A comprehensive and accessible introduction to the development of and current debates in the aesthetics of food and drink.

Current debates in food aesthetics are moving away from a focus on whether food is art, and worries about the subjectivity and objectivity of taste, and towards questions about food's aesthetic properties, the cultural and social significance of food, our modes of aesthetic engagement with food, and issues involving cultural appropriation and the authenticity of dishes.

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)

Enticing food photography which stimulates its viewers’ cravings, often given a dismissive label “food porn,” is one of the most popular contents in contemporary digital media. In this paper, I argue that the label disguises different ways in which a viewer can engage with it. In particular, food porn enables us to engage in cross-modal gustatory imaginings of a specific kind and an image’s capacity to afford such imaginings can contribute to its artistic merit.

The relationship between smell and politics could appear obscure; and yet, when it comes to smell, questions about freedom and constriction, social and ontological mingling or distinctions, clearly arise. In this paper, I will especially focus on the domain of food as a clear example for describing some of the political ambivalences characterizing the sense of smell. The aim is to pave the way for a more detailed ‘sociopolitical aesthetics of smell’ to come. I will stress epistemological and (...) social features of odors in order to highlight their ambivalence in knowledge and community life. Perceivers and odors will emerge as mingled bodies, highlighting an ongoing process of material as well as emotional affection. Moreover, I will present some relevant examples of smell as social status symbols in relation to the aesthetic values linked to class hierarchy. Consumerism and scented goods will be lastly discussed in order to shade light on contemporary perceptual phenomena and their role in the socioeconomic dimension. (shrink)

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)

Nicola Perullo's Taste as Experience draws on the author's philosophical background and his experience as a professor of aesthetics at a culinary institute. He aims to understand the experience of taste, analyzing it into three 'modes of access': pleasure, knowledge, and indifference. His perspective, influenced by Dewey, illuminates various elements of taste, eating, and drinking.

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] two books contribute, each in a very different way, to the reflection on a timeless subject: eating. While Eat This Book deals with a polemic subject, Taste as Experience focuses on the general experience of the simple act of eating and drinking and how this contributes to philosophical reflection. These questions are (...) far from trivial and it is necessary to address these subjects in a context where each citizen is increasingly led to think about the environmental and ethical impacts of his food consumption. Furthermore, the pleasure that comes from the act of eating, far from being a hedonistic fantasy, allows us to reflect on our relationship to the world. In other words: What is the symbolic role that food... (shrink)

The aesthetics of everyday life, originally developed by Henri Lefebvre and other modernist theorists, is an extension of traditional aesthetics, usually confined to works of art. It is not limited to the study of humble objects but is rather concerned with all of the undeniably aesthetic experiences that arise when one contemplates objects or performs acts that are outside the traditional realm of aesthetics. It is concerned with the nature of the relationship between subject and object. One (...) significant aspect of everyday aesthetics is environmental aesthetics, whether constructed, as a building, or manipulated, as a landscape. Others, also discussed in the book, include sport, weather, smell and taste, and food. (shrink)

Local food is often defended on environmental grounds. However, environmental defenses of local food are flawed, and all environmental defenses are limited as they at most establish that local food is instrumentally valuable. These deficiencies motivate a different approach. By drawing on the aesthetics of engagement, a theory of environmental aesthetics, I argue that local food has an overlooked intrinsic value; it can allow people to become engaged with—and thereby aesthetically appreciate—the environment. My argument (...) charts a comparatively neglected area of aesthetics: the aesthetics of taste and smell and, more specifically, the role that these senses play in the aesthetic appreciation of the environment. (shrink)

Philosophical aesthetics emerges out of eighteenth-century discussions of taste that paid scant attention to the experience of tasting and ingesting food. Sarah Worth diagnoses this historical oversight and offers an unexpected remedy. She argues that we should start our analysis of aesthetic taste over again, this time beginning with the pleasures of the tongue and mouth, and work out from there to consider the kinds of experience, knowledge, and appreciation that belong to eating and savoring. As she argues, (...) our ability to make gustatory discriminations and to determine what tastes good and why is not as different from our aesthetic judgments as philosophers and other aesthetic theorists might have led us to believe. In this engaging and readable book, Worth persuasively argues that food and its many tastes deserve serious philosophical consideration.Worth explores a number of puzzles that arise when we try to make sense of the concept of taste. She disentangles the metaphorical sense of taste understood as a reasoned judgment expressing aesthetic preferences from the literal sense of taste which involves our sensory experiences when food is in our mouths. She discusses good and bad taste, food and pleasure, authentic and inauthentic food, “food porn”—those impossibly glamourized images of food that we find in advertising and magazines and cookbooks and social media—and the role of recipes in the practice of cooking. She places our everyday experiences of food in the context of wider relationships and activities including cultivation, harvesting, processing, shipping, and purchasing, as well as the preparation and cooking meals for family and friends. The book is punctuated by many of the usual philosophical suspects (Plato and Aristotle, Hume and Kant, Bullough and Sibley) as well as critical and feminist theorists, food sociologists, and a number of famous chefs including Fannie Farmer, Julie Child, and Nigella Lawson. If Worth endorses a particular metaphilosophy of food, it would be that of the Slow Food movement, which is the subject of Chapter Three. (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)

Food can provide an unique insight into both the human conditions of embodiment and interactive experience, and aesthetic education of environmental awareness. My project is to present an opportunity for a far-reaching pragmatic vision by treating aesthetics as having to do with the elements that make up an environment. This provides a sufficiently extensive ground on which to argue for environmental eating as one of the most profound meanings we can experience. Environmental eating, then, means tasting a world (...) - tasting the fundamentals of what constitutes a place. (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)

Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part of a (...) larger project in which I develop an account of the pleasure of art. It is a virtue (I claim) of my approach that it permits a much greater diversity of artforms than traditional philosophical aesthetics is inclined to allow. This includes food. (shrink)

This study examines how hunger narratives and performances contribute to a reconsideration of neglected or prohibited domains of thinking which only a full confrontation with the body's heterogeneity and plasticity can reveal. From literary motif or psychosomatic symptom to revolutionary gesture or existential malady, the double crux of hunger and disgust is a powerful force which can define the experience of embodiment. Kafka's fable of the "Hunger Artist" offers a matrix for the fast, while its surprising last-page revelation introduces disgust (...) as a correlative of abstinence, conscious or otherwise. Grounded in Kristeva's theory of abjection, the figure of the fraught body lurking at the heart of the negative grotesque gathers precision throughout this study, where it is employed in a widening series of contexts: suicide through overeating, starvation as self-performance or political resistance, the teratological versus the totalitarian, the anorexic harboring of death. In the process, writers and artists as diverse as Herman Melville, Percy Bysshe Shelley, Christina Rossetti, George Orwell, Knut Hamsun, J.M. Coetzee, Cindy Sherman, Pieter Breughel, Marina Abramovic, David Nebreda, Paul McCarthy, and others are brought into the discussion. By looking at the different acts of visceral, affective, and ideological resistance performed by the starving body, this book intensifies the relationship between hunger and disgust studies while offering insight into the modalities of the "dark grotesque" which inform the aesthetics and politics of hunger. It will be of value to anyone interested in the culture, politics, and subjectivity of embodiment, and scholars working within the fields of disgust studies, food studies, literary studies, cultural theory, and media studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:134 When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it —­Genesis 3:6 Abstract Aesthetics has emerged as an important battleground in the moral quest for a lower carbon society. Especially in the case of proposed wind farms (an environmentally benign technology in terms of low (...) carbon emissions), opponents frequently refer to the unsightly machines creating negative landscape impacts and ruining the view. This essay seeks to reflect on the particular ways in which visual aesthetics are framed and mobilized in this moral debate. Exploring the dividing lines between pictoral and more-­ than-­ representational approaches I ask if the moral dilemmas in our landscape decisions (e.g. individual rights to beauty or collective duties toward future generations) are obscured by physical or visual realms. The largely invisible nature of wind, electricity and climate change, set within the physical and tangible nature of landscapes and turbines, challenges us to experience the aesthetics of landscapes-­ with-­ machines through more creative and engaging means that are not limited to visibility, nor deaf to morality. SIN, DUTY, AND THE AESTHETICS OF NATURE As the first act of sin in the bible, Eve’s consumption of a visually aesthetic fruit led to humans being banned from the Garden of Eden. Looking at the above sentence more closely, we could even argue that “good for food” is not a positive condition (e.g. tasty, nourishing), but Justice in the Eye of the Beholder? ‘Looking’ Beyond the Visual Aesthetics of Wind Machines in a Post-­Productivist Landscape DAN VAN DER HORST Dan van der Horst / Justice in the Eye of the Beholder? 135 rather the absence of a negative (e.g. inedible), whilst “also desirable” may sound like the hunger for wisdom was only a secondary, additional attraction. The sentence thus draws attention to the key role of aesthetics in the making of a moral decision; would Eve have eaten the forbidden fruit if it was not “pleasing for the eye”? Aesthetic judgments may be informed by a range of factors, but as this bible quote illustrates, morality is key among them. Associations between right and wrong on the one side and beauty or ugliness on the other, are not exactly rare in written history, be they religious, literary or scholastic works. As a marked contribution to the latter, Immanuel Kant has paid particularly close attention to the links between aesthetics and morality, arguing amongst others that any universal agreement in judgments of the sublime must rest on an appeal to moral feelings.1 But universality is not the only logical link between aesthetic judgementandmorality.Peoplecanfeelasenseof‘duty’tofindcertainthings beautiful e.g. because that is the aesthetic judgment of the group they aspire to belong to.2 Whilst this sense of duty can refer to social conditioning and group belonging, it also has resonance for landscape aesthetics at a time of anthropogenic climate change (a universal threat) when we must “learn to love the low carbon landscape.”3 This presents a point of departure from the debate on the moral obligation of preserving aesthetically pleasing landscapes (as we tend to do through legal designations, e.g. national parks), an ethical logic which leads, to use the words of Holmes Rolston, “from beauty to duty.”4 Moreover a posi­ tive aesthetical appreciation of a landscape because it accommodates low carbon technologies, would potentially require an inverse ethical logic, i.e. from duty to beauty.5 Notwithstanding the clear conceptual links between moral and aesthetic judgment, in everyday life it may be far less clear what kind of moral issues may underpin particular expressions of aesthetic sensibility. This can be particularly problematic for the deployment of environmental technologies (i.e. technologies pursued to reduce pollution ) that have significant landscape footprints. That is where we can find universal moral claims demanding environmental action for the common good rubbing up against aesthetic landscape judgments in places where such developments are proposed. This produces an unsatisfactory situation in which the deployment of clean technologies ENVIRONMENT, SPACE, PLACE / VOLUME 10 / ISSUE 1 / 2018 136 is delayed, tensions within local communities may increase... (shrink)

Taste, perhaps the most intimate of the five senses, has traditionally been considered beneath the concern of philosophy, too bound to the body, too personal and idiosyncratic. Yet, in addition to providing physical pleasure, eating and drinking bear symbolic and aesthetic value in human experience, and they continually inspire writers and artists. In Making Sense of Taste, Carolyn Korsmeyer explains how taste came to occupy so low a place in the hierarchy of senses and why it is deserving of greater (...) philosophical respect and attention. Korsmeyer begins with the Greek thinkers who classified taste as an inferior, bodily sense; she then traces the parallels between notions of aesthetic and gustatory taste that were explored in the formation of modern aesthetic theories. She presents scientific views of how taste actually works and identifies multiple components of taste experiences. Turning to taste's objects—food and drink—she looks at the different meanings they convey in art and literature as well as in ordinary human life and proposes an approach to the aesthetic value of taste that recognizes the representational and expressive roles of food. Korsmeyer's consideration of art encompasses works that employ food in contexts sacred and profane, that seek to whet the appetite and to keep it at bay; her selection of literary vignettes ranges from narratives of macabre devouring to stories of communities forged by shared eating. (shrink)

Persistent public distrust of food additives is often explained in terms of safety and health issues. The broad variety of ethical, aesthetic, and cultural concerns tends to be structurally ignored by food engineers and occasionally even by consumers themselves. The public controversy of food additives—commonly known as “E-numbers”—in the Netherlands is a case in point. Two discursive mechanisms prevent these concerns from becoming legitimate public issues: irrationalization and privatization. But these consumer concerns may not be as unreasonable (...) as they seem, and they may even turn out to be not that private. As long as ethical, aesthetic and cultural concerns are not recognized by food engineers as legitimate issues, the controversy of food additives is not likely to find closure. Moreover, this lack of recognition blocks the opportunity for meaningful dialogue and trust building between food technology developers, policy makers, citizens and consumers. (shrink)

We make many decisions in our livesand we weigh the benefits against thedrawbacks. Our decisions are based on whatbenefits are most important to us and whatdrawbacks we are willing to accept. Decisionsabout what we eat are made in the same way; butwhen it comes to safety, our decisions areusually made more carefully. Food containsnatural chemicals and it can come into contactwith many natural and artificial substancesduring harvest, production, processing, andpreparation. They include microorganisms,chemicals, either naturally present or producedby cooking, environmental (...) contaminants, andpesticides. Since the chance of being harmed bythese potential hazards is called risk, riskanalysis might be better termed as the scienceof safety, because risk management is anessential part of it. It would, however, bedifficult and shortsighted to maintain thatquestions about risk and safety can have nomoral dimension. Risk and safety become mattersof moral concern when they raise furtherquestions about responsibility, accountability,and justifiability. The question of risk cannotbe ignored in any ethical investigation ofgenetic engineering, novel foods, animalwelfare, and individual choices. However, foodis more than metabolic fuel. It hasphysiological, psychological, social, cultural,and aesthetic associations that merge to form agestalt that people endanger and maintain. Thecontribution of any food towards anindividual's well being is as complex as theindividual himself. In this context, thebenefits of consuming food that containshazards may outweigh the risk. (shrink)

We make many decisions in our livesand we weigh the benefits against thedrawbacks. Our decisions are based on whatbenefits are most important to us and whatdrawbacks we are willing to accept. Decisionsabout what we eat are made in the same way; butwhen it comes to safety, our decisions areusually made more carefully. Food containsnatural chemicals and it can come into contactwith many natural and artificial substancesduring harvest, production, processing, andpreparation. They include microorganisms,chemicals, either naturally present or producedby cooking, environmental (...) contaminants, andpesticides. Since the chance of being harmed bythese potential hazards is called risk, riskanalysis might be better termed as the scienceof safety, because risk management is anessential part of it. It would, however, bedifficult and shortsighted to maintain thatquestions about risk and safety can have nomoral dimension. Risk and safety become mattersof moral concern when they raise furtherquestions about responsibility, accountability,and justifiability. The question of risk cannotbe ignored in any ethical investigation ofgenetic engineering, novel foods, animalwelfare, and individual choices. However, foodis more than metabolic fuel. It hasphysiological, psychological, social, cultural,and aesthetic associations that merge to form agestalt that people endanger and maintain. Thecontribution of any food towards anindividual's well being is as complex as theindividual himself. In this context, thebenefits of consuming food that containshazards may outweigh the risk. (shrink)

Why has the ring of the telephone become a beep? What ever happened to the bumpers and fenders of cars? Why do food commercials never mention hunger?In this encyclopedia of low-brow aesthetics, Daniel Harris concentrates on the nuances of non-art, the uses of the useless, the politics of product design and advertising. We learn how advertisers exaggerate our sensual responses to eating, how close-up nature photography exaggerates the accessibility of the natural world, and how the mutated physiology of (...) dolls invites our pity and affection.In studying its aesthetics, we find consumerism instills disappointment rather than gratification, convincing us that our lives are deficient and wanting. If we are what we buy, then we must buy in order to be. (shrink)

Food is a challenging subject. There is little consensus about how and what we should produce and consume. It is not even clear what food is or whether people have similar experiences of it. On one hand, food is recognized as a basic need, if not a basic right. On the other hand, it is hard to generalize about it given the wide range of practices and cuisines, and the even wider range of tastes. This book is (...) an introduction to the philosophical dimensions of food. David M. Kaplan examines the nature and meaning of food, how we experience it, the social role it plays, its moral and political dimensions, and how we judge it to be delicious or awful. He shows how the different branches of philosophy contribute to a broader understanding of food: what food is (metaphysics), how we experience food (epistemology), what taste in food is (aesthetics), how we should make and eat food (ethics), how governments should regulate food (political philosophy), and why food matters to us (existentialism). Kaplan embarks on a series of philosophical investigations, considering topics such as culinary identity and authenticity, tasting and food criticism, appetite and disgust, meat eating and techno-foods, and consumerism and conformity. He emphasizes how different narratives help us navigate the complex world of food -- yet we all have responsibilities to ourselves, to others, and to animals. An original treatment of a timely subject, Food Philosophy is suitable for undergraduates while making a significant contribution to scholarly debates. (shrink)

This book offers a wide-ranging yet concise introduction to the many philosophical issues surrounding food production and consumption. It begins with discussions of the metaphysics, epistemology, and aesthetics of food, then moves on to debates about the ethics of eating animals, the environmental impacts of food production, and the role of technology in our food supply, before concluding with discussions of food access, health, and justice. Throughout, the author draws on cross-disciplinary research to engage (...) with historical debates and current events. (shrink)

Food media have become a formidable part of adolescents’ food environments. This study sought to explore how and why adolescents use food media by focusing on selectivity and motives for consumption. We conducted in-depth, semi-structured interviews with 31 Flemish adolescents aged 12 to 16. Food media were both incidentally consumed and selectively sought for education, social utility, and entertainment. The levels of selectivity and motives for consumption varied among the different food media platforms. Incidental consumption (...) was more prevalent with TV cooking shows compared to online food media. The dominant motives for TV cooking show consumption were companionship and entertainment, while online food media were used for a more diverse range of motives dominated by information/inspiration and social interaction. Some participants consumed food media to get motivation and inspiration to improve health and fitness while others consumed food media to watch appetizing and aesthetically pleasing food content. The social environment in the form of friends and family as well as existing food preferences were dominant psychosocial factors for both traditional and online food media use. Future research is warranted to explore how incidental exposure and the identified motives for use relate to food media effects. (shrink)

Focusing on the notion of competencies, the address explores important dimensions of human infrastructure for negotiating alternative agrifood systems. The analytical competencies emphasized are those of making connections and evaluating contradictions. Farm structure and food system connections with human health and consumer culture are chosen as examples. Examined in the context of social change strategies, relational competencies focus on new forms of food citizenship involving alternative organizational relationships between farmers, retailers, and customers. Ethical competencies are framed in relationship (...) to the entire food system, to the valuing of non-market goods, and to linkages between ethics and emotions. Finally, aesthetic and spiritual competencies are considered as human capacities to connect agriculture and food with beauty and with sacramental living. (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)

This article is concerned with an analysis of semantics and the normativity of evaluative judgments, in which “aesthetic concepts” and “predicates of personal taste” are used in the context of the evaluation of selected cultural forms. Qualitative data obtained through semi-structured interviews with representatives in four categories of actors in the cultural field are analyzed. In the light of the findings, theories of aesthetic judgment are critically assessed, which on the one hand, postulate the categorical semantic and normative difference between (...) aesthetic concepts and predicates of personal taste and, on the other hand, conceive aesthetic disputes from an epistemological point of view and do not sufficiently take into account their pragmatic context. In conclusion, a functional analysis of the semantics and normativity of evaluative judgments is presented, in which the speakers use terms from the field of aesthetics. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest an Aesthetic Self Effect supporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral (...) changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences. Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity. Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect. Exploring the breadth of this effect we also found an Anaesthetic Self Effect. That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games. Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

This is a book about food, philosophy, and intellectual property rights. Taken separately, these are three well-known subjects; but it is uncommon to consider them together. Delivering a rich field of disputes, the book is comprised of 50 case studies, organized around eight themes: images; genericity and descriptiveness; language traps; procedures; menus, recipes, and creativity; boundaries; biotech; and empowerment. The introductory chapter frames the selection of cases and encourages readers to look beyond them, envisaging new lenses to look at (...) food vis-à-vis intellectual property. The terrain encompassed is wide-ranging and reaches out to fine-grained aspects of food products, recipes, and cooking. Conceived for a wide scope of readers, the volume ultimately interrogates the links between food and cultural identity, bringing to the fore the ethical, political, aesthetic worth of culinary arts and gastronomic experiences. This accessible book will be of value to scholars, students, practitioners and others with interests in the areas of intellectual property, food law and food studies. (shrink)

Nostalgia and food are intertwined universals in human experience. All of us have experienced nostalgia centered on food, and all of us have experienced food infused with nostalgia. To explore the links between nostalgia and food, I start with a rough taxonomy of nostalgic foods, and illustrate it with examples. Despite their diversity, I argue that there is a psychological commonality to experiencing nostalgic foods of all kinds: imagination. On my account, imagination is the key to (...) understanding the cognitive, conative, affective, and perceptual aspects of experiencing nostalgic foods. In turn, the recognition of imagination’s centrality in experiencing nostalgic foods reveals how food can produce aesthetic experiences comparable to those produced by literature and painting. (shrink)

Korsmeyer (philosophy, State U. of New York-Buffalo) disagrees with the centuries of philosophers before her that taste is beneath the dignity of the field. She explores how it gained such a low esteem, parallels between notions of aesthetic and gustatory taste, how the sense works scientifically, the multiple components of the experience, its various meanings in art and literature, and its sacred dimension. Annotation copyrighted by Book News, Inc., Portland, OR.

Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has been (...) interest in the brain’s underpinnings of aesthetic reactions to art on the one hand, and in the neural correlates of moral judgment and decision-making on the other (Greene and Paxton .. (shrink)

Chinese people attach importance to intuition and imagery in ways of thinking that are quite sensible, but the result, i.e. the thoughts that are popularized in virtue of political power, are rather rational. These rational thoughts, which were influenced by Buddhism and continually became introspective, had been growing more irrational factors. Up to the middle and late Ming Dynasty, when the economy was developed, they merged with the growing emphasis on daily needs of food and clothes and the envisagement (...) to the utilitarian circumstances, and finally broke through the threshold of rationalism. Under the attack of Geng Dingxiang, Li Zhi who emphasized these thoughts was forced beyond his previous boundaries and led a whole variation in how he viewed a series of issues including values, humanity, ethics and aesthetics. This indicated a historical change from rationalism to irrationalism in Chinese humanism and aesthetics thoughts. (shrink)

Schopenhauer regards the ability to experience purely disinterested perception as the mark of aesthetic genius. Experience of the world as representation without interference of the individual will leads genius through imagination to grasp the Platonic Ideas underlying appearance, and then in a willful act of communication to depict the ideal in art. Schopenhauer's thesis that aesthetic genius is incompatible with the charming in still- life paintings of foods and historical paintings of nudes is criticized as inadequately supported by and arguably (...) inconsistent with his aesthetic principles. Nevertheless, Schopenhauer's views about the distractions of appetite and desire for aesthetic experience have a deeper significance in the philosophy of art. (shrink)

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors in (...) philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

The article aims to analyze the relationship between food and identity from an aesthetic and ethical perspective. New media and technology are seen as a tool for constructing and demonstrating identity. Eating practices and the understanding of food in the modern world are explored from the perspective of symbolic meanings. The analysis focuses on the concept of identity in social networks and popular culture. The methodology is textual and visual content analysis in new media. The text distinguishes between (...) the traditional approach to food with a central concept of 'taste' and the new media context where the approach focuses on 'image'. From an ethical point of view, the relationship between the (non) consumption of meat and animal products and the identity that is widely advocated in the modern lifestyle culture is analyzed. (shrink)

This volume offers new insights into food and culture. Food habits, preferences, and taboos are partially regulated by ecological and material factors - in other words, all food systems are structured and given particular functioning mechanisms by specific societies and cultures, either according to totemic, sacrificial, hygienic-rationalist, aesthetic, or other symbolic logics. This provides much “food for thought”. The famous expression has never been so appropriate: not only do cultures develop unique practices for the production, treatment (...) and consumption of food, but such practices inevitably end up affecting food-related aspects and spheres that are generally perceived as objectively and materially defined. This book explores such dynamics drawing on various theoretical approaches and analytical methodologies, thus enhancing the cultural reflection on food and, at the same time, helping us see how the study of food itself can help us understand better what we call “culture”. It will be of interest to anthropologists, philosophers, semioticians and historians of food. (shrink)

The sense of taste has served as a governing metaphor for aesthetic discernment for several centuries, and recent philosophical perspectives on this history have invited literal, gustatory taste into aesthetic relevance. This paper summarizes the disposition of taste in aesthetics by means of three stories, the most recent of which considers food in terms of aesthetics and its employment in works of art. I conclude with some reflections on the odd position that taste has achieved in the (...) postmodern art world, and I make a case for the often unnoticed role that bodily senses have in the apprehension of art. (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)

Critical food scholars have long noted that much of local food discourse in the US is underwritten by a deeply regressive agrarian imaginary that valorizes “small family farms” while erasing historical legacies of racism. In this paper, I examine one influential expression of the agrarian imaginary that I call the fantasy of “real food,” and illustrate how that discourse contributes to ongoing exclusions in farmers markets. Drawing on Lacanian psychoanalysis, I explain how the fantasy of real (...) class='Hi'>food positions white middle-class consumers to view themselves as protagonists in a romantic narrative of loss and recovery, in which their enlightened consumption practices precipitate the return of authentic social relations and connections to nature. I then trace the influence of this fantasy through a reading of selected popular media, and illustrate how the racist, classist, and patriarchal antipathies of the agrarian imaginary find legitimate expression in an alternate form as affectively charged moral and aesthetic commitments. Finally, I show how this fantasy logic makes both the exclusion of outsiders and the policing of farmers appear not only reasonable but morally righteous. I conclude by arguing that we cannot rely on the reflexivity of the privileged to deliver justice, no matter how well-meaning they may be, and suggest that we need new imaginaries and new narratives to guide our politics of consumption. (shrink)

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

Understanding the tight connections between human dwelling and the sense of smell seems nowadays urgent. Since human being-in-the-world finds its very prerequisite in being-in-the-air, an inquiry on air design, today particularly intrusive, is a philosophical necessity. The aim of this contribution is to sketch an exploratory investigation on the aesthetic relationships between space, smell and gendered atmospheres through the case of food, specifically through its osmosphere: its flavour as its affective aura. Firstly, I discuss analogies between atmospheres and smells. (...) Secondly, I proceed by presenting olfactory devices whose aim is conveying gendered food-related and emotional atmospheres, scrutinising the phenomenological intertwining between food, cooking, gender, ‘sense of home’ and the olfactory imaginary of the matter. Finally, I put forward some observations which weave together aerial dwelling and ecological thought. (shrink)

This is a book about taste--the thing your tongue (and nose) do. It’s also a book about Taste--the thing the art critic has. It’s a book about food, art, and the relations between food and art. Do those two categories overlap? Where and how? How we might best understand and appreciate food in light of the way we understand and appreciate art? It’s a book about how the divergent histories of taste and Taste have left us with (...) an impoverished understanding of the former--and thus a deep skepticism about the aesthetic worth of food. Korsmeyer suggests that her project will illuminate readers’ understanding of food--and observes that it might well illuminate our understanding of art as well. She succeeds on both counts. (shrink)

Contemporary professional restaurant reviews have consequences beyond the dinner plate. They now face challenges from the democratizing efforts of blogs and crowd-sourced reviews. Thus an analysis seems appropriate for determining how they are written and what might be lost should they be replaced. Restaurant reviews are presumed to be a species of art and literary criticism and as such have evolved as a rhetorical genre. Through genre analysis we inductively construct the form of the professional restaurant review and then apply (...) it deductively to recent reviews to discover any substantive and stylistic differences that have arisen in the evolution of this genre of writing. We conclude with a critique of this genre that reveals ethical implications for the uses of metaphors in professional restaurant reviews. (shrink)

In Cameroon, a monumental "statue of liberty" is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the (...) contributors engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl's photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans' Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising "morality" plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly "African" aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)