An Appetite for Innovation: Harvard’s David Edwards talks to Nautilus about how ideas can change the world.

David Edwards (inventor of the oPhone), sits down with Gayil Nalls (interdisciplinary artist) to discuss innovation. Both are brilliant minds, working with scent.

via The Institute for Art and Olfaction

Top 500 Modern Perfumes : The Data ~ by Grant Osborne —

To celebrate its 15th birthday, Basenotes, “the largest fragrance information resource on the internet,” released over the past few weeks an impressive list titled 500 Greatest Modern Perfumes that culminated on Friday. The list presents an immense culling of users’ data to rank the top 500 fragrances of our millennium as evaluated by its huge user base. The website’s founder, Grant Osborne, also offered an insightful breakdown of the data according to launch year, gender, brand (along with types and parent companies), perfumers, flankers, as well as fragrances that have been discontinued or contain “oud” in the name (a testament to the recent flare of the “exotic” ingredient in the fragrance marketplace).

Helga Griffiths, Identity Analysis

Oscar Niemeyer Museum, 2015 Curitiba Biennial, Brazil

The multi-sense-installation “Identity Analysis” by German artist Helga Griffiths will be on view from October 3rd till December 6th at Oscar Niemeyer Museum as part of Curitiba Biennial 2015 with the theme “Luz Do Mundo” (World Light) curated by Teixeira Coelho. The Biennial website is still under construction, but the catalog can be currently downloaded from there.  

The walk-through installation “Identity Analysis” is an abstraction of the human DNA code consisting of four thousand test tubes filled with fluorescein solution. This installation, which presents the artist as a readable code, can be regarded as a metaphor of the architecture of human beings.  The genetic structure of the artist was transformed into a transparent, fragile, walk-through sense space which incorporates visual, acoustic, haptic and dynamic elements.
Fluorescein, which is used both in science and in medical research, glows when irradiated with ultraviolet light, giving out a mysterious, almost unreal, green light.  The actual genetic code of the artist is contained in the petri dishes on the floor – like the bar-codes used to identify and control goods.  

On entering this spiral-shaped coded space, the visitors feel themselves transported into an alien environment of translucent laboratory-like elements. They can pass their hands over the suspended glass surfaces and if several visitors touch different areas simultaneously, the installation can be experienced acoustically as a spatial composition of vibrating, ringing glass sounds.

In this installation the artist reveals herself, displaying her genetic structure, the most personal information of any individual and allows the visitors to enter the innermost sphere of her being. A new perspective is opened, in which the visitors in their individuality become a part of the abstraction of the artist’s DNA and can see her body from the inside and in relation to their bodies.  

This installation breaks with the traditional representation of the body, by allowing the visualization of nano worlds and the interchange of visible perceptible worlds. The body is a human experimental space on which, in which and with which research is carried out. The illumination of the body with green fluorescein shows both the scientific aesthetic and the fragility and artificiality. Identity Analysis is a transparent container of fluids defined by the intimate perspective of an electron microscope.  

Our perception of the human body and the individual identity has been affected by the technical and scientific study of the body – the feeling of something mysterious, spiritual and perhaps unique has been replaced by the urge to visualize, reveal or illuminate. Researchers and philosophers have always tried to localize the seat of the human soul. Identity Analysis enables the visitor to do what the dancer Saburo Teshigawara once said in an interview “Go through the body to the back of yourself” in other words, discover one’s self through an intense involvement with the structure of the body.  

Helga Griffiths is a German based Multi-Sense-Artist working on the intersection of science and art. From 1986 to 1992 she lived in the United States. She has a BFA Degree from Mason Gross School of the Arts/Rutgers University (1991). From 1992 to 1994 she completed her Postgraduate Studies at Kunstakademie Stuttgart in Germany. In 1994 she continued with further studies in New Media at Hochschule für Gestaltung, Karlsruhe. She received several awards such as the First Prize at “Kunst auf Zeit” in Graz, an “Honorable Mention” at the International Paper Biennial in Düren and the “Lichtenberg”-Award, in Darmstadt (all in 1998), Prize at the “Lightroutes”- Festival in Lüdenscheid in 2003. She received grants for artist residencies at Cité Internationale des Arts in Paris in 2001 an NEA grant for a guest professorship at the Escuela de Artes Plasticas in Puerto Rico in 2004, “AIR” in Krems, Austria in 2009.  

Her work is in permanent collections such at the TBA TV Station in Tokyo, the Deutsches Hygienemuseum, Dresden or the Leopold-Hoesch-Museum in Düren, Germany. She has exhibited her multi-sense-installations on the intersection of science and art in several international biennials and festivals such as Cairo Biennial, Echigo Tsumari Art Triennial in Japan, Havanna Biennial and Seoul Media Art Biennial. In 2015 she participated at Sequences Festival in Reykjavik.  Her work has been shown in international museum exhibitions e.g. Bundeskunsthalle Bonn, Centrum für Lichtkunst, Eindhoven, Kunsthalle Kiel, Institute Mathildenhöhe, Darmstadt, Palais de Tokyo, Paris, Henie Onstad Kunstsenter, Oslo, OK Center Cultural Quarter, Linz, ZKM Karlsruhe and Nevada Art Museum.She participated at international festivals like CYNETart Festival and most recently Sequence Festival in Reykjavik.  
A portrait of her work was published in Kunstforum International Magazine.

ODOU issue 4 out now!

Odou is the only magazine dedicated to smell and perfume through creative writing, photography and design. The issue is exclusively available for print.

In issue 4 we go on a chronological perfume narrative. Beginning with raw materials like ambergris and myrtle,  Mandy Aftel and Hector Villeda-Martinez describe what makes them unique.

We go to perfume school with Dana El Masri, where she shares the inner workings of her time at the Grasse Institute of Perfumery, and Writer John Preston fears he’s smelled the last great Comme des Garçons fragrance – understandably.

Perfumer and Writer Pia Long wants us to move on from ingredients lists, focusing on the beauty of the perfumes themselves, whilst Persolaise is searching for weird and otherworldly perfumes in the mainstream market. Brooke Belldon shares her joy for perfume events with illustrations by Massimo Alfaioli, and lastly, Alex Musgrave delivers a series of stunning scent shorts and visuals. 

Aromas of Food and Death | Blick am Abend

Whoever wants to smell like pizza good enough eat does not have to work as a pizza baker. The aroma now exists in a bottle. Other scents from Demeter include popcorn, condensed milk, birthday cake, window cleaning detergent, and “Funeral Home”, a bouquet of white flowers including lilies and gladiolas.

Featured Artist/Artwork

Josely Carvalho, Shards

Shards started in 2006 with a series of lithographs printed at Wildwood Press in St. Louis, MO on different types of hand-made paper especially produced to my specifications by master-printer Maryanne Simmons. After researching the looting of the Iraq Museum and the archeological sites during the war of 2003, the artist approached Dr. Robert K. Englund, director of the Cuneiform Digital Library Initiative/UCLA, Los Angeles, for a collaboration and permission to use the digital archive. Carvalho chose sixteen cuneiform tablets from their virtual library, enlarged them, manipulated them digitally, and transposed those images to lithographs. She made three different series of prints and in the process it became clear to me that the actual tablet fragments were safer in a virtual library, than in museums. One of the series was exhibited as part of a sculptural installation, Disenchanting Salmu at the Octógono of Pinacoteca do Estado de São Paulo in 2007. The sculpture consisted of a filament of water coming from the forty-eight foot high ceiling into a basin molded in resin in the shape of a Sumerian sign. The prints were fastened to the floor, and the public walked over them. As part of the artwork, the artist designed a four-channel sound piece with speakers on the four walls of the Octógono.  

From a collective experience of cultural destruction, Shards is now an artwork based on Carvalho’s personal collection of broken wine glasses. The first artwork was a series of photographs of the shards, Carnivorous Flowers exhibited at Galerie Drei in Dresden, Germany in 2011.

The artist is now developing a new olfactory artwork based on the memory brought by the smell left at the moment a wine glass breaks. The artwork consists of a book/object (edition of 100) and a sculptural installation. Carvalho invited a group of writers to create texts on the event surrounding the moment of the break. The imagery from these writings became the source of the creation of seven original smells with the collaboration of Givaudan do Brasil (Affection; Absence; Persistence; Illusion; Emptiness; Pleasure and Glass). The book/object is encased in a box covered by hand-made paper from recycled cigarette butts and banana leaves. In the paper, they have added microcapsules of the smell Glass that is actuated by individual touch. In collaboration with the Department of Visual Arts of the University of Brasilia and the Nanotechnology Department of Givaudan do Brasil in Paris, Carvalho developed the scented paper and the boxes for the book/objects. Besides the texts, the book includes six photographs in postcard format of broken glasses in imaginary landscapes.

Shards, as a sculptural installation, will be constructed with the same elements of the book/object. It will consist of smells dispersed from seven sculpted wooden tables, broken glasses, texts manipulated as separate sound channels, and photographs printed in large format.


INVERSES is a multi-sensory project and collaboration between six artists in five countries, who have been working on it for the past 2 years. The result is a set of items consisting of an illustrated storybook, a soundtrack, and a trio of custom scents, which all share a common narrative on the journey of a roving cardboard box. The first edition was released in August 2015.

Learn more at