The study was conducted in East Shewa, central Ethiopia, where durum wheat landraces were once popular, but were displaced and re-introduced. Combinations of survey techniques are employed to document the different home uses of durum wheat landraces and to assess whether these serve as an incentive to on-farm conservation. The findings reveal that wheat landraces have multiple dietary and sociocultural uses that contribute to the maintenance of landraces on-farm. Temporal analysis of historical information showed that (1) richness in food traditions (...) is associated with a high level of landrace diversity on-farm; (2) food traditions in East Shewa did not change radically as a result of the integration of farmers into the market economy; and (3) farm households still have an appreciation of, and a preference for, the home-use related qualities of the landraces, this despite their long term disappearance and the subsequent availability of several improved wheat varieties. The study illustrates the relationship between the local availability of landrace wheats and their on-farm survival. The home uses of landraces plays an instrumental role in the promotion of on-farm (in situ) conservation. Augmenting conservation activities with non-breeding approaches (e.g., awareness-creation) would support the survival of wheat landraces for the foreseeable future. (shrink)

In discussions of arts and culture, food and drink are often relegated to the realms of mere decoration or mere necessity. However, like the term taste, which begins as one of the five senses but comes to be understood as the most sweeping term for human sensibility, eating and drinking can also be fundamental aesthetic experiences. In this book, author Leonard Barkan covers millennia of Western aesthetic and cultural activity, tracing the history of eating and drinking across literature, art, philosophy, (...) statecraft, religion, and historiography. Drawing on a myriad of historical and analytic perspectives, Barkan demonstrates how the materials of the dining table, the flavor and pleasure of food, and hunger and satiety are central to life and culture. He explores what it means to "read for the food" in works of art, literature, and philosophy, and demonstrates the central role that food played in Roman civilization. He examines the deeply culinary qualities of the Hebrew Bible and the New Testament, the relationship between food and drink and the culture of the Renaissance, and the literal acts of consumption that are endowed with sacred significance. By uncovering the gastronomic underplot in cultural and artistic works, Barkan proposes an interdisciplinary approach to the relation between sense experience and aesthetic experience, and considers what it means to move from the margins to the center in a study of culture. (shrink)

Chefs have been recognized as potentially important partners in efforts to promote local food systems. Drawing on the diffusion of innovation framework we (a) examine the characteristics of chefs and restaurants that have adopted local foods; (b) identified local food attributes valued by restaurants; (c) examine how restaurants function as opinion leaders promoting local foods; (d) explored network linkages between culinary and production organizations; and (e) finally, we consider some of the barriers to more widespread adoption of local foods (...) in the culinary community. Analyzing quantitative and qualitative data collected from interviews with individuals from 71 restaurants, we compare and contrast restaurants that utilize relatively large amounts of locally-produced ingredients with restaurants using few, if any, local products. Results reveal that chefs are most interested in intrinsic food qualities, such as taste and freshness, and less interested in production standards. As opinion leaders, chefs utilize signage, wait staff, and cooking classes to promote local foods; however, the diffusion process across restaurants, and between restaurants and producers, is limited by network associations. Structural barriers such as distribution problems and lack of convenience were identified as limiting more widespread use of locally-grown foods. We offer several implications of this research for further work that seeks to engage chefs as opinion leaders who are important to building greater support for local food systems. (shrink)

Works of culinary expertise are not typically regarded as works of "fine" art, in the way that, say, paintings, etchings, symphonies and sculptures are. I argue, however, that any form of creativity embodied in a perceptible work reflecting it is a subject about which we might exercise "aesthetic judgments" that do not differ fundamentally from the sorts typical with regard to the usual "fine" arts. To reserve a special notion for marking off the latter simply disguises the fact that (...) it is properly a value judgment that one is making. Otherwise it might seem a simple matter of fact that certain works are not works of fine art. I deal with this issue in Chapters Three and Four, in connection with traditional attempts to distinguish art from mere "craft" and more recent efforts to account for a certain "openness" in the concept of art. In Chapter One I consider the work of art as an "aesthetic object" combining sensory qualities into a complex whole, and specific objections against the possibility of composing or constructing, according to artistic principles, complexes of tastes . In Chapter Two the notion of "function" is introduced, since it might be thought that food is too obviously functional, in the face of the apparent irrelevance of functional considerations in artistic appraisal. ;Throughout, the emphasis is on food as specifically edible. In Chapter Two I argue, however, that other aspects of food besides its taste and smell might also be considered as part of that specific emphasis. Even to consider the visual qualities of a dish, for example, does not necessarily reduce it to a case of sculpture or visual design. Rather, I argue, cooking is an art which, in some of its forms, simply happens also to be an art of sculpting or visual design. I make a related point in Chapter Five about works in which food is at most one ingredient, e.g., performances, services or ceremonies. In cases where the whole work actually utilizes potentialities of food in an essential way, I argue that it is at least not clear why we should not regard the work as one of the culinary art that also happens to take the form, say, of dramatic or pictorial art. ;The first two chapters primarily aim to remove objections to regarding food works as art. This of course does not show that any particular food creation ever does in fact reach the level demanded for proper inclusion as "art." However, my more general discussion in Chapters Three and Four are aimed at generating some sympathy for an approach that would simply undercut the feeling that there is any such "level" to be reached in the first place. At best we are dealing with degrees of artistic value. Why not simply grant, then, that creatively produced taste complexes are works of art, and reserve whatever valuations we might come to make for the judgements we make concerning how good any particular work of food art is? In Chapter Five I emphasize the extent to which food works may in fact embody artistic dimensions, specifically with respect to the creative combination of expressive and symbolic elements. This allows for a kind of "composition" involving those elements, over and above the potentialities inherent in taste and smell as such. As for whether such compositions then ever reach a level of excellence sufficiently high for genuine "art"--I try to argue that this is a question that we simply should not ask. (shrink)

Edible insects are a potentially less burdensome source of proteins on the environment than livestock for a majority of rural consumers. Hence, edible insects are a timely idea to address the challenges of the supply side to sustainably meet an increasing demand for food. The objective of this paper is twofold. The first is to identify and compare rural-households’ intentions to consume insect-based foods among households drawn from two regions in Kenya—one where consumption of insects is common and the other (...) where the practice is uncommon. The second is to explore consumers’ trust in sources of information regarding quality and appropriateness of food items. The study employed an extended theory of planned behaviour and involved 432 participants. Results indicate that rural households have positive intentions to consume insect-based foods and those intentions are higher for individuals who are more familiar with the practice. Results also show that information sources from industry are more trusted than those from the media. Further, the study revealed that control variables such as perceived availability of insect-based foods and their level of fit with the culinary practices have a higher influence on consumption intentions than general attitudes. In addition, age of the respondent, gender, household size and level of formal education, significantly influence the consumption intentions. The study discusses the implications of these findings in the development of sustainable agri-food systems. (shrink)

Singer’s ‘Practical Ethics’ is based on a form of utilitarianism which takes into account the interests of a living being if and only if it displays a minimum of rationality and (self-)consciousness. Accordingly aborting a human fetus in an early stage of development is held to be morally acceptable, whereas killing chicken, pigs, and cattle for mere culinary pleasure is not. Singer's view on abortion are refuted because they only consider the actual properties of the fetus but ignore the (...) quality of its future life. In general the ‘principle of replaceability’ must be rejected. And although making animais suffer certainly is immoral, mere (painless) killing does not necessarily do so great a harm to them that we have to become vegetarians. (shrink)

This study delves into the intricate world of tipping, examining how restaurant chefs and chef-owners account for and morally justify this practice. While previous research has paved the way for understanding several of the nuances of tipping in the dining experience, little attention has been given to chefs’ perspectives on its moral dimensions. In today’s evolving restaurant dining landscape, tipping practices have become increasingly contentious. Therefore, it is imperative to grasp the ethical intricacies of tipping experiences, as they hold significant (...) implications for social and economic interactions. This study focuses on interviews with culinary artisans—the masterminds behind the dining experience, including executive chefs, chef-owners, sous chefs, chefs de cuisine, private chefs, and pop-up chefs. Through these conversations, we explore the moral justifications for tipping, unintended consequences that arise, and the advent of tip coercion. Our findings shed light on the moral reasoning and ethical dynamics behind tipping practices. These findings offer a foundation for shaping theoretical frameworks, informing practical solutions, and guiding policy decisions in this complex realm. (shrink)

This study delves into the intricate world of tipping, examining how restaurant chefs and chef-owners account for and morally justify this practice. While previous research has paved the way for understanding several of the nuances of tipping in the dining experience, little attention has been given to chefs’ perspectives on its moral dimensions. In today’s evolving restaurant dining landscape, tipping practices have become increasingly contentious. Therefore, it is imperative to grasp the ethical intricacies of tipping experiences, as they hold significant (...) implications for social and economic interactions. This study focuses on interviews with culinary artisans—the masterminds behind the dining experience, including executive chefs, chef-owners, sous chefs, chefs de cuisine, private chefs, and pop-up chefs. Through these conversations, we explore the moral justifications for tipping, unintended consequences that arise, and the advent of tip coercion. Our findings shed light on the moral reasoning and ethical dynamics behind tipping practices. These findings offer a foundation for shaping theoretical frameworks, informing practical solutions, and guiding policy decisions in this complex realm. (shrink)

Drawing on work in psychophysics, psychometrics, and sensory neurophysiology, Clark analyzes the character and defends the integrity of psychophysical explanations of qualitative facts, arguing that the structure of such explanations is sound and potentially successful.

Berkeley, Hume, and Russell rejected the traditional analysis of substances in terms of qualities which are supported by an "unknowable substratum." To them the proper alternative seemed obvious. Eliminate the substratum in which qualities are alleged to inhere, leaving a bundle of coexisting qualities--a view that we may call the Bundle Theory or BT. But by rejecting only part of the traditional substratum theory instead of replacing it entirely, Bundle Theories perpetuate certain confusions which are found in (...) the Substratum Doctrine. I examine two major types of BT developed by Russell and by G. F. Stout with the intention of showing that (1) the seemingly innocuous concept of "a quality" employed by these versions cannot be used to state their theories coherently, and (2) the fatal problems that the BT encounters point to a more satisfactory and interesting alternative to both the Substratum Doctrine and the BT. This is a view that I call the Qualified Particulars Theory. In a final section I draw morals from this discussion that apply to the analogous Humean view that a mind is a "bundle of perceptions and sensations.". (shrink)

Ascribing mental qualities like beliefs, intentions and wants to a machine is sometimes correct if done conservatively and is sometimes necessary to express what is known about its state. We propose some new definitional tools for this: definitions relative to an approximate theory and second order structural definitions.

This paper discusses how Gassendi and other 17th century atomists treated the distinction between primary and secondary qualities.

J.L. Mackie insists that ordinary evaluative thought presents itself as a matter of sensitivity to aspects of the world. And this phenomenological thesis seems correct. When one or another variety of philosophical non-cognitivism claims to capture the truth about what the experience of value is like, or (in a familiar surrogate for phenomenology) about what we mean by our evaluative language, the claim is never based on careful attention to the lived character of evaluative thought or discourse. The idea is, (...) rather, that the very concept of the cognitive or factual rules out the possibility of an undiluted representation of how things are, enjoying, nevertheless, the internal relation to 'attitudes' or the will that would be needed to count as evaluative. On this view the phenomenology of value would involve a mere incoherence, if it were as Mackie says--a possibility that then tends (naturally enough) not to be so much as entertained. But, as Mackie sees, there is no satisfactory justification for supposing that the factual is, by definition, attitudinatively and motivationally neutral. This clears away the only obstacle to accepting his phenomenological claim; and the upshot is that non-cognitivism must offer to correct the phenomenology of value, rather than give an account of it. -/- In Machie's view the correction is called for. In this paper I want to suggest that he attributes an unmerited plausibility to this thesis, by giving a false picture of what one is committed to if one resists it. (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)

Galen’s elemental mixture of fire, air, water and earth (and of the corresponding primary qualities, hot, cold, dry and wet) is primarily a physical process, in which primary elements mix and give rise to all compounded physical bodies, inanimate and animate. As such, the concrete, physical process of mixture is an essential basis for a thorough understanding of Galen’s physical system. In this article I pursued a twofold aim. First, I showed Galen’s syncretic approach while expounding his theory of (...) mixture (insofar as he attributes that theory equally to ‘Hippocrates’, Aristotle and the Stoics) and illustrated the reasons behind this approach. Second, and more importantly, I addressed Galen’s epistemological position concerning mixture’s constituents and answered the question of whether, according to Galen, are the qualities alone, conceived more Aristotelico as conceptually distinct from the body itself, to mix or if Galen viewed mixture, as the Stoics did, as a coextension of bodies. As we argue, Galen assigns the epistemological status of πιθανόν to the Aristotelian and Peripatetic doctrines. This indicates that, to a certain extent, he joins this historical debate and is more closely aligned with Aristotle and the Peripatetics than with the Stoics. By resorting to what is πιθανόν Galen obtains two results: (1) does not expose himself to accusations of dogmatism but, at the same time and in his method, enters the ongoing controversy about qualities and bodies without taking a definitive position, and (2) he preserves his syncretic theoretical structure which finds its linchpin in the defence of a medical-cum-philosophical continuism. (shrink)

I distinguish between two claims of transparency of experiences. One claim is weaker and supported by phenomenological evidence. This I call the transparency datum. Introspection of standard perceptual experiences as well as bodily sensations is consistent with, indeed supported by, the transparency datum. I formulate a stronger transparency thesis that is entailed by representationalism about experiential phenomenology. I point out some empirical consequences of strong transparency in the context of representationalism. I argue that pain experiences, as well as some other (...) similar experiences like itches, tickles, orgasms, hedonic valence, etc., are not transparent in this strong sense. Hence they constitute empirical counterexamples to representationalism. Given that representationalism is a general metaphysical doctrine about all experiential phenomenology for good reasons, I conclude that representationalism about phenomenal consciousness is false. Then, I outline a general framework about how the introspection of phenomenal qualities in perceptual experience works in light of the transparency datum, but consistent with the rejection of strong transparency. The result is a form of qualia realism that is naturalist and intentionalist, and has close affinities to the adverbialist views developed in the latter part of the last century. I then apply this framework to pain experiences and their bodily locations. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin (...) 2014). But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

In the thesis I criticize the project of showing that the primary qualities mentioned in a special "scientific" or "objective" conception of the world enjoy a status that secondary qualities do not, and suggest how the appeal of such a distinction might be overcome. ;Descartes argued that we erroneously ascribe illusory "secondary" qualities to the world. In the painting analogy of the First Meditation I identify a line of reasoning that has been previously overlooked yet is crucial (...) to the success of Descartes's project. I show why Descartes's explanation of how we come to have the supposedly erroneous beliefs is unacceptable, and that contemporary accounts of so-called projective error fail for similar reasons. These failures suggest that an explanation of the thoughts we do have cannot succeed without appeal to more than the limited resources Descartes took to be available. ;Pursuing this suggestion I examine alternatives to the form of anti-skeptical reasoning of the painting analogy. I develop a modified transcendental strategy that resembles aspects of Davidson's treatment of error, while respecting the realism that motivates the project in question. I argue that beliefs about the colors of objects, for example, are systematically related and that the attribution of systematic disagreement cannot be justified. This shows that the systematic error Descartes claimed to find in our ordinary judgements is not fully intelligible. ;Finally I survey some contemporary alternatives to Descartes's account. Many dispositional analyses of qualities aim to revise our ordinary understanding of these qualities, thus taking for granted a prior demonstration of the distinction in question. I argue that no non-revisionary dispositional analysis of these qualities can succeed. I show that the notion of "anthropocentricity" is irrelevant to the project. Lastly I consider accounts that characterize primary qualities by their explanatory power. Previous arguments show that identifying some objects as possessing certain qualities is a condition of identifying beliefs as beliefs about those qualities. I end with a lesson about the limits of the explanatory power of a special austere conception of the world. (shrink)

This essay examines how Tārā ‘reclaims’ the discourse of enlightenment for Buddhist women and feminist theologians. Despite universal concern for the liberation of all beings, Buddhahood in mainstream texts and narratives was confined to male deities and masters, or females that switched their genders in their final rebirth. Furthermore, Tārā’s senior male bodhisattvas, Avalokiteśvara and Mañjuśrî, overwhelmingly monopolized compassion and wisdom as the latters’ embodiments. This study proposes how Tārā’s theology gradually came to distinguish her from her male colleagues and (...) reclaim the state of Buddhahood. Tārā is an unequivocally female Buddha in Vajrayāna Buddhism because she has managed to assimilate these theological virtues that were essentially reserved as masculine, correcting them as genderless qualities without identity. Tārā’s legitimization sets a concrete precedent for the title of ‘Buddha’ to be included amongst the categories of feminine faith and practice. (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)