This chapter explores the interaction between the moral value and aesthetic value of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, this chapter considers food as art, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately this chapter argues against both food autonomism (the view that food's moral value is unconnected to its aesthetic value) and Carolyn Korsmeyer's food moralism (the (...) view that moral flaws can only make food aesthetically worse). Instead, it argues for the position of food immoralism: sometimes a moral flaw can make an item of food aesthetically better. This chapter concludes by drawing out broader implications of this position for discussions on the ethics of food and discussions on the interaction between the moral and aesthetic values of art. (shrink)

Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics as public (...) philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)

This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.

In verse twelve of the Tao Te Ching, Lao Tzu makes a curious claim about the five flavors; namely that they cause people not to taste or that they jade the palate. The five flavors are: sweet, sour, salt, bitter and spicy or hot as in 'heat'. To the Western mind, the claim, 'The five flavors cause them [persons] to not taste,' is counterintuitive; on the contrary, the presence of the five flavors in a dish or in a meal would (...) expand or enhance the senses and the palate, i.e., taste would be augmented by the five flavors. So what is the plausible meaning of the Taoistic claim? To answer this question, I look very briefly at the history of the doctrine of the five flavors and the history of Chinese cuisine. Lao Tzu probably has Confucian feasts in mind in making such a claim, but other interpretations are discussed. (shrink)

Recent work in philosophy and cognitive science shows that knowledge is the norm of our social practice of assertion, in the sense that an assertion should express knowledge. But why should an assertion express knowledge? I hypothesize that an assertion should express knowledge because the point of assertion is to transmit knowledge. I present evidence supporting this hypothesis.

What makes a food good, for you? With respect to food, the expression “good for you” usually refers to the effect of the food on the nutritional health of the eater, but it can also pertain more broadly. The expression is often used by a person who is concerned with another person’s well-being, as part of an exhortation. But when framed as a question and addressed to you, as an individual, the question can require a response, calling for accountability beyond (...) the realm of nutrition or other material qualities of the food. Economic value may be considered as a ratio: goodness/price. In this paper, we examine the numerator, exploring a broad range of values domains related to food, attempting to obtain a more comprehensive understanding of the meaning of goodness of food. We present a typology of values domains with respect to food, divided into three main categories: (1) material considerations, (2) psychological, psychosocial, and spiritual health, and (3) the well-being of society. This understanding that results from comprehensive consideration of these values domains has important implications for an individual for use in considering the question “what food is good for you?” in order to guide his or her future actions, helping to distinguish between what Dewey termed immediate good and reasonable good. A pragmatic approach to a fuller consideration of food-related values domains by individuals also has broad social, political, and economic implications. If, according to the FAO, food security involves both needs and preferences, consideration of what preferences are appropriate is fundamental to achieving food security. The questions about what is considered to be good food are central to questions about the sorts of food and agricultural systems human societies will seek to sustain. The approach to resolving this important aspect of sustainability might help inform a more general question as to appropriate limitations on preferences, a question fundamental to achieving sustainability in general. (shrink)

Recent discussions of culinary authenticity have focused on the problematic sociopolitical implications of Euro‐Americans seeking authenticity in food perceived as ethnic. This article seeks to rehabilitate the concept of culinary authenticity. First, the author relates the issue of culinary authenticity to other philosophical debates concerning authenticity, arguing that the concept of authenticity is value‐neutral. Second, a general theory of culinary authenticity making use of the theoretical apparatus of Kendall Walton's “Categories of Art” is developed and defended against objections. Third, a (...) variety of reasons that authenticity is valued are discussed, with an emphasis on aesthetic reasons. Ultimately, the author acknowledges that some ways of valuing culinary authenticity are objectionable but argues that this should not lead us to abandon our interest in authenticity altogether. (shrink)

Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of dissatisfaction (...) with an undifferentiated category of taste, comes to be set apart from gustatory taste on account of its normativity and aspirations to objectivity. The paradox of taste, as found in Hume and Kant, is examined, and shown to be highly relevant to contemporary metaphysical debate within aesthetics. Specifically, this paper argues that both Realists and Anti-Realists rely more heavily than assumed on the idea of taste. (shrink)

A position has been advanced by a number of philosophers, notably by Burnham and Skilleås, that certain knowledge is required to aesthetically appreciate a fine wine. They further argue that pleasure is not an integral part of aesthetically appreciating wine. Their position implies that a novice cannot aesthetically appreciate a fine wine. This paper draws on research into tasting and psychology to rebut these claims. I argue that there is strong evidence from both the average consumer and from wine experts (...) that they are unable to separate enjoyment from aesthetic evaluation; secondly, I argue that wine knowledge may actually preclude tasting of the wine as it exists in the glass due to perceptual bias. I conclude by arguing that it is unclear how exactly knowledge of things like terroir is supposed to affect the taste, as well as question what role conforming to a certain style plays in aesthetic success, as arguments that require knowledge for appreciation typically emphasize knowledge of styles of wine. (shrink)

It is generally accepted that sight—the capacity to see or to have visual experiences—has the power to give us knowledge about things in the environment and some of their properties in a distinctive way. Seeing the goose on the lake puts me in a position to know that it is there and that it has certain properties. And it does this by, when all goes well, presenting us with these features of the goose. One might even think that it is (...) part of what it is to be a perceptual capacity that it has this kind of epistemological power, such that a capacity that lacked this power could not be perceptual. My focus in this essay is the sense of taste—the capacity to taste things or to have taste experiences. It has sometimes been suggested that taste lacks sight-like epistemological power. I argue that taste has epistemological power of the same kind as does sight, but that as a matter of contingent fact, that power often goes unexercised in our contemporary environment. We can know about things by tasting them in the same kind of way as we can know about things by seeing them, but we often do not. I then consider the significance of this conclusion. I suggest that in one way, it matters little, because our primary interest in taste is not epistemic but aesthetic. But, I end by suggesting, it can matter ethically. (shrink)

The ‘music appreciation as contemplation’ paradigm of traditional aesthetics and music education assumes that music exists to be contemplated for itself. The resulting distantiation of music and music education from life creates a legitimation crisis for music education. Failing to make a noteworthy musical difference for society, a politics of advocacy attempts to justify music education. Praxial theories of music, instead, see music as pragmatically social in origin, meaning, and value. A praxial approach to music education stresses that appreciation is (...) seen in use; thus, it seeks to ‘make a difference’ that students and society find musically noteworthy. (shrink)

In this paper I claim that Allen Carlson’s object-centered model for the aesthetic appreciation of nature could be extended to food. The application of an object-centered model to food requires the identification of appropriate foci of appreciative attention. I claim that knowledge about food function and history is relevant to its appreciation, as is the interplay between the resources of a territory and the way in which these are used by its inhabitants. After having offered a brief application of the (...) model to a traditional English recipe, the Cornish pasty, I will discuss the way in which my model meets the desiderata I outline in the first part of the paper. (shrink)

In this essay I propose a new theory of taste, starting from the assumption of the multisensorial and ecological approach to the senses, as proposed by Gibson in his psychology of perception and by Dewey in his philosophy and aesthetics. In contrast with an optical approach to tastes and tasting, here I propose the concept of haptic taste to describe a perceptual engagement deeply involved in the processes of experiencing food and beverages, although my examples are mostly related to wine. (...) Finally I spell out the implications of a theory of haptic taste for the way we approach cultivation of taste and expertise. I suggest we should turn from the idea of ‘good taste’ as the result of trained and acquired skills to taste as a task, to mean the practical and continuous attuning with the environment we actively contribute to shape. I believe it is appropriate today to move from a culture of taste, based on an elevation strategy, to a culture with taste, which emphasizes educated nurture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 104-117 MuseSearchJournalsThis JournalContents[Access article in PDF]Performative Somaesthetics: Principles and ScopeEric C. MullisJohn Dewey's aesthetic has been invoked in recent discussions because many have realized that it resists the pull toward conceptualism that characterizes a great deal of aesthetic theory. Further, Art as Experience—Dewey's chief work on the philosophy of art—is rich with ideas that call for development. Richard Shusterman's work does just (...) this as it suggests that Dewey's approach is a practical alternative to those that hinder a comprehensive understanding of art and/or ignore art's capacity to enrich the quality of lived experience. More specifically, Shusterman develops key Deweyan ideas by considering the aesthetic merits of popular music and by exploring Dewey's "somatic naturalism," that is, a naturalism that strives to understand the role played by the human body in aesthetic experience. Somaesthetics is the pragmatic discipline that explores somatic practices and ultimately demonstrates how they can lead to the attainment of fulfilling experiences. Shusterman argues that various disciplines can be taken up in order to improve the clarity of somatic functioning, perception, and thought as they "help us reconstruct our attitudes or habits of feeling to give us greater flexibility and tolerance to different kinds of feeling and bodily behavior." 1 Ultimately, Dewey's emphasis on the everyday origins of aesthetic experience is combined with his rejection of mind-body dualism in order to demonstrate how aesthetic experiences can be cultivated through such practices. One is not limited to going to museums and reading art criticism in order to have meaningful aesthetic experiences because somaesthetics shows how one's body can be transformed into a locus of aesthetic value.This said, we also find that similar techniques are used in the training of actors, dancers, and other performance artists. Performative somaesthetics explores the body disciplines that are instrumental to the performer's craft—that allow him or her to master the body and to enhance its expressive powers. In this article I would like to explore a few elements of this [End Page 104] craft in order to flesh out what the performance arts can reveal about the aesthetic body. In order to do so I will need to first say something about Shusterman's pragmatist aesthetic and the Deweyan foundation of that approach. After this is done I will discuss what I take to be a few core principles of performative somaesthetics and, with them in mind, will go on to discuss the relationship between practical and performative somaesthetics.Aesthetic MeliorismIn Art as Experience Dewey describes the process of "doing and undergoing," in which the energies and forces of the environment mix with those of the organisms that inhabit it. 2 For human beings life is lived to its fullest when difficult situations arise and are efficiently dealt with, that is, when the energies of particular situations are ordered and brought into accord with those of the individuals within them. This, in turn, renders experience meaningful as it simultaneously produces a sense of agency and solves particular problems. Ultimately, Dewey notes that the process of doing and undergoing is the foundation of aesthetic experience because it marks those intense organic moments that stand out from the broader context of humdrum or chaotic experiences: "Art... unites the very same relation of doing and undergoing, outgoing and incoming energy, that makes an experience to be an experience." 3 Aesthetic experience, like any instance of doing and undergoing, involves the organization of energies, which solves a characteristically aesthetic problem. For artists this may be the problem of adequately expressing emotion and for observers it may be interpreting or judging the quality of a work. Regardless, for Dewey the aesthetic must not be conceptually or institutionally divorced from its broader context, for doing so not only ignores its natural origins but also limits its ability to imbue the world with meaning. Hence, Shusterman writes that for Dewey, "if anything is to have human value, it must in some way serve... (shrink)

Aesthetics is the part of contemporary academic philosophy that is concerned with art, beauty, criticism, and taste. As such, it must address metaphysical issues, epistemic problems, and questions of value. This makes it difficult to present a coherent account of the subject matter of aesthetics. In this article, I argue that this difficulty is the result of ambiguities and contradictions that arose in disputes about the relationship between the science of aesthetics, the critique of taste, and the philosophy of art (...) in German philosophy during the eighteenth and early nineteenth century. By reconstructing the history of these debates, I hope to shed new light on the origins of aesthetics as a discipline and to explain why its subject matter and status within philosophy are still so difficult to define. (shrink)

This article analyses Jeanette Winterson's Written on the Body, discussing its use of the female body as a text and, more specifically, as a palimpsest. The article aims to demonstrate that the novel's genderless narrator uses the beloved's body as a palimpsest since in trying to celebrate it, s/he is unable to depict it as it is and merely inscribes a set of meanings onto it. The female body is described through two major sets of images: as a landscape, via (...) a colonial language, and as a diseased body, via an anatomical language. The article discusses this particular use of the female body as a traditional way of describing it, which is confirmed by the novel's wide use of literary references from canonical texts. The novel, then, appears to be positioned outside a feminist or lesbian tradition, since it is not able to represent the female body in a new and fertile way and draws too much on an all-male literary tradition, configuring itself as a palimpsest just like the body it is trying to describe. (shrink)

This is a jointly written paper. It has two parts: an empirical part and a theoretical one. Part one, the empirical part, is written by Adrienne Lehrer and describes the language of taste, illustrated by the vocabulary for wine language. The language of the taste of wine often has both a descriptive and evaluate element. Using wine talk as an example, one wine may be described as fruity, acidic, and light, and another as sour, unbalanced, and thin. The second uses (...) highly evaluative terms not found in the first. We analyze the structure of the semantic field of wine descriptors, both literal and metaphoric. A heavy wine uses a deal metaphor, but recent wine writers have expanded the vocabulary by terms such as brawny and muscular. The authority of experts, the advantages and pitfalls thereof, in the description of wine is considered as an instance of delegation of semantic authority. Part two, written by Keith Lehrer, deals with the theoretical implications for a theory of meaning. The theory of wo... (shrink)

Gender, race, and sexuality are not just identities; they are also systems of social organization – i.e., systems of privilege and oppression. This article addresses two main ways privilege and oppression (e.g., racism, misogyny, heteronormativity) are relevant topics in and for philosophical aesthetics: (i) the role of the aesthetic in privilege and oppression, and (ii) the role of philosophical aesthetics, as a discipline and a body of texts, in constructing and naturalizing relations of privilege and oppression (i.e., white heteropatriarchy). The (...) first part addresses how systems of privilege and oppression use the aesthetic. I will discuss various ways race, gender, and sexuality, as both embodied identities and broader social institutions, work with and through “the aesthetic”. The second part addresses racism and (hetero) sexism in the discipline of aesthetics. Both in its history and its present practice aesthetics’apparent neutrality on questions of privilege and oppression is actually evidence of its investment in systems of privilege and oppression. (shrink)

Hunger seems, at first glance, to be primarily a biological state, emerging first incipiently and then with insistent, yet extremely varying, sharpness in the wide continuum of sentient and feeling beings. The pervasive lived through, but not necessarily attended to, tonus of somatic well-being is unbalanced by the experience of lack that initiates attempts to restore equilibrium in a cycle that continues until death or its equivalent. Hunger in this sense provokes appetite or appetition. It is satisfied by an appropriate (...) object or even, in extreme cases and with catastrophic consequences, inappropriate objects. Toxicity is specific to the organism. There is no guarantee that what can be ingested can be digested. .. (shrink)

This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.

I argue that many philosophical arguments for veganism underestimate what is at stake for humans who give up eating animal products. By saying all that’s at stake for humans is taste and characterizing taste in simplistic terms, they underestimate the reasonable resistance that arguments for veganism will meet. Taste, they believe, is trivial. Omnivores, particular those that I label meaningful omnivores, disagree. They believe that eating meat provides a more meaningful meal, though just how this works proves elusive. Meaningful omnivores (...) could find little in the philosophical literature to help them clarify and support their position until recently. A few philosophers have argued that our culinary practices involve something more significant than taste. I categorize these arguments into three kinds. They either argue that culinary practices are a form of artistic achievement, that our diet forms part of our identity, or that a specific diet facilitates honest engagement with the world. Each of these arguments connects some aspect of our culinary practices to living a meaningful life. I examine each argument to see if it can defend the meaningful omnivore’s position. In the end, I conclude that it cannot. Nonetheless, this argument has significant implications for the animal welfare movement. Given the intense suffering caused by contemporary animal agriculture, concern for meaning is not sufficient to justify eating meat and often dairy. Concern for meaning does, however, require that we look for ways to preserve and extend culinary traditions while making them more humane. (shrink)

How did meat emerge to become such an important feature in Western society? In both popular and academic literatures, biophysical and political-economic factors are often cited as the reason for meat’s preeminent status. In this paper, we perform a comprehensive investigation of these claims by reviewing the available evidence on the political-economic and biophysical features of meat over the long arc of Western history. We specifically focus on nine critical epochs: the Paleolithic, early to late Neolithic, antiquity, ancient Israel and (...) early Christian societies, medieval Europe, early modern Europe, colonial America, the American frontier, and the modern industrial era. We find that except under conditions of environmental scarcity, the meaning and value of meat cannot be attributed to intrinsic biophysical value or to the political-economic actors who materially benefit from it. Rather, meat’s status reflects the myriad cultural contexts in which it is socially constructed in people’s everyday lives, particularly with respect to religious, gender, communal, racial, national, and class identity. By deconstructing the normalized/naturalized materialist assumptions circling around meat consumption, this paper clears a space for a more nuanced appreciation of the role that culture has played in the legitimation of meat, and by extension, the possibility of change. (shrink)

The ontology of recipes is by and large unexplored. In this paper, I offer a three-steps account. After introducing some key terminology, I distinguish four main options for a theory of recipes: realism, constructivism, existentialism, and the naïve approach. Hence, I first argue that recipes are social entities whose identity depends on a process of identification, typically performed by means of a performative utterance on the part of a cook ; thus, the best theoretical framework for a theory of recipes (...) is a constructivist. Secondly, I argue that the identity of recipes can be grasped only by being suitably acquainted with the dishes that instantiate them, because of the impossibility to spell out recipes in details that would match a full-fledged dish; hence, the authority to establish the identity of a recipe rests on a process of apprenticeship. Finally, I argue that the identity of recipes and—vicariously—of the dishes that instantiate them, rest on three factors: the expertise required on the part of the cook; authenticity ; and the open-ended character of recipes. (shrink)

This paper defends the claim that the traditional Kantian division between two different types of judgments, judgments of personal preference and judgments of taste, does not apply to some contexts in which metalinguistic negotiations take place. To begin, I first highlight some significant similarities between predicates of personal taste and aesthetic predicates. I sustain that aesthetic predicates are gradable and multidimensional, and that they often produce metalinguistic negotiations, characteristics that have motivated an individual treatment for predicates of personal taste. Secondly, (...) contrary to Kant’s claim, I maintain that there are cases where judgments of personal preference are intersubjectively valid; in some contexts of metalinguistic negotiation, judgments of personal preference direct universality to a similar extent as judgments of taste. Some examples of real-life conversations will be presented to illustrate this point. (shrink)

Philosophers have recently paid increasing attention to the aesthetic and artistic worth of food (Korsmeyer 2005, 1999; Kuhen 2005; Monroe 2007; Myhrvold 2011.

Many have suggested that, unlike the so-called higher-senses, the lower-senses are not capable of providing aesthetic experience. Supporting this is, what I will call, the Transparency-Exteroceptivity Argument, which says that a necessary feature for aesthetic experience is lacking in the case of the lower-senses, namely transparency/exteroceptivity. I argue, contrary to the Transparency-Exteroceptivity Argument, that olfaction can provide transparent access to the properties of particular external objects. I argue that the Transparency-Exteroceptivity Argument relies on a misleading visuocentric and unimodal view of (...) the senses, is guilty of hasty generalization, and should be rejected. (shrink)

Ideal theory has been extensively contested on the grounds that it is ideology: namely, that it performs the distorting social role of reifying and enforcing unjust features of the status quo. Indeed, a growing number of philosophers adopt a nonideal methodology—which dispenses with ideal theory—because of this ideology critique. I argue, however, that such philosophers are confused about the ultimate dialectical upshot of this critique even if it succeeds. I do so by constructing a parallel—equally plausible—ideology critique of nonideal methodology; (...) specifically, I argue that capitalist and managerial social attitudes have commodified people’s conception of justice and induced suspicion of ideal theory, which is not construed as having direct practical value. Consequently, nonideal methodology performs the distorting role of reifying and enforcing the hegemonies of capitalism and managerialism. Ideal theory and nonideal methodology are, therefore, in symmetrically bad positions. (shrink)

You are sitting in Chez Panisse, Alice Waters’ acclaimed restaurant in Berkeley, California. After an extensively prepared, multi-course meal, out comes the dessert course: an unmodified but perfectly juicy, fresh peach. Many chefs serve such unmodified or barely-modified foods with the intention that they count as culinary art. This paper takes up the question of whether unmodified foods, served in the relevant institutional settings, can count as culinary art. I propose that there is a distinctive form of aesthetic trust involved (...) in formal culinary settings, and it plays a central role in many instances of culinary art. Culinary institutions summon aesthetic trust, which helps to explain why a dish of unmodified food served in an appropriate institutional setting can count as culinary art. (shrink)

We all have different “tastes” for different tastes: some of us have a sweet tooth, while others prefer more subtle flavors; some crave spicy foods, while others cannot stand them. As Bourdieu and others have pointed out, these varying judgments seem to be more than mere preferences; often they reflect (and partially constitute) differences of class and culture. But I want to suggest that we’ve possibly overlooked another important source of these divergent gastronomic evaluations, other than hierarchy and caste: mere (...) interpersonal variability with respect to brute gustatory sensations. After all, we all know about “supertasters and cilantro-haters”; how likely is it, though, that the interpersonal heterogeneity of gustatory sensation is limited to this one dimension? In this paper, I make the case that we should take this possibility more seriously, and offer some thoughts on how we might start getting a better handle on the nature and scope of interpersonal gustatory variability—including by suggesting some diagnostics that can help us get at (what I call) some of the “non-flavor dimensions” of our gustatory experience. I conclude by developing some implications for the prospects of an “alimentary aesthetics”: namely, that—should our gustatory experiences turn out to be quite heterogeneous—then they do not seem well-suited to serve as the basic ingredients of bona fide aesthetic judgment about food and drink. (shrink)