DOI: 10.1002/hlca.201800185 Essay The Odor Value Concept in the Formal Analysis of Olfactory Art Philip Kraft*a a Givaudan Fragrances S&T, Ingredients Research, Überlandstrasse 138, CH-8600 Dübendorf, Switzerland, e-mail:
[email protected] Commemorating the 50th anniversary of Marcel Duchamp’s death In the past 15 years, there has been a tremendous increase in the emergence of olfactory artworks despite the traditional skepticism with respect to scents as subjects of art. This essay submits that this skepticism lacks aesthetic justification; art is what is accepted as such, and olfactory art is in fact already well accepted as an art form by the general public. However, there exists no methodological tool for the formal analysis of olfactory artworks. The essay suggests such a method, based on odor values; this is elaborated using the fragrance ‘Dune’ (Dior, 1991), and is compared with a purely visual approach to the same subject. This new concept allows for the derivation of simple compositional sketches and is then exemplified by the formal analysis of three more recent olfactory artworks: Elodie Pong/Roman Kaiser, ‘White‘ (2016), Martynka Wawrzyniak/Yann Vasnier, ‘Tears (T6)’ (2012), and Christophe Laudamiel, ‘heat’ (2003). Keywords: compositional schemata, formal analysis, odor value concept, olfactory art, Marcel Duchamp. Introduction: The Magic Carpet Ride distillation and extraction techniques of these very ‘I dabbed on Dune. Immediately, I was transported to a smoky substances, became only possible by chemical syn- Bedouin campfire in the North African desert. Our camel thesis of pure odorants, so-called smelling principles. caravan was trekking to the bazaar, loaded with bags of The first ones were coumarin and vanillin, the smelling myrrh and frankincense, cloves, honey, salt, and lemon oil.