A Nose First Approach: Connecting historical depictions with scents of the past at Mediamatic, Amsterdam

This month, a few members of the Dutch Odeuropa team went to Mediamatic’s Aroma Lab in Amsterdam in search of historic scents. Odeuropa Trainee Sofia Ehrich has spent her traineeship working with Caro Verbeek detecting visual representations of scent in historical artworks, also called olfactory iconographies. Some of these olfactory iconographies were integrated into Odeuropa’s “Nose First art historical odour wheel.” You can view the wheel, which is a work in progress, below. Odeuropa Trainee, Jenna The, kicked off her traineeship with this smell session. She is currently researching the smell of animals in nineteenth-century Amsterdam and enjoyed how easy the odour wheel made it to navigate the overwhelming amount of scents found at Mediamatic.

This blogpost documents Sofia and Jenna’s perspectives of their experience at the Aroma Lab and aims to highlight the importance of not only viewing historical depictions and reading historical texts which reference scent, but how smelling those scents can add another level of cognition and understanding of the past.

Sofia:

For my trip to Mediamatic’s Aroma Lab, I wanted to connect the olfactory iconographies I have been researching throughout my traineeship to actual smells. I have become familiar with detecting depictions of smell, however being able to connect this to a physical smell was still lacking. Using the “Odeuropa Art Historical Scent Wheel,” I sniffed many smells but here I will discuss my discovery of the ‘resinous’ and ‘roots’ category.

Resinous: 

Resins come from plants or trees and have been historically used in religious practices for incense burning. By referring to the scent wheel, I explored the making of the Tabernacle, in which resins play a prominent role. The nose-first scent wheel connected this Biblical story with galbanum but with further research, I was also led to Frankincense and onycha, while the verse from the Book of Exodus specifically instructs a recipe for the making of the Jewish Tabernacle: “Then the Lord said to Moses, ‘Take fragrant spices—gum resin, onycha and galbanum—and pure frankincense, all in equal amounts.’” One of these listed ingredients, onycha, which comes from the shells of sea snails, was specially brought out by Frank Bloem. To let off its scent, he lit it on fire. All three of these scents were similar in their thick and dense feeling through the nostrils and at the same time, their smokey qualities provide a cleansing feeling to the air which I think perfectly reflects their religious significance.   

Roots

Spikenard (Nardostachys jatamansi) originates from a flowering root and is known for its affiliation with the divine. Spikenard plays a prominent role in depictions of Mary Magdalene and Mary of Bethany, who are often depicted with an ointment jar filled with the scent. This scent was particularly striking for me as it took me back to walking through the canyons in my home state of California: wet, healthy soil, slightly spicy and fresh.

Jenna:

If I were to describe my experience at the Aroma Lab in one word, I would say it was surprising. The animalistic category on the art historical odour wheel led me to smell musk, civet and castoreum. In addition I smelled undecavertol and para-cresyl acetate, which are part of the smell of horses, and pig smell and baby elephant smell, which Frank had made himself.

My first reaction to the smells was repulsion, which changed my perspective of animal smells. Before the smell session I associated animal smells mostly with farm scents, which I do not perceive as bad. But now that I actually smelled the animal odours up close, I discovered that most of them were actually penetrating and salty. Civet in particular struck me, as I did not like the smell, whereas it used to be appreciated and used in perfumes. Even though this substance was only used in very low concentrations in perfume making, it did make me aware that the perception of smell is culturally determined. While twenty-first century me was repelled by it, nineteenth-century me might have treasured the smell.

Not only does the perception of odours change, but I also learned that smells themselves can change too. Frank let us smell the scent of a baby elephant, which differs from the smell of grown-up elephants. This made me realise that in my research, I do not only have to distinguish the smells of different animals, but also take into account that the same animals can smell differently at different stages in their lives.

Conclusions:

Our experience at Mediamatic’s Aroma Lab was not only fun and educational, but we also learned a few valuable lessons about working with scent, a volatile medium which is often difficult to recall from memory. We both wished we would have better documented our perception of the scent before, during, and after we smelled it. We also feel that since most individuals are not well trained when it comes to historic smells, it is a valuable practice to continue to actively, deliberately and repeatedly smell things to become more familiar with and recognize these scents in the future.

Announcing the Odeuropa Network

We are delighted to share a new initiative with you today: the Odeuropa Network. From the moment our project was announced in November last year, we’ve been excited and honoured to receive a steady stream of emails (to date, over 150) from people who wanted to explore opportunities for collaboration, share their own work and research, or who simply wished to learn more about our project. Over time, these messages began to reveal fascinating new clusters of olfactory expertise to us – from archaeobotanists and architects, to linguists, perfumers, artists, chemists, and historians. Frustratingly, we simply don’t have the resources to pursue even a fraction of these opportunities in the context of the already carefully planned and budgeted Odeuropa research project. But happily, we are in a position where we can enable our contacts to learn of each other’s interests and expertise, connect with each other, and create their own olfactory partnerships and collaborations. Hence the Odeuropa Network, a searchable, public directory hosted on the Odeuropa website, with basic information on individuals and institutions interested in olfactory heritage and sensory data mining.

To become a member of the network, please fill-out this online form where you can list your basic information, interests, and expertise in the public members’ directory and also sign-up for our upcoming newsletter to keep up to date with Odeuropa’s events and activities. The online form will be kept open and the directory will be curated and updated on an ongoing basis by the Odeuropa project team. Our goal is to publish the first version of the directory in just a week or two. We hope you will take advantage of this opportunity!

Understanding the Olfactory Lexicon

Linguists have observed in several studies that languages seem to have a smaller vocabulary to describe smells compared to other senses. Odours are often described borrowing terms from other senses, for example “sweet” or “fresh”, or relying on qualities of objects, like “musky” or “metallic”. On the other hand, other domains such as perfumery and oenology make use of extremely precise and structured repositories of terms and qualities used by professionals for describing perfumes and wines from an olfactory perspective. One of the goals of the text processing team of Odeuropa is to understand these phenomena and analyse whether there are differences across languages in the way in which odours are described. Is the smell-related dimension of the olfactory vocabulary something that is more evident in some languages? For example, does Slovenian, which is a Balto-Slavic language, have different characteristics in terms of olfactory vocabulary compared to Romance or Germanic languages like Italian and English? If ‘yes’, are there historical or cultural reasons for this?

We aim to address these questions using text mining techniques by processing large amounts of digitised texts covering four centuries and automatically extracting the terminology pertaining to smell. To this purpose, we are collecting freely available texts issued between 1650 and 1925 and covering different domains, in the seven project languages (English, German, French, Latin, Dutch, Slovene, and Italian). These texts range from travel literature to scientific texts and medical records. This process takes a long time because after preparing a detailed list of available sources, the data need to be downloaded, cleaned, standardised and accompanied with the correct metadata. While the Odeuropa multilingual corpus is being completed, we are testing different approaches to terminology extraction. Our testbed is the GoogleNgram repository, a large collection of n-grams (i.e. word sequences) extracted from Google Books divided by year of publication.

The n-grams cover the period of interest for Odeuropa, allowing us to perform preliminary analyses aimed at comparing terminology in multiple languages over time. In this analysis, we start from a small list of smell-related words provided by Odeuropa domain experts such as “odour”, “smelly”, “reek”. We then extract for different time periods the terms that have the highest association strength with the smell words, meaning that they tend to appear together more frequently than usual. Terms co-occurring with the smell words provide a concise overview of the semantic domains associated with odours over time, and make comparisons across languages possible. For example, we can analyse terms related to “odor” (English) , “odore” (Italian) and “reuk” (Dutch) for the n-grams between 1900 and 1925. These are displayed in the picture below, where the bubble dimension is proportional to the association strength. Some concepts mentioned in relation to smell seem to be present for the three languages, for example flowers, tobacco and sanctity. On the other hand, in English, medical-related terms are more present, while for Italian food and beverages are mentioned (see also “sapore” / “taste”) and for Dutch, fishing seems to play a role in the word association. For now, our results are too preliminary to draw conclusions on olfactory terminology, but we are really looking forward to understanding what texts from the past tell us about odours and their story.

Google ngram visualisation
Terms extracted from Google N-grams that are more frequently used associated with “odor”, “odore” and “reuk”.

Finding references to smell in artworks

Identifying visual references of olfactory phenomena in artworks is an important way to uncover how Europe may have smelled in the past and how smell was represented. The computer-vision team of the Odeuropa project is currently working on methods which would automatically extract these references from various large collections of European artworks by applying, modifying, and extending state-of-the-art object detection methods. In order to collect and extract these olfactory references using computer recognition, it is necessary to first identify how smell is visually represented or depicted in historical artworks.

To provide an example of how this works, we used the print Smell (1581-1656) by Nicolaes de Bruyn, which is currently housed at the Rijksmuseum in Amsterdam.

Smell (1581-1656) by Nicolaes de Bruyn

In the sixteenth century, the pairing of a woman with a dog was used as a visual depiction or personification of the sense of smell. Since the object detection method was able to identify the dog and the woman, this would seem like an effective system. However, there are certain challenges which come with this detection. Firstly, not all pairings of people or women with dogs are ‘olfactory’, for example in other centuries a dog on the lap or feet of a woman represents fidelity, as seen in Jan van Eyck’s Arnolfini Portrait (1434).

Jan van Eyck’s Arnolfini Portrait (1434)
This presents us with the challenge of distinguishing when a dog is or is not ‘olfactory’ in nature. A second challenge is that the olfactory gesture of the woman smelling the flowers was also not detected by computer recognition. This poses further limitations on detecting olfactory elements in paintings.

Many olfactory-related narratives can also be found in the Bible, the Sacrifice of Noah (Genesis 8:20) for example. The print, Sacrifice of Noah after the Flood by Casper Luyken, shows Noah creating a burnt offering of animals, combined with the usual “Covenant of the Rainbow” in the background.

Sacrifice of Noah after the Flood by Casper Luyken

These types of olfactory narratives reveal more limitations of existing object detectors, while the people and animals were easily detected but the rainbow and cloud of smoke were not, hence overlooking the olfactory element of the artwork. This could be because these object detection systems are limited to the data with which they have been trained, leading to two problems. Firstly, since the detectors are trained with photographic data, their effectiveness decreases when applied to images with an artistic style such as historical paintings and prints. Secondly, it could be that certain objects (like smoke and rainbows) were either underrepresented or not at all part of the detector’s training data.

In order to tackle these issues of computer recognition, we will apply and modify domain adaptation techniques in order to improve the detection abilities on artistic image domains. After implementing a working object detection system, we plan to incorporate art historical knowledge which would also enable our system to recognize complex and context-specific olfactory references.

Submit your work: First International Workshop on Multisensory Data & Knowledge

Together with the Polifonia team, we’re organising a workshop on Multisensory Data & Knowledge to take place in conjunction with the Language Data and Knowledge conference in September. The goal of this workshop is to advance our understanding of how smells and music are represented in texts and structured data. The topics we want to address revolve around extracting references to smells, music, context, and visual information from text as well as relevant data describing their cultural, historical and political context, and model them in the form of interlinked knowledge graphs. This research has a strong interdisciplinary character, hence the workshop has the potential to attract researchers from diverse disciplines from both social sciences and humanities and computer science. Its potential impact is significant to many application areas including: preservation and valorisation of cultural heritage, data-driven policy making in cultural heritage, urban planning, artistic performances, applications for scholars in musicology and history, applications for museums, innovation in teaching, maintenance and exploitation of large catalogues, archives and libraries.

We invite long papers between 10 and 15 pages and short papers between 6 to 8 pages. Note that this workshop is organised following the computer science conference/publication culture, so initial submissions are expected to be in a near publishable state and will be reviewed by three reviewers. Accepted papers will be published through ceur-ws.org.

Submission deadline: 23 April 2021, the workshop will take place on 1 September.

More information on the workshop: https://odeuropa.github.io/mdk21/