6.6.12

"Bliff", an olfactory board game by Oxalis Atindriyaratri

It's already quite some time ago...  A student of mine has developed an interesting and unique olfactory game for her master degree at Leiden University. Just to share it with you.

Recently I receive a lot of interviews from master students on olfactory art.  I am certain that there'll be more and more interest in this field.

Cited from:
http://images.oxalis.multiply.com/photos/album/336/bliff_making_and_testing_the_olfactory_board_game


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“Bliff” is an olfactory board game in which players’ olfaction (sense of smell) is the only sense required for them to advance through the game. Players are given various challenges regarding their sense of smell, and their ability to answer these challenges will be rewarded with certain number of moves.
The design of the board game was inspired by existing traditional board games such as Chinese Checkers and Ludo, based on the facts that these games are already familiar to people in general and its simplicity enables players to play the game without learning many rules. This consideration was also taken because olfactory games are practically new and unfamiliar (thus it requires player’s adaptation), so other game elements should be simple and easy to play.
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Bliff is developed as a part of my graduation project/research entitled: “Bliff: Exploring Olfaction Autonomy in Olfactory Board Games” for the MSc Media Technology programme atLeiden University. The project was supervised by Edwin van der Heide and Maki Ueda. 
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MAKING BLIFF
To make a game, there are several elements I had to make. However, since neither my paper nor the physical product of the game is copyrighted, I limit the description of game elements on the making of the scents only. 
pawns for bliff
The scents in this game are used as pawns, and they are contained in small bottles I bought at a drogist (drug store) in Den Haag. In total, I needed at least 18 different scents to be contained in 39 bottles. Since extracting ingredients to get all those different scents could take really a lot of time (which I didn’t have, unfortunately), I bought some of the ready-made scents essentials oils (most of these I bought at Dille and Kamille) and food essences (available at most supermarkets). Those which were not yet available in liquid forms (or too expensive to buy one) I extracted the scents of the ingredients using alcohol.  
essential oils
I went to media tech classmate Ali’s place to extract these ingredients because he has an electric stove at his apartment (as alcohol would be a terrible combination with gas stove), and helped by Maarten, we made several “perfumes”.
Some of the ingredients were successfully extracted, yet some of them not. But at least I had enough scents for my game.

TESTING BLIFF
Since game development is an iterative process, I needed to test my game to see whether it worked or not. Basically the game should be engaging yet does not create olfactory fatigue. I held 11 game sessions with a total of 22 players in the span of 2 weeks. I asked them to play and I observed the game play. I also asked them to fill in questionnaires to know what the players think towards the game.
nisaar fills in the questionnaires
lucine sniffs 
maarten sniffs
polly experiences tip-of-the-nose phenomena
“Bliff: Exploring Olfaction Autonomy in Olfactory Board Games” was presented on Friday, 18 February 2011 at Museum de Lakenhal, Leiden alongside Hanna Schraffenberger’s work “On The Liking of Modern Art”.

Thanks Yous!
Edwin van der Heide (for his supervision).
Maki Ueda (for her support and inspiration/reason why I wanted to make a project on olfaction).
Maarten Wesselius (for his support, helping me in smell extraction, and be the first test subject).
Marijke van Gorp (for her support and preventing me from malnutrition :P ).
Hanna Schraffenberger (for arranging the graduation presentation).
Ali Elgin (for lending his electrical stove)
Peers: Maki Ueda, Stelios Giannoulis, and Polly Oskam.
The Players (Maarten W., Marijke, Linda, Carl, Cindy, Daniel, Maarten vd Mark, Alwin, Vincent, Polly, Heike, Nisaar, Stelios, Maarten M., Jan Jaap, Joris vd Bos, Avi,  Ainil, Lucine, Anouk, Rianne, Lieven).




http://images.oxalis.multiply.com/photos/album/337/bliff_presentation_slides

Photo Album[bliff] presentation slidesMar 15, '11 2:47 PM
for everyone
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I was having so much fun making the presentation slides for my graduation presentation, despite it took me really a lot of time to make one. 

But anyway, here some of my favourite slides ;)






11.4.12

OLFACTOSCAPE - making of


12-03-2012



13-03-2012



Supported by: Steve Pearce, Omega Ingredients 
Special thanks to Hideaki Okamoto,  inframince


OLFACTOSCAPE - photos


date: March 15th, 2012

event name: Smell This!

venue: V2_ Institute for Unstable Media

website: 
about Smell_This!

about OLFACTOSCAPE









article on Trouw, 10 March 2012





a review about OLFACTOSCAPE by Caro Verbeek

Cited from olfactoryart.net
http://www.olfactoryart.net/index.php/olfactory-news/14-olfactory-news/109

A multi-sensorial perception of space - ‘Olfactoscape’ by Maki Ueda


‘Because we have two nostrils and because we can move, we are able to perceive smells in stereo and navigate through a space by inhaling’


Eyes closed, hands on the circularly arranged cloth hanging from the ceiling, concentrated on the olfactory clues sprayed on the textile in front of me, I slowly make my way through Maki Ueda’s ‘Olfactoscape’. ‘Chanel no. 5 deconstructed’ it said in the announcement. Suddenly an obtrusive smells hits me like a brick wall. I knew this was coming, but still it’s incredibly overwhelming; pure animalistic and deeply penetrating musk! Without hesitating I take one step back. It’s still there. Recovering from the first shock I am turning slightly to the left as it disappears. Nothing now. I move closer to the smooth flexible wall counter-clockwise. This brings me back to the more pleasant less pungent aroma I perceived one minute earlier. This one is less volatile, has less volume so to speak. By shifting my weight from one foot to another I try to find the exact border between the two. And there it is! Sharp like a knife. Apparently movement facilitates a spatial perception of odour to such a level that it becomes a floating and clearly defined shape.

‘Because we have two nostrils and because we can move, we are able to perceive smells in stereo and navigate through a space by inhaling’, Maki Ueda tells the audience before inviting them to visit ‘Olfactoscape’ during the V2 ‘Smell this’ event on the 15th of March. ‘Remember to keep your eyes closed and to move slowly’, she adds with a serious expression on her face. ‘Olfacto’ referring to the sense of smell and ‘scape’ to a landscape, this circular installation containing the most important components of the famous Chanel no. 5, enables visitors to experience space by one of our most underrated senses. ‘Why did you choose this type of construction’ one curious bystander remarks. Ueda: ‘When you stand in the middle, you perceive the harmony, that’s why this installation is organized as a circle, although a labybrinth or a rectangular narrow space would have been interesting as well’.
‘This was the first modern perfume’, she continues. ‘All perfumers educated now have to be able to reproduce it’. Chanel no. 5 is a so-called signature perfume. Its origins are surrounded by myths. One of the stories is that of a perfume mixer that somehow overdosed on aldehydes and ‘boom’: the birth of the first modern perfume, which - supposedly by mistake - has an extremely characteristic aroma. When isolated, these aldehydes are somewhat unpleasant and ‘fatty’ as Maki describes them.

Most of us are familiar with the fact that odours that are perceived as foul or hideous when secluded, turn out to pleasant and (wildly) attractive when covered with floral or fruity top notes. Musk and indole (to be found in human feces and associated with prostitutes at that time) are suddenly acceptable by upper class women when combined with vanilla or citrus. Chanel no. 5 is one of these layered almost schizophrenic perfumes. By deconstructing and grouping the most important ingredients, the artist presents to us a three-dimensional version of the most famous perfumes of all times. She allows us to smell the less agreeable odorants separately, exposing the bare naked femme fatale (base notes) underneath the civilized dressed up lady at the surface (top and middle notes). This makes it a bit like watching a scary movie. You know something is about to happen, but you can’t predict when. But your body knows before your mind.

Beside this more conceptual layer, there is a poetic and purely sensual aspect to the work which one can exclusively become aware of while experiencing this aromatic landscape. It forces you to combine several of your senses as if they were one: touch, smell and proprioception or kinaesthesia. A kinaesthetic experience is usually conceived by sight and even sound in combination with movement. This less well known sense tells us what our position is in a defined space. The unique circumstances provided by Olfactoscape, hand us the possibility to navigate through space with our hands, nose and body. The knowledge of the presence of certain ingredients, such as indole, aldehydes and musk, offers an extra dimension. Once you perceive them, being aware of the fact that your body almost described 360 degrees by this point, they function as a grand finale.

After exchanging the darkness and consolation of the installation for ‘neutral’ air and sharp electric light I am in a complete different state of mind. The mindful and multi-sensorial journey through Chanel no. 5 definitely left its mark on me.


Caro Verbeek