By Edmond Roudnitska (auth.), P. M. Müller, D. Lamparsky (eds.)
The suggestion of publishing this ebook on Perfumes: paintings, technological know-how and expertise grew out of the commentary that, at the verge of the Nineties, there has been particularly no cutting-edge compilation of the correct knowledge on which the perfume is predicated. It used to be noticeable that this kind of compilation will be good got, not just through perfumers and perfume chemists, but in addition through these all in favour of similar alternate and advertising or within the improvement and distribution of purchaser items, through researchers from different fields, by means of scholars and, eventually, through amateurs of perfumes usually. for this reason, we got down to locate useful authors who have been prepared to give a contribution to the endeavour, and we didn't do that unselfishly; to the contrary, we chosen a wish-list of experts who would supply us with new perception and signify the tendencies and learn priorities opting for the longer term. hence, we have been hoping on studying a lot ourselves through the venture. We have been greater than pleasantly shocked by means of the reactions to our first letter-and so was once Elsevier. We definitely had now not anticipated perfumers who're often even more 'doers' than 'writers' to react in such an enthusiastic means; specifically, the spontaneous affirmative solution from the recognized E. Roudnitska created a momentum which contributed considerably to the winning comple tion of this booklet. yet, after all, we must always now not create the impact that the opposite authors' chapters are less significant, and we thank them all heartily for his or her priceless effort.
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Additional resources for Perfumes: Art, Science and Technology
It seems that a fairly complete definition of the technique-for instance of a perfumer-would be the entirety of means used by an artist to create his work of art. This 'unity' of means includes practical methods and materials, as well as intellectual means. The composition of a perfume, an art of thought par excellence, relies considerably on mental faculties to create a technique. This must be understood once and for all because the user 'smells' what the composer has 'thought'. Another mistake which must be avoided deals with the belief that there are artistic composers and the rest mere technicians.
It is not that a deviating perfume is of necessity less pleasing than the established one. The point is that as soon as the fragrance of a product deviates noticeably from the established norm, the consumer draws its identity and all of the other qualities that are associated with this identity into doubt. , even if nothing else in the formulation was changed. Odours can mark identity also in the case of places and environments. Homes and apartments tend to acquire, as a result of their inhabitants' living habits, individual odours.
THE ART OF PERFUMERY 47 The composer's mind goes through a similar process: an exchange takes place between successive intuitions and intellectual faculties depending on facts. This process has to be accompanied by experimental verification. During these verifications, his experiments, the composer's mind must remain completely flexible. He must accept all intuitive suggestions; everything is possible, no contradiction should surprise him. Nothing is true or false a priori. This is a question of common sense, since, according to the author of Le Rire, common sense can be defined as 'the effort of a mind which is constantly adapting itself, changing ideas when objects are changing.