La Chevelure at reminiSCENT

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La Chevelure Boîte à Souvenirs

La Chevelure Boîte à Souvenirs

25 July to 11 August, 2018
May Space, Sydney

My audio-olfactory work, La Chevelure is part of reminiSCENT, an ambitious olfactory art exhibition curated by Megan Fizell at Sydney’s May Space, which surveys contemporary artists initiating multisensory experiences through olfactory encounters. As well as the 2016 audio-olfactory installation, this iteration includes La Chevelure Boîte à Souvenirs, a vintage hand-carved box containing a copy of the sound work, the scent and the Charles Baudelaire poem, La Chevelure.

scent_burzynska-2

“…mon âme peut boire / À grands flots le parfum, le son et la couleur” – Baudelaire, La Chevelure.

La Chevelure is an exploratory, immersive audio-olfactory installation that charts a sensuous journey through the waves of ‘synesthetic symbolism’ in the Charles Baudelaire poem of the same name. In his poem from the mid-1800s, Baudelaire created a dense tangle of multisensory imagery to evoke the poem’s conceptual and emotional content using the central symbol of a lover’s head of hair. This wafts layers of exotic sensory symbolism through the poem’s inner and external worlds, much of which is evoked through scents and sounds. In this contemporary interpretation, the poem’s mental imagery, symbolism and conceptual elements are transposed to actual sounds and scents, and current understandings of crossmodal correspondences – the universal tendency of a sensory feature in one modality to be matched with one from another sensory modality – are applied and explored. Sensory interactions are harnessed to elicit states of mind, creating subconscious connections that provoke powerful conscious perceptual experiences.

Seeking participants for audio-olfactory study

The Seven Functions of the Nose - Fritz-Kahn (1939)

The Seven Functions of the Nose – Fritz-Kahn (1939)

We are recruiting participants for a study investigating how sound might affect the perception of aromas. If you participate, you will listen to a number of music/sounds and smell up to 15 aromas, about which you will be asked a series of questionnaire-based questions. The experiment will take no more than 2 hours and include regular rest breaks.

 

The study is being conducted by the multimedia artist, Jo Burzynska as part of her PhD research at UNSW as part of a Culture at Work Art-Science Residency. Participants will be given the opportunity to experience the audio-olfactory work that results from the research at the Culture at Work Space at a later date.

 

Date: Thursday 19thJuly

Time: 7-9pm

Venue: Culture at Work, Pyrmont, Sydney

Please note, if you’re interested an can’t make this date, additional sessions may be added earlier that week in the day or evening, or possibly early in the week after – just let us know your availability..

Please contact me to book or ask questions using this form:

Culture at Work Residency

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Osmic Resonance Brochure Cover Image Credit- Justyna Burzynska

Residency image by Justyna Burzynska

This week I have started a month-long Culture at Work Art-Science residency. This culminates in an exhibition of the resulting work between 4 – 12 August at The Accelerator Gallery in Pyrmont, Sydney.

In this residency, I am seeking to identify correspondences between sounds and aromas, examining what might be shared and what is personal, and how memories, emotions, preferences and culture may affect these correlations. I’m teaming up with the cognitive neuroscientist, Associate Professor Anina Rich of Macquarie University, who will be offering me insights into her specialist areas of multisensory processing and syneasthesia, which will both inspire and inform the final audio-olfactory artworks I produce.

The residency will also include a talk that’s part of the Sydney Science Festival, in which Anina Rich and I will discuss our approaches to the multisensory in our work. I will also be leading a Sound and Aroma Tuning Workshop during National Science Week, where participants can create and explore their own audio-olfactory harmonies.

I’ll be sharing progress over the residency on my multisensory blog.

Further information about the residency, exhibition and associated events can also be found at Culture at Work.

Assessing Oenosthesia: Blending Sound and Wine

Paper to be published in the International Journal of Food Design, 2018

Abstract
Recent developments in neuroscience and psychology have confirmed what many artists have long intuited, that our senses are connected. Research into crossmodal correspondences – the universal tendency of a sensory feature in one modality to be matched with one from another sensory modality – has highlighted strong connections between flavour and sound that has only just begun to be explored by artists working in these sensory realms. This paper investigates Oenosthesia, a practice-led art research project that aims to harness crossmodal correspondences in an artwork that combines a soundscape created from field recordings of the winemaking process with wines consumed as part of the piece. Its success in achieving this was tested through data gathered from participants at presentations of the work in London in September 2016 and in Sydney in March 2017. This paper presents the results of this study, which suggest that sound can significantly change perceptions of flavour and highlights the potential for the design of crossmodally congruent sound works that heighten specific flavour characters of a wine.

 

Oenosthesia: the international blend

This version of Oenosthesia was a remix of the original using wines and their sounds from different regions around the world. It was presented at Studio Sienko in London in September 2016 and Black Box, University of New South Wales Art & Design in Sydney in 2017, from which feedback was gathered for this study.

The Plant Contract

The Plant Contract Cover“If the plant contract is an effort to redress damages incurred upon nature due to human over-dominance and extreme sovreignity over the natural world, then Jo Burzynska is experimenting with changing our perceptions of the vegetal life, and dabbling with the changed usage of a given landscape.”

Prudence Gibson. The Plant Contract: Art’s Return to Vegetal Life. 2018. Lieden: Brill.

I’m honoured to have a section devoted to my work in Prudence Gibson’s excellent new book on critical plant studies, The Plant Contract. In “A Baccanalian Labour,” Gibson writes about my Oenosthesia project and ongoing research into the perceptual interactions between sound and taste/flavour.