Drinks and Drinking

This book represents the first full-length study of the aesthetics of the appreciation of wine. It introduces and argues for the validity and significance of several new concepts: competency, project, and aesthetic practices. Using these concepts -- together with analyses borrowed from cognitive science, sensory science, Husserlian phenomenology and hermeneutics -- the case is made that wine can be a proper and indeed significant object of aesthetic attention. The implications of this are pursued in three ways: First, within the culture (...) of wine, with a sustained treatment of important concepts such as terroir; second, within philosophical aesthetics. The latter results in a position termed 'contextual aesthetics' that sees aesthetic acts as always situated within cultural practices, and given meaning thereby. The third implication is for the cultural and aesthetic value accorded to the various senses, and the kinds of underlying issues that might have led to, and might now lead away from, these values. (shrink)

This good-humoured book offers an antidote to the pretentious clap-trap that is written about wine today and a profound apology for the drink on which..

In his article “Category Independent Aesthetic Experience: The Case of Wine” in this journal, David Sackris presents arguments against Kendall Walton’s view in the famous article “Categories of Art.”David Sackris, “Category Independent Aesthetic Experience: The Case of Wine,” The Journal of Value Inquiry, 47 (2013), pp. 111–120; Kendall Walton, “Categories of Art,” in Steven M. Cahn and Aaron Meskin (Eds) Aesthetics: A Comprehensive Anthology. (Oxford: Blackwell, 2007), pp. 521–537. [First published in The Philosophical Review, 79 (1970), pp. 334–367.] He claims, (...) with support in an argument about the immediate qualities of great wines, that for some kinds of aesthetic appreciation specific category knowledge is not necessary. We welcome the idea that wine appreciation is an aesthetic practice, and more importantly the view that the features of wine appreciation might shed light on, or even transform our understanding of aesthetic experience more generally. The article also draws welcom .. (shrink)

Is the taste of a wine in our minds or in the glass? Can knowledge make a difference to the pleasure a wine gives us? Do the elaborate descriptions of wines in terms of fruits or spices, their "suppleness" or "brawniness," really mean anything? Questions of Taste is the first book to examine the philosophical issues surrounding our experience and enjoyment of wine. Featuring lucid essays from philosophers, a linguist, a biochemist, a wine producer and a wine critic, these leading (...) thinkers use their critical and analytical skills to address these controversial issues. (shrink)

ABSTRACT: Amongst inanimate objects, it is generally accepted that at least some art forms, such as music and painting, are capable of being genuinely expressive of emotion, even though it is difficult to understand exactly how. In contrast, although expressive properties can be attributed to non-artworks, such as natural objects or wine, it has often been claimed that such objects cannot be genuinely expressive. Focussing on wine, I argue that once we understand properly the nature of expressiveness, if we allow (...) that music can be expressive there is no good reason to withold the ability to be genuinely expressive from wine. (shrink)

Does this Bonnes-Mares really have notes of chocolate, truffle, violets, and merde de cheval? Can wines really be feminine, profound, pretentious, or cheeky? Can they express emotion or terroir? Do the judgements of 'experts' have any objective validity? Is a great wine a work of art? Questions like these will have been entertained by anyone who has ever puzzled over the tasting notes of a wine writer, or been baffled by the response of a sommelier to an innocent question. Only (...) recently, however, have they received the serious philosophical attention they deserve. Touching on issues in metaphysics, epistemology, the philosophy of mind, and aesthetics, this book provides a clear and engaging discussion of the philosophical significance of wine that will be accessible to all wine lovers, specialists and non-specialists alike. The author offers throughout a sustained defence of the objectivity of wine judgements, a demystification of the nature of expertise, and a theory of the aesthetic value of wine and its appreciation. (shrink)

The sense of taste falls low on the hierarchy of the senses because it seems a poor conduit for knowledge of the external world; it directs attention inward rather than outward; its pleasures are sensuous and bodily, prone to overindulgence that distracts from higher human endeavours; and its objects are at best merely pleasant, not of the highest aesthetic value. Such is the traditional assessment; now let us analyse its justice.

The importance of food in our individual lives raises moral questions from the debate over eating animals to the prominence of gourmet cookery in the popular media. Through philosophy, Elizabeth Telfer discusses issues including our obligations to those who are starving; the value of the pleasure of food; food as art; our duties to animals; and the moral virtues of hospitableness and temperance. Elizabeth Telfer shows how much traditional philosophy, from Plato to John Stuart Mill, has to say to illuminate (...) this everyday yet complex subject. (shrink)