Olfactory Experience

Ifyou sprinkle fine sand uniformly over a drumhead and then make itvibrate, the grains of sand will collect in characteristic spots andfigures, called Chladni patterns. These patterns reveal muchinformationabout the size and the shape of the drum and the elasticity of itsmembrane. In particular, the distribution of spots depends not only onthe way the drum vibrated initially but also on the global shape of thedrum, because the waves will be reflected differently according towhether the edge of the drumhead is a circle, an ellipse, a square, orsome other shape.


How we make use of our senses? Does one not wonder about the effect of our memory retention how on how well we can call up memories?

The Vibration theory of smell proposes that a molecule‘s smell character is due to its vibrational frequency in the infrared range. The theory is opposed to the more widely accepted shape theory of olfaction, which proposes that a molecule’s smell character is due to its shape.

I expose myself to a bias in my thinking that seems natural to me with regard to the subject of vibratory reductionism. So the idea of Vibration theory of olfaction is interesting in the sense that we may use a ancient part of our physiological makeup to access  memories, that are correlated with this sense as a marker.

 The Shape theory of smell states that a molecule’s particular smell is due to a ‘lock and key’ mechanism by which a scent molecule fits into olfactory receptors in the nasal epithelium.

Would we say that this is a more potent way of remembrance that we may have underestimated the nature and the way that memory induction employed not just in terms of this neurological connection of the time there in association, but as a feature of the biological presences that we muster as matter beings.

That the spectrum of sight is much finer then the matter states of consideration in terms of a waffling of a breeze that carries the scent of let’s say mom’s apple pie? So we see this impression is made not only in the retention of the memory, but is further compacted, with this “emotional significant association.”

This “emotional impact”  is significant? Not just in the smell, but of the vibratory experience we correlate with let’s say music here, so as to retain and impress upon our youth and vigor,  the choices made then.

So memory is vital in the sense that olfactory experience is important in the retention of these memories. Thus to an understanding and constructive creative schematic of defining our experiences in terms of how well such “other sense are used” to impress upon and recount experience.





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