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Chance Favors Only the Prepared Mind How does a scientist go about the task of pushing back the curtains of the unknown? Certainly the romance of tackling the mysteries of nature provides the motivation, for who would not be inspired by the remarkable life history of this romantic beast, the salmon. After living in the Pacific Ocean for several years, salmon swim thousands of kilometers back to the stream of their birth to spawn. I have always been fascinated by the homing migration of salmon. Noone who has seen a 20-kilogram salmon fling itself into the air repeatedly until it is exhausted in a vain effort to surmount a waterfall can fail to marvel at the strength of the instinct that draws the salmon upriver to the stream where it was born. But how does it find its way back? I was puzzling over this problem during a family vacation in 1946. Inspired by the work of the great German Nobel Laureates, Karl von Frisch and Konrad Lorenz, I had been conducting research with my graduate student Theodore Walker, since 1945, on the ability of fishes to discriminate odors emanating from aquatic plants. Von Frisch had studied schooling minnows and discovered that, if broken, their skin emitted a con specific chemical substance, termed Schreckstoff, which caused other members of its school to disperse and hide.

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Written by a neurobiologist and a psychologist, this volume presents a new theory of olfactory perception. Drawing on research in neuroscience, physiology, and ethology, Donald A. Wilson and Richard J. Stevenson address the fundamental question of how we navigate through a world of chemical encounters and provide a compelling alternative to the "reception-centric" view of olfaction. The major research challenge in olfaction is determining how the brain discriminates one smell from another. Here, the authors hold that olfaction is generally not a simple physiochemical process, but rather a plastic process that is strongly tied to memory. They find the traditional approach―which involves identifying how particular features of a chemical stimulus are represented in the olfactory system―to be at odds with historical data and with a growing body of neurobiological and psychological evidence that places primary emphasis on synthetic processing and experiential factors. Wilson and Stevenson propose that experience and cortical plasticity not only are important for traditional associative olfactory memory but also play a critical, defining role in odor perception and that current views are insufficient to account for current and past data. The book includes a broad comparative overview of the structure and function of olfactory systems, an exploration into the mechanisms of odor detection and olfactory perception, and a discussion of the implications of the authors' theory. Learning to Smell will serve as an important reference for workers within the field of chemical senses and those interested in sensory processing and perception.

What did nineteenth-century cities smell like? And how did odors matter in the formation of a modern environmental consciousness? Smell Detectives follows the nineteenth-century Americans who used their noses to make sense of the sanitary challenges caused by rapid urban and industrial growth. Melanie Kiechle examines nuisance complaints, medical writings, domestic advice, and myriad discussions of what constituted fresh air, and argues that nineteenth-century city dwellers, anxious about the air they breathed, attempted to create healthier cities by detecting and then mitigating the most menacing odors.Medical theories in the nineteenth century assumed that foul odors caused disease and that overcrowded cities―filled with new and stronger stinks―were synonymous with disease and danger. But the sources of offending odors proved difficult to pinpoint. The creation of city health boards introduced new conflicts between complaining citizens and the officials in charge of the air. Smell Detectives looks at the relationship between the construction of scientific expertise, on the one hand, and "common sense"―the olfactory experiences of common people―on the other. Although the rise of germ theory revolutionized medical knowledge and ultimately undid this form of sensory knowing, Smell Detectives recovers how city residents used their sense of smell and their health concerns about foul odors to understand, adjust to, and fight against urban environmental changes.

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Written by a neurobiologist and a psychologist, this volume presents a new theory of olfactory perception. Drawing on research in neuroscience, physiology, and ethology, Donald A. Wilson and Richard J. Stevenson address the fundamental question of how we navigate through a world of chemical encounters and provide a compelling alternative to the "reception-centric" view of olfaction. The major research challenge in olfaction is determining how the brain discriminates one smell from another. Here, the authors hold that olfaction is generally not a simple physiochemical process, but rather a plastic process that is strongly tied to memory. They find the traditional approach―which involves identifying how particular features of a chemical stimulus are represented in the olfactory system―to be at odds with historical data and with a growing body of neurobiological and psychological evidence that places primary emphasis on synthetic processing and experiential factors. Wilson and Stevenson propose that experience and cortical plasticity not only are important for traditional associative olfactory memory but also play a critical, defining role in odor perception and that current views are insufficient to account for current and past data. The book includes a broad comparative overview of the structure and function of olfactory systems, an exploration into the mechanisms of odor detection and olfactory perception, and a discussion of the implications of the authors' theory. Learning to Smell will serve as an important reference for workers within the field of chemical senses and those interested in sensory processing and perception.

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The aim of this book, the first of its kind, is to convey an impression of this enormous variety in scent and visual appearance of orchid flowers. The interdisciplinary concept of the beautifully illustrated book (over 170 colour photographs) should guarantee that a broad spectrum of readers will find this publication appealing: people engaged in the fragrance field, professional scientists, naturalists as well as hobbyists. "This book takes the reader into the scented world of orchids...... (It) contains an introduction to the world of orchids, a description of the orchids found on five continents and the chemistry of their aromas. (One of the unique features of this publication) is the way it has bridged the gap between the scientist and the lay person.The book is filled with beautiful color prints of more than 170 orchids, so that the variation and exotic nature of many orchids are readily understood. To not overburden the lay reader with the detailed chemical composition of each of the aromas of the 165 orchid species examined, the author has cleverly placed the data in an appendix. This makes the book easier to read without comprising the scientific contribution of the author's work. Finally, here is a book of excellent value which will become the reference text on orchid aromas."Brian M. LawrenceEditor-in-Chief "Journal of Essential Oil Research"

The Smell of Books investigates the ways in which the olfactory sense has manifested itself in Italian, German, French, Russian, and English literature of the past 150 years. Against a broad interdiscriplinary backdrop that includes linguistics, psychology, aesthetics, and sociology, Hans J. Rindisbacher takes a new approach to literary history – one centered on the sense of smell.   Rindisbacher examines the works of the German Expressionists and of Baudelaire, Huxley, Rimbaud, Wilde, and Turgenev, as well as Holocaust memoirs and contemporary German books such as Patrick Suskind’s Das Parfum and Christa Wolf’s Storfall. He demonstrates that the sense of smell, which has heretofore occupied a position at the bottom of the sensory hierarchy, plays a consequential role in romantic, modern, and contemporary European and Russian literature.  

This book explores the role of bodily, sensory experience in early Christianity (first – seventh centuries AD) by focusing on the importance of smell in ancient Mediterranean culture. Following its legalization in the fourth century Roman Empire, Christianity cultivated a dramatically flourishing devotional piety, in which the bodily senses were utilized as crucial instruments of human-divine interaction. Rich olfactory practices developed as part of this shift, with lavish uses of incense, holy oils, and other sacred scents. At the same time, Christians showed profound interest in what smells could mean. How could the experience of smell be construed in revelatory terms? What specifically could it convey? How and what could be known through smell? Scenting Salvation argues that ancient Christians used olfactory experience for purposes of a distinctive religious epistemology: formulating knowledge of the divine in order to yield, in turn, a particular human identity. Using a wide array of Pagan, Jewish, and Christian sources, Susan Ashbrook Harvey examines the ancient understanding of smell through religious rituals, liturgical practices, mystagogical commentaries, literary imagery, homiletic conventions; scientific, medical, and cosmological models; ascetic disciplines, theological discourse, and eschatological expectations. In the process, she argues for a richer appreciation of ancient notions of embodiment, and of the roles the body might serve in religion.

Book is in NEW condition. 0.93

This book explores the role of bodily, sensory experience in early Christianity (first – seventh centuries AD) by focusing on the importance of smell in ancient Mediterranean culture. Following its legalization in the fourth century Roman Empire, Christianity cultivated a dramatically flourishing devotional piety, in which the bodily senses were utilized as crucial instruments of human-divine interaction. Rich olfactory practices developed as part of this shift, with lavish uses of incense, holy oils, and other sacred scents. At the same time, Christians showed profound interest in what smells could mean. How could the experience of smell be construed in revelatory terms? What specifically could it convey? How and what could be known through smell? Scenting Salvation argues that ancient Christians used olfactory experience for purposes of a distinctive religious epistemology: formulating knowledge of the divine in order to yield, in turn, a particular human identity. Using a wide array of Pagan, Jewish, and Christian sources, Susan Ashbrook Harvey examines the ancient understanding of smell through religious rituals, liturgical practices, mystagogical commentaries, literary imagery, homiletic conventions; scientific, medical, and cosmological models; ascetic disciplines, theological discourse, and eschatological expectations. In the process, she argues for a richer appreciation of ancient notions of embodiment, and of the roles the body might serve in religion.

The Smell of Books investigates the ways in which the olfactory sense has manifested itself in Italian, German, French, Russian, and English literature of the past 150 years. Against a broad interdiscriplinary backdrop that includes linguistics, psychology, aesthetics, and sociology, Hans J. Rindisbacher takes a new approach to literary history – one centered on the sense of smell.   Rindisbacher examines the works of the German Expressionists and of Baudelaire, Huxley, Rimbaud, Wilde, and Turgenev, as well as Holocaust memoirs and contemporary German books such as Patrick Suskind’s Das Parfum and Christa Wolf’s Storfall. He demonstrates that the sense of smell, which has heretofore occupied a position at the bottom of the sensory hierarchy, plays a consequential role in romantic, modern, and contemporary European and Russian literature.  

Book is in NEW condition. 0.65

Inspiration for the creation of Sauvage Eau de Parfum was taken from the desert in the magical hour of twilight: mixed with the coolness of the night, the burning desert air exudes profound scents. Sauvage Eau de Parfum is thus the olfactory interpretation of a moment tinted with a thick blue that unleashes the wildest instincts. In the hour when the wolves come out and the sky is set ablaze, a new magic unfolds. Sauvage Eau de Parfum teams the freshness of a juicy, spicy Calabrian bergamot note with the sensuality of a mysterious and enveloping Papua New Guinean vanilla extract accord to unfurl a powerful and noble trail. The 1 oz and 3.4 oz bottles of Sauvage Eau de Parfum are now refillable with the Sauvage Eau de Parfum refill. This innovative system is part of Dior's sustainable development initiative, which aims to improve the House of Dior's impact on the climate, resources and waste.

Inspiration for the creation of Sauvage Eau de Parfum was taken from the desert in the magical hour of twilight: mixed with the coolness of the night, the burning desert air exudes profound scents. Sauvage Eau de Parfum is thus the olfactory interpretation of a moment tinted with a thick blue that unleashes the wildest instincts. In the hour when the wolves come out and the sky is set ablaze, a new magic unfolds. Sauvage Eau de Parfum teams the freshness of a juicy, spicy Calabrian bergamot note with the sensuality of a mysterious and enveloping Papua New Guinean vanilla extract accord to unfurl a powerful and noble trail. The 1 oz and 3.4 oz bottles of Sauvage Eau de Parfum are now refillable with the Sauvage Eau de Parfum refill. This innovative system is part of Dior's sustainable development initiative, which aims to improve the House of Dior's impact on the climate, resources and waste.

Inspiration for the creation of Sauvage Eau de Parfum was taken from the desert in the magical hour of twilight: mixed with the coolness of the night, the burning desert air exudes profound scents. Sauvage Eau de Parfum is thus the olfactory interpretation of a moment tinted with a thick blue that unleashes the wildest instincts. In the hour when the wolves come out and the sky is set ablaze, a new magic unfolds. Sauvage Eau de Parfum teams the freshness of a juicy, spicy Calabrian bergamot note with the sensuality of a mysterious and enveloping Papua New Guinean vanilla extract accord to unfurl a powerful and noble trail. The 1 oz and 3.4 oz bottles of Sauvage Eau de Parfum are now refillable with the Sauvage Eau de Parfum refill. This innovative system is part of Dior's sustainable development initiative, which aims to improve the House of Dior's impact on the climate, resources and waste.

SPICE BLEND, THE SILHOUETTE OF RUM NOTES ADORNED WITH SPICES Spice Blend eau de parfum is the olfactory depiction of Christian Dior's dream of Cuba, the ultimate new horizon. Driven by his fantasy of this far-off land that he'd never had the chance to visit, Christian Dior dedicated several couture collections to the island that loomed so large in his imagination. The ambery and spicy silhouette of this luxury perfume is an intoxicating blend of fresh rum notes adorned by a black pepper and ginger perfume accord.

For this limited edition, Jasmin des Anges is nestled in a case adorned with a soft red Toile de Jouy motif. A solar link to the orange-tinted hue of the eau de parfum and an invitation to an enchanting summer escape. As the lace silhouette of La Collection Privée Christian Dior, Jasmin des Anges is the olfactory expression of a Proustian madeleine - evoking emotional memories rooted in the South of France and echoing the name of the legendary Bay of Angels in Nice. Its fruity, floral perfume is embroidered like lace, intertwining notes of syrupy jasmine perfume and apricot nectar tinged with honey. This limited edition pattern varies by silhouette and is available in Eden-Roc, Dioriviera and Jasmin des Anges 4.25 oz and 8.5 oz bottles.