The scent of censorshippublished on 2020-12-23
“In the language of flowers, tuberose brings love and insatiable passion.
I fell madly in love with her;
The first time was in Grasse, during my training as a student perfumer at the Grasse Institute of Perfumery. @gipgrasse In September of this year, the International Perfume Museum @mip_grasse organized conferences around the flower.
During this day, I meet Constant Viale, a horticulturalist, poet and preservationist of a heritage who offers me the key to his fields.
My nose was like a butterfly, at dusk, waiting to unroll its trunk to reach the nectar at the bottom of the floral tubes.
Bewitched, intoxicated, confused, I no longer recognized the extract I had studied, her absolute essence coming from India.
Her head space is like a cold metal stethoscope on your chest;
Cineole and methyl salicylate, medical molecules, freeze your blood.
During this breathless moment, my heart stops beating.
Her is exotic, fiery and erotic.
Like the flower of flowers, methyl benzoate fills your nostrils.
Her nonalactone transports you to its Milky Way.
She is sensitive and fragile like a rose that blooms from darkness to light.
Her body is dressed in white flowers, the methyl anthranilate of an orange blossom, and indole, a carnal molecule, connection between the flower and human skin.
I examined her from every angle, undressed and adorned … like a crime of passion, of which she is the criminal.
For the perfumer that I am, tuberose represents all flowers, and for the man that I am, she represents all women.”
Here is the text that Pierre Bénard wrote and published in August 2020 on the Instagram account of the Société Internationale des Parfumeurs Créateurs ; he is a member of this association.
By the same author, this text was accompanied by photographs of the flower taken in tuberose plantations.
Following this publication, in September, Madame Isabelle Sadoux, whom we do not fail to quote, editor and communications consultant for the site « D’un mot à l’autre », offered to present our passion and our work.
She suggests that we write in her newsletter, which will be published in October, a free column on raw materials, in particular related to the fall season.
Moreover, having discovered the text of the tuberose via social networks, she asks us if she could republish it with a nice illustration.
She asks us what we think of her proposal.
We told her that for this fall newsletter, it would be appropriate to put a link on the osmoart site with a few lines of presentation.
On the other hand, for her second request, that of the article written for the SIPC, we indicate to her that to re-edit this text, we ask her to please quote the name and first name of Pierre Bénard, that of OSMOART and of the SIPC; and our photograph accompanying the text would be credited Pierre Bénard / OSMOART.
She tells us that she is keeping the article on tuberose not knowing if she will publish it for this newsletter or for the winter 2020 one (indicating that she would inform us of its publication).
Here is the (disappeared) text we volunteered to write for her fall newsletter:
“The natural raw material offers its essence according to extraction techniques, origins, harvest periods, seasons … Autumn provides the exotic scents of pelargoniums, ylang-ylang and cananga.
Near the city of Guilin, in China, a forest of Osmanthus fragrans, literally the fragrant flower, scents the mountain ranges.
October and November are also the harvest months for ginger, cinnamon, cardamom and black tea.
Like a scent of “massala chai” that delights our nostrils.
In Europe, deep in the Mediterranean basin, citrus fruits still adorned with chlorophyll will be expressed to provide essential oils of green color.
This will be the case with the tangerine extracted using the “peeling” method.
If the process is “sfuma torchio”, it will be yellow.
At the start of the harvest, the essence of Calabrian bergamot has a higher linalool content, it will be fresher than fruity with reminiscences of lavender and basil.
Our French regions live in times of harvest, mist and frost.
The Riviera climate allows late collections of flowers which will give an absolute of autumn jasmine with typical notes of blackcurrant berries.
In the Nantes region, the rhizome of one-year-old angelica plants will be dug up for its essential oil naturally musked by exaltolide.
For another ombellifer, we will distill its seeds with fruity, earthy and iridescent notes.
These are those of the carrot whose name determines that of the carotenoids, yellow-orange pigments in this season.
Far from Persian productions, in my country, formerly that of the cocagne used as a blue dye, we will carefully pick the red stigmas of Crocus sativus to dry them: the saffron will then reveal its aromas of dried fruits, tobacco and leather. .
Pierre BENARD / OSMOART, perfumes, colors & sounds www.osmoart.com »
It seemed, we were in agreement on the texts and the two associated illustrations that we had kindly sent her under the file names TUBEREUSE07_PIERRE BENARD © osmoart and YLANG01_PIERRE BENARD © osmoart.
The article was published in her fall newsletter with the scent text and photo of ylang.
The readers enjoyed reading these fall smells.
Without information, it would appear that the tuberose article would be published in the winter.
This December 17, 2020, on the Linkedin network, we recognize our photo of tuberose in a post / article by Ms. Isabelle Sadoux entitled “When the ‘perfume’ inspires poets and writers”
With amazement, we note that no mention is made of the image used and that it is attached, out of context, to the article written by Ms. Isabelle Sadoux.
We therefore naturally share with him, by message, our legitimate astonishment at the use of photography intended and intimately linked to the text written on the tuberose; both, it seems to us, a work of mind.
We take advantage of this letter to share with him our questions about the recognition of perfume as a work of mind and the perfumer as an artist who is one of the workhorses of the SIPC with, like us, that of education.
Indeed, if neither the photographs, nor the texts or other compositions (sound, pictorial, etc …), are not respected and if the so-called communicators of perfume (bloggers, editors, press department, journalist, influencers, mediators , etc…), particularly those of the canvas, do not help us in this direction, we ask ourselves how a scented composition can be protected?
“Errare humanum est, perseverare diabolicum.”
She ended up removing our photograph from her article.
But, also literally, she erases the voluntary work of the “free” forum carried out for its newsletter published in autumn.
She warns us by specifying the number of views that had just disappeared: “I just deleted the post and its 520 views in a few hours, including your credit. Good night ”
Still, we were happy to write and, yet, offered him other positive editorial perspectives.
We understand the bidding that exists on the web to increase “its visibility, its notoriety and its success” (propaganda of the site from one word to another) but on what depends? that of seeing his compositions usurped? and for whom? that of the communicator or the press release?
Many people live solely on their copyright, they are neither salaried nor intermittent or other status that we respect.
We felt violated in our rights and our freedom of expression, we felt censured.
We join the other artists, because as a perfumer-creator, we feel ourselves artists, artists of the perfume which results from invisible materials and through the artist.
OSMOART is positioned in pure olfactory creation and olfactory education because we are convinced that olfactory education generates the olfactory culture necessary for this olfactory art that is perfume.
This is why, we are surreptitiously diffusing the perfume “CENSORSHIP, invisible ink”, of which we are working the agreement together with our trainees, Marion & Mathilde, since this month of June
“This accord is based on the memory of the smell of purple ink that was possessed by school teachers, the only ones authorized to fill the inkwells in our desks. This scented liquid did not prevent soaking the skin of our fingers. We were trying to mop it up with blotting paper. Time and metallic nibs replaced by pens and digital keyboards ” Pierre Bénard
OSMOART, perfumes, colors and sounds, is at the origin of an association. It is strongly impacted by the current situation.
So, Ladies and Gentlemen, journalists, bloggers, influencers, perfume enthusiasts, aspiring perfumers, perfume lovers, if you feel concerned by this reflection on creation and its copyrights, support us by providing you with this sample of “CENSORSHIP, invisible ink”.
See it as a membership: email@example.com
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