text:
Obviously I'm in.
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Obviously I'm in.
Thread: Chandler Burr Untitled S01E05
OK, people - who's back in the game? This one sounds pretty darn good. I already have ideas who he's talking about. In any case, let's get started on the fifth of Chandler Burr's Untitled series: S01E05
Here's the new URL on OpenSky: https://opensky.com/chandlerburr/pro...-series-s01e05
Chandler's description:
Good stuff. I'm all in!The fascinating thing about S01E05 is that Mies van der Rohes famous dicturm of modernism, less is more, applies to it perfectly, yet so do the philosophical musings of pop singer Heidi Montag: more is more.
S01E05s artist is in my view one of the most exciting and talented around today. He is a quintessential contemporary perfumer, and I find his work, which is uniformly good-to-great, a guide to the future, seemingly effortless forward movement. We are, here, in the hands of neither a modernist (you dont perceive the slightest interest in re-understanding the past from a different angle) nor a post-modernist (no tearing down, no violence, no temper tantrums). If he has absorbed the mediums canon, here is a creator who never once looks over his shoulder.
This is one of a number of works he has created for a spectacularly serious and well-directed housea house intelligent enough to be awarding him numerous commissionsand one of the best in their collection. That is saying something because their collection is one of, Id say, six or seven best in the world.
E05 is a work in the literalist style, contemporary figuratism, almost photo realism. The name contains the object that the artist is ostensibly photographing, but like all photo realism this is aesthetic trick. The work is so much more. Its creator obviously knows the plush, gold-leaf-and scarlet-velvet romanticism of Aimé Guerlains Jicky (1889) and the 1999 version of Jicky, the brilliant synthetic-curtain post-Romanticist sensuality of Michel Almairacs Rush. E05 is an ingenious 21st century romanticism that uses the olfactory photo to paint shadows within light, sensual and pungent nature, a realist dark green from an enchanted garden with rich soil and sinuous vinesa garden you retreat to with pleasureand a beauty that looks you in the eye and smiles.
The artist has made the technical choice of designing the work for evolution on skin. Wikipedia tells me, of Montags oeuvre, Lyrically, the song is about going to the club with friends, drinking and receiving male attention. In the second half, the lyrics switch to more sexual. Sums it up.
The turn-of-the-century Guerlains made statements. In the French style, they said something, specific and purposeful. They didnt disappear like a cloak of nanoparticles on your skin. E05 makes a statement, but it does it without the French ego, vanity, or pomp. It is relaxed, it is intelligent. I suspect that if Guerlain were living now hed either be creating this work or sincerely envying its artist.
Obviously I'm in.
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Obviously I'm in.
As he so succinctly put it, "Soon".
I just received an email saying mine shipped. That was quick!
^^^ Same here.
With all respect to Red, whose thread this is, I thought I'd post some questions that I'd like to see us all try to answer as we start experiencing this fragrance. Blame it on the fact that I'm in two book clubs and therefore have gotten in the habit of bringing questions for each book
1. How does S01E05 make you feel? What mood does it create? When would you see yourself wearing it? Do you think others like it on you?
2. In what way would you describe this fragrance as "less"? Is it minimalist?
3. In what way is the fragrance "more"? Is it plush, rich, saturated? Is it sexy or sensual, and why? Is it romantic (in the 18th century sense), and why?
4. Burr says the fragrance is literal, almost photo realism. Do you experience that characteristic, and if so, what do you think it is about the fragrance that causes this impression?
Mine is also on its way according to my e-mail and I will attempt to answer these questions once I have a chance to wear it.
The one thing in the intro which has me intrigued is that Chandler has mentioned he thinks this perfume house's collection is one of the top six or seven in the world.
If we sort of take as a given that Guerlain and Chanel are probably one and two on his list which might be overextrapolation on my part anyone want to hazard any guesses on which house this could be before we have anything to sniff?
I would think Frederic Malle would qualify but the price makes me think that isn't it.
Maybe Annick Goutal and Isabelle Doyen? Or Cartier and Mathilde Laurent? i can see fragrances from both of those fitting his description.
The text from CB uses the pronoun "he" to describe the composer. I think that eliminates Matilde Laurent and Isabelle Doyen.
Way back when I got an art history degree. I feel uncomfortable using art history language to describe fragrance, but I want to be open minded and give it a try. With respect to the owner of the thread, here's my best shot.
E05 is a romantic scent in the tradition of literal, figurative artists like Ingres. These artists use technique to try to solve some of the challenges painters have - like displaying a 3D figure on a 2D canvas. E05 was not created by a modernist, who like Manet, would flatten out the image and use technique to exaggerate the fact that paintings are 2D. In addition, E05 is not abstract, meaning that it is objective, again like Inges, but also like Manet. Pollock is a non-objective, abstract artist. So E05 uses scent to depcit an object in the 3D manner of the romantics. This literal figuratism is taken far enough so that is can be described as photo-realism. In photorealism, the painter paints a photo, and by doing so adds some of his or her internal reactions to it.
There is some garden imagery in the description. Let's assume this is a rose scent, just for this example. The rose is literal, so much so that it is an olfactory photograph of a rose, but with some touches that come from the composers own internal ideas of a rose.
This is my best first shot at using my art history to describe fragrance. Do others agree? Disagree?
Note - I read a website to refresh myself, and that site mentioned Manet. Don't remember the URL.
Last edited by Babsvs; 6th October 2012 at 04:15 AM.
Great posts, and - honestly - just because I started it, please don't feel like I own it. The way I see it, I just rented the space - y'all bring the party!
Perfume_Addict, good idea and good questions. Thanks for this.
Last edited by Perfume_Addict; 6th October 2012 at 03:52 PM.
I'll be following along, that's for sure.
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When I pick a scent to sample, such as Molecule 01 (of which I'm expecting a sample to arrive any day now), I judge it as a piece of clothing. It's as if I'm standing in a dressing room with a pair of jeans or a shirt. I've seen the price tag. Now I judge the fit. Would I wear this?
For some reason, when I smell these Untitled scents, I don't judge them as items of clothing. Hell, initially, I don't even know what piece of clothing it is.
Maybe a restaurant analogy would fit better. Sampling a scent I've picked is like sitting at a table and receiving a plate with my dinner. I pick up a fork and knife to cut myself a piece, and I eat. But sampling an Untitled scent is like being in the kitchen and having the chef hand me a fork with something on it. I'm not sampling for the sake of eating. I may not even know what I'm trying. OH! YES! It reminds me of a time when I was a regular for Sunday brunch at a new restaurant years ago. One day, the chef came out to our table and dropped off some bread and a small bowl. He said "Hey, I've seen you in here a lot. Here's a little something to try. I'll tell you what it is after you've had a chance to taste it. It's just a little something neat that probably won't ever make it on the menu." It was bizarre. At first, I hated it because it didn't make sense. But it was strangely addictive and actually quite delicious. When he returned and told me what it was, I realized why he didn't want me to know before trying. If he'd said "It's orange marmalade and horseradish" I would have assumed it was going to be pretty gross. And yeah, my first taste really threw me for a loop, but wow was it tasty! And it was fun to taste without expectations.
Many people get caught up in hype and they judge a scent based on its hype. They judge expectations. Aventus is a perfect example. So many smell it NOT to decide if they like it, but rather to decide if it lives up to their expectations based on the hype. I don't care about hype. I just smelled it to see if I liked it and if it wore well on me.
I really thought this Untitled Series was Mr. Burr's attempt to teach people to ignore hype and just smell for the sake of smelling. But I was wrong. I was wrong about the hype part, anyway. I'm not entirely sure he's trying to teach us anything. I think he's just presenting scents with as few expectations as possible. I suspect this is as much a learning process for him as it is for us.
...getting back to the questions in the list above...
Question #4 is particularly tricky. I can guarantee the answer for me would be no, not because I'd disagree with Mr. Burr. It's just that I don't experience scent as a physical object, like a painting for this example. I don't experience taste that way either. I experience scent as an experience, redundant as that may sound. Scent takes me to a time and place and memory. To my nose, literal would mean natural - a smell I know from the real world. And abstract would mean a scent that can only be created in a lab. I don't see a picture. I feel myself in a place.
Anybody have a sample of Martin Margiela Untitled or Untitled L'Eau? I'm dying to smell these and I've got lots of great niche samples to swap!
"Follow your nose. It always knows." -- Toucan Sam
It also explains perfectly why I have no idea how to place scent into any art history context, unless I have strong memories linked with particular art pieces or art movements. For me, not something that occurs often.
So thank you, for sharing your view!!!
Great questions btw @Perfume_addict!
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But not every moment of our life is highly-charged with emotion, and therefore not every scent/smell becomes entwined with an emotionally powerful memory. It seems like there should be smell-references (memories?) that are more analytic, or purely functional, like vocabulary. And in the case of some of those, they might be associated with images or sounds which are themselves associated with defined art movements (e.g. Romanticism.)
But if that's not how you experience scent, that's okay. It can certainly be interesting to learn how other people do. And don't assume that the way you perceive scent will always remain the same. I've been exploring fragrance for over a decade, and there have been many evolutions in how I perceive scent. Ultimately you smell with your brain, and therefore you "learn" as you experience scent.
I'm in! I played with S01E02, but skipped the others. I look forward to answering Perfume_Addict's questions, which seem a good way to start talking about it, based on Mr. Burr's description.
It's very interesting, this question of "how" we perceive scent, and what makes us want to own/wear something. When sniffing something new, I don't usually have an emotional reaction, unless it reminds me very powerfully of something I already own. Rather, I find myself, much like I do with music, trying to understand how it is put together and how it relates to my specific aesthetics. Is is beautifully/arrestingly/humorously composed? Can I see myself wearing it (i.e., can it exist both on its own merits and also become part of my day-to-day identity, or is it too unlike me), and does it hold my attention into the dry down? Dry downs are everything to me.
Emotion only comes into play as I begin to wear it and accumulate experiences while wearing it. If I leave a scent for a while and then put it on, I'm reminded immediately of what I was doing and who I was with the last time I wore it. If it's a scent I continue to wear, those memories are always being overridden by new ones.
Which is why it becomes almost impossible for me to wear something that I haven't worn in many years, maybe even a couple decades. The memories associated are too strong, or too beloved, and I don't want to supplant them. The perfume serves instead as a kind of snapshot for me and must be preserved as such.
PerfumeAddict - The piece you posted is exactly the sort of painting that I see 05 as! It is literal, there are definable objects in the paiting, and the painter is using his technique to make the objects look more realistic. The only small tweak I might make is to choose a photo realists depiction of the still life, but I think that is a small matter of taste only.
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Last edited by Babsvs; 7th October 2012 at 02:00 AM.
Now that you mention it, L'Artisan Parfumeur is one of the perfume houses I appreciate most, and the only one that often rates the wearing of multiple scents in the course of a week. (This week included L'eau d'Ambre, Premier Figuier and Dzing.) I wouldn't be disappointed if one of the Untitled Series scents was from L'Artisan.
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I choose fragrances in exactly the same way. At about the same age as Turner and Bonnard, I smelled Houbiagant's Chantilly and was just knocked away by it. Over time, I've had the same "melting" response to LHB, Jicky, Colony, Eau de Guerlain, Maharanih, Vanilia, Timbuktu, Jeux de Peau, Fille en Aiguille, La Petite Robe Noir (2009), and recently Talisman and Rumba. I'll wear a fragrance that I don't have that response to, but I probably won't buy a FB. If it's reformulated or d/c, I could live with that.
So for me, I have the same non-verbal delight in both art and fragrance that just knock me over.
The abstract functional fragrance, for example when I design a fragrance for an air refresher is the most cerebral of all, but even then I have a memory in my mind that I associate with 'fresh', 'clean', 'seasonal' or whatever the brief is. I also often imagine how my fragrance would make people feel.
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Although, now that I've thought about it more in depth, I have had a couple highly charged emotional responses to perfumes--ones that I'd never smelled before. Tauer's Lonestar Memories and Guerlain's Après L'ondée. Lonestar because it smells so much like where I live and Après because it is so, so melancholy and full of longing. But I can't think of any other perfume, even the most beautiful and treasured in my collection, that evoked a response in quite that way.
For the most part, my "emotional" responses to works of art, including perfumes, are more in the vein of what you describe. More than anything, I am trying to relate them to myself and my view of the world. Does it fit my sense of self and, for lack of a better word, my sense of life?
But maybe that's how art works? That one can learn to appreciate artfulness in a cerebral way minus the visceral reaction?
Art connoisseurs please help?
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My most emotional reaction to any piece of art I ever had was to Marc Chagall's America Windows at the Chicago museum of Art.
It was the first time I felt tears roll down my cheek at the impact of art, it would not be the last.
At first it was the subject matter but it was the subject matter and the manner of it which reached inside and gripped me to show emotion. But after the emotion faded I began to analyze what was special about it. The use of stained glass as a medium. The choice of a deep color of blue as the spatial filler to enhance the non-blue pieces resonated to my sight with a particular beauty.
The last few sentences are me speaking about the "notes" of this particular piece of art but it is the context of the emotion it evokes in me and in my mind the relating of my response requires both aspects.
I once took some Jungian training. Their theory (I may not have this completely right) is that we all have unconscious parts within in our psyche that are party from our personal history, and partly from the history of our families going back over the generations. These parts (complexes) cause us to be infatuated with a person or a piece of art.
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Oh wow yes. It is this way for me too. The deep emotion comes first, and then I want to learn the details.
And I totally get your desire of changing fragrance, even when you dearly love that one so much. It's wonderful to come back home to a beloved after a short separation
Also big fan of Jung, to me he is the magical realist of psychology. Very much like Chagall. Absolutely non-relevant from a scientific point of view but so wonderful to dream about the possibilities. There is so much we still don't know nor understand. There's where art comes in, imho, it gives us hope and understanding that we are all connected on a subliminal level that simply cannot all be explained intellectually.
p.s. wouldn't be awesome to get a fragrance in this series that would fit 'magical realism'??? I would totally buy that!
Last edited by Irina; 9th October 2012 at 07:16 AM.
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I received my E05 today. I am not ready for any kind of real description of it. I can say that the opening is unique. For about 5 seconds there is some wood, and then there is a green, vegetable sort of note with some lemon and salt. I have to be honest, it smells like cucumber to me.
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1. I am sorry to say that S05 did not evoke any feeling in me, and I can't see myself wearing it. That might change, and I might change toward it, but I didn't get a strong feeling of any sort. It certainly seems well contructed with a green/citrus opening, a floral green heart and a very long lasting wood drydown.
2. It is minimalist in that I did not smell a bouquet of notes. I got citrus, something green (cucumber?) and salt up top. The cucumber proceeded into the heart, and became a green floral. The drydown seemed like one wood note for quite a long time. I did get more is more only in the duration of the wood drydown. The scent is not at all sensual in my opinion. I did not get the reference to the song Mr. Burr referenced in E05.
3. E05 does not strike me as plush or rich. The wood and cucumber/citrus are saturated. As mentioned above, this is not my idea of sexy or sensual, but surely that is subjective. It is not at all romantic in the 18th century sense of the word. Romantics like Goethe (Young Werther), Byron, Keats, Whitman or Delacroix were concerned with the beauty of nature, the sensitivity of the artist, and spirituality. To quote Whitman from Song of Myself
Houses and rooms are full of perfumes, the shelves are
crowded with perfumes,
I breathe the fragrance myself and know it and like it,
The distillation would intoxicate me also, but I shall not let it.
The atmosphere is not a perfume, it has no taste of the
distillation, it is odorless,
It is for my mouth forever, I am in love with it,
I will go to the bank by the wood and become undisguised
and naked,
I am mad for it to be in contact with me.
When I think of a scent that is in the romantic tradition, using pretty much anything by the painter Delacroix as a reference, I think of Jubilation XXV or Portrait of a Lady.
4. I did get a very strong literal image of a cucumber. I think that it is very possible that I have this note completely wrong. I did spend a fair amount of time with the top, but I need to try it again. I think that I may have had a literal image in my mind from the text. I saw an overgrown garden with rich dark earth and vines that were climbing up the side of a house or even the trees. I didn't get that at all from E05. Again, I need to go back and see if this is a different garden than I was imagining from the scent. I was imagining something like Une Rose or even Apres l'Ondee. My ideal enchanted gardens are the one from The Secret Garden or from a Midsummer Night's Dream. There is nothing in the description that indicates flower garden, so maybe this is more of a vegetable garden? Again, I need to re-visit the beginning.
I also did not get any interplay of shadows and light. I really tried to find this. IMO once a note establishes itself, it holds center stage, and there were no other notes creeping in from the shadows. Again, I need to smell this again.
Last edited by Babsvs; 10th October 2012 at 06:44 AM.
Thank you for sharing @Babsvs, sounds like you're disappointed?
Customized consultancy on perfume formulation, safety, training and marketing & olfactory research
I also offer individual online personalised advice on perfume making to anyone eager to learn how to smell and design like a pro
Social platform & research network on all things smelly, daily smelly science twitter feed @SomethingSmelly
THE thread for all newbies DIY fragrance
Yes. I am disappointed in the description of the fragrance and not in the fragrance iteself. I was very taken in with the description, and I do no think it reflects the scent. I do want to remain open minded. I'd like to try the fragrance again to see where I might be mistaken. At this point it seems like Jean Claude Ellena minimalism with a long lasting wood bottom to me.
What do others think?
I thought I knew what this was when I smelled it, but my first guess only led me to the artist. The second guess, to the fragrance. My sample is a bit concentrated, but I don't think I've ever smelled anything quite like this one, so I'm rather confident in what it is. It *could* actually be what I first thought, which I only own in a body product, but I think of these two fragrances as very similar, so it's six of one, half a dozen of the other.
For a brief while, however, I wasn't completely sure what it was, and I saw it from a different perspective. The experience renewed my appreciation for the fragrance, and the artist.
I have avoided reading babsvs's impressions so that these will be as independent as possible.
1. How does S01E05 make you feel? What mood does it create? When would you see yourself wearing it? Do you think others like it on you?
Wistful. I'm a country boy at heart, and this one still gives me a very "outdoor" feeling. The smell of fields when I would walk through them on the way to the fishing hole. I want to wear this on a spring or fall day, when the bright sun is either starting to come out, or is making its final, warming, fall appearances.
I would have to say, I don't really care if others like it on me. I enjoy this one to be alone with it, like I'm in a museum. When I'm in the museum, my wife does nothing but bug me to keep moving. No. I want to enjoy this alone, and spend as much time with it as I want. It makes me reflective. I like that.
2. In what way would you describe this fragrance as less? Is it minimalist?
This fragrance is not what I would call a perfume. It's less than that. It's not big, or bold or what I was expecting (that Chandler would really "change it up" with E05). Is it minimalist? Yes, I think so. In fact, I was going to tar and feather our buddy Chandler with the neologism "chandlerspace", to describe the specific cross-section of fragrance-space that all of his five wispy, transparent, and minimalist true loves seem to inhabit. It's an interesting place, but numerically speaking, it's rather short on black holes and gothic knuckle-draggers.
3. In what way is the fragrance more? Is it plush, rich, saturated? Is it sexy or sensual, and why? Is it romantic (in the 18th century sense), and why?
While it's less than a perfume, it's more than an eau de cologne. It's very interesting. It's minimal and transparent, and has no more volume (in the "But my amp goes up to 11!" sense) than most of the others we've looked at in the Untitled series. But despite this, it's opaque in a milky, frosty, photo-through-linen way.
The words plush, rich, sexy and sensual don't really work for me here because of my rustic associations. HOWEVER, this fragrance could be worn in a sexy or sensual way with the right clothing. To me it wants light-colored, natural fabrics, like a summer dress or a cotton shirt, and to be worn on bare skin with them. It evokes a state of coolness or gentle warmth, and dryness, so it's not a clubbing scent - it's a "let's take a drive in the country" scent.
I'm not an art expert, though I feel like I "get" romanticism in paintings. I looked at a fair number of paintings labeled as Romantic, and this one is the one that spoke to me about my enjoyment of the scent:
The image that actually spoke to me about the scent itself is, strangely, a photo (in beginning to answer the next question)...
4. Burr says the fragrance is literal, almost photo realism. Do you experience that characteristic, and if so, what do you think it is about the fragrance that causes this impression?
I loved this enough to actually buy a print of it. Just like I have come very close to buying this fragrance before.
I think in many ways, yes. There is something natural and very real about it. If I could strip the idea of "The Good Earth" of all Asian connotations - even the novel - and just leave it as an idea of a sort of passive glorification of the idyllic, that applies anywhere - it has that feel to me. And yet there is some kind of gauzy, fuzzy texture over the whole thing which makes me think more of impressionism. Or perhaps it's that "less-than-photographic" quality of Romanticism, with central lighting by the spirit of Kinkade® (diluted with a fine mist of coming impressionism), that many Romantic paintings seem to have.
Ah, what can I say? I like this fragrance.
I wrote my answers offline before reading the other responses. I think I know (and considered buying) this scent. Ive lost my sample, so cant compare and will also note that my track record is not very good.
1. How does S01E05 make you feel? What mood does it create? When would you see yourself wearing it? Do you think others like it on you?
For me, S01E05 creates the feeling of floating in the middle of a great body of water. Serene, alone, but alert to the sun, waves, sounds. This feels like a warm-weather fragrance to me, although it didnt feel out of place in the office on an autumn day. Im not sure most people would recognize this as a perfume on me. I dont think it calls attention to itself, and to the extent people notice, I think they would perceive it more as just a nice smell than an intentional fragrance.
2. In what way would you describe this fragrance as less? Is it minimalist?
This is definitely minimalist. Its not the single molecule sparseness of Molecule 001, but it has very clean uncluttered lines. I can understand the Mies van der Rohe reference.
3. In what way is the fragrance more? Is it plush, rich, saturated? Is it sexy or sensual, and why? Is it romantic (in the 18th century sense), and why?
There is a sensual quality to floating in a lake or ocean, and as I mentioned above, I get that from S01E05. If there is a more its the vastness of the ocean being floated upon. Wearing this doesnt make me feel sexy, but it has occurred to me that Id find it kind of sexy if I smelled it on my significant other.
4. Burr says the fragrance is literal, almost photo realism. Do you experience that characteristic, and if so, what do you think it is about the fragrance that causes this impression?
I think the object referenced by S01E05 is sea (salt), and I do see it as a literal translation. I dont get salt in the sense of the saltiness of sweat; its a more mineral salt. I recognize vetiver and cedar contributing to the effect. The beginning of the scent, which does evolve on the skin, has citrus notes, but to me theyre not really part of what creates the sea-salt impression. There is also an undefined green note that some seem to be interpreting as cucumber. Well, maybe sea cucumber? Ironically, I think the sea shells in the Romantic-style painting I posted are peeking out of this scent, too!
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I tried to avoid picking apart the dry, earthy parts of it, because I wanted to just experience that. I think it was more like brine or dried sea-salt to you, and more like plant dust to me. I think we are bringing our closest experiences to the fragrance.
So much of personal fragrance is wrapped up in other people smelling it. This thing just seems unconcerned with that. I even compared it to a very artistic green scent (similar, but not the same), and THAT fragrance seemed more like a perfume. This one feels less like a true perfume, and more like a parfum d'ambiance. Yet TOTALLY wearable.
Yes - that green, vegatal note *really* jumped out at me. That was the thing I really noticed.
Thanks for your thoughts on this!
It seems that as a group, we have opinions about E05 that are both like and unlike. That said, I think that we are all making a serious effort to discuss E05 in an intelligent manner. I am stumbling on the way Romanticism is being defined. First off, Jicky was not released during the Romantic era, it was released during the Victorian Era. The Victorians were fern crazy.
NOTE: I can't get these images to show up. I have the URLs there. Can anyone fix this?
Romantic Art
Victorian Art
The Romantics absolutely looked over their shoulders. They admired the Romans and Greeks. Keat's house is in Rome, just below the Spanish Steps. The Romantics were concerned about creativiy, self expression, and understanding man and god's place within the universe. They were social activists, fighting against man's inhumanity to man. The Victorian's as a group were more concerned about fitting in and being accepted by society. Howard's End comes to mind.
To me, if E05 is a Romantic fragrance, it would be have to be very unique, although having predecessors seems like it is quite natural. E05 is unique and not unique at the same time. It is a green/citrus that dries down to a woody base. That's not unusual. I do think that the vegetable (?) used is unusual. There are probably unique uses of the aroma chemicals that I don't understand.
Question 1 - Is Romanticism intended to mean unique, expressing the self, and religious/mystical?
Question 2 - Are "unique", "mystical", or "self-relevetory" the romantic qualities others were looking for in E05?
Part 2
I'm also stuck as to our nose as a photorealist. We are told the nose is not a post-modernist. Photorealists build images from photographs. This movement arose out of Pop Art, and neither of these two schools of art are big on landscapes. The Romantics of course, worship the earth's beauty and painted landscapes. Photorealists differ from abstract expressionists. The best way I know to describe the romantic ancestry of abstract expressionism is to watch the film Pollock as he lies on the ground observing a tidal pool, and then paints a completely non-objective piece in which you can just feel that tidal pool. Photorealism is a post-modern art form, driving "fine" and "everyday" art closer together and using objective forms to do so.
Our nose is then referred to as a 21st century romantic. An example of a 21st C romantic that most people have heard of is the poet Allen Ginsberg. His work is deeply personal, spiritual, and filled with the beauty of the natural world.
Question 1 - If our nose is not a post-modernist, can he be a photorealist?
Question 3 - Is he a photo realist because he designed the structure of his scent by breaking it down into grids (imaginary or real)?
I'm sure that in the world of contemporary art, the photorealists like Chuck Close, don't get in on line, while the 21C romanticists like Maxfield Parrish, get on another line. People are individuals, and perhaps artists, like rappers, sample from a variety of different schools of painting.
Question 4 - Is our E05 nose, like Picasso, someone who changes styles and uses a different syle either simultaneously on the same scent, or simultaneously on different scents made at the same time. I am not talking about a style evolution, like JC Ellena creating Rumba and then creating his contemporary work for Hermes.
I have to say, I don't personally see this "sampling" in E05, but I am thinking about it in several places. In the first five seconds of the top I got a wood note and then poof, it was gone. I thought it was pretty cool that the composer got what is usually a durable note to be so fleeting. The vegetal note in the top/heart is unique, and perhaps it is a combination of notes. Finally, E05 lasted for about 20 hours on me. At the end the wood turned into a dry wood and I also got a whiff of incense.
I would really appreciate other peoples' thoughts and opinions.
Last edited by Babsvs; 12th October 2012 at 02:21 AM.
@Babsv, love your contribution, makes so much sense to me, thank you for sharing!
@Red & @Perfume_addict, how fascinating that you both experience that 'alone' element, thank you for sharing your experiences and thoughts!
My question to y'all art history experts: if you would really smell E05 blind, without CB's connotations, but rather look at E05 as a piece of art that one would see in an art gallery, what art movement do you think would fit E05 best?
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Here are your images and labels repeated:
Romantic Art
Victorian Art
Thank you for fixing the images!
I am not an art history expert at all. I have my BAFA in it, and love it, but it is more love than knowledge. I am not sure what school I would but E05 into from an art historical perspective. I do find similarity between JC Ellena and E05. Perfume experts, does anyone else see this or am I completely off course?
I have to admit that Romanticism is a pretty fuzzy concept for me. It's characterized by emphasis on emotion, individual imagination and creativity, and the rejection of rationalism. It encompasses Rousseau's philosophy of "a state of nature" characterized by his statement that "nothing is so gentle as man in his primitive state, when placed by nature at an equal distance from the stupidity of brutes and the fatal enlightenment of civil man."
It seems that Romanticism gave birth to Realism, so I'm not really sure the two are mutually exclusive.
Based on this, I can see S01E05 fitting into Romanticism in some respects, in the sense that the perfumer interpreted nature through his own vision (imagination) of it, and gave us something idealized. We can recognize what it's supposed to be, but it's not a mirror image. However, with scent, I think you have to be pretty literal if you want people to recognize what your vision is. With abstractions, I'm not sure you'll get more than a "that smells good" or "that smells strange". I think there has to be a certain amount of Realism in a fragrance that refers to a specific object.
IMO, the Mugler may have been pop art; Infusion d'Iris, Impressionistic; L'Etrog, Abstract; Yuzu Rouge, Realism.
Here is what Burr said, with emphasis added:
So it looks like Burr is calling it literalist, contemporary figuratism, almost realism, with references to Romanticism and post-Romanticism. He then basically calls it - essentially - an example of a kind of neo-romanticism.E05 is a work in the literalist style, contemporary figuratism, almost photo realism. The name contains the object that the artist is ostensibly photographing, but like all photo realism this is aesthetic trick. The work is so much more. Its creator obviously knows the plush, gold-leaf-and scarlet-velvet romanticism of Aimé Guerlains Jicky (1889) and the 1999 version of Jicky, the brilliant synthetic-curtain post-Romanticist sensuality of Michel Almairacs Rush. E05 is an ingenious 21st century romanticism that uses the olfactory photo to paint shadows within light, sensual and pungent nature, a realist dark green from an enchanted garden with rich soil and sinuous vinesa garden you retreat to with pleasureand a beauty that looks you in the eye and smiles.
I can see calling Jicky romanticist, just chronologically, but also stylistically. I am taking his word on Rush, because I know so little about modern schools of art, other than what I know about fragrance, minus the labels. And I can see calling E05 literalist and realist. But if one can equate the hazy style of so many impressionist painters with the soft and out-of-focus texture of this fragrance, then I would say that it has some impressionistic elements - and perhaps the same ones that leak into such a large number of contemporary paintings.
Like I said, when I use art phraseology like that, it's a bit like a toddler with a switchblade. I'm hoping for somebody like a delinquent older sister to at least show me how to use it properly by correction.
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I actually do not see Jicky as being of the romantic period, I see it of the Victorian period. The Romantic period went from (extended dates) 1770-1870). The Victorian period formally began in 1837 and ended around 1910, overlapping with La Belle Epoque. The plushness Mr. Burr is describing is more of the Victorian era than the Romantic era. There was a fern frenzy during the Victorian era, and Jicky is a fougere, meaning fern.
I liked your list of all of the schools of art list you made. Burr calls E05
Literalist (also called minimalist, jackpot, only one image) - Donald Judd, 1969
Contemporary Figuratism - Jose Manuel Merrello
Photo realism - Chuck Close
Contemporary Romantic - Anthony A. Gonzalez
I did find a painting that looks exactly how I envision the perfume. The artist, Paul R. Keysar, calls it Traditional Realism. I like the brushwork on the cucumber.
Paul R. Keysar - Cucumber Slices
I want to stress how very subjective I think this is. Just as a note I have on Fleur de Liane and Calamus with C05. They are more to my taste. I find the bitterness in E05 offputting.
Last edited by Babsvs; 12th October 2012 at 08:39 AM.
Customized consultancy on perfume formulation, safety, training and marketing & olfactory research
I also offer individual online personalised advice on perfume making to anyone eager to learn how to smell and design like a pro
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You are kind to say so. I love art history so much. When I pass I want my ashes scattered in the art history lecture hall in Popejoy Hall at the U of New Mexico. (kidding)
I still dream of the undergraduate chemistry labs where I first smelled uncommon organic chemicals.
Enjoying reading the responses from those who have received their bottles (I ordered on the 4th, just today received an email stating order was being processed and should arrive in 5-7 days . . . grrrrrrrr), but now I'm worried this is going to be another exercise in watery/green/minimalist/cologne-type sniffing.
Bitter green and resembles Jicky? That makes me curious, while the allusions to cucumber worry me . . . hopefully no calone.
Well, I'm out. Just received this email from Open Sky:
* * *
We're contacting you to update you on the status of your "The Untitled Series: S01E05". We had hoped to have your order shipped by now but unfortunately we're still experiencing delays with the supplier of this product.
We continue to work closely with the manufacturer to get your order completed but we estimate that it will take another 7 business days to ship.
Due to the inconvenience we're adding a $10 credit to your account for your next purchase. We sincerely apologize for this delay and invite you to contact us at 1-877-734-6736 or [email protected] if you have any questions or would like to cancel your order.
* * *
Will cancel and won't play again. I ordered back at the beginning of the month, around the 5th, I think. Doesn't look like Burr/Open Sky/Supplier can all get on the same page together. And this in a day and age where Amazon can get me something I order from a supplier half way around the country on a Tuesday by that Thursday with no hassle? Fuggedaboutit.
This is my last one too. I don't need any more wispy green scents. I am sorry that you never got your sample. I also don't want to play again because Mr. Burr and our host/moderator don't participate on the boards. When Katie P was moderating she was really active.
Haven't read any other people on the thread for a week and I want to use Perfume Addict's questions in as unaffected state as possible so if I am repeating anyone else I'll mention it after I go back and read.
1. How does S01E05 make you feel? What mood does it create? When would you see yourself wearing it? Do you think others like it on you?
S01E05 makes me feel content when I have been wearing it. I would wear this as a daytime scent and as a weekend fragrance, it does not feel like something I would choose for a night out or as a romantic accompaniment. My wife likes it on me.
2. In what way would you describe this fragrance as "less"? Is it minimalist?
I wouldn't call this minimalist as it never seems to "turn over" on me. what i get from the first moments is what I get from the last moments. E05 feels like a still life like an olfactory moment in time frozen. Because it doesn't develop it does cause me to look at it closely and in that examination I appreciate the layers and nuances that are here. E05 is a green leafy experience but there are also other things to notice. This might be the most obviously "constructed" entry in the Untitled series so far.
3. In what way is the fragrance "more"? Is it plush, rich, saturated? Is it sexy or sensual, and why? Is it romantic (in the 18th century sense), and why?
I wouldn't use any of these adjectives to describe E05. E05 is of the earth and it is an olfactory image of green growing things but it never rises to the level of volume that would make me use any of the above words to describe it.
4. Burr says the fragrance is literal, almost photo realism. Do you experience that characteristic, and if so, what do you think it is about the fragrance that causes this impression?
This is a snapshot of a green growing plant of some kind it captures not only the green but that weirdly spicy quality I've always found underneath things in nature and so this time "photo realism" does seem an apt choice for me.
- - - Updated - - -
Just read through everyone else's responses. If I'm going to apply art criticism here it would have to be photo realism. At its best the artist uses a single point of vision to explore the complexity of something that on its surface should have no depth. Only when you are faced with really looking at it do you see the other things.
The only photorealist artist i have any knowledge of is Richard Estes and he excelled at doing this with city milieus. His most well-known piece is this one called Telephone Booths
What I think is so great about this painting is what I find fascinating about E05.
In Estes' painting it is at first the phone booths then the people in the phone booths I notice but the feature which eventually draws me in to this piece of art and make it fascinating to me is the distorted reflections in the doors of the phone booths. What is that bit of yellow on the right, the building in the middle is clear and the bit of neon sign on the left what is that? That is where my emotions and thoughts go when looking at this.
E05 did a similar thing for me at first it is the green growing thing that is at the heart of this but then as I mentioned above there is that spicy note of Nature that rarely gets captured in a perfume. I am sure the perfumer used some pepper but the presence of that note is like the blurred images in the phone booths. Makes me ask where I am; garden bench, canoe in the Everglades, hiking trail crossing a field. Whichever image I choose for the moment informs my feeling and sense of E05. E05 like Estes work invites a surface examination but I was willing to spend some time with it to find the reflected distortions in the doors.
I have to say that E05 definitely is another transparent fragrance very similar to the other four entries and this really is starting to make this experience feel very similar from entry to entry. I am going to press Chandler a little harder on this point at the next reveal because this is not different in feel to the previous four entries. On the other hand we have now had five transparent pieces of olfactory art chosen by our curator. While I can use transparent to describe all of them would I say they are constructed the same or make me feel the same?
I'm not sure I would ever equate E05 with minimalist if that word is exemplified by Ellena. To me minimalist means a few well chosen notes which create a sense of unexpected interactions. E05 does not do this for me it is a single moment of things growing in the earth.
Your description is intriguing. Like Babsvs, I need another "wispy green" like I need a hole in my head, but this sounds like something just a tad richer.
I sent out some samples last Monday. I'm hoping that we'll be getting a new round of comments very soon. Stay tuned!
Hi everyone! ROtto brought his full bottle of EO5 to our San Francisco sniff yesterday, so we sprayed it on paper and all passed it around our lunch table. The consistent imagery that everyone agreed on was "surgery". One of our sniffers said it reminded her of that blast of chemical smell you get as you're being anesthetized. Pretty much everyone was describing cold white surgery rooms and the way that a room devoid of scented products can still smell so strongly of chemicals.
Anyway, I thought that was interesting because it's so completely the opposite of what the discussion here has agreed on.
So, I'm wearing it today and I'll play by the BN rules:
1. How does S01E05 make you feel? What mood does it create? When would you see yourself wearing it? Do you think others like it on you?
In a way that's hard to describe without getting into the minutia of notes and such, I find EO5 to be natural but gross. As such, it doesn't evoke comfort or feel like anything I can imagine anyone enjoying smelling on me, though I find it creative and interesting. I'd wear it when I wanted something a little challenging, likely when I had plans to be alone.
2. In what way would you describe this fragrance as "less"? Is it minimalist?
I suppose it's minimalist in the sense that it doesn't have as much going on as, say, a classic aldehydic floral would - There's a lot happening, but it's all focused in one direction, little nuances are there but they all point towards green vegetation and its gross undercurrents.
3. In what way is the fragrance "more"? Is it plush, rich, saturated? Is it sexy or sensual, and why? Is it romantic (in the 18th century sense), and why?
No to sexy or sensual, no to saturated. No to romantic in the "love" sense.
I do find it plush, but not in a velvet romantic way. Have you guys seen the documentary Grey Gardens? The one about the two formerly aristocratic ladies who live in a dilapidated mansion that's completely overgrown with ivy? This makes me think of that house. Sort of beautiful but with nature overgrowing everything so it's gotten a bit wild and nasty. There's a plushness to out-of-control vines - lots of dark crevices and shadows giving unseen depth and a sense of danger.
4. Burr says the fragrance is literal, almost photo realism. Do you experience that characteristic, and if so, what do you think it is about the fragrance that causes this impression?
For me, it's those vines. But it's not literal to me.
To tie this all together, I think his reference to Jicky is interesting, because Jicky smells kind of beautiful but it has that utterly terrifying poop underneath. And it's not beautiful despite the poop - instead, it's beautiful once you learn to embrace the poop. Maybe that's the romanticism that Chandler is referencing.
As much as I want to avoid simple "note" discussions, I have to bring up that this is a tomato leaf fragrance. I've talked tomato leaf a million times - I find it fascinating that it smells so wonderful but also has a horrifying bile undertone. It's especially funny because, when you smell tomato leaves on an actual tomato plant, the bile smell is barely there. There's something about distilling it into a perfume that brings out the ugliness, and I think there's a wonderful metaphor there that ties in with Jicky. If you have to embrace the poop to see Jicky's beauty, you have to embrace the disgusting undertones to see EO5's beauty.
In terms of the composition (Chandler, you can look away now...), there was a sort of metallic celery note in the beginning, with maybe a pinch of dill, leading to that bell pepper/cilantro smell that reminded me of Piment Brulant. Then, the tomato leaf came forward and became the focus, but all the other facets (maybe some black pepper and mint for brightness as well, along with a deep rubbing alcohol smell underneath) are all like little soldiers marching alongside the tomato leaf, either brightening it or adding depth but always in formation and headed in the same direction - All ingredients lead to ivy!
In terms of imagery, I'm think about those pictures of barns down south that are overgrown with kudzu vines:
Notice how that dark space between the leaves and the vines is every bit as important as as the green of the vines themselves? If you can imagine an image like this painted with a bit of an impressionist haze, where the leaves are less specific and the dark shadows are played up, that's what EO5 makes me think of.
If you roll on the boxes marked on the painting you see van Eyck's wonderful detail.
Like you, I am very taken with the attention to detail in Telephone Booths and in the Van Eyck. I am not sure that I noticed that amount of detail in E05. I am anosmic to some musks, so it could be me. I did see it as a minimal scent with a green top, a green/floral middle and a woody bottom. That is another point where we diverge. I smelled a very clear classical progression in E05. I think you were saying that you found it linear (what you smelled on top is what you smelled on bottom). I was not getting a wide variety of notes at the top, middle and bottom. IMO, E05 is in the minimalist Ellena/Buxton/Duchafour style.
It is interesting and educational to trade ideas, and once again, I really liked Telephone Booths.
Last edited by Babsvs; 22nd October 2012 at 12:32 AM.
But I still think it always points towards green. Unrelentingly. In a way, that's where the phone booth analogy loses me. The whole point of that is the layers, the way you see the booths themselves, the people in them, and the reflections. It's like you're looking in one direction but seeing multiple directions all at once. Whereas EO5 is just green, sometimes dark and scary, other times more bright or sweet, but always green.
The Jan van Eyck is another interesting image, but again, there's so much going on there, including a full and detailed landscape out the window and a bunch of still lives and classic portraiture and that incredibly detailed crown and even more stuff that's all rendered in lurid detail if you look close enough. EO5 doesn't feel like it has that. There's no painstakingly detailed garden outside the window. There's no basket of fruit off to the side. It's just variations on green as a theme and it isn't in the least bit baroque.
I ordered my bottle last week and it's still not here! I am running out of time to skin test this and post my impressions...
"All problems are illusions of the mind."
-- Eckhart Tolle
As for comments to the effect that all five Untitled Series scents have been transparent, I think that's an inadequate way to classify scents and I have to disagree. No personal attack intended against anyone in particular. Despite being a citrus, L'Etrog is anything but transparent. And transparent wouldn't be the first description that I'd apply to Mugler Cologne. And while I compared S01E05 to a large body of water, I don't think its especially transparent. Would I consider Infusion d'Iris and Yuzu Rouge transparent, yes, although that might lead to the suggestion that they're somehow similar to one another, or fill the same niche in a fragrance wardrobe, and I don't think that's the case. I think maybe the criticism is aimed at something else (I think it is a criticism of the range of scents included in the series.) There seems to be a feeling that some favorite potent scent is missing (where's the patchouli? the vanilla? the oudh?) Am I wrong? What is the opposite of transparent, and what should we be seeing more of in these selections?
1: Prada Infusion d'Iris - somewhat transparent (Chandler said luminous - maybe soft white & yellow - translucent?)
2: Mugler Cologne - well, colognes are all somewhat transparent, so maybe, but not totally. Sorta see-through.
3: L'Etrog - citrus - well - kinda transparent to MY nose (all light to me - never dark or opaque - unlike others)
4: Yuzu Rouge - citrus - I think definitely transparent to me
5: S01E05 - to me, white like latex paint or dust. Maybe not transparent but just barely opaque white.
So transparent isn't really the right word, but they're all light in some way. Whether it's clear, transparent, translucent, or white, they're all, what I might call, pale.
There is a real similarity to all these scents. They may be very good breads, but they're all some kind of white bread. A couple of them feel like the Japanese sandwiches with the crust carefully removed. Only the amazing ham and cheese and Japanese mayo saves those damn things. When I'm done with them, my American and European heritages are so crust-craving, we want to eat the nearest brown paper. That's how this selection leaves me. I feel like I want to hose down with Carven Homme or an A*Men flanker. Is that Baroque? Whatever! I'm hungry for REAL OLFACTORY FOOD. Heck - even an Aqua Slider.
I don't feel like I'm gettin' my red meat, carrots, gravy, and brownies. Maybe we need some nice, sharp, chypre cheese. If we have to go L'Arquiste, then a good crusty spiced bread like Anima Dulcis is what I'm cravin'. Not lemonade like L'Etrog!
Sorry - I've got some crusty 3-cheese bread that needs prevention of staleness. Gotta run!
I see E05 as a green scent with three stages. I don't see any of the stages as having a wide variety of notes. In one of my earlier posts I compared it to Jubilation XXV, with XXV as sort of an opposite. To my nose, XXV is very detailed, with different notes flying in like little light rays from different directions. When I smell S05, I find it more minimal. In an earlier post, I compared it to this lovely still life:
Paul R. Keysar - Cucumber Slices
I don't get anything menacing, but I am almost positive there are notes I just don't smell. I don't get anything remotely skanky in Jicky.
Last edited by Babsvs; 23rd October 2012 at 05:08 AM.


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Its asparagus season again and the third year since we planted ours in the garden. The harvest is small but every few days we have a handful of asparagus spears ready to eat. They are so good they need little done to them, so we have been lightly steaming them or eating them topped with a poached egg. They really are something special.
These bread hogs came from a recipe in the Peppa Pig magazine. We will certainly make them again as the children really enjoyed making the hedgehog shapes and sticking on the eyes. I must admit they look better than they taste but they provided a few hours of playtime.
Back on to pipe cleaners, we tried our hand at a few snakes. I think they worked out quite well.
Another cheap meal made from the remains of a roast chicken, grilled red peppers and plenty of crunchy salad in a crusty roll.
Another meal made from leftover roast chicken. This one just has the leftover leg and thigh meat for a bit more flavour. Strips of red cabbage pepper and some noodles.
This is grilled sea bass with basil pesto and grilled tomatoes. It works really well and gets the thumbs up as a dish which takes less than 15 minutes to cook.
These pipe cleaner spiders were just the thing to do on a recent rainy day. They just require a few pipe cleaners cut up for the legs and some self adhesive eyes and were played with for a good few hours afterwards.
Another experiment with the soup maker. This time its beetroot soup. It contains beetroot, carrots, leeks, a stock cube and seasoning. Finished with a little feta cheese on the top, its not the most attractive dish but tastes quite good.
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The opinions expressed herein are my own personal opinions and do not represent
my employer's view in anyway.

subset: commoncrawl


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Jakli receives 2010 Luckhurst-Samulski PrizePosted Apr, 11, 2011
The article Electro-mechanical effects in liquid crystals written by the LCI member Prof. Antal (Tony) Jakli has been selected as the winner of the 2010 Luckhurst-Samulski Prize. This is a Prize awarded annually to the best paper published that year in Liquid Crystals as selected by the Editorial Board. The article appeared as an invited contribution in a commemorative issue dedicated to Alfred Saupe, one of the founding fathers of the modern liquid crystal physics, who worked at the LCI in 1968-1992. Tony joined the LCI as a postdoctoral fellow in the group of Alfred Saupe in 1989 and together they produced a number of outstanding research results. The award-winning article reviews linear and quadratic electromechanical effects in liquid crystals, the subject that was not classified in details before. It is focused on an interesting set of physical effects but at the very same time it is broad in scope, not only technical but also historical. The article provides an insight into one of the potentially rich non-display areas of liquid crystal applications in energy conversion and energy generating devices, and should inspire many researchers in the field of condensed matter.
The formal announcement of the winner of the Prize was made last week in Maribor, Slovenia, during the European Conference on Liquid Crystals that Prof. Jakli attended. In addition to the cutting-edge research and educating the graduate students at the Chemical Physics Interdisciplinary Program, Prof. Jakli contributes greatly to the field of liquid crystals as an Editor of the Liquid Crystals section of Physical Review E. Together with Profs. R. Lemieux, C. Rosenblatt and T. Hegmann, Tony is currently organizing the 2011 International Conference on Ferroelectric Liquid Crystals, to be held on August 29-September 2, 2011 in Niagara Falls, Canada.


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so with talk of dead forums about…i know this is nothing new, but i thought id try to inject a little activity…..with a word game. this thread is just to see if there is interest. if there is ill go ahead with it, if not then no bother….its not everyones idea of something to do
the word game i had in mind is the following (cant remember the name sorry)…i had the game about a year ago on here
my clue = meteorology head
answer = weathertop
clues must be tolkien related
any takers?


text:
OXFORD, Ohio -- Miami dropped the doubles point, but used strong singles play to overmatch Eastern Michigan 5-2 in Mid-American Conference tennis action Friday at the Hepburn Courts. The win was the third straight for the RedHawks, who improve to 7-12 overall and 3-1 in league play.
Eastern Michigan (6-12, 1-3) took an early advantage in doubles, winning the No. 1 match 8-2, but Miami evened play when Alix Thurman and Nimisha Mohan posted an 8-4 win at No. 2. After splitting the first four games, the duo won five in a row for a 7-2 advantage. The Eagles broke and then held to close to 7-4, but Mohan thwarted the rally on her serve for an 8-4 win.
The No. 3 match started out in favor of Miami, with Christiana Raymond and Ramona Costea opening a 3-2 lead, but the Eagles took six straight games, starting with a break, for an 8-3 win.
Singles play was a different story. Christine Guerrazzi dominated at No. 4, surrendering only one game in a 6-0, 6-1 win, her most convincing of the year. Thurman followed with a 6-4, 6-1 win at No. 2 to give Miami the match lead, 2-1, but EMU evened the score with a 6-4, 6-4 victory at No. 1.
But Raymond won eight of the final nine games in a 6-4, 6-1 decision at No. 3 to give the RedHawks the lead for good. Costea rallied from a 2-1 deficit in the second set for a 6-3, 6-4 victory that sealed the RedHawks' win.
Ana Rajkovic secured a much-needed win in the final action. She dropped the first set 6-4, but rallied for a pair of 6-3 wins after entering Friday with losses in eight of her last nine matches.
Miami wraps up its home season tomorrow at 1 p.m. against Toledo.


text:
Know Before You Go
Walk-To Site: Tent camping only.
You must walk approximately 500 ft. to access this site.
Site access is difficult: moderately steep ascent to site.
Maximum of 1 vehicle on this site. Maximum of 4 people on this site.
No RV's, motorhomes, boats, or trailers of any kind allowed at this site.


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Janino as an Expression Evaluator
Say you build an e-commerce system, which computes the shipping cost for the items that the user put into his/her shopping cart. Because you don't know the merchant's shipping cost model at implementation time, you could implement a set of shipping cost models that come to mind (flat charge, by weight, by number of items, ...) and select one of those at run-time.
In practice, you will most certainly find that the shipping cost models you implemented will rarely match what the merchant wants, so you must add custom models, which are merchant-specific. If the merchant's model changes later, you must change your code, re-compile and re-distribute your software.
Because this is so unflexible, the shipping cost expression should be specified at run-time, not at compile-time. This implies that the expression must be scanned, parsed and evaluated at run-time, which is why you need an expression evaluator.
A simple expression evaluator would parse an expression and create a "syntax tree". The expression "a + b * c", for example, would compile into a "Sum" object who's first operand is parameter "a" and who's second operand is a "Product" object who's operands are parameters "b" and "c". Such a syntax tree can evaluated relatively quickly. However, the run-time performance is about a factor of 100 worse than that of "native" JavaTM code executed directly by the JVM. This limits the use of such an expression evaluator to simple applications.
Also, you may want not only do simple arithmetics like "a + b * c % d", but take the concept further and have a real "scripting" language which adds flexibility to your application. Since you know the JavaTM programming language already, you may want to have a syntax that is similar to that of the JavaTM programming language.
All these considerations lead to compilation of JavaTM code at run-time, like some engines (e.g. JSP engines) already do. However, compiling JavaTM programs with SUN's JDK is a relatively resource-intensive process (disk access, CPU time, ...). This is where Janino comes into play... a light-weight, "embedded" JavaTM compiler that compiles simple programs in memory into JavaTM bytecode which executes within the JVM of the running program.
OK, now you are curious... this is how you use the ExpressionEvaluator:
Notice: If you pass a string literal as the expression, be sure to escape all JavaTM special characters, especially backslashes.
Compilation of the expression takes 670 microseconds on my machine (2 GHz P4), evaluation 0.35 microseconds (approx. 2000 times faster than compilation).
There is a sample program "ExpressionDemo" that you can use to play around with the
ExpressionEvaluator, or you can study ExpressionDemo's source code to learn about
ExpressionEvaluator's API:
Janino as a Script Evaluator
Analogously to the expression evaluator, a ScriptEvaluator API exists that compiles and processes a JavaTM "block", i.e. the body of a method. If a return value other than "void" is defined, then the block must return a value of that type. Example:
As for the expression compiler, there is a demo program "ScriptDemo" for you to play with the
ScriptEvaluator API:
Check the source code of ScriptDemo to learn more about the
ScriptEvaluator API.
Janino as a Class Body Evaluator
Analogously to the expression evaluator and the script evaluator, a ClassBodyEvaluator exists that compiles and processes the body of a JavaTM class, i.e. a series of method and variable declarations. If you define a contract that the class body should define a method named "main()", then your script will look almost like a "C" program:
The "ClassBodyDemo" program (source code) demonstrates this:
Janino as a Simple Compiler
The SimpleCompiler compiles a single "compilation unit" (a.k.a. ".java" file). Opposed to to normal JavaTM compilation, that compilation unit may define more than one public class. Example:
It returns a
ClassLoader from which you can retrieve the classes that were compiled.
To run this, type:
See Advanced for other ways of using JANINO.


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You must earn 10,000 points to post other members' whiteboard
Hi RUNNINONEMPTYFL, You made a great post today on the news article "Industries try to stop higher-ethanol fuel". E-10 reduces production of poisonous carbon monoxide, but we need to keep E-15 and higher concentrations of ethanol out of our fuel systems. Want to become buddies??? Warren :-)
Hi, noticed your great comment on the news article "Fuel oil industry feeling the heat" today. That is also a great avatar picture. Happy New Year to you and yours. Want to become buddies??? Warren :-)


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177.010 Purpose
177.020 Definitions
177.030 Airport Districts
177.040 Procedure
177.050 Nonconforming Uses
177.060 Marking and Lightening
177.070 Variances
177.010 PURPOSE. The Airport Overlay Zone is intended to minimize potential dangers from, and conflicts with, the use of aircraft at public airports based on the adopted master plans for each airport. It is to be used in conjunction with the underlying zone. If any conflict in regulation or procedure occurs with the underlying zoning districts, the more restrictive provisions shall govern. This section is intended to comply with Federal Aviation Agency Regulation FAR-77 and all other applicable federal and state laws regulating hazards to air navigation.
(a) AIRPORT - A public airport as defined in Section 177.040 of this Ordinance.
(b) AIRPORT ELEVATION - The highest point of an airport's usable landing area measured in feet from mean sea level. This elevation above mean sea level shall be shown on the Official Zoning Map.
(c) AIRPORT SURFACES - The specific dimensions, slopes and elevations of the airport surfaces shall be delineated on the Official Zoning Map.
(1) Primary Surface - The surface of the runway and adjacent land on each side of the runway centerline and 200 feet beyond the ends of the runway. The length of this surface is determined by using the existing runway length or the runway length identified in an adopted State Airport Master Plan, if longer. The width is the same as the end of the approach surface that is closest to the runway.
(2) Approach Surface - This surface begins at the end of the primary surface. From its initial width, that is the same as the width of the primary surface, it extends upward and outward on both sides of the projected centerline of the runway with a specified slope and terminates where it intersects the horizontal surface.
(3) Horizontal Surface - It is a horizontal plane which surrounds the airport 150 feet above the airport elevation. The interior portion of this surface terminates where it intersects with the transitional and approach surfaces. Its outer edge terminates where it intersects with the conical surfaces.
(4) Transitional Surface - An imaginary plane that extends upward and outward from the sides of the primary surface and approach surface to the horizontal surface.
(5) Conical Surface - A surface extending outward and upward from the periphery of the horizontal surface at a slope of 20 to 1 for a horizontal distance of 4,000 feet.
(d) HAZARD TO AIR NAVIGATION - An obstruction determined to have a substantial adverse effect on the safe and efficient utilization of the navigable airspace.
(e) HEIGHT is the highest point of any structure as further defined in Section 110.260. The Official Zone Map identified the maximum height permitted for any obstruction calculated from the airport elevation as defined in Section 177.020 (b) and from mean sea level.
(f) OBSTRUCTION is any structure, tree or other object, including a mobile object, which extends above airport surfaces as defined herein.
(g) RUNWAY is a defined area on the airport prepared for landing and takeoff of aircraft along its length.
(h) TREE means any natural vegetation.
177.030 AIRPORT DISTRICTS. In order to carry out the provisions of this Airport Overlay Zone, three airport development districts are shown on the Official Zoning Map showing the height limits adopted at the time the Airport Overlay Zone is applied.
(a) AIRPORT DEVELOPMENT DISTRICT - This district consists of those lands, waters and airspace area at or below the primary, transitional and approach surfaces described in Section 177.020(c) above.
(1) Use Limitations. Any use, accessory use, buildings and structures otherwise allowed in the underlying zone shall be permitted provided the following requirements are satisfied:
(a) No obstruction or object shall be permitted if its extends above the transitional and approach surfaces as defined in Section 177.020(c) above.
(b) Roadways, parking areas and storage yards shall be located in such a manner that vehicle lights will not result in glare in the eyes of the pilots, or in any other way impair visibility in the vicinity of the runway approach.
(c) Sanitary landfills, sewage lagoons or sewage sludge disposal shall not be permitted closer than 10,000 feet to the airport runway.
(d) No game preserve or game reservation shall be permitted if the animals or birds have the potential to become a hazard to air navigation.
(e) No structure or use intended for public assembly shall be allowed except by a conditional use permit.
(b) HORIZONTAL SURFACE DISTRICT - This district consists of the land, water and airspace underneath the horizontal surface as described in Section 177.020(c) above.
(1) Use Limitations. Any use, accessory use, building and structure allowed in the underlying zone shall be permitted provided the following requirements are satisfied:
(a) No obstruction shall penetrate the horizontal surface as defined in Section 177.020 (c) above.
(b) Sanitary landfills, sewage lagoons or sewage
sludge disposal shall not be permitted closed than 10,000 feet to the airport runway.
(c) CONICAL SURFACE DISTRICT - Any use and accessory uses, buildings and structures allowed in the underlying zone shall be permitted provided that no obstruction penetrates the conical surface as defined in Section 177.020(c) above.
(a) An applicant seeking a building permit involving any use or structure regulated by the Airport Overlay Zone shall provide the following information in addition to any other information required in the permit application:
(1) Property boundary lines as they relate to the airport approach and the end of the runway;
(2) Location and height of all existing and proposed buildings, structures, utility lines and roads.
(b) Proposed buildings or structures shall be approved by the Building Inspector if it is determined that it will not extend above the airport surfaces as defined in Section 177.020(c).
(c) An applicant seeking rezoning, a conditional use permit or a variance involving any use, building or structure regulated by the underlying zone or the Airport Overlay Zone shall be reviewed in accordance with the applicable procedure in this Ordinance. During this review process, the State Aeronautics Division shall be notified of the proposal and any public hearing, be given an opportunity to comment and be notified of the decision.
177.050 NONCONFORMING USES. The regulations prescribed by the Airport Overlay Zone shall not be construed to require the removal, lowering or other change or alteration of any structure or tree not conforming to the regulations as of the effective date of this Ordinance, or otherwise interfere with the continuance of the nonconforming use except as provided in Section 110.060. Nothing contained herein shall require any change in the construction, alteration or intended use of any structure, otherwise permitted, the construction or alternation of which was begun prior to the effective date of this Ordinance.
177.060 MARKING AND LIGHTING. The owner of any existing non-conforming structure or three shall permit the installation, operation and maintenance thereon of such markers and lights as shall be deemed necessary by the Oregon Department of Transportation to indicate to the operators of aircraft the presence of such airport obstruction. Such markers and lights shall be installed, operated and maintained at the expense of the airport owner.
177.070 VARIANCES. The provisions of this Overlay Zone may be varied subject to the procedures and criteria for considering variances set forth in Section 122. Variances may be allowed where it is found that the proposal will not create a hazard to air navigation, and will be in accordance with the spirit and intent of this Overlay Zone.


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How To Make the Best Iced Coffee
Cooking Lessons from The Kitchn
It's hot. The kind of hot that makes you not even want to go outside. The kind of hot that makes you consider a mesh top as work-appropriate attire. It's OK though. I got your chill pill. It's a cold brew French press recipe that makes the best iced coffee, and it can be your new morning breeze.
If you are determined to kick the coffee shop habit and make your own iced coffee at home, flavored the way you like it, strong and heady and above all cold, I'm here to help. Here is how you make the best iced coffee you've ever had.
Let's get one thing out of the way: Great iced coffee is not had by plunking ice cubes into a glass of hot coffee. Not at all. If you've ever tried that, you know that the coffee is immediately diluted by all that ice, and it never achieves true chilly nirvana.
Instead, the best iced coffee is made by changing the coffee brewing process itself. Instead of using hot coffee, fresh from the pot or the French press, I make a cold-brewed coffee, steeped and chilled overnight in a French press. It emerges from the refrigerator extra-cold and extra-strong, ready to be diluted just a little by your ice and milk.
As you may imagine, making a cold-brew French press means using cold water. It also means more time, as the coffee grounds need more time to steep. But this extra time and cold-brew process also means a more delicate flavor and a less bitter finish.
This is how many coffee shops make their iced coffee, that stuff you crave this time of year. They make an extra-strong, extra-smooth cold-steeped brew that is just as good as hot coffee, but in its own special way.
Here's how to get all that cold specialness at home, for lots less money, and finished however you like.
Speaking of a finish, I always enjoy adding a final ingredient or two to the French pressed brew. Try sea salt, try caramel, try chocolate sauce or fudge (or heck try them all at once). It's hot out there, remember — your day deserves a sweet beginning.
How to Make a Cold Brew French Press
adapted from NYTimes
What You Need
1/3 cup whole coffee beans
1 1/2 cups cold water, preferably filtered
Ice, to taste
Milk, to taste
Sweeteners such as flavored syrups, caramel, or melted chocolate, optional
Coffee grinder
French press
Grind the coffee beans: Grind 1/3 cup of coffee beans until they are coarse enough to be filtered by the French press, yet fine enough to infuse well. On my burr grinder, I grind right in between middle and fine.
Combine the ground coffee and water in the French press: Pour the ground coffee into the French press and top with 1 1/2 cups of water.
Stir to incorporate: Gently stir the coffee with the water until well blended.
Put on French press lid: Make sure the plunger is in the up position.
Place the French press in the refrigerator and steep overnight: Leave the plunger in the up position so the grounds infuse the water overnight.
Plunge to separate the coffee from the grounds: The next morning, plunge the French press to separate the coffee from the grounds.
- Make your iced coffee: Fill a glass with ice cubes and fill partway with milk. Fill the rest of the glass with iced coffee. Stir to combine and enjoy!
Recipe Notes
Large Batch Iced Coffee: If you have a larger French press, you can make a larger batch of iced coffee using the same ratio of ground coffee to water. Plunge and transfer any unused coffee to a new container. Iced coffee can be kept refrigerated for about a week.
- Iced Coffee Variations: If you have a sweet tooth like me, you may want to stir in a spoonful of cajeta caramel or chocolate fudge. Sea salt or cinnamon also make a nice touch.
Want more smart tutorials for getting things done around the home?
See more How To posts
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Submit your own tutorials or ideas here!
(Images: Chris Perez)


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Cullen's Dried Corn-on-the-Cob Organic Wildlife Feed
Price: Under $1.00
Supplier: Cullen's Wildlife Feed
Availability: In Stock
Cullen's Dried Corn-on-the-Cob Organic Wildlife Feed
Cullen's Dried Corn-on-the-Cob Organic Wildlife Feed
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September 11, 2013
Students commemorate 9/11
Student representatives from the University organizations Pi Sigma Alpha and the American Studies Institute joined in a collaborative effort to honor the victims of 9/11. Through their annual memorial display, students placed flags from each country representing each victim affected by the 9/11 tragedies on the campus front lawn.
"The 9/11 flag memorial is fundamentally designed for two reasons: remembrance and honor," Pi Sigma Alpha President Chris Safley said. "Every flag represents a life lost, domestic as well as foreign, during the 2001 catastrophe. They are carefully counted and deliberately placed out of reverence. Such an event distracts us from our immediate reality, for it transports our thoughts onto something worth remembering."
Members of Pi Sigma Alpha, ASI distinguished students, faculty, staff and student volunteers placed more than 3,000 flags on Harding's front lawn Sept. 9. The practice of commemorating 9/11 has been a continued tradition from this event's origin in 2002.
ASI Distinguished Students President Jonathan Crews has been involved with the project each year of his college career. He said the experience has been a special reminder of how culturally combined our society is and how important it is to care for our fellow humans and for God's creation.
"Personally, I see it as a profound memorial to remember those who died that tragic day," Crews said. "It's easy to go throughout each day and forget the death of so many fellow Americans and the sacrifice our soldiers make every day to keep us safe. Walking by the flags is a sober reminder to never forget what happened."


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dakini_boi wrote:Depression is described in Western medicine as a physiological condition, for which psychiatric medicine is often prescribed. Of course, it's more complicated than being purely physiological, as the way our mind works plays a role - but it seems to be a continuum, and many health professionals think that for some people, it is a real physiological limitation that requires medicine to effectively treat. Now we know that realized masters are still subject to physiological problems, and often need to be medicated. If depression can in some cases be a purely physiological condition, does anyone know if there are realized masters who must be on psychiatric medication?
jeeprs wrote:I would be very surprised to know of 'realized masters' who suffered clinical depression, or needed psychiatric medicine. It's a contradiction. I would think a 'realized master' would understand there is nothing worth being depressed about.
ram peswani wrote:
The path of realized master towards Buddhahood leads to perfect physical and mental body.
A Buddha has 32 special perfect physically visible features and a perfect mental bodies at the back.
In fact someone writing on Lotus sutra mentioned chapter 27. In this chapter the celesial king when he presents himself before Buddha is astounded after seeing the Buddha physically. So much so that he surrenders his celesial kingdom to follow the path of Buddhahood. Whenever a person wants to select a master, physical attributes are easy signs to judge the master.
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Rhyme or Reason
Sept. 25, 2014
Why You Roast - Marshall Hance
Marshall Hance is a "Get Action" sort of individual; on the go, driven, and endlessly curious. Like many in roasting at home or in shops, Marshall is a tinkerer. Putting things together is a passion, but putting them together for a reason is the true draw. In the case of Mountain Air Roasting in Ashville, NC, that reason is excellence in coffee. Knowing that Marshall comes from a background of building his own roasters and roasting for himself I wanted to know what drove him to do it professionally and if that pursuit had any impact on his love of roasting in the first place.
CS: How did you start roasting coffee?
MH: I started roasting just a few weeks after reading about it when I realized roasting was what I was supposed to be doing instead of turning wrenches at a bicycle shop. That bike shop was actually my first customer, and five years later I still enjoy making deliveries to my friends there.
CS: Do you believe in the idea of the freedom and independence of being a small business owner?
MH: I'm not sure if freedom and independence are a reason to be a small business owner. I'm certain my life was much more free and independent with a "normal" 40hr a week job. While I do feel captain of my own ship, it takes away from other favorite pursuits such as riding bicycles and cooking dinner. Ideally, I would roast about 15 batches a day, 5 days a week. I enjoy getting into the groove but not breaking my back.
CS: What do you like most about roasting?
MH: I think the combination of introverted precision and tastiness of product were the most interesting aspects of roasting to me. The fact that a roasting business is smoothly scalable from roasting for one's self to roasting thousands of pounds a day was a draw; knowing that I could find where I fit in the market and build a business to compete seemed to offer tremendous opportunity.
CS: What roasting devices or set ups have you used?
MH: At this point in time, the only roasting machines I've used are the ones I've built. They've all been rotating fluid bed hot air roasters, scaling up from 1/2 lb, 2lb, 6lbs, and finally 15lbs batch size. Each step up, the byproducts of roasting were more than I had...


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Comments about Salsa Wide Mouth Water Bottle:
I needed a replacement for my favorite worn out specialized water bottle I use almost daily. I was skeptical buying another brand other than my stand by because cheap bottles stink and make the water taste bad. To my pleasant surprise when I got the bottle, not only was it exactly what I hoped for, on the bottom I noticed it is made by specialized. Win, win, win. Cool logos, quality bottle, great price.
Comments about Salsa Wide Mouth Water Bottle:
What can I say? It holds water and does it well! Plastic doesn't smell at all and looks good!
Best Uses
Comments about Salsa Wide Mouth Water Bottle:
real nice tough, not flimsy like some bottles
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Video Archives
"Pac-Man" made his debut in Japanese arcades. Three-and-a-half decades and billions of glowing dots later, the yellow gaming icon has appeared in more than 70 titles.
During a boat tour in Alaska's Prince William Sound, a group of tourists witnessed a huge glacier break off and fall into the water.
A five-year-old boy wasn't ashamed to help a stranger. In fact, his gesture created quite the stir at an Alabama waffle house. Bryan Henry has the story.
Two little girls love to hit the slopes with their dads to do some extreme snowboarding. The dads are both expert snowboarders. They say not everyone should try these moves with their kids.
A group of hikers got more than they bargained for when the Telica volcano in Nicaragua erupted as they climbed it.
For sale: one husband. That's what a Florida woman posted on Facebook, after her husband did the unthinkable. He forget that this past Sunday was Mother's Day. Jason Hackett explains.
California is in the middle of one of its most historic droughts. And with mandatory water reductions in place -- it's nearly impossible to water a lawn. So, one Sacramento man has come up with a way to make California lawns green, even in the midst of a devastating drought.
It's a stunt so stunning, you'll feel like you've strapped on wings and came along for the ride. CNN's Jeanne Moos has the story of a daring duo wearing jetpacks that pack a punch.
On June 11, the Hispanic owners of a barbecue restaurant in Colorado plan to offer a 10 percent discount to all white customers and no one else. Originally a joke, the owners have decided to go through with the idea, though they know it might anger some.
Dramatic video obtained by the AP shows a tornado forming near the town of Hardy, Nebraska, near the Kansas border on Wednesday. The twister took out power lines and a farmstead. It was one of dozens of tornadoes to hit the southern Plains.
Daimler Trucks North America this week unveiled its new autonomous big rig that allows drivers to take their hands off the wheel and eyes off the road while the vehicle operates in a sort of autopilot mode.
A lake of lava on Hawaii's Kilauea volcano has been rising over the past week and, at times, overflowing in a spectacular show.
A bride and groom were enjoying a picture-perfect ceremony in Malibu, California when a rescue helicopter crashed the wedding. Cynthia Newsome has the story.
A baby polar bear at the Maruyama Zoo in Japan took its first splash in a pool Tuesday. The cub was last December.
For those who live in the city but are fans of fresh eggs and farm living, a company is offering some people the chance to get eggs right from the natural supplier. Elise Finch explains.
A student's cellphone camera captured the moment that a stage collapsed during the end of a high school performance in central Indiana. More than a dozen people were hurt, one critically.
Theres never been a shortage of beer on college campuses. But students at Cal Poly-Pomona are learning how to brew, serving their product to classmates, and hoping to land jobs in craft breweries when they graduate.
Doctors and nurses have started wearing ballet tutus every Tuesday to cheer up young hospital patients at a Florida hospital. It started with a request made by a nervous patient -- now, almost the entire staff is wearing the tutus.
Computers can do amazing things. Using quick editing, Ethan Nudd made this stop motion video of a himself seemingly flying on a broom like Harry Potter.
It's a guy flying on a broom. Need we say more?
Computers can do amazing things. Using quick editing, Ethan Nudd made this stop motion video of a himself seemingly flying on a broom like Harry Potter.


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This paper craft is a Peach origami, designed by Canon Papercraft. A wide range of different origami has been enjoyed in Japan since ancient times. Origami Peach comes in pink and yellow.
You can download the canon papercraft origami here: Canon Papercraft - Peach Origami Free Download
For more Canon Papercraft – Origamis please visit the Topic: Canon Papercraft – Origami Collection
For this paper model, we recommend that you use the material (Paper, Paint, Glue, etc.) to make. Here are Great Deals, and here are 100s of card making ideas. There is FREE sewing patterns that you may need.
Random Papercrafts:


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Attached to a Canon EOS 5D MKII it ranks 4th overall and 2nd for wide-angle primes, just behind the Sigma 35mm f/1.4 DG HSM A, which at a similar cost offers the same focal length, a wider f/1.4 maximum aperture but no Image Stabilization. You can read our DxOMark review of the Sigma 35mm f/1.4 DG HSM here.
A Sharpness Score of 17 P-Mpix for the Canon EF 35mm f/2 IS USM, compared to 15M-Pix for its predecessor, is an improvement of +15% and crucially it performs much better in the corners of the frame, which was the weakest aspect of the original. It's not the widest Canon prime available with the Canon EF 24mm f/2.8 IS USM and Canon EF 28mm f/2.8 IS USM available at a similar price point and although they don't quite achieve the dizzying heights of the 35mm they put in a very good performance, too.
At around the $800 - $849 mark however all three lenses are expensive but there aren't any cheaper alternatives available unless you're prepared to live with the relatively poor Sharpness of its predecessor the $349 Canon EF 35mm f/2. If you want the 'fast' f/2 maximum aperture and desire top-quality edge-to-edge from a Canon wide-angle prime you won't go far wrong with the Canon EF 35mm f/2 IS USM.
To provide photographers with a broader perspective about mobiles, lenses and cameras, here are links to articles, reviews, and analyses of photographic equipment produced by DxOMark, renown websites, magazines or blogs.
Added by burb1972 | October 01, 2013
price drop 550$
completly changes all reviews
Added by livefromphilly | February 09, 2013
I really hope Nikon makes something like this.
VR/IS is nice, but it seems like at the wide angle it's not as effective on Nikon's system because all the lenses that go wide with VR are slow (f/3.5 or f/4). I'd be very happy if they replaced the 35mm f/2D with something like this.
Reply | Read all replies for this comment
Added by ageha | February 10, 2013
Re: I really hope Nikon makes something like this.

This a comment for this page on the website
VR/IS is nice, but it seems like at the wide angle it's not as effective on Nikon's system because all the lenses that go wide with VR are slow (f/3.5 or f/4). I'd be very happy if they replaced the 35mm f/2D with something like this.
Effectiveness isn't the reason most probably. ;)