Recent work on receptor molecules and cells used prototypical sweet, salty, sour, bitter, and umami stimuli. Labeled-line coding was supported, but it remains possible that the molecules and cells could respond to other tastants. Studies with other tastants are needed. The sensory message might contain two codes – one for attraction or aversion, the other, across-fiber patterning of stimulus quality.

The main aim of this article is to analyze the social circulation of discourses on non-hegemonic cultural practices, in particular, on what is called “trash TV”, and how they are connected to struggles over cultural and social hierarchies. To do so, it takes a specific event as starting point: the injunction that the CNMC filed against Mediaset to adjust the contents of Sálvame Diario to the requirements of what is known as the “child protection time slot”. This paper uses constructionist (...) framing to analyze how this event was discussed by different social actors. Our analysis shows that while the CNMC and the press painted the conflict as a legal issue, Sálvame and social media users focused their discussion on the social acceptability of celebrity gossip media and their viewers. (shrink)

Driven by an impetus to standardize, numerous checklists have been devised to address quality in qualitative research, but these standards and the mindset driving them offer no language with which to speak about taste, or the aesthetic sensibilities that play such a key role in evaluating the goodness of any object. In this article, quality appraisal in qualitative research is considered in the context of taste, that is, in the discernment involved in judging the value of (...) research and in the recognition of the key role reviewer preferences, sensibilities and membership in one or more taste communities play in these judgements. The evaluation of a study is accomplished by evaluating one or more reports from that study, and such reports may be conceived as art forms amenable to the same criteria for appraisal as poems or paintings. Taste implies judgements about the quality of objects and a person's ability to sift through and select from a store of knowledge that knowledge appropriate to judge its value. What binds a community of practitioners (here reviewers of qualitative studies) together is taste‐making, or the constant refinements of judgements concerning what constitutes good and bad practice. (shrink)

“Parting is such sweet sorrow.” Taste metaphors provide a rich vocabulary for describing emotional experience, potentially serving as an adaptive mechanism for conveying abstract emotional concepts using concrete verbal references to our shared experience. We theorized that the popularity of these expressions results from the close association with hedonic valence shared by these two domains of experience. To explore the possibility that this affective quality underlies the semantic similarity of these domains, we used a behavioral “odd-one-out” task in (...) an online sample of 1059 participants in order to examine the semantic similarity of concepts related to emotion, taste, and color, another rich source of sensory metaphors. We found that the semantic similarity of emotion and taste concepts was greater than that of emotion and color concepts. Importantly, the similarity of taste and emotion concepts was strongly related to their similarity in hedonic valence, a relationship which was also significantly greater than that present between color and emotion. These results suggest that the common core of valence between taste and emotion concepts allows us to bridge the conceptual divide between our shared sensory environment and our internal emotional experience. (shrink)

The logic of the basic taste concept is discussed in relation to the physiology and psychophysics of color vision. An alternative version of the basic taste model, analogous to opponent-process theory is introduced. The logic of quality naming experiments is clarified.

Taste as Experience puts the pleasure of food at the center of human experience. It shows how the sense of taste informs our preferences for and relationship to nature, pushes us toward ethical practices of consumption, and impresses upon us the importance of aesthetics. Eating is often dismissed as a necessary aspect of survival, and our personal enjoyment of food is considered a quirk. Nicola Perullo sees food as the only portion of the world we take in on (...) a daily basis, constituting our first and most significant encounter with the earth. Perullo has long observed people's food practices and has listened to their food experiences. He draws on years of research to explain the complex meanings behind our food choices and the thinking that accompanies our gustatory actions. He also considers our indifference toward food as a force influencing us as much as engagement. For Perullo, taste is value and wisdom. It cannot be reduced to mere chemical or cultural factors but embodies the quality and quantity of our earthly experience. (shrink)

As the twenty-first century begins, Benjamin’s aura as the quality of an authentic-art-object might be outdated, but the notion of kitsch remains essential in a post-Warholian world. The following discussion is an attempt to assess Western contemporaneity. By using a few examples, so to dissect problems into their smallest components, I suggest that the current popularity of kitsch inclinations and behaviours in Western societies are not a means to resist cultural and aesthetic elitism, but an implication of widespread bad (...) taste. (shrink)

Two common strategies have dominated attempts to account for the nature of taste. On the one side, we have an affectivist understanding of taste where aesthetic attribution has to do with the expression of a subjective response. On the other side, we find a non-affectivist approach according to which to judge something aesthetically is to epistemically track its main aesthetic properties. Our main argument will show that neither emotion nor perception can explain the nature of aesthetic taste (...) single-handedly. In this paper, our principal aim is to examine the relationship between perceptual discernment and emotional sensibility as we find it in the process of ascribing aesthetic qualities. Is it the nature of the specific aesthetic property in question which determines the way in which perception and emotion are balanced in aesthetic attribution, or is it, rather, something about how our sensory skills operate? One of the notions we would like to explore in greater detail in this context is the idea of attunement, or the way in which aesthetic agents can align themselves to the content of an artwork o in order to better grasp its content and significance. According to our proposed picture, the exercise of taste involves an adjustment of one’s emotional sensibility to the aesthetic character of o. From here, we will posit both emotional and perceptual training as part of an agent’s aesthetic education in her use of aesthetic terms. (shrink)

Well-being can be promoted in two ways. Firstly, by affecting the quantity, quality and allocation of bundles of consumption (the Resource Approach), and secondly, by influencing how people benefit from their goods (the Taste Approach). Whereas the former is considered an ingredient of economic analysis, the latter has conventionally not been included in that field. By identifying the gain the Taste Approach might yield, the article questions whether this asymmetry is justified. If successfully exercised, the Taste (...) Approach might not only enable people to raise their wellbeing, but also provide solutions to a number of issues such as sustainable development and global justice. The author argues that recently developed accounts such as Happiness Economics (HE) and Libertarian Paternalism (LP) both can be considered specifications of the Taste Approach. Furthermore a third specification is identified: Inexpensive Preference Formation (IPF). Whereas LP suggests that choice architecture should be exercised when rationality fails, IPF holds that governance in certain instances should improve choices also in absence of no such failure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.1 (2000) 27-40 [Access article in PDF] Sensible Qualities: The Case of Sound Robert Pasnau University of Colorado 1. Background The Aristotelian tradition distinguishes the familiar five external senses from the less familiar internal senses. Aristotle himself did not in fact use this terminology of 'external' and 'internal,' but the division became common in the work of Arab and Hebrew philosophers, and in (...) the Latin West the distinction is taken for granted.1 I am going to put to one side the obscurities involved in the various internal senses of phantasia, imagination, memory, etc.; I will instead focus on the external senses. These five external senses—sight, hearing, smell, taste, touch—have their familiar counterparts in the external world: color, sound, odor, flavor, and the various tangible qualities. (The tangible qualities, unfortunately, resist being reduced to a single genus, and are typically listed as hot and cold, wet and dry, etc., where this etc. stands in for the complete list that one might or might not be able to give.2 ) These sensibilia (I will simply speak of sensibles) were known as the proper or special objects of the external senses.In addition to these proper objects, the senses were taken to have five common objects—size, shape, number, motion, rest—and also an unlimited variety of incidental objects, the per accidens sensibles—Coriscus, one's enemy, a horse race, etc. These per accidens sensibles are in a way the most interesting and important sense objects of all. They are interesting, first, inasmuch as one of the hardest and most interesting problems about perception is the problem of seeing as, which seems to be precisely the phenomenon at issue [End Page 27] here. They are important, also, inasmuch as genuine perception, as we now think of it, almost always involves the perception of something sensible per accidens. Our everyday sensory experiences revolve around the experience of seeing objects of certain kinds. We can of course step back and decide that what we are really seeing is colors and shapes. But that is not how we ordinarily see things.Despite their interest and importance, I want to put aside these per accidens sensibles, and focus instead on the common and proper sensibles, both of which Aristotle described as sensible per se (kath' hauta). In his classic statement on the objects of sensation, at De anima II 6, 418a7-25, Aristotle suggests that the grounds for distinguishing the per se from the per accidens are that the former sensibles are capable in their own right of making an impression on the senses. Color itself affects the external senses, and so does size. Coriscus, however, considered as Coriscus, does no such thing. He affects the senses only inasmuch as he is colored, perfumed, etc.3 To focus on the per se sensibles, then, is to focus on those things in the world that are suited to make impressions on the external senses.Why are some such sensibles proper, whereas others are common? The well-known rule of thumb here, reflected in how we refer to these sensibles, is that each proper sensible can be perceived by only one of the external senses. The common sensibles are those per se sensibles that fail this test. (Note that, of the common sensibles, only number, movement and rest are truly common to all five of the senses; shape and size are perceptible only by touch and sight.4 ) It is not clear, however, that this is the appropriate criterion for distinguishing the proper from the common sensibles. Albert the Great, for instance, argues that a proper sensible must meet three tests: (1) It is sensed by only one sense; (2) this sense is not capable of error with respect to it; and (3) the organ of this sense is naturally suited to be affected by it alone.5 The last of these tests is problematic, however, for at least two reasons. First, it is problematic for touch, given that the tangible qualities resist being reduced to a single genus. Second, more seriously... (shrink)

This article proposes a rethinking of Bourdieu’s habitus as context-specific, multiple, and decentralized based on nine months of participant-observation fieldwork with dumpster divers in New York City. Dumpster divers are mostly white, college-educated people in their twenties and thirties who eat food from retail trash as a lifestyle choice. Sociologists have recently theorized culture as a fragmented, incoherent “toolkit” of cultured capacities acquired throughout the lifetime. Bourdieu on the contrary, theorized socialized culture as habitus, a relatively durable, classed structure acquired (...) during childhood. While he recognized the possibility of acquiring “specific” habitus (Bourdieu 2000) later in life, he never developed the theoretical implications of socialization across multiple contexts. Building on ethnographic evidence of dumpster divers’ contradictory pursuit of food taste through the distasteful behavior of eating from the trash, I develop an alternative model of habitus as interlinked bundles of dispositions acquired in specific contexts. To theorize the bundled quality of habitus, I introduce what I call the practical congruity of dispositions. I show how rather than being disparate elements of a cultural repertoire, ways of seeing, common sense, dexterity, and orientations “make sense” in conjunction as actors mobilize them in specific contexts: dumpster diving acquires a commonsensical character based on the practical sense practitioners acquire. My understanding of habitus goes beyond the fragmentation assumed in notions of culture as a repertoire of cultured capacities, on the one hand, and the continuity and coherence premised in notions of primary and secondary habitus, on the other hand. (shrink)

How have people talked about the organoleptic characteristics of wines? How and why have descriptive and evaluative vocabularies changed over time? The essay shows that these vocabularies have shifted from the spare to the elaborate, from medical implications to aesthetic analyses, from a leading concern with “goodness” (authenticity, soundness) to interest in the analytic description of component flavors and odors. The causes of these changes are various: one involves the importance, and eventual disappearance, of a traditional physiological framework for appreciating (...) the powers and qualities of different sorts of aliment, including wines; another concerns the development of chemical sciences concerned with flavor components; and still another flows from changing social and economic circumstances in which wine was consumed and the functions served by languages of connoisseurship. The historical span surveyed here extends from Antiquity to the present and the essay displays talk about wine tastes as a perspicuous site for understanding aspects of wide-ranging social and cultural change. (shrink)

Data is essential to governing those emerging matters of concern that confront the agrifood every day. But data is no neutral intermediary. It disrupts, exposes, and creates new social, economic, political, and environmental possibilities, whilst simultaneously hiding, excluding, and foreclosing others. Scholars have become attuned to both the constitutive role of data in creating everyday worlds, and the need to develop critical accounts of the materialities, spatialities and multiplicities of data relationships. Whereas this emerging work develops insight to the capacity (...) for data topologies to reterritorialise the spatial performances of everyday life, it has largely reduced the associated temporal dimensions to matters of fact. The effect of these performances has been to naturalize the temporal quality of speed and elide the multiple temporalities required to enact contemporary data worlds. Applying the lenses of infrastructuring, performativity and ferality, this paper explores temporality and data in the everyday worlds produced through the New Zealand kiwifruit industry’s focus on dry matter. The paper argues that temporalities are deeply embedded in the kiwifruit industry’s data relations. We show that while temporal data relations are critical to the industry, we also highlight ways in which those relations introduce new, potentially destabilizing performances into kiwifruit relations. (shrink)

A sensible quality is a perceptible property, a property that physical objects (or events) perceptually appear to have. Thus smells, tastes, colors and shapes are sensible qualities. An egg, for example, may smell rotten, taste sour, and look cream and round.1,2 The sensible qualities are not a miscellanous jumble—they form complex structures. Crimson, magenta, and chartreuse are not merely three different shades of color: the first two are more similar than either is to the third. Familiar color spaces (...) or color solids capture, to a greater or lesser extent, these relations between the colors. The same goes for sensible qualities perceived in other modalities: middle C, high C, and D are not merely three different notes, and the taste of lemons, oranges, and sugar cubes are not merely three different tastes. How can this structure of appearance be explained? One idea is that sensible qualities are of two sorts: basic and derived. The basic sensible qualities are the building blocks from which the derived sensible qualities can be.. (shrink)

Vol.:The Journal of Value Inquiryhttps://doi.org/10.1007/s10790-018-9660-y1 3Bad Art and Good TastePer Algander1© The Author 2018Aesthetic value and good taste usually go hand in hand. A person with good taste is, typically, someone who appreciates things which exhibit some aesthetic quality or excellence. However, in ordinary life it is commonplace that we indulge in things which are lacking in aesthetic value. For example, we might prefer to watch Days of Our Lives rather than The Wire, or to read a (...) bad crime novel rather than good poetry.It is tempting to draw the conclusion that we are making a mistake, and lacking good taste, when our aesthetic attitudes do not match up against the aesthetic value of the things we prefer. However, this conclusion may be too quick. It has recently been argued by John Dyck and Matt Johnson1 that appreciating bad art—art which lack aesthetically good making features or whose bad making features clearly out-weigh its good making ones—isn’t always inappropriate. In this paper I will argue that while there might be a case to be made for this claim, the problem which Dyck and Johnson identify is much more general and that their proposed solution can at best be a partial one. (shrink)

This chapter explores the approaches taken by eighteenth-century British writers to the relationship between aesthetic judgments of beauty, sublimity, and the picturesque, and the faculty of taste that makes them possible. Writers in the tradition emphasize the fit between qualities in objects so judged and a capacity to be affected by them. This common theme unites the various contributions, but they can be divided in terms of the faculty on which different writers place emphasis. A first group isolates an (...) internal sense ; a second emphasizes the imagination, and a third appeals to principles of association. Each group is discussed in turn and details of the respective positions explored. (shrink)

Blind tasting — tasting without knowing the wine’s producer, origin, or other details obtainable from the wine’s label— has become something of a fetish in the wine world. We are told, repeatedly and insistently, that blind tasting is the best, most neutral, least biased, and most honest evaluative procedure, and one that should be employed to the exclusion of non-blind/sighted tasting (which, in turn, is typically disparaged as confused, biased, or dishonest). Professional evaluators (e.g., the tasting panel of the Wine (...) Spectator, the Grand Jury Europ´een, virtually every judging panel in competitive wine events) routinely advertise that they use blind tasting exclusively. Wine books and tasting manuals at all levels consistently emphasize the importance of blind tasting. Thus, Michael Broadbent, perhaps the most prolific author of tasting notes in history, writes that “It is my firm opinion . . . that to assess the qualities of a wine by tasting it completely blind, without any hint of what it might be, is the most useful and salutary discipline that any self-respecting taster can be given” (quoted in ? , 156). Or, again, Ronald Jackson, in his industry-standard textbook on wine tasting, asserts categorically that “Tastings should always be conducted blind, usually with only the names of the wine noted in advance” ( ? , 334). (shrink)

Philosophers and natural scientists have often drawn a distinction between two kinds of properties that physical objects may have. It is particularly associated with atomistic accounts of matter, and is as old as the ancient Greek theories of Democritus and Epicurus. According to the atomists, matter consists of tiny particles ‐ atoms ‐ having no other properties than those such as shape, weight, solidity, and size. Other putative properties ‐ for example, those of color, taste, and smell ‐ were (...) regarded as the names of experiences caused by the impact of particles on an observer, and had no independent existence as qualities in the object. Since the seventeenth century it has been normal to characterize the division between these two supposedly different kinds of properties as the primary‐secondary quality distinction. (shrink)

Based on the French notion of terroir or ‘the taste of place,’ a certified geographical indication (GI) identifies an agro-food product as originating in a particular territory and suggests that its quality, reputation, or other characteristics are essentially or exclusively attributable to its geographical origin. Previous scholarship exploring the social construction of terroir has focused on how disparities in political, economic, and cultural power shape GI regulations, certification procedures, and territorial boundaries. While these works have considered knowledge as (...) a resource deployed through relations of authority, studies of GI implementation have not adequately considered an important aspect of power in contemporary politics: the epistemic authority to assert the legitimacy of knowledge and its relevance to policymaking. In contrast, in this article, I take the accomplishment of epistemic authority – to determine the ‘essential’ and ‘exclusive’ physical and/or cultural attributes of place that shape product character – as key to the social construction of terroir and the institutionalization of GI regulations. This process is explored through a case study of Ecuador’s 2013-2019 implementation of a GI for Galápagos Islands coffee. I draw on analysis of relevant policy and regulatory documents and semi-structured interviews with 21 key stakeholders to argue that analytical attention to the legitimacy and relevance of terroir knowledge explains how coffee producers were able to deploy authoritative knowledge to disrupt and reinforce relations of authority and challenge the terms and mechanisms of GI qualification. (shrink)

The properties of secondary qualities have recently become an object of interest again in analytic philosophy; it is generally assumed that secondary qualities - in the mind at least - tend to be irreducible to the physical: taste, smell, color perception, the aural, & the tactile all seem to be more subjectively perceived than most other qualities. This is shown to present such topics as realism vs anti-realism, description, & truth-value with a series of problems, which are then discussed. (...) The standard literature (S. A. Kripke, D. M. Armstrong, & C. McGinn) is reviewed; it is concluded that, at least for color perception, a dispositional analysis is somewhat satisfactory; secondary qualities are ubiquitous. 7 References. A. Cohen-Siegel. (shrink)

Amateurs are neither regular consumers nor professionals. What makes them distinctive? To answer that question, this ethnographic study focuses on wine amateurs who show a distinctive feature compared to regular consumers: for them, wine is not a straightforward reality but a world to explore. Wine exploration drives an evolution that transforms both wine and amateurs’ disposition towards it. Amateurs usually start with the discovery of the wines and their tastes, which may turn into an ability to attune to and finally (...) produce taste and good quality. Amateurs’ passion, initially fuelled by the discovery of unknown tastes, is then informed by the renewal of the taste experience itself. Following amateurs in their exploratory activity allows us to extend the analysis beyond scholars’ usual focus on one of its particularly normative stages, and to propose a renewed account of the amateur that is quite remote from the standard image of the ‘cultural prescriber’. (shrink)

Synthetic foods advocates offer the promise of efficient, reliable, and sustainable food production. Engineered organisms become factories to produce food. Proponents claim that through this technique important barriers can be eliminated which would facilitate the production of traditional foods outside their climatic range. This technique would allow reducing food miles, secure future supply, and maintain quality and taste expectations. In this paper, we examine coffee production via biobased means. A startup called Atomo Coffee aims to produce synthetic coffee (...) with the aim of saving ‘the taste of coffee’ from the effects of climate change. This decontextualisation of coffee production ignores the current and historical contributions of coffee farmers in two ways: the traditional varieties in taste of coffee and their cultural significance, and the potential shade-grown coffee plantations have in capturing carbon. In addition, synthetic coffee may lead to the loss of agricultural biodiversity and the removal of resources away from production systems that provide a safe space for tropical flora and fauna. How should the ‘taste of coffee’ be owned? We investigate the property regimes under which we could consider owning the taste of coffee as a ‘synthetic’ agrobiodiversity to help identify rights and responsibilities. Building on this analysis, we consider dimensions of responsible innovation and social justice to help guide synthetic foods as an agricultural innovation. (shrink)

Nowadays, the major depressive disorder is a common disease that negatively affects the life quality of many people around the world. As MDD symptoms are closely related with the changes in food and eating, the relation between patients’ emotional responses and food tastes could be used as criteria for diagnostic. Until now, studies on the emotional response to different food tastes for patients affected by MDD have been poorly described in literature. Therefore, the aim of this study was to (...) evaluate the emotional response of patients suffering from MDD to the imagined different food tastes and to compare the results with a control group. Emotional responses in tested participants were induced by using cards with words of basic food tastes such as “sweet,” “salty,” “bitter,” “sour,” and “neutral.” The assessment of emotional response was performed with FaceReader 6 software. The outcome of this study showed that participants with MDD expressed lower “happy” and “contempt” and higher “surprised” emotions, along with a higher negative valence mean, in comparison with controls for all tested basic tastes of food. When Likert scale was used, significant differences in response were only found for “sour” and “salty” imaginary tastes between healthy group and patients with MDD. The findings of this study provide the additional data on food–associated emotion analysis of MDD patients and could be useful for the further development of the contactless method for early diagnosis of MDD. (shrink)

To say that an object is beautiful or ugly is seemingly to refer to a property of the object. But it is also to express a positive or negative response to it, a set of aesthetic values, and to suggest that others ought to respond in the same way. Such judg- ments are descriptive, expressive, and normative or prescriptive at once. These multiple features are captured well by Humean accounts that analyze the judgments as ascribing relational properties. To say that (...) an object is beautiful is to say, in part, that it is such as to elicit a response expressing pleasure in certain observers. The observers in question must not be ignorant, biased, insensitive, or of poor taste, and they must not base their evaluations on aesthetically irrelevant properties of the objects they judge. The reference to the object's "being such . . ." captures the objective side of the relation; refer- ence to the pleasurable response captures the expressive function of these judgments; and the ideal properties of the observers suggest that others ought to judge in the same way. (shrink)

This paper engages with the question: how can the marketization of ecologically embedded edibles be enabled in alternative food networks? The challenge lies in the fact that ecologically embedded edibles, grown and made through primarily ecological rather than industrial processes, and using artisan, traditional, and quality practices, show variable and uncertain characteristics. The characteristics, or qualities, of ecologically embedded edibles vary both geographically and in time, challenging the creation of stable market networks. How can ecologically embedded wines be sold (...) when there is no certainty about their qualities? In this article I propose that certainty around qualities is not as crucial an element of transactions as some authors suggest, and I draw on the case study of ecologically embedded wines to extract wider lessons of relevance to marketization of foods and drinks in alternative food networks. I suggest that an understanding of taste not as a fixed and unchangeable quality of people and things, but as a relational and reflexive activity between eaters and edibles, can offer a way of valuing uncertainty around product characteristics. Through a cultivation of a “taste for uncertainty” consumers’ bodies can become enrolled in supporting artisan, quality, and traditional production through their taste buds. Some pitfalls and limitations of this approach are considered in the conclusion. (shrink)

Utterances of simple sentences containing taste predicates (e.g. "delicious", "fun", "frightening") typically imply that the speaker has had a particular sort of first-hand experience with the object of predication. For example, an utterance of "The carrot cake is delicious" would typically imply that the speaker had actually tasted the cake in question, and is not, for example, merely basing her judgment on the testimony of others. According to one approach, this acquaintance inference is essentially an implicature, one generated by (...) the Maxim of Quality together with a certain principle concerning the epistemology of taste (Ninan 2014). We first discuss some problems for this approach that arise in connection with disjunction and generalized quantifiers. Then, after stating a conjecture concerning which operators ‘obviate’ the acquaintance inference and which do not, we build on Anand & Korotkova (2018) and Willer & Kennedy (Forthcoming) by developing a theory that treats the acquaintance requirement as a presupposition, albeit one that can be obviated by certain operators. (shrink)

: Is Peirce's esthetic relevant for the philosophy of art—what is usually referred to today as aesthetics? At first glance Peirce's idiosyncratic esthetic seems quite unconcerned with issues of art. Yet a careful examination reveals that this is not the case. Thus, rather than attempt to "apply" Peirce's views to some aspect of the practice or the theory of art (e.g., creativity, historiography of art, style, genre), or even to a particular work of art, my intention is to examine how (...) art fits into Peirce's own conception of his esthetic theory. The argument is divided into two parts. In the first section I present Peirce's conception of esthetics in the context of the normative sciences. I argue that esthetics connects with various strands of Peirce's philosophy, most notably his cosmology, his agapasm and with the way that important aspects of them hang together around the principle of abduction and the corresponding notion insight. In the second section, I consider in what way art may be said to be admirable, to contribute to the summum bonum. I try to show that Peirce's esthetic suggests that what attracts us towards art is first and foremost a semeiotic quality qua quality of mind or quality of Thirdness. (shrink)

Trust is often an assumed outcome of participation in Alternative Food Networks (AFNs) as they directly connect producers with consumers. It is based on this potential for trust “between producers and consumers” that AFNs have emerged as a significant field of food studies analysis as it also suggests a capacity for AFNs to foster associated embedded qualities, like ‘morality’, ‘social justice’, ‘ecology’ and ‘equity’. These positive benefits of AFNs, however, cannot be taken for granted as trust is not necessarily an (...) outcome of AFN participation. Using Chinese case studies of AFNs, which are characterised by a distinct form of trust pressure—consumers who are particularly cynical about small scale farmers, food safety and the organic credentials of producers—this paper highlights how the dynamics of trust are in constant flux between producers and consumers. I suggest that it is the careful construction of the aesthetic and multi-sensory qualities of food, which is often celebrated via social media, that human centred relations in Chinese AFNs are mediated. This leads to two key conclusions: first, that the key variable for establishing trust is satisfying the consumer's desire for safe (i.e. "fresh") food; and second, the materiality of the food and the perception of foods materiality (especially through social media), must both be actively constructed by the farmer to fit the consumer's ideal of freshness. (shrink)

It is arguably the case that olfactory system contains two senses that share the same type of stimuli, sensory transduction mechanism, and processing centers. Yet, orthonasal and retronasal olfaction differ in their types of perceptible objects as individuated by their sensory qualities. What will be explored in this paper is how the account of orthonasal smell developed in the Molecular Structure Theory of smell can be expanded for retronasal olfaction (Young, 2016, 2019a-b, 2020). By considering the object of olfactory perception (...) to be the molecular structure of chemical compounds composing odor plumes, Molecular Structure Theory provides a means for determining an odor’s olfactory quality, how odors can be identified and individuated, and how we perceive smellscapes. Surveying the differences between orthonasal and retronasal olfaction provides the basis for the central argument of the paper that the perceptible objects we refer to as smells and individuated on the basis of their olfactory qualities are only relative to orthonasal olfaction. Retronasal olfaction it is speculatively concluded might play an essential role in our perception of flavorful objects. (shrink)

The understanding of the primary-secondary quality distinction has shifted focus from the mechanical philosophers’ proposal of primary qualities as explanatorily fundamental to current theorists’ proposal of secondary qualities as metaphysically perceiver dependent. The chapter critically examines this shift and current arguments to uphold the primary-secondary quality distinction on the basis of the perceiver dependence of color; one focus of the discussion is the role of qualia in these arguments. It then describes and criticizes reasons for characterizing color, smell, (...) taste, sound, and warmth and color as secondary qualities on the basis of our commonsense divisions among sensory modalities; Grice’s proposal for distinguishing among the sensory modalities is focal here. The general conclusion is that reasons for drawing the primary-secondary quality distinction are unconvincing. (shrink)

Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides his most (...) expansive statement of his views on taste and quality in art, arguing for an esthetic that flies in the face of current art world fashions. Greenberg insists despite the attempts from Marcel Duchamp onwards to escape the jurisdiction of taste by producing an art so disjunctive that it cannot be judged that taste is inexorable. He argues that standards of quality in art, the artist's responsibility to seek out the hardest demands of a medium, and the critic's responsibility to discriminate, are essential conditions for great art. The obsession with innovation the epidemic of newness leads, in Greenbergs view, to the boringness of so much avant garde art. He discusses the interplay of expectation and surprise in aesthetic experience, and the exalted consciousness produced by great art. Homemade Esthetics allows us particularly in the transcribed seminar sessions, never before published to watch the critics mind at work, defending (and at times reconsidering) his theories. His views, often controversial, are the record of a lifetime of looking at and thinking about art as intensely as anyone ever has. (shrink)

Abstract Kant claims that the basis of a judgment of taste is a merely subjective representation and that the only merely subjective representations are feelings of pleasure or displeasure. Commentators disagree over how to interpret this claim. Some take it to mean that judgments about the beauty of an object depend only on the state of the judging subject. Others argue instead that, for Kant, the pleasure we take in a beautiful object is best understood as a response to (...) its qualities, and that, accordingly, feelings of pleasure or displeasure are no different from other representations, such as colors or smells. While I agree that the judgment of taste is best understood as asserting a claim about an object's qualities, I argue that the distinction Kant makes between feelings of pleasure or displeasure and other representations should not be ignored. I show that one's liking or disliking for an object is merely subjective in the sense that its significance depends on what one has made of oneself through one's aesthetic education. The judgment of taste, then, is merely subjective because one must first become the kind of person whose feelings have the right significance at the right time before one can determine whether an object's qualities make it beautiful. (shrink)

It is natural to suppose that honey tastes the way it does because it is sweet. Democritus, Plato and Aristotle all agree that this explanation is superficial and lacks causal depth; they attempt to explain gustatory phenomena by invoking explanatorily fundamental features of the world. As they work out their causal stories, do they give up on the common-sense explanation of why honey tastes the way it does? In other words, do they deny that sweetness and other sensible qualities are (...) causally efficacious features of the world around us? ;Our sources for Democritus' thinking on this issue present a problematic picture. On the one hand, Aristotle and Theophrastus suppose that Democritus wants to identify colors and flavors with causally efficacious features of the world around us. On the other hand, Theophrastus and others find Democritus defending the view that colors and flavors do not belong to the world around us. This tension, first pointed out by Theophrastus, is merely apparent, if, as certain texts suggest, Democritus distinguishes the colors and flavors which we experience from the colors and flavors which figure in his scientific explanations. ;In the Timaeus, Plato frequently says things like "What is capable of producing such and such effects on the gustatory region has the name 'bitter' thinspace". On Theophrastus' interpretation, Plato is offering definitions of the sensible qualities: flavors are identical with powers to produce certain physiological effects on the sense-organs. Theophrastus reasonably complains that sensible qualities will lack causal efficacy if they are identified with these powers of external objects, but Theophrastus' interpretation is mistaken: Plato is not defining the sensible qualities; he is fixing the reference of our sensible-quality terms. Recent historical work on the distinction between primary and secondary qualities has often emphasized the extent to which the authors of this distinction were motivated by an interest in supplanting prevalent, Peripatetic assumptions about the nature of sensible qualities, but Aristotle's theory does not differ significantly from that of Descartes: both identify colors with causally efficacious properties whose natures are revealed by scientific investigation. (shrink)

Feminist scholarship has awakened us to the suspicion that such reliance on "common human nature" renders philosophical concepts not neutral and universal, as Hume believed, but heavily inflected by models of ideal masculinity that inform discussions of human nature. One purpose of this essay is to extend this line of thought by elucidating the idea of gendered concepts. By this phrase I refer to concepts that, lacking any obvious reference to males or females, or to masculinity or femininity, nevertheless are (...) formulated in such a way that their neutral quality and universal applicability are questionable. Here I pursue this suspicion by examining Hume's famous standard of taste. Examination of gendered concepts not only casts doubt on the scope and operation of such a standard; it reveals the peculiarly unstable position of the idea of "female" in concepts of the "human.". (shrink)

Viewer satisfaction measures how well a film's technical and artistic elements match or surpass the expectations and tastes provided by the viewer. Film quality refers to a film's technical and creative components. Out of 75 surveys that were provided, 50 valid results were utilized to emphasize the aspects affecting viewer satisfaction in Impact of Film Quality and View Environment. To enhance data validity and reliability, we employed the Statistical Package (SPSS) software to carry out the following tests. The (...) correlation technique was used to measure the extent of the connection between several factors like film quality, viewing environment, and the level of viewership satisfaction and the results yielded positive results. Proper regression analysis was also conducted to investigate the correctness of Resolution quality, Sound design, Cinematography, Seating comfortness, Ambient Lighting, and Viewing distance. The findings indicated how the watching setting and the caliber of the film affected the viewers' overall happiness levels. The findings also affirmed the robustness of the model which indicated that film quality impacted the respondents more than the viewing environment. These factors are highlighted in this study as key influences on viewer experiences and provide valuable information regarding possible improvements in the processes of film creation and marketing to increase audience engagement. The prevention statistically justified the quality of the film and the viewer's satisfaction with having a successful film. (shrink)

It is no surprise that the phenomenal qualities of our sensory experience pose recalcitrant philosophical problems for a physical materialist metaphysics. The colors of flowers as we experience them by sight, the taste of a ripe peach, and the smell of fresh-cut grass are undeniably part of the experienced world; yet in their phenomenal mode, they do not seem well-placed in the physicist's world of particles and energy fields. It seems, prima facie, that the metaphysical programs found in earlier (...) science and philosophy were better suited to accommodate these qualities: in the hylomorphic world of the Aristotelians, colors were "real qualities" existing as such in flowers; in the dualistic world of Descartes, colors were displaced from things like flowers to the immaterial mind of the perceiver. The dissertation argues that this intuition about our philosophical heritage is both philosophically confused and historically inaccurate. It betrays a misconception about phenomenal qualities and the problems they pose which results from a failure to distinguish phenomenal qualities from a special subset of sensible qualities that we have come to call "secondary" qualities. Disentangled from the primary-secondary quality distinction, phenomenal qualities include all sensible qualities insofar as they form the experiential contents of our sensory perceptions. So considered, phenomenal qualities invite difficult questions about the representational nature and ontological status of our sensory experience even within the Aristotelian and Cartesian metaphysics. By examining Descartes' and the Aristotelians' theories of sense perception with a focus on these questions we achieve a better understanding of "the problem" of phenomenal qualities, better interpretations of these historical theories of sense perception, and suggestions for reshaping the problem space within which we think philosophically about phenomenal qualities today. (shrink)

This chapter explains Descartes confusion on sensations, size, shape, position, and motion. Descartes in detail explains that we perceive particular figures or actual bodies affecting our senses much more distinctly than their colours. Descartes construe the perception of position, distance, size, and shape as involving strong intellectual elements and he holds that they differ in this fundamental respect from ordinary perceptions of color, sound, heat and cold, taste, and the like, which are said to consist just in having “sensations” (...) that “arise from the mind-body union.” This position leaves room for uncertainty about what he means when he speaks elsewhere of the near-uselessness of sense perceptions in informing us of particular qualities of bodies, in so far as it opens the possibility of a quite restricted understanding of “sense perception” in these contexts. (shrink)

Toward the end of “Of the Standard of Taste,” Hume summarizes what it means to be “a true judge in the finer arts.” He says: “Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to this valuable character.”1 Throughout the essay, he also claims that his position is commonsensical and naturalistic—that is, notwithstanding the diversity of opinion among critics, there is a “structure of the mind... naturally calculated (...) to give pleasure,”2 that the “general principles of taste are uniform in human nature,”3 that the foundation of good taste lies in “the common sentiments of human nature.”4 Hume is essentially right about.. (shrink)

Philosophers from the modern age and current philosophers share some common concerns. One is whether the ordinary objects of human perception—the objects humans see, hear, feel, taste, and smell—exist independently of our perception of them in a shared, stable, spatially-localized environment that also exists independently of perception. Another is whether a particular range of properties—colors, flavors, odors, sounds, feels—are properties of the ordinary objects of human perception, relations whose relata are properties of ordinary objects and types of typical human (...) experiences, or properties of, or identical with, types of typical human experiences.Because both modern and current philosophers have... (shrink)

This article examines the role of taste perception in Galen’s research on simple drugs in relation to the acquisition of knowledge. To this end, 1.) I make it plausible through an examination of sources that the sometimes increased, more detailed and divergent indications of taste compared to his predecessors, especially Dioscorides and Sextius Niger, are based on Galen’s own research, 2.) reconstruct Galen’s research practice and 3.) examine the presentation of his results in linguistic and logical terms and (...) explain the differences to traditional pharmacology. I argue that a) gustatory perception has a special significance in Galen’s work that goes far beyond its traditional descriptive function and b) that, starting from the realisation that taste and drug action are interrelated, he assigns to taste qualities an indicator function for a much more fundamental principle that causes drug action and thus c) has prepared the ground for a pharmacognosy that also classifies according to taste principles, which was to reach its climax much later. With a view to a practice of gustatory testing of herbal drugs that is still practised today in pharmacy, which, like any other natural science discipline, has otherwise largely lost the sensory reference to its subject matter, the article would therefore like to provide an encouragement to study the “history of pharmaceutical-medical tasting”. (shrink)

Cho Jihoon’s aesthetics is based on the Confucian literati’s spirit, choesado, and on the Buddhist idea of non-duality. He presented the theory of meot, meaning taste originally, as a Korean-specific aesthetic category in his Study of Meot, where he synthesized the previously discussed theories of other scholars into twelve elements. Discussing the formal characteristics of works that have the aesthetic quality of meot, he took unrefinedness as basic, and cited diversity, eurhythmy, and curvature as its subtraits. Discussing the (...) compositional power or method of expression that provokes meot, he took hyperstandard as basic, and the subtraits include maturity, distortion, and playfulness. Furthermore, he discussed meot as an emotion or idea that Koreans live with, where the most basic one is otiosity (impracticality), and assimilation, moderation, and optimism are its subtraits. Finally, he identified meot as the ultimate aesthetic state with pungryu, a lifestyle in harmony with Nature, which is originated from the ancient Silla period. (shrink)

In philosophical discussions of the secondary qualities, color has taken center stage. Smells, tastes, sounds, and feels have been treated, by and large, as mere accessories to colors. We are, as it is said, visual creatures. This, at least, has been the working assumption in the philosophy of perception and in those metaphysical discussions about the nature of the secondary qualities. The result has been a scarcity of work on the “other” secondary qualities. In this paper, I take smells and (...) place them front and center. I ask: What are smells? For many philosophers, the view that colors can be explained in purely physicalistic terms has seemed very appealing. In the case of smells, this kind of nonrelational view has seemed much less appealing. Philosophers have been drawn to versions of relationalism—the view that the nature of smells must be explained (at least in part) in terms of the effects they have on perceivers. In this paper, I consider a contemporary argument for this view. I argue that nonrelationalist views of smell have little to fear from this argument. (shrink)

I defend my reading of Hume's "Of the Standard of Taste" from objections raised by Jeffrey Wieand. I argue that Wieand doesn't take seriously enough Hume's claim that beauty is not a quality of objects, and that taking this claim seriously requires regarding Hume's true judges as ideal.

Far from an elite practice reserved for the highly educated, criticism is all around us. We turn to the Yelp reviewers to decide what restaurants are best, to Rotten Tomatoes to guide our movie choices, and to a host of voices on social media for critiques of political candidates, beach resorts, and everything in between. Yet even amid this ever-expanding sea of opinions, professional critics still hold considerable power in guiding how we make aesthetic judgements. Philosophers and lovers of art (...) continue to grapple with questions that have fascinated them for centuries: How should we engage with works of art? What might enhance such encounters? Should some people’s views be privileged? Who should count as a critic? And do critics actually help us appreciate art? In Two Thumbs Up, philosopher Stephanie Ross tackles these questions, revealing the ways that critics influence our decisions, and why that’s a good thing. Starting from David Hume’s conception of ideal critics, Ross refines his position and makes the case that review-based journalistic or consumer reporting criticism proves the best model for helping us find and appreciate quality. She addresses and critiques several other positions and, in the process, she demonstrates how aesthetic and philosophical concerns permeate our lives, choices, and culture. Ultimately, whether we’re searching for the right wine or the best concert, Ross encourages us all to find and follow critics whose taste we share. (shrink)