Article
Culture
Psychology
Weirdness
5 min read

Why smell jumps the queue when it comes to memories

Smells hardwire deep into the brain, writes Henna Cundill, as she explores why they jump-start such vivid memories.
An autumnal scene of a church yard and church framed by leafless trees.
'The smell of dust and damp stone will always cry “safety!”'
Jakub Pabis on Unsplash.

When I was a 22-year-old undergraduate my mother died quite suddenly. I can't remember the name of the undertakers we used, nor the chaplain who took her funeral. I can no longer visualise what any of their faces looked like. I know I visited the chaplain’s house to plan the funeral, but I can't remember exactly where that house was. What sticks is that the day of the funeral was a sultry summer's day, and both the chaplain and the undertakers smelt of perspiration. To this day there are moments where I catch that same whiff of man-sweat in some other location, and for a fleeting second, I am a bewildered 22-year-old once more. 

Here is another memory. I attended a tiny, rural Church of England primary school in the middle of England. At the end of each school year, all of us donned our little Wellington boots, which smelt faintly of slurry (since this was dairy-farming country) and sweaty feet. Then we lined up in a crocodile and trudged through the bluebell-wood (damp leaves) and skirted the edge of fields (silage, which stings the nose) covering the mile or so between our school building and the village church. 

We would enter the church grounds through the back field, hurrying through an eerily muffled graveyard with tombstones towering far above our heads and the grass disturbingly lumpy beneath our little feet. To the chidings of “Quickly!” and “Quietly!” we children scurried down a gravel path, away from this unsettling place of death, to reach the cool sanctuary of a little church, and the comforting smells (for me, at least) of damp stone and dusty hymnbooks. 

Others may not have the same associations, but for me the smell of dust and damp stone will always cry “safety!” and the reassurance that “there are no ghosts in here!” in contrast to that troubling graveyard. From death to life. Yet, at the same time, getting stuck with my nose close to some man’s whiffy armpit on the Tube will forever insinuate that I am just a child pretending to be a grown-up, out of my depth, overwhelmed with one thousand decisions to make (“What flowers do you want for her coffin?”) and no-one to advise. In the midst of life, death again.  

On reflection I will know that my emotions are being manipulated by my nose, in ways which are more or less than helpful depending on the circumstances.

Of course, I am not 22 years old and lost anymore, no matter what that man’s armpit tries to tell me. My rational mind knows better, but my rational mind doesn’t get a say – or doesn’t get the first say anyway. This is because smell is the only one of our senses that bypasses the thalamus (the brain’s ‘filtering gate’ that decides which part of the brain needs to respond to sensory input) and goes straight to the limbic system, where emotional memory is stored.  

Sometimes it is very obvious that this is taking place, such as in the examples given above. On reflection I will know that my emotions are being manipulated by my nose, in ways which are more or less than helpful depending on the circumstances. But it can happen in more subtle ways too. Supermarkets infamously pump out smells to influence our buying choices, and we’re trying to sell our house right now, so we’ve been brewing a whole lot more coffee than we ever usually would.   

Intriguingly, scientists don’t really know why the human sense of smell jumps the queue when it comes to cognitive processing. There are biological theories, such as that the smell of predator could wake up our ancestors while they were sleeping and/or could allow them to follow a scent trail quickly when fleeing danger or seeking food. There are social theories too, such as that we don’t have a lot of good words to describe smells, so the brain just doesn’t bother trying to analyse them. Whatever the truth of the matter, the reality is that (whether we like it or not) our noses are an emotional trip-hazard.  

When I walk through those great oak doors there is a moment, a glitch in the matrix, when the unmistakable smell of church hits my nose. Dust, damp… a little hint of mouse. 

I can’t help wondering what this tells me about my religious practice. Do I go to church because I have made a cognitive decision to worship God each Sunday? Or do I go to church because I am following my nose, getting away from a world full of armpits and responsibilities to a place where I am a seven-year-old girl, all gingham dress and wellies, feeling safe. If so, does it matter?    

Truth is, my mind can give me a dozen reasons not to go to church every single week. In fact, two dozen reasons. More. It has always been a busy week; I’m always behind on work. The house always needs a sort out and the car is never washed. But because certain congregation members are normally counting on me for certain things, and because I’m still pretending to be a grown up, I typically drag myself out the door, and off to church I go.  

And week on week, without fail, when I walk through those great oak doors there is a moment, a glitch in the matrix, when the unmistakable smell of church hits my nose. Dust, damp… a little hint of mouse. My body registers this before my mind; my shoulders drop a little of their tension. Even if it’s just for a fleeting moment, I start to feel that I know for sure what is absolutely real in my life and what is just pretend.  

Is this knowledge irrational – since it doesn’t come from the cognitive part of my mind? Or is there a God who knows that the cognitive part of my mind sometimes tells me all sorts of untrue and unhelpful things. Is there a God who is choosing to reach out to me in more subtle, more ancient ways?  

I can only wonder if I have been following my nose all this time, without even noticing. Drawn along by an ancient scent trail that leads me time and time again…this way…and that way…until I reach a place where there is safety, and bread. 

Weekend essay
Art
Culture
9 min read

Wonder walls: will Manchester’s creativity save the city?

Manchester newcomer, and new bishop, Matthew Porter is bowled over by the city’s enrichening creativity.

Matthew Porter is Bishop of Bolton, in the diocese of Manchester. 

Looking down on a man walking across a grid of large black and white portrait photographs of people's faces
The 'Inside Out: This is Manchester’ installation.

Manchester is the place to be. So thinks fashion house Chanel. It recently hosted its renowned annual Métiers d’Art show in the British city, billing it as ‘one of the most effervescent cities of pop culture and an avant-garde one, whose bands, spanning all genres, have changed the history of music.’ So thinks the English National Opera, who have just announced that Manchester is to be its new home. And so, think the investors who have pumped £242mn into Aviva Studios, a stunning new arts centre, billed as the most important arts venue in the UK since London’s Tate Modern gallery. 

Cultural mix 

Having recently started as new bishop in the Diocese of Manchester, I feel like I’ve arrived at a time of exploding artistic vibrancy, with the city and region rising to new cultural heights. The mix is rich and potent, edgy and interesting, young and confident, strong and loud. And yet not far from the coolness and affluence it brings there are still many areas of urban dreariness and scruffy social housing, often linked with deprivation and deep poverty, telling a different story of those who feel they’re being left behind, deficient in ambition and lacking in hope. Manchester is a real cultural mix. 

Despite these contrasts, you can’t ignore the fact that much of Manchester is humming. The symbol of the city, the ‘Manchester Bee,’ feels apt and has rightly been revived, for it represents hard-work and industry, something the area is becoming known for again. But it’s a new kind of industry. It’s not the hard factories of the cotton mills but the softer artistic endeavours that are reclaiming the spaces and setting the tone. Astute and celebrated, the Mayor of Manchester Andy Burnham recognises and champions this, declaring recently that it’s the creative industries that are now the fastest growing sector in the city. 

As a newcomer to the region, I’ve been wondering what I should make of all this artistic entrepreneurship. Is it good? Is it important? Is it helpful? To help answer these questions I decided I needed to see what all the fuss was about and so I visited the newly opened Aviva Studios. 

 Nestling in the heart of the city, on a riverbank, the venue is located in the renovated Granada TV studios building and provides a vast space for creativity. It’s already the home of the Factory International music label and the Manchester International Festival. I was keen to understand the vision and understand why so much time and energy and money has been invested in such a space. I wanted to know if it really is a landmark space for contemporary arts in the UK, especially in the North of England, and whether I’d be back. 

So, I visited on the first day of the venue’s official ‘Welcome’ to the general public. There’d been a series of soft launch events which included Free Your Mind, a large-scale, interactive hip-hop dance reimagining of The Matrix, directed by Oscar-winning film-maker Danny Boyle. But this was now ‘open to the world’ time. I turned up with grown-up members of my family who work in various creative sectors and who were keen to explore, aware that the warm-up events had already garnered great acclaim from The Times to Aesthetica magazine. We entered and took in the aroma of fresh coffee and the bustle of noise, as a small crowd of diverse ages gathered round a pop-up stage enjoying the creative reading of a children’s story. The foyer stage was transformed every hour into something new: first a space for musicians, then actors, then artists and dancers, all entertaining and encouraging participation. It was fun and vibrant, with an intriguing and inviting family-feel, drawing people in. 

Connective art 

Good art does that. It attracts. It reels you in, not just to observe, but to get involved. I experienced something of that as we stepped outside and enjoyed an installation called ‘Inside Out: This is Manchester’. It was a simple black and white portrait-display of two hundred Mancunians. The large photos were set out in a group on a concrete floor, creating what looked rather like a giant board game. The idea was you walked over them, standing on them, in and among them. So, into the photos I walked, and to my surprise I soon discovered the experience to be visually arresting and intriguingly immersive. After a few minutes of wandering among the faces I stood to one side for a breather. I asked my family  which face they found most interesting, and I pointed out the one that had stood out for me. At that very moment, I noticed that a woman walking among the pictures had stopped at the one I’d chosen and was crouching down. As I looked again, she appeared rather like the woman in the photo. ‘Hi. Is this your photo?’ I asked. ‘Yes, it is’ she replied. ‘I’m Carmen. I’m just here for a short time today and wanted to see it.’ ‘It’s my favourite’ I said, ‘It’s a really great photo. I love the way it’s captured you pulling such a strong face!’ ‘Thanks’ she smiled, going on to explain how the shoot had been taken, but that this was the first time she’d actually seen it. I was thrilled: the person behind one face out of two hundred that had caught my attention, happened to turn up at the exact moment I was there! It made me feel strangely connected to the installation and with the people of Manchester they represented. Such is the connective power of art! 

Such art does what cathedrals of old have done, enabling us to look out and look up and see beyond ourselves into a greater vista. They are deeply valuable and enchanting spaces.   

Quality design 

From there we went on an architectural tour. The stairwells, the corridors, the foyers, and the meeting spaces were cleanly and elegantly designed, using strong but simple materials, emphasising curves and city views, encouraging you to walk on and see more. We were told how many spaces, especially the foyers, worked really hard, being multi-functional and could be transformed for different uses. The two main venues were impressive and huge: the Hall is a 1600-seat concert venue, and the Warehouse space could host 5,000, thanks to vast walls that can be opened to create one massive space. The quality, the design, the versatility and the technology was hugely impressive, all set up and ready to be a northern centre of artistic excellence. 

Enchanting spaces 

So what did I make of it? And should such creativity be funded in Manchester? In short, I liked it. In fact, I absolutely loved it. It made me realise how much we need good art, good artists and good artistic spaces. They enrich us and our environment. They touch us deeply not just in our minds but in our souls and cause us to ponder and wonder. Such art does what cathedrals of old have done, enabling us to look out and look up and see beyond ourselves into a greater vista. They are deeply valuable and enchanting spaces.   

The experience was significant for me, and extremely positive. Not only do I want to go back but since visiting I’ve mentioned it to quite a lot of people and am finding myself to be a bit of an evangelist for the place! I didn’t expect that. It reminds me that good spaces produce good conversations. The fact that it cost so much might be controversial to some, but it’s hard to put a price on stunning. If it inspires people to great visionary endeavours and lifts people, especially those lacking in hope, to see beyond their horizons, then it’s money well spent. If it causes children and women and men to dream dreams and imagine new futures, then I’m behind it. If it helps people see beyond their present dilemmas and laugh heartily and cry deeply and love compassionately, then I’m a supporter. 

I believe passionately in encouraging artistry and innovation whenever and wherever I can. For the God I serve is the great Creator and the inspiration behind all true creativity. 

Deeper understanding 

My visit to Aviva Studios must have been good, as it’s made me want to support and encourage the team working there. I found myself thanking everyone, and even took a leaflet about becoming a member. As a bishop, I feel on behalf of the church and city that I want to cheer on Aviva Studios, commending it and its boldness to the Greater Manchester area, for I believe passionately in encouraging artistry and innovation whenever and wherever I can. For the God I serve is the great Creator and the inspiration behind all true creativity. Not only has he made the universe and planet Earth on which we reside, but throughout history he has given artistic gifts for human beings to foster and share.  

 

I agree with Japanese artist Makoto Fujimura, that ‘Art is fundamental to the human search for deeper understanding. Art, by extension of this reasoning, is fundamental to understanding the Bible,’ which itself is a beautifully and uniquely-crafted literary work combining human artistry and divine inspiration. Creativity then, is at the heart of God, and of his human creation. We need to express this creativity in all sorts of places, including our workplaces. Artist and crafts pioneer William Morris rightly says that ‘without dignified, creative human occupation people become disconnected from life.' But surely this is true not just of our jobs but of our homes, and especially of designated creative spaces. Without such creative places, like gothic cathedrals, beautiful parks, art galleries and now Aviva Studios, we can easily become disassociated from the wonder and joy of life. We need good spaces to stir us and send us.  

Innovative leadership 

As a bishop who wants to see our churches growing and communities thriving, I welcome the new Aviva Studios as part of the cultural landscape of Greater Manchester. I want to enjoy it, visit it and share it. I also want the church to learn from it, for churches are meant to be places of Christ-centred worship and mission that are indigenous, reflecting the good things of their cultural environment. Manchester’s burgeoning creative culture is a good challenge to the church to be similarly creative, and not just in a reactive, but proactive way.  

Churches have often been centres of creative excellence in the past, which is often when they have been most vibrant. They tried new things and become breeding grounds for creative people and innovative leaders. Interestingly, despite many churches struggling in the UK today, I see more signs of vitality and pioneering cultural leadership now than I did ten years ago. Most days I come across entrepreneurial church leaders who are brimming with fresh thoughts and renewed vision for their communities. Some even have bold and brash ideas that are being turned into reality, like purchasing, at considerable cost, an old army barracks in the centre of Manchester. Once renovated it will be a stunningly creative space for young adults, to serve the city and from which many new churches will be planted in the future. I’m all for it. Let creativity arise! 

Creative people 

Aviva Studios is an impressive building, designed to be a modern cathedral of contemporary cultural creativity in Manchester. It confidently declares a positive future for the arts, shouting loudly and proudly that Manchester is the cutting-edge city for creativity in the region and, should anyone be unsure, it really is the premier metropolis of the North. But perhaps more importantly I hope its impact will not just be the vast and impressive multi-million pound building, but the greater creative legacy it leaves in people, in those who are shaped by its art.  

Rabbi Jonathan Sacks, who was Chief Rabbi from 1991 to 2013 expressed something of this when he said: 

 'We are shaped by our environment, but we can also shape our environment as well. We are created, but also creative.’  

My prayer is that Aviva Studios and the other new artistic ventures will release more creativity across the city and region, across all ages, social sectors, and ethnic groups. Not only will this lift our sights, but it will stir our souls, and cause us to wonder at the Most Creative One, the God and Father of our Lord Jesus Christ.