Friday, 28 May 2010

Machines of scent

Heres a few links to people actively working with scents through technology, to offer chances to disperse smells in conjunction with our environments.

Though I do enjoy working with perfume, as an idea of it being dispersed onto and emanateing from individuals skin, as well as this 'Sillage' effect perfumers describe as the trail of a scent from a human, it may be that i will have to use these means of technology to make the scent strong enough to be present within the room....

Problems that may occur:
  • Prices range from £100 - £350 not including scent cartridges
  • Though there are 1000's of scents to choose from none of these are my own scents i have been producing from essential oils (Attempt to collaborate with company to produce a customised scent? This will inevitably cost money I will not have)
  • Spectators will be unable to take this scent away with them (bottled), which is a main part of the nostalgic/epiphany process I am interested in bringing to my audience...

Tuesday, 25 May 2010

Hazlitt Theatre, Maidstone, MA Exhibition 'Show', 15th May 2010

Our exhibition at the Hazlitt gave us grounds for testing our ideas and practice so far with the work we have produced so far during the development stages of the course.

My aim for the exhibition was to perform an act of 'sillage' (the scent that follows a woman after she leaves the room). So I began to compose a perfume consisting of strong traditional floral scented heart and base notes to evoke and atmosphere of ladies visiting the theatre around the 1900's.

By constantly dousing my body and clothes with the scent and walking around the space, and people, i hoped that the scent would (even subconsciously) be noticed by visitors, and conversation regarding the scent would come about.

The bottled scents were placed on a plinth with instructions of usage, encouraging people to actively smell the scent at a later date and make their own decisions about where the scent transports them in their memories.

Researching Minimalism and artists works concern issues often generated when producing such forms of works, lead me to consider my installation in greater terms of spatiality and the effect darkness can have on our perceptions, to the factors presented to us.

James Turrell (Ganzfeld) and Miroslaw Balka (How it is, 2009) often confront the viewer with a space and aspect capable of distortion to their perceptions due to low light conditions. Issues of heightened self-awareness come into play and we are often forced into relying on senses we are less familiar to using for navigation.

I have attempted to plunge my viewers into a darkness (as dark as the surrounding space will allow me), with only an extremely dim spot light to lead the spectator to the location they need to be in.

Ben and I spent time considering and working with the architectural aspects of the space, to create our sound.

As well as adapting the frequencies and tones to experiment with what was successful considering their physical effects, we were able to discover that two outputs of sound were not sufficient enough for this effect of immersion we were aiming for, as the scent being dispersed into the space and surrounding the viewer, we wanted the sound to take similar form so they are both able to resonate around the audience.

Placing speakers at different heights, at selected parts of the room, carried the sound to it's full potential. It also allowed us to discover that nearer to the ground was the most affective area in which to receive full qualities of the sound, thus providing the spectator with an area to sit within the duration of the piece.

Experimentation with the adapting the notes of sound (still basing it on Septimus Piesse's theory) lead to the adaptation of the oils used for the scent.

Peppermint and Rosemary were too similar in odor, and sound, so to add greater variation to the sound we replaced Rosemary with ginger.
The formula for the perfume now stands as :
  • Sweet Orange Oil
  • Peppermint
  • Ginger
  • Ylang Ylang