OdorV-Art: An Initial Exploration of An Olfactory Intervention for Appreciating Style Information of Artworks in Virtual Museum
Authors: 
Shumeng Zhang, 
Ziyan Wang, You Zhou, Hao Cui, Shihan Fu, 
Zeyu Wang, 
Mingming FanAuthors Info & Claims
Shumeng Zhang, Ziyan Wang, You Zhou, Hao Cui, Shihan Fu, Zeyu Wang, Mingming FanAuthors Info & ClaimsArticle No.: 22, Pages 1 - 8
Abstract
Style information, such as tone, mood, and genre of artworks, is important for museum visitors to appreciate them better. However, such information can be challenging for non-art specialists to comprehend in the short period that they view artworks. The sense of smell is instrumental for humans to assist their image memory, color, emotion, and shape association. However, it is rarely used in the appreciation of artworks. Taking Western landscape painting as an example, this research explores the following research questions (RQs): 1) How does the intervention of the sense of smell improve the acquisition of style information in paintings? 2) How does the intervention of the sense of smell enhance the immersion in painting appreciation? To answer RQs, we first recruited seven art specialists to participate in a co-design workshop to design a prototype of the virtual museum with olfactory intervention. We then conducted an experiment with 12 non-specialists who viewed several paintings in the VR museum while being exposed to olfactory stimuli that were designed to be correlated with the style information of the paintings. We found potential effects of smell stimuli on enhancing the perception of style information for non-art specialists. Moreover, we found that olfactory intervention has both positive and negative impacts on immersiveness. Finally, we provide design implications for future virtual museum design with olfactory stimuli.
References
[1]
Ceylan Beşevli, Christopher Dawes, Giada Brianza, Ava Fatah Gen. Schieck, Duncan Boak, Carl Philpott, Emanuela Maggioni, and Marianna Obrist. 2023. Nose Gym: An Interactive Smell Training Solution. In Extended Abstracts of the 2023 CHI Conference on Human Factors in Computing Systems. 1–4.
[2]
Silvia Ceccacci, Andrea Generosi, Alma Leopardi, Maura Mengoni, and Ferruccio Mandorli. 2021. The role of haptic feedback and gamification in virtual museum systems. Journal on Computing and Cultural Heritage (JOCCH) 14, 3 (2021), 1–14.
[3]
Hubert Cecotti. 2021. Great paintings in fully immersive virtual reality. In 2021 7th International Conference of the Immersive Learning Research Network (iLRN). IEEE, 1–8.
[4]
Stamatis Chatzistamatis, Anastasios Rigos, and George E Tsekouras. 2020. Image recoloring of art paintings for the color blind guided by semantic segmentation. In Proceedings of the 21st EANN (Engineering Applications of Neural Networks) 2020 Conference: Proceedings of the EANN 2020 21. Springer, 261–273.
[5]
Jun Dong Cho. 2021. A study of multi-sensory experience and color recognition in visual arts appreciation of people with visual impairment. Electronics 10, 4 (2021), 470.
[6]
Simon Chu and John J Downes. 2000. Odour-evoked autobiographical memories: Psychological investigations of Proustian phenomena. Chemical senses 25, 1 (2000), 111–116.
[7]
Kenneth Clark and Frank Taylor. 1976. Landscape into art. J. Murray London.
[8]
Nadav Cohen, Yael Newman, and Ariel Shamir. 2022. Semantic Segmentation in Art Paintings. In Computer Graphics Forum, Vol. 41. Wiley Online Library, 261–275.
[9]
Mihaly Csikszentmihalyi. 2000. Beyond boredom and anxiety.Jossey-bass.
[10]
Mihaly Csikszentmihalyi and Mihaly Csikszentmihalyi. 2014. Toward a psychology of optimal experience. Flow and the foundations of positive psychology: The collected works of Mihaly Csikszentmihalyi (2014), 209–226.
[11]
Mihaly Csikszentmihalyi and Kevin Rathunde. 1993. The measurement of flow in everyday life: toward a theory of emergent motivation. (1993).
[12]
Mark H Davis 1980. A multidimensional approach to individual differences in empathy. (1980).
[13]
Josje M De Valk, Ewelina Wnuk, John LA Huisman, and Asifa Majid. 2017. Odor–color associations differ with verbal descriptors for odors: A comparison of three linguistically diverse groups. Psychonomic bulletin & review 24 (2017), 1171–1179.
[14]
Rachel DeLue and James Elkins. 2010. Landscape theory. Vol. 6. Routledge.
[15]
Yingying Deng, Fan Tang, Weiming Dong, Fuzhang Wu, Oliver Deussen, and Changsheng Xu. 2019. Selective clustering for representative paintings selection. Multimedia Tools and Applications 78 (2019), 19305–19323.
[16]
Jim Drobnick. 2014. The museum as smellscape. The Multisensory Museum: Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory, and Space 17 (2014), 177–196.
[17]
Islam Elgammal, Marco Ferretti, Marcello Risitano, and Annarita Sorrentino. 2020. Does digital technology improve the visitor experience? A comparative study in the museum context. International Journal of Tourism Policy 10, 1 (2020), 47–67.
[18]
Emma Fallows, David White, and Neil Brownsword. 2022. Design and Development Approach for an Interactive Virtual Museum with Haptic Glove Technology. In Proceedings of the 25th International Academic Mindtrek Conference. 242–255.
[19]
Jessica Freiherr, Amy R Gordon, Eva C Alden, Andrea L Ponting, Monica F Hernandez, Sanne Boesveldt, and Johan N Lundström. 2012. The 40-item monell extended sniffin’sticks identification test (MONEX-40). Journal of neuroscience methods 205, 1 (2012), 10–16.
[20]
Google. [n. d.]. The Art of Color. https://artsandculture.google.com/pocketgallery/IQUxrMnvNro2DQ (Accessd on 22/05/2023).
[21]
Rachel S Herz. 2016. The role of odor-evoked memory in psychological and physiological health. Brain sciences 6, 3 (2016), 22.
[22]
YL Hsieh, CH Chen, and YH Lai. 2019. Inspiration and creativity: Visitor study of virtual reality-based museum exhibition. Museol. Q 33 (2019), 49–73.
[23]
YH Hsu, YH Chen, and YH Huang. 2014. An Inquiry on Interpretation Effects via Different Digital Exhibits in National Museum of Marine Biology and Aquarium: A Case of the “Ancient Ocean Gallery”. Technol. Mus. Rev 18 (2014), 5–37.
[24]
Franklin Kelly. 1985. Frederic Edwin Church and the North American Landscape, 1845-1860. University of Delaware.
[25]
Dong Wook Kim, Yeong Hee Cho, Kazushi Nishimoto, Yusuke Kawakami, Susumu Kunifuji, and Hiroshi Ando. 2009. Development of aroma-card based soundless olfactory display. In 2009 16th IEEE International Conference on Electronics, Circuits and Systems-(ICECS 2009). IEEE, 703–706.
[26]
Yu-Jin Kim. 2013. Can eyes smell? cross-modal correspondences between color hue-tone and fragrance family. Color Research & Application 38, 2 (2013), 139–156.
[27]
Richard Lachapelle. 1999. Comparing the aesthetic responses of expert and non-expert viewers. Canadian Review of Art Education 26, 1 (1999), 6–21.
[28]
Franklin Mingzhe Li, Lotus Zhang, Maryam Bandukda, Abigale Stangl, Kristen Shinohara, Leah Findlater, and Patrick Carrington. 2023. Understanding Visual Arts Experiences of Blind People. arXiv preprint arXiv:2301.12687 (2023).
[29]
Anan Lin, Meike Scheller, Feng Feng, Michael J Proulx, and Oussama Metatla. 2021. Feeling colours: Crossmodal correspondences between tangible 3d objects, colours and emotions. In Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems. 1–12.
[30]
Lu Lin, Xiu-Chen Jing, Shu-Jiao Lv, Jing-Hong Liang, Li Tian, Hui-Ling Li, Martine Puts, and Yong Xu. 2020. Mobile device use and the cognitive function and depressive symptoms of older adults living in residential care homes. BMC Geriatrics 20, 1 (Feb. 2020), 41. https://doi.org/10.1186/s12877-020-1427-1
[31]
Wei Ma, Yizhou Wang, Ying-Qing Xu, Qiong Li, Xin Ma, and Wen Gao. 2012. Annotating traditional Chinese paintings for immersive virtual exhibition. Journal on Computing and Cultural Heritage (JOCCH) 5, 2 (2012), 1–12.
[32]
Emanuela Maggioni, Robert Cobden, Dmitrijs Dmitrenko, Kasper Hornbæk, and Marianna Obrist. 2020. SMELL SPACE: mapping out the olfactory design space for novel interactions. ACM Transactions on Computer-Human Interaction (TOCHI) 27, 5 (2020), 1–26.
[33]
Cathy A Malchiodi. 2014. Creative arts therapy approaches to attachment issues. Creative arts and play therapy for attachment problems (2014), 3–18.
[34]
Oussama Metatla, Emanuela Maggioni, Clare Cullen, and Marianna Obrist. 2019. " Like Popcorn" Crossmodal Correspondences Between Scents, 3D Shapes and Emotions in Children. In Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems. 1–13.
[35]
Bart G Moens. 2018. Aesthetic experience in virtual museums: A postphenomenological perspective. Studies in Digital Heritage 2, 1 (2018), 68–79.
[36]
Catherine M Mulvenna. 2007. Synaesthesia, the arts and creativity: A neurological connection. Neurological Disorders in Famous Artists-Part 2 22 (2007), 206–222.
[37]
Simon Niedenthal, William Fredborg, Peter Lundén, Marie Ehrndal, and Jonas K Olofsson. 2023. A graspable olfactory display for virtual reality. International journal of human-computer studies 169 (2023), 102928.
[38]
Marianna Obrist, Elia Gatti, Emanuela Maggioni, Chi Thanh Vi, and Carlos Velasco. 2017. Multisensory experiences in HCI. IEEE MultiMedia 24, 2 (2017), 9–13.
[39]
Alix Seigneuric, Karine Durand, Tao Jiang, Jean-Yves Baudouin, and Benoist Schaal. 2010. The nose tells it to the eyes: crossmodal associations between olfaction and vision. Perception 39, 11 (2010), 1541–1554.
[40]
Georg Simmel. 2007. The philosophy of landscape. Theory, Culture & Society 24, 7-8 (2007), 20–29.
[41]
Herman Snellen. 1873. Probebuchstaben zur bestimmung der sehschärfe. H. Peters.
[42]
Rajka Bračun Sova. 2015. Art appreciation as a learned competence: a museum-based qualitative study of adult art specialist and art non-specialist visitors. Center for Educational Policy Studies Journal 5, 4 (2015), 141–157.
[43]
Charles Spence. 2020. Scenting the anosmic cube: On the use of ambient scent in the context of the art gallery or museum. i-Perception 11, 6 (2020), 2041669520966628.
[44]
Cretien Van Campen. 2010. The hidden sense: Synesthesia in art and science. Mit Press.
[45]
Caro Verbeek and Cretien Van Campen. 2013. Inhaling memories: Smell and taste memories in art, science, and practice. The Senses and Society 8, 2 (2013), 133–148.
[46]
Diane Walker and Florence Myrick. 2006. Grounded theory: An exploration of process and procedure. Qualitative health research 16, 4 (2006), 547–559.
[47]
Jamie Ward, Daisy Thompson-Lake, Roxanne Ely, and Flora Kaminski. 2008. Synaesthesia, creativity and art: What is the link?British Journal of Psychology 99, 1 (2008), 127–141.
[48]
He Zhou. 2022. Study on the Application of Traditional Chinese Auspicious Images in Environmental Art Design Based on VR Senses. Computational Intelligence and Neuroscience: CIN 2022 (2022).
Index Terms
- OdorV-Art: An Initial Exploration of An Olfactory Intervention for Appreciating Style Information of Artworks in Virtual Museum
Recommendations
What Kind of Influence Can Be Obtained during Groupwork in Art Appreciation
AbstractRecently, there have been many movement to utilise arts in order to solve certain problems —such as “business x art,” “education x art” and “artistic community x area activation.” The situation of art has been also diversified. Accordingly, it ...
Virtual Participation in Ukiyo-e Appreciation using Body Motion
AH '18: Proceedings of the 9th Augmented Human International ConferenceThis paper presents a novel method of art appreciation by participating in artwork using virtual reality technology. We chose a famous ukiyo-e work titled "many people are assembled to create one good person" drawn by Kuniyoshi Utagawa in the Edo period ...
Research on VR virtual museum creation based on Unity engine and URP rendering pipeline
BDIOT '23: Proceedings of the 2023 7th International Conference on Big Data and Internet of ThingsIn recent years, virtual reality technology has gradually attracted widespread attention from the society, because virtual reality technology could produce many scenes that humans cannot experience personally, such as diving into the deep sea or into ...
Comments
Information & Contributors
Information
Published In
September 2023
308 pages
Copyright © 2023 ACM.
Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than the author(s) must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected].
Publisher
Association for Computing Machinery
New York, NY, United States
Publication History
Published: 20 October 2023
Check for updates
Author Tags
Qualifiers
- Research-article
- Research
- Refereed limited
Conference
VINCI 2023
VINCI 2023: The 16th International Symposium on Visual Information Communication and Interaction
September 22 - 24, 2023
Guangzhou, China
Acceptance Rates
Overall Acceptance Rate 71 of 193 submissions, 37%
Contributors
Other Metrics
Bibliometrics & Citations
Bibliometrics
Article Metrics
- 0Total Citations
- 180Total Downloads
- Downloads (Last 12 months)171
- Downloads (Last 6 weeks)16
Reflects downloads up to 09 Nov 2024
Other Metrics
Citations
Cited By
View allView Options
Get Access
Login options
Check if you have access through your login credentials or your institution to get full access on this article.
Sign inFull Access
View options
View or Download as a PDF file.
PDFeReader
View online with eReader.
eReaderHTML Format
View this article in HTML Format.
HTML Format