Workshop: Malodours as Cultural Heritage?

Caption: Strawberries by Klaus Pichler- Sort: Strawberries ‘Elsanta’ / Place of production: San Giovanni Lupatoto, Verona, Italy / Cultivation method: Foil greenhouse / Time of harvest: June – October / Transporting distance: 741 km / Means of transportation: Truck Carbon footprint (total) per kg: 0,35 kg / Water requirement (total) per kg: 348 l / Price: 7,96 € / kg; photo courtesy of Klaus Pichler.

Odeuropa and the Berlin Center for Cold War Studies invite you to join us on the 15th & 16th of December for an online workshop on malodours as cultural heritage.

Sensorial perception is as much a cultural phenomenon as a physical and biological function. Fragrances, aromas, and the mouth-watering smells of foods are defining elements of our social  perception, building memories, and situating us into particular cultural contexts.  But, what about the unpleasant or foul odours? Heritage and museum initiatives tend to shy away from malodours,  focusing on pleasant fragrances from the past, warping ideas about olfactory history. In this Odeuropa Workshop: Malodours as Cultural Heritage?, an interdisciplinary group of scholars and museum professionals will explore and challenge the topic of stench, dealing with the specifics of historicising malodours. The border between the malodorous and the pleasant is not only individually, but also collectively, culturally and historically defined. What do malodours tell us about transitions and advancements within urban, social, cultural, and environmental contexts? How can the sense of smell act as a measurement of analysis for histories of the past and present? How can we locate malodours, intangible by definition, within the cultural heritage sector and how can they be used as a storytelling technique?

Details:

Date: December 15-16, 2021 (9:45-17:00 CEST)
Streaming from: Stiftung Stadtmuseum Berlin at the Humboldt Forum in Berlin
Organizers: EU-research network Odeuropa & Berlin Center for Cold War Studies (BKKK) of Leibniz-Institute for Contemporary History (IfZ)
Format: live and pre-recorded lectures
Participants: Open for virtual participation, live-stream link will be publicly available

To register for the event, please fill out this form.

Invited Speakers:

Ally Louks (University of Cambridge)

Ally Louks is currently a PhD student in English Literature: Criticism and Culture at the University of Cambridge. She holds a first class degree in English Literature from the University of Exeter and a Masters degree with distinction in Issues in Modern Culture from UCL. Her PhD research, entitled ‘Olfactory Ethics: Smell and Discrimination in Modernity’, examines the role of olfactory language and perception in the construction of personal and group alterity in interdisciplinary contexts.

Anton Philip van Harreveld (Guest Researcher at the Royal Netherlands Academy of Arts and Sciences)

The scientific career of Anton Philip van Harreveld has focussed on quantitative description of odour and malodour since 1980. As convenor of a CEN European standardisation working group TC/264/WG2 ‘olfactometry’ he was closely associated with developing international standard methods for odour measurement to support environmental regulations to limit odour nuisance. He remains interested in human behaviour and smell and representing odour in numerical and semantic ways.

Aude Hendrick (Historian (PhD)), museologist and curator at the Sewer Museum,Brussels)

Aude Hendrick is a historian (PhD) and museologist and has been working as a curator of the Sewer Museum in Brussels since 2016.

Bodo Mrozek (Berlin Center for Cold War Studies at the Leibniz Institute for Contemporary History (IfZ))

Bodo Mrozek is a contemporary cultural historian currently working on a transnational olfactory history of the 20th century. He has published on sound history and popular culture and is the editor of “Sensory Warfare in the Global Cold War. Propaganda, Partition and Covert Operations” (coming out in 2022). 

Caro Verbeek (Kunstmuseum, The Hague, Vrije Universiteit Amsterdam)

Dr. Caro Verbeek (1980) is an art historian, curator, maker and teacher with a focus on smell, touch, synaesthesia and recently rhythm. She is an education innovator both within museums, art academies and universities. Her aim is to (re-)construct a more inclusive and democratic history of art by re-narrating it from and through a sensory perspective. For this reason she is often described  as an ‘artistic scholar’ or ‘academic performer’, a label she first resisted but now embraces. Since June 2021 she is also a curator of Mondrian & De Stijl at the Kunstmuseum The Hague, where she is developing more sensory approaches to abstract art. She just finished her fourth book “A small cultural history of the nose” which will appear in English next year.

Cecilia Bembibre (Odeuropa, University College London)

Cecilia Bembibre developed a framework to identify and preserve historic odours using a heritage science approach for her PhD project, Smell of Heritage. Working with The National Trust, St Paul’s Cathedral and Birmingham Museum and Art Gallery, she has preserved historic scents from a historic library, a 17th-century pot-pourri and the smell of mould in historic churches. Having previously researched smell at the Faculty of Social Sciences, University of Buenos Aires, Cecilia is interested in an interdisciplinary approach to smell and the preservation of olfactory heritage. She also collaborates with industries exploring the potential of GC-O characterisation of historic odours. Cecilia is a Lecturer in Sustainable Heritage at the UCL Institute for Sustainable Heritage and part of the Horizon 2020 project Odeuropa, working on the preservation, reconstruction and communication of European heritage smells.

Claire Dobbin (Freelance Museum Curator)

Claire Dobbin is a freelance museum curator and interpretation specialist, passionate about inclusive design and the creative use of collections to engage and develop audiences. She has worked and advised on a broad range of museum and heritage projects, in the UK and Middle East, with current exhibitions at The Museum of London Docklands and The Media Majlis in Qatar. She is a Trustee of Wiltshire Museum and a Lecturer in Museums, Galleries and Contemporary Culture at the University of Westminster. Her recent publications and conference contributions focus on the benefits and impact of multisensory visitor experiences.

Clara Muller (Nez, the olfactory magazine)

Art historian, critic, and curator, Clara Muller is pursuing research on the politics of breathing in contemporary art, the diversity of art and design practices using scent as a medium, as well as on the presence of smell in 19th and 20th century French literature.

Emily Cockayne (School of History, University of East Anglia)

Emily Cockayne is a cultural historian, focusing on interpersonal relationships, material culture, nuisances and domestic and street environments in England. I have three published books: Hubbub. Filth, Noise & Stench in England (2007), Cheek by Jowl. A History of Neighbours (2012), and Rummage: a History of the Things we have Reused, Recycled and Refused to let go (2020). I consider smells in various contexts in these publications. I am an Associate Professor in Early Modern History at the University of East Anglia (UEA).

Inger Leemans (Odeuropa, Royal Netherlands Academy of Arts and Sciences, Vrije Universiteit Amsterdam)

Inger Leemans is a professor of Cultural History at the Vrije Universiteit Amsterdam and the principal investigator of the NL-Lab at the KNAW Humanities Cluster. Her research activity is concentrated on early modern cultural history (1500-1850), the history of emotion and smell, the history of knowledge, cultural economy, and digital humanities. She is the project lead of Odeuropa.

Jean-Thomas Tremblay (English Department, New Mexico State University)

Jean-Thomas Tremblay is an assistant professor of English at New Mexico State University. They are the authors of the forthcoming Breathing Aesthetics (Duke University Press, 2022) and, with Andrew Strombeck, a co editor of Avant-Gardes in Crisis: Art and Politics in the Long 1970s (State University of New York Press, 2021). Their writing is tallied at  http://jeanthomastremblay.me.

Josely Carvalho (Independent Artist)

Josely Carvalho is a multimedia artist, born in São Paulo and maintains studios in Rio de Janeiro and New York. In the last four decades, her artwork embraces several mediums and seeks to highlight memory, identity, women issues and social justice while consistently challenges frontiers between artist and public and art and politics.In 2019, she received the International Art and Olfaction Sadakichi Award in experimental olfactory artwork category for her installation Glass Ceiling: Resilience presented at the Museum of Contemporary Art in São Paulo in 2018. Among her latest exhibits highlights are: Suspensio: An interruption in Time, at Art Olfactory Keller Gallery, New York, 2021; Diary of Smells: Anoxia, Harvestworks, Governors Island, New York 2019; Diary of Smells: Affectio  at Museu Nacional de Belas Artes, Rio de Janeiro, Brazil, 2019; Diary of Smells: Glass Ceiling at the Museu de Arte Contemporânea, São Paulo, Brazil, 2018.

Lara Salmon and Regina Mamou; Joes Segal (Independent artists, The Wende Museum of the Cold War, Los Angeles, California) 

Research for the Bermuda Triangle (RBT) is the duo-collaborative of artists Lara Salmon and Regina Mamou. Together they create experience-based art events both nationally and abroad. RBT undertook their first scent-related project in 2018 when they began working with hydro-distillation in Marrakech, Morocco.

Liam Findlay (AromaPrime)

Liam is a consultant and designer for AromaPrime, a company which provides themed scents for educational and immersive venues. Past projects have involved everything from the design of a museum’s Egyptian mummy smell-pump to the creation of nostalgic, olfactory kits for people with dementia. AromaPrime’s customers include notable venues such as The British Museum and National Trust sites, as well as entertainment brands like The Dungeons and Madame Tussauds.

Lizzie Marx (Odeuropa, University of Cambridge)

Lizzie Marx is a member of Odeuropa, where she collaborates on mining olfactory imagery in digital collections, and its impact in museum and heritage organisations. She is also a PhD candidate in the History of Art at Pembroke College, University of Cambridge, where she is completing her dissertation, ‘Visualising Smell in Seventeenth-Century Dutch Art’. In 2018–2019 she was an Andrew W. Mellon Fellow at the Rijksmuseum, Amsterdam, and she was the Research and Exhibition Assistant of ‘Fleeting – Scents in Colour’, the 2021 summer exhibition at the Mauritshuis, The Hague, about smell in seventeenth-century art, and co-author of the exhibition publication. 

Mathias Zinnen (Odeuropa, FAU Erlangen-Nürnberg, Department of Computer Science)

Mathias Zinnen studied Philosophy and Computer Science in Mainz, Berlin, and Erlangen. Currently, he is pursuing his Ph.D. in computer science at the Friedrich-Alexander-Universität Erlangen-Nürnberg. While studying philosophy, he was (and still is) particularly interested in the philosophy of science and epistemology. In the field of computer science, he is enthusiastic about machine learning, artificial intelligence, and their applications. For the Odeuropa project, he works on the automatic recognition of olfactory references in historical artworks.

Michael Philipp (Museum Barberini, Potsdam)

Michael Philipp is the chief curator at the Museum Barberini in Potsdam.

Nadjib Achaibou (Symrise Mexico)

Nadjib Achaibou is a Symrise Perfumer creating consumer products in Latin America. He is passionate about using fragrance as a storytelling tool in concerts, theatre and multisensory virtual reality.

Raphael Troncy (Odeuropa, EURECOM)

Raphael Troncy is an associate professor in computer science in the Data Science Department of EURECOM. His research interests include knowledge engineering, ontology modeling, knowledge graph, natural language processing and understanding and recommender systems. He is applying his research in the Cultural Heritage sector as well as with the culture, tourism, creative and media industries.

Rebeca Ibáñez Martín (Royal Dutch Academy of Sciences)

Rebeca Ibáñez Martín is an anthropologist and Science and Technology Studies (STS) scholar. She  focuses on the topics of food and agricultural multispecies relations, and waste and wastewater infrastructural innovations. 

Ruben Verwaal (Institute for Medical Humanities, Durham University)

Ruben Verwaal is a postdoctoral researcher at the Institute for Medical Humanities, Durham University, and curator of the medical collections at Erasmus MC, Rotterdam. His research focuses on early modern medicine, deafness, and bodily fluids. He recently published ‘Bodily Fluids, Chemistry and Medicine in the 18th-century Boerhaave School’ (Palgrave Macmillan, 2020), and ‘Fluid Deafness: Earwax and Hardness of Hearing in Early Modern Medicine’, Medical History 65 (2021), 366–383. 

Shivani Kapoor (O.P. Jindal Global University, Sonipat, India)

Shivani Kapoor is an Assistant Professor at the Centre for Writing Studies, O.P. Jindal Global University. She has a doctorate in Political Science from Centre for Political Studies, Jawaharlal Nehru University, New Delhi. Her work is located at the intersection of caste, sensory politics and labour and examines the relationship between caste and the senses in the leather industry in contemporary India. 

Sofia Ehrich (Odeuropa, Royal Netherlands Academy of Arts and Sciences)

Sofia Collette Ehrich is a sensory art historian and curator of scent experiences. As a Los Angeles native, she studied art history at University California, Los Angeles (UCLA). She recently finished her Masters at Vrije Universiteit Amsterdam in Comparative Arts and Media studies where she wrote her thesis, Orchestrating the Senses onto Virtual Reality Narratives: Confronting the limitations of media and exploring the importance of crossmodality within virtual digital environments. Her research interests include approaches, challenges, and limitations to multisensory storytelling within varying environments but especially in cultural heritage institutions. She is also interested in detecting the visual representations of the senses (especially smell) in art history and connecting these with sensory impressions in the museum. Within the Odeuropa project, she will assist in organizing and curating events and exhibitions around smell.

Stephanie Weismann (University of Vienna)

With a background in cultural studies, comparative literature and Slavic studies, Stephanie Weismann is currently working on an olfactory urban history of the Polish city of Lublin in the 20th century. The study is sniffing out different odours and malodours that defined the city’s atmosphere and asks how political, social, cultural and economic processes and tensions in Eastern Central Europe have found expression in olfactory experiences.

Tasha Marks (Independent Artist)

Tasha Marks is an award-winning artist, food historian and founder of AVM Curiosities, a creative practice that addresses how the senses can be incorporated into the gallery and museum space. Since founding her practice in 2011, she has  worked with a number of high profile cultural institutions in the UK, including; The British Museum, The National Gallery and the V&A. Projects range from olfactory curation and scented installations to interactive lectures and limited-edition confectionery.

Tina Asmussen (German Mining Museum Bochum, Ruhr University of Bochum)

Tina Asmussen is an assistant professor of early modern mining history at the Ruhr University of Bochum and head of the mining history research department at the German Mining Museum Bochum. Previously she held an Ambizione fellowship by the Swiss National Science Foundation at the Chair for Science Studies at ETH Zurich and was a postdoctoral fellow at the Max Planck Institute for the History of Science in Berlin. Her main research interests are early modern history of science and knowledge, environmental and economic history, especially the history of natural resources. Currently she is working on a book project entitled: “Subterranean OEconomies: Mining and Resource Cultures in Early Modern Europe.”

Victoria-Anne Michel (Odeuropa, Anglia Ruskin University)

Victoria-Anne Michel is a PhD student in the European H2020 project, Odeuropa. She is interested in understanding how people experience smells in a space and how these smellscapes participate in making sense of place. She has a background in Social and Human sciences and specialized in Urbanism for her Master degree at the Institute of Political Studies in Bordeaux, France. She also completed a professional training in Perfumery and holds a certificate of “Olfactory Designer” from Cinquième Sens Institute in Paris.

William Tullett (Odeuropa, Anglia Ruskin University)

William Tullett is  an Associate Professor in Sensory History and a researcher on the Odeuropa project. His work has focussed on the sensory history of the west from the 1600s to the present. His first book, Smell in Eighteenth-Century England: A Social Sense, was published with Oxford University Press in 2019.

 

 

Annotating the Smell of Lightning

by: Sanne Steen

One of Odeuropa’s goals is to extract relevant smell references in historical texts. An early step of this process is creating annotated texts for a language technology benchmark, i.e. we mark up texts with information which terms refer to smells to evaluate the performance of automatic tools on detecting smell references in texts. As an annotator, I read Dutch fragments of early modern texts about topics ranging from travel and science to poetry and theater. These sixteenth- to nineteenth-century text fragments were selected because they contained one or more smell words such as lucht (air), neus (nose), and rook (smoke/smelled). My task was to trace the smells and annotate anything related to these smells, such as quality, perceiver, location and smell source. Context is often very important for this task. For example, the small phrase “he smells” can mean that he emits smell, or that he is using his sense of smell. Another difficulty appeared once, in a scientific text describing the smell of electricity and lightning. This snippet described not only the actual smell but also falsified previous explanations about the origin of the smell which poses a new hypothesis about the true nature of this smell. As the argument proceeded, words recurred as very different smell elements:

The text fragment about lightning in the annotating tool with my annotations. The English translation is as follows:

4) In order to prove the smell of electricity, it is often argued that, in buildings and other places where lightning hit, even when it did not generate fire, people sense a sulphurous smell, often for a long time.
5) This is easy to explain, because in these cases the lightning did not bring the sulphur-like smell but found the sulphur at the place it struck.
6) In the ironwork of buildings, in building bricks, cement and chalk, sand, et cetera, everywhere are sulphur particles, which, where the lightning hits them, burn and as such spread the sulphur-like smell.

Let’s dive into this smell fragment. The text originates from an essay about peat vapour, which was published by Jan Sasse in the Vaderlandsche letteroefeningen in May 1861. Sasse writes that peat vapour was believed to be composed of dissolved lightning, because both the vapour and lightning smelled like sulphur. The smell of lightning was experienced in places where lightning hit, even when it did not catch fire (line 4). Therefore, people believed that the lightning itself carried the smell. Indeed, in his Natuurlyke historie van Holland (1769), which is also in the benchmark, the Dutch natural scientist Johannes le Francq van Berkhey cites his colleague Pieter van Musschenbroeck who characterises the smell of lightning as similar to that of burning sulphur. Van Musschenbroeck argued that the lightning is composed of sulphur: “Because the places where lightning hit spread a smell of burning sulphur, one can hardly doubt that the major substance of lightning is sulphur.” (“Dewyl de plaatsen van den Blixem geslagen eenen reuk van brandenden Zwavel van zich verspreiden, kan men naauwlyks twyfelen, of de voornaamste stof welke den Blixem maakt, zal Zwavel zyn”)

) Sasse contests this statement, however, arguing that the odour carrier is the place where the lightning hit (line 5). The lightning strike is instead the circumstance which exposes the smell (line 6).

Sasse was heading in the right direction when explaining the smell of lightning. He was correct in describing the lightning as a circumstance rather than odour carrier. However, he may be wrong when identifying the odour carrier and the smell source. In his book Nose Dive (2020), Harold McGee attributes the origin of the smell of lightning to ozone (O3), which is experienced as fresh and pungent. Ozone is created from dioxygen (O2) when the air is struck with electrical charge. Thus, if I were to annotate McGee, I would annotate lightning as circumstance, ozone as smell source and completely omit the odour carrier because the ozone does not exist before the lightning strikes the air.

Fortunately, I have never actually experienced the smell of lightning before. Nevertheless, the text fragments awakened my very first smell memory. Growing up, my family had a big bulky television. When we would sit down and watch a TV show, I greatly enjoyed getting as close to the screen as possible. Distinguishing the red, green and blue pixels, I was surprised by how these three colours created a moving colour image. I could feel the minimal sparks that came from the screen and, importantly, smell the warm material and hot dust. More than modern screens, older televisions were sensory feasts. The description of the smell of lightning made me think of this particular smell and brought me back to childhood. In Odeuropa, we want to make it easier for people to access such ‘smell memories’ which is why we are developing technologies to extract smell references from text and putting them into an openly accessible database.

MDK21 Recap

On 1 September 2021, Odeuropa and Polifonia co-organised the First International Workshop on Multisensory Data & Knowledge at the Language, Data and Knowledge (LDK) conference. The workshop was hybrid events, with about 20 online participants and 6 on location in Zaragoza, Spain. Six papers were presented from authors from various different time zones on different aspects of the analysis of music, smell, language, and art. As organisers, we were very happy to see the breadth of topics and the creativity with which the authors take on the different research questions.

Together with the other LDK workshops, we are now preparing the proceedings, but you can already find the pre-prints of the papers on the MDK website.  With the organising team, we are thinking about a follow-up workshop. Please get in touch with us if you have thoughts on this!

In memoriam: Albert van der Zeijden (1957-2021)

Photo courtesy of Kenniscentrum Immaterieel Erfgoed, Nederland.

We are deeply affected by the death of our highly esteemed colleague and member of the Odeuropa Advisory Board Albert van der Zeijden. Albert passed away suddenly at 30 July 2021.

He took part in the Odeuropa project due to his excellent expertise in the field of intangible cultural heritage and its policies.

Trained as a historian, Albert worked for almost 35 years in the field of intangible cultural heritage and everyday culture. In 2002 he obtained his PhD at the University of Amsterdam on Catholic identity and historical awareness. W.J.F. Nuyens (1823-1894) and his ‘national’ historiography (Hilversum 2002).

In recent years, he was head of the department Research and Development at the Dutch Centre for Intangible Cultural Heritage, that is responsible for the implementation of the 2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage in the Netherlands. Albert’s research focus was on ICH & sustainable tourism, ICH & (super)diversity, transnational ICH, inventorying mechanisms and ICH policies. Next to his work at the Centre, he was also working as a Research Fellow Heritage Studies at Utrecht University.

Albert was always enthusiast to cooperate and he built a large national and international network. He was active within the ICH-NGO Forum of UNESCO and was the coordinator of the Research Working Group. Since 2013, he was a member of the editorial board of the international internet magazine Heritage Alive, Voices and Practices, which is affiliated with the ICH-NGO Forum. Between 2014 and 2015 he was a member of the Evaluation Body of the Convention.

Albert was also a passionate editorial board member of the Flemish-Dutch journal Volkskunde for almost twenty years.

He has published dozens of articles and reviews and edited special issues and volumes.

We will miss Albert as an enthusiast and inspiring colleague.

Text written by Sophie Elpers.

Odeuropa x Mediamatic Workshop: Working with scent in GLAMs – Best Practices and Challenges

The Odeuropa Workshop scent kit designed and created by Mediamatic team members. Picture by Sofia Ehrich.

On May 20th, 2021 the Odeuropa project, in collaboration with Mediamatic, Amsterdam, organized its first workshop, Working with scent in GLAMs: Best Practices and Challenges. The main goal of this workshop was to collect experiences about working with scent in galleries, libraries, archives, and museums (GLAMs), and learn more about the challenges and concerns which may hinder these institutions from working with scent. What knowledge is needed in order for GLAMs to start implementing smell into their programs? How can smell benefit museums and enhance visitor experiences?

Thirteen experts came together with a range of knowledge about storytelling with and the preservation of (heritage) scents. Their presentations were divided into three panels: 1) Why work with scent in GLAMs? 2) Storytelling (challenges and results) and 3) How to integrate smell into GLAMs? Because of the lockdown, we organized an online workshop that ensured the ‘nose first’ approach Odeuropa has in mind for all its events. Therefore, all speakers were able to pick a scent to accompany their talk which were either chosen from the scent library of Mediamatic, Amsterdam, or provided from the speaker’s own collection. The Mediamatic team (scent designer Frank Bloem, Nour Akoum and Jessica Cohen) created scent kits which could hold 12 different scented blotters, without the scents evaporating or contaminating each other (see image). The kits were sent to the 40 participants (for this first workshop we worked by invitation only, the next workshop will be open to all).

The workshop consisted of 13 ‘lightning talks’ and provided ample opportunity for open discussions. Over 40 participants shared their experiences of working with scent and conveyed ideas about what they think is missing in the industry. The knowledge shared not only focused on the challenges and barriers which face the inclusion of scent into GLAMs, but also on the advantages. 

Among the challenges mentioned were difficulties surrounding the safeguarding of heritage scents. Olfactory elements of heritage objects are often disposed of because they are perceived as dangerous to the preservation of the object. It is also difficult to preserve historic scents and perfumes because of their volatile nature. Scents are sensitive and must be protected from exposure to light, heat and oxygen. Additionally, incorporating scents into environments pose conservation concerns. For example, some GLAM professionals are concerned that scents can harm the artworks. Lastly, there is a concern that the incorporation of scent will result in a hedonic reaction from the visitor, defined by the pleasure or displeasure they experience from the scent and the experience. 

Despite these challenges, our attendees also offered many advantages. Incorporating smell into GLAMs provides new ways of engaging with the artworks and makes the ‘invisible’ elements of historical depictions ‘visible’ to audiences. The traditional ‘no touch’ and ocularcentric environment of many institutions can separate visitors from the artifacts. Therefore, introducing scent narratives into GLAMs expands knowledge about artworks and historical sites and provides a direct and engaging perspective of the past. This approach not only impacts the memorability of the visit but is also an excellent tool for broadening accessibility efforts, improving inclusivity with different types of audiences.        

In conclusion, there is much to be achieved in order to overcome the current challenges which face olfactory GLAM experiences. Our participants proposed a few ways we can overcome these challenges. Firstly, the way smell is presented in relation to an artwork or artifact matters. Any and all context changes a visitor’s perception of the experience and object. Therefore, in addition to conservation and curatorial concerns, all surrounding content and context must be considered. Secondly, the curator, conservation team, and creator of the smell should work together from the beginning in order to avoid conflicts and surprises later. Lastly, trust should be built between scent professionals and GLAMs. This would provide transparency and a sharing of knowledge, easing many concerns that GLAMs have surrounding the incorporation of scent. Through this open communication, a ‘how-to’ guide explaining the do’s and don’ts of olfactory museum practices should be created, providing GLAM professionals access to information about the toxicity, flammability, and conservational risks certain scents pose. The Odeuropa project will develop a Toolkit for Olfactory Storytelling to meet these needs. In our next workshop, we will present the framework for this toolkit to the community, to get feedback and advice. One of the most important things we learned from the workshop is the importance of knowledge sharing as the olfactory heritage field has so many different experts. We are committed to honour their work, while searching new paths for the future.

Speakers and Talk Titles:

Panel #1: Why Work with Smell within GLAMs?

  • Jorge Otero Pailos (United States) – An Olfactory Reconstruction of the Philip Johnson Glass House
  • Isabelle Chazot (France) – L’Osmothèque: The World’s only Living Perfume Archive
  • Marie Clapot (United States) – Olfaction: A Tool towards Democratizing the Museum Experience
  • Lizzie Marx (Netherlands) – ‘Fleeting – Scents in Colour’ at the Mauritshuis

Panel #2:  Storytelling (challenges and results)

  • Caro Verbeek (Netherlands) – Challenges for Tour Guides
  • Chris Tuckley (United Kingdom) – Smelly Vikings: Synthetic Fragrances at the JORVIK Viking Centre from 1984 to the Present Day
  • Peter de Cupere (Belgium) – The Use of ‘Olfactory Transfers’ in Exhibition Models
  • Andrea Buettner (Germany) – Smell: Transporter of Information and Meaning since the Early Beginning of Life

Panel #3:  How to integrate smell into GLAMs?

  • Cecilia Bembibre (United Kingdom) – Scent of Place: Old Books and Historic Libraries
  • Tasha Marks (United Kingdom) – AVM Curiosities & The Sensory Museum
  • Lizzie Ostrom (United Kingdom) – How to Tame Your Dragon: Bringing Scent into a Gallery or Museum
  • Saskia Wilson Brown (United States) – The Institute of Art & Olfaction