a ea o expe ise ela ed o sound, desc ibed he
sensa ions he smells ga e hem by means o sound ela ed e ms, o o e come he
linguis ic ba ie ega ding smell and smell a is ic expe iences. Only a e ha ing his
56
expe ience, hey el he lack o ocabula y, as opposed o he idea o an ine able
exis ence. When smelling he cinnamon ba k, hey hough “ his smell is e y loud!”. As
he gasoline smell a i ed, hey el ha ha smell had e e b, eeling i in he oom ins ead
o in he objec . The bu ning smell om he ma ches was delayed — he gues , hinking i
wouldn’ be el a all, el i a i e e y in ensely and wi h sho du a ion, synch onised
wi h u ning o he ligh s. Ano he gues desc ibed he smell o he bu n ma ches pai ed
wi h he da kness as some hing deeply soo hing and cleansing, claiming hey would ha e
liked o s ay in ha place longe . One gues said he smell o he ma ches made hem hink
o Ch is mas season, some hing ha , o me, was no an ob ious associa ion and cinnamon
would ha e been a much close associa ion. Some gues s assumed he e was and
unde lying meaning o he smells and hei sequence. I explained ha he ocus was he
senso ial aspec o he expe ience, he ac o eeling by i sel . Despi e he e being he
ecological concep ha helped de e mine which smells o use. Be o e explaining I
answe ed back by asking wha meaning i had o hem. The e we e desc ip ions o
changing elemen s, om wa e o i e wi h a jou ney h ough he land in he middle,
among o he s. One gues no ed ha hey wan ed o ec ea e he i ualized cho eog aphed
mo emen s when passing along he objec s bu he dis ance be ween he s ools did no
allow o ha . I hen added mo e space be ween hem in he ollowing sessions. Ano he
said, in a humo ous one, ha hey could skip ha week’s medi a ion session. This
commen made me pa icula ly happy as I unde s ood i as he mind ulness ha he
expe ience b ough being equi alen o medi a ing. I also mean ha people el he e was
space o humou and ha i wasn’ oo se ious. I ealized I me ely wan ed o sha e
happiness wi h people, and I was con iden abou he pe o mance so he days p eceding
he p esen a ion we e qui e calm.
The g oup o gues s in he six h session was he mo e di e se one ega ding hei
di e en backg ounds. One pe son in ha g oup had accompanied my p ocesses du ing
his hesis de elopmen and as such was mo e in o med on wha was going o happen.
This ga e way o a pa icula ly in e es ing eedback. A he end o he session she sa he e
mos ly lis ening, awa e o how di e en he expe ience had been om he o he s. Whe eas
he emainde o he gues s mos ly ied o a ibu e meanings and apply p e-exis ing
e e ences o he smell sequence, ha gues used he pe o mance as an oppo uni y o
ocus on he senso ial expe ience. Al hough se e al associa ions came o mind, as a e lex
o he smell-memo y connec ion, he e wasn’ his ocus on na a i e. She desc ibed he
expe ience akin o ha o Pauline Oli e o’s (2017) deep-lis ening — deep-smelling. I am no
awa e o a e m o smelling ha wo ks in he same sub le way as hea ing and lis ening
a e di e en ia ed om one ano he , bu i would be app op ia e he e.
O e all he pe o mance was e y posi i e and had an en husias ic ecep ion by he
pa icipan s. Du ing he smelling p ocess I mysel , when pe o ming he mo emen s, was
e isi ing he p ocesses ha led o ha speci ic momen , eli ing he momen s when,
whe e and wi h whom I had picked up he sepa a e con en s and con aine s.
Chasing he F ag an Silence
57
Figu e 25 — A momen in one o he pe o mances.
64
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68
Annex A
6. Annex A — De eloped Tools
6.1 A duino Code o Piezo Con ol
//piezo cons an s and a iables
// pin (analog) whe e po en iome e is connec ed o
cons in po Con olPiezo = A6;
// alue ead om po en iome e
in po PiezoValue;
// pin (digi al PWM) ha ou pu s in ensi y o he piezo
cons in pinPiezoIn ensi y = 6;
in piezoIn ensi y;
oid se up() {
pinMode(pinPiezoIn ensi y, OUTPUT);
Se ial.begin(9600);
Se ial.p in ln("My Ske ch has s a ed");
}
oid loop() {
// eading om po en iome e
po PiezoValue = analogRead(po Con olPiezo);
// mapping he analogRead alues o he analogW i e 0 - 255 ange
piezoIn ensi y = map(po PiezoValue, 0, 1023, 0, 255);
analogW i e(pinPiezoIn ensi y, piezoIn ensi y);
Se ial.p in ln(piezoIn ensi y);
delay(1);
}
Annex B — Wo k P ocess
69
Annex B
7. Annex B — Wo k P ocess
7.1 D awings and No es
The ollowing pages a e aken om my
hinking
olde and show many o he
d awings and no es aken du ing he de elopmen o his hesis.

70
Annex B — Wo k P ocess
71
72
Annex B — Wo k P ocess
73
80

Annex B — Wo k P ocess
81
82
Annex B — Wo k P ocess
83
84