Several theorists argue that one does not experience something as being at or coming from a distance or direction in olfaction. In contrast to this, I suggest that there can be a variety of spatial aspects of both synchronic and diachronic olfactory experiences, including spatial distance and direction. I emphasise, however, that these are not aspects of every olfactory experience. Thus, I suggest renouncing the widespread assumption there is a uniform account of the nature, including the spatial nature, of what (...) is experienced in olfactory experience. (shrink)

Does the sense of smell involve the perception of odor objects? General discussion of perceptual objecthood centers on three criteria: stimulus representation; perceptual constancy; and figure-ground segregation. These criteria, derived from theories of vision, have been applied to olfaction in recent philosophical debates about psychology. An inherent problem with such framing of olfactory objecthood is that philosophers explicitly ignore the constitutive factors of the sensory systems that underpin the implementation of these criteria. The biological basis of odor coding is fundamentally (...) different from the coding principles of the visual system. This article analyzes the three measures of perceptual objecthood against the biological background of the olfactory system. It contrasts the coding principles in olfaction with the visual system to show why these criteria of objecthood fail to be instantiated in odor perception. The argument demonstrates that olfaction affords perceptual categorization without the need to form odor objects. (shrink)

This paper investigates the spatial dimensions of olfactory perception, challenging philosophical views that marginalize smell in spatial navigation and cognition compared to visual phenomenology. I argue that both olfactory and visual perceptions—despite smell often being considered non-spatial or minimally spatial—involve intricate spatial structuring when processed through unconscious cognitive processes. An information-theoretical approach shows that cognitive inferences turn spatially deficient sensory data into spatialized perceptual content to generate spatial perception across sensory modalities. This challenges the idea that spatial perception is tied (...) to external features. My argument is supported by two lines of evidence: (i) figure-ground segregation across sensory modalities, suggesting a general mechanism in perceptual processing; (ii) recent neuroscientific evidence demonstrating how spatial information is processed in olfaction for navigation and environmental mapping. My analysis calls for a reevaluation of assumptions about the non-spatial nature of smell, highlighting significant cognitive and spatial capabilities in olfaction. (shrink)

Perfumes embody a chemical record of style and technology. Blurring the boundary between what counts as natural and artificial in both a material and a perceptual sense, perfumery presents us with a domain of multiple disciplinary identities relevant to social studies: art, craft, and techno‐science. Despite its profound impact as a cultural practice, perfume has seldom featured in historical scholarship. The reason for this neglect is its inherently qualitative dimension: perfume cannot be understood via codified representation but requires direct acquaintance (...) with its sensory and material basis. The historical study of perfumery thus necessitates an experimental approach that comes not without challenge. This article looks at contemporary recreations of old perfumes to identify the difficulties involved in the experimental recreation of fragrances as sensory and performative artifacts. We highlight the need for a reconceptualization of methodology for inconcrete objects of study as part of the broader interest in experimental approaches to the humanities. (shrink)

The first part of this paper surveys types of olfactory art as well as some of the philosophical denials that odors and the sense of smell can be used for serious art making, raising the paradox that olfactory art seems actual, but the mainstream philosophical tradition has declared that one cannot make genuine artworks from odors. The second and third part of the paper address the primary argument against possibility of an olfactory aesthetics, namely, the claim that the human sense (...) of smell does not have sufficient cognitive capacity to support rational aesthetic discussion and judgment. The second part (The intuitive case for smell’s cognitive powers) examines and answers intuitive philosophical arguments against smell’s cognitive potential and the third part (The empirical case for the cognitive capacity of smell) first surveys evidence from the sciences that could be interpreted as supporting the negative position, before marshalling other empirical evidence in favor of smell’s cognitive powers. I conclude that on balance contemporary neuroscience and psychology support the view that the human sense of smell has the cognitive capacity to sustain rational aesthetic discussion and judgment. (shrink)