Toposmia: Art, Scent, and Interrogations of Spatiality

Drobnick, Jim

doi:10.1080/09697250220142047

Cited by 28 publications

(21 citation statements)

References 11 publications

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“…Taste and touch also have a role to play in how we navigate, understand and appreciate place. Thus, the non-seeing senses can provide an immersive and experiential impression of the environment (Drobnick 2002;Zardini 2005;Pallasmaa 2005;Henshaw and Mould 2013), and are suggested by Porteous (1985) to evoke more emotional as opposed to rational associations. Despite this, relatively little research has explored the relationship between place and the other senses, particularly from a marketing perspective.…”

Section: Analysis Of Chorographic Representationsmentioning

confidence: 99%

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Rethinking Place Branding

Kavaratzis

Warnaby

Ashworth³

2015

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Section: Analysis Of Chorographic Representationsmentioning

confidence: 99%

“…Having said this, smells are ephemeral, with mutable meanings and problematic duration and placing. They tend to be discontinuous, and fragmentary (Drobnick 2002, after Porteous 1990. They disperse at different rates, according to weather and other environmental conditions.…”

Section: Smell and Place Brandingmentioning

confidence: 99%

Rethinking Place Branding

Kavaratzis

Warnaby

Ashworth³

2015

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“…Jim Drobnick () studied the ways that some visual artists have used scents to enhance the spatiality and place‐centered characters of their works. Focusing on “aromaworks,” Drobnick (, 33) argues that “Contemporary artists are at the forefront of exploring the dynamics of toposmia (place + smell), which implicates a number of disciplines, namely geography, cultural history, sociology, and urban studies.” Scholars of city life could learn from the artists Drobnick discusses. For example, Katharina Fritsch's 1984 installation entitled “Perfume in Hallway” altered a transitory space, the stairway between two leading up to the gallery.…”

Section: Smelling the City Or Smellscapesmentioning

confidence: 99%

Being in the City: The Sociology of Urban Experiences

Borer

2013

Sociology Compass

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Though urban sociologists tend to study the growth and development of cities, there is a venerable yet often marginalized tradition that addresses the embodied experience of urban life. Studies of urban experiences have recently begun to flourish due, in part, to the rise of sensory scholarship. Recognizing the connections between urban experiences and sensory stimulations provides nuanced ways to explore the actions and interactions between individuals and their relationships to and with urban places. Relying on a diverse literature of recent studies that focus on cities as dense sensory environments, this article shows the significance of studying city life at the experiential and sensory levels. First, a few seminal early works are discussed, with specific emphasis on Georg Simmel. Then, each of the five bodily senses and their correlated sensescapes -seescapes, soundscapes, smellscapes, tastescapes, and touchscapes -are presented in order to show individuals and groups use their senses to experience and make sense of the city. The article concludes with a brief discussion of methods and few suggestions to encourage future analyses of the everyday embodied and emplaced practices and interpretations of being in the city.Most urban sociologists -as well as geographers, political scientists, economists, and scholars from equally important fields that contribute to the inter-and trans-disciplinary literature of "urban studies" -tend to study cities with a wide-angle lens, especially those studying globalization, global cities, and transnational urban networks. There is, however, a venerable yet often marginalized tradition that puts the experience of urban life at or near the forefront of analysis. Some of the first sociological studies, as well as literary depictions, of city life focused on the ways that budding industrialized cities affected the social psychological dynamics of urbanites (see Lees 1985;Strauss 1968). Despite a few notable exceptions, the actual experiences of being in the city -at the bodily, sensuous, or existential levels -have often been assumed rather than assessed through careful analysis and interpretation. This lacuna is shrinking; however, in large part because of the studies discussed herein.From the most mundane to the most spectacular, pure and unmediated experiences are difficult, if not impossible, to study empirically (see Davis 1997). One's narrative of their experience is always filtered through cultural expectations and norms of storytelling (Gubrium and Holstein, 2008). This should not halt the quest for understanding experiences in general and urban experience in particular. Stories are not any less real than the raw data of facts. "The factual accuracy of a story is often less important than the purpose of the story or the way that it is used" (Borer 2006b, 187). Fortunately, scholars have pushed forward, developing various ways to study social experiences without reducing them to the cognitive mechanisms and brain functions that can only be detected by MRIs and other sophi...

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“…For more on contemporary olfactory art, see Drobnick (1998Drobnick ( , 2002Drobnick ( ,2010. For more on contemporary olfactory art, see Drobnick (1998Drobnick ( , 2002Drobnick ( ,2010.…”

Section: In Original)mentioning

confidence: 99%