Taste Experience

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

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

According to cognitive psychology, virtually every sensory system influences the way in which flavours are experienced. However, it is less clear which systems are actually constitutive of flavour perception and which have merely causal influence. The paper focuses on the status of vision and audition, which are usually not treated as constitutive in the context of flavour perception. First, it is proposed that the mechanistic explanation debate provides conceptual resources which allow the constitutivity of sensory systems to be assessed. Second, (...) it is argued that the contemporary state of the art provides reasons for accepting the constitutive role of audition, but analogous evidence is not available in the case of vision. (shrink)

In this paper, I investigate the relation between recipes and taste. In particular, I do three things. First, I sketch and articulate different versions of essentialism, a view that I take to reflect our pre-theoretical intuitions on the matter. Roughly, on this view, taste is essentially related to recipes—either by contributing to their identity or by being otherwise strongly related to it. Second, I argue that no version of essentialism is really convincing; hence, I conclude, recipes and taste are not (...) essentially related. Third, after drawing some general lessons from the discussion, I lay the ground for an alternative approach to account for that relation. My final suggestion will be that the main source of the relation between recipes and taste is not to be found in recipes themselves and their essences, but in dishes—i.e., the concrete instances of a recipe. (shrink)

When we cook, by meticulously following a recipe, or adding a personal twist to it, we sometimes care not only to (re-)produce a taste that we can enjoy, but also to give our food a certain aftertaste. This is not surprising, given that we ordinarily take aftertaste to be an important part of the gustatory experience as a whole, one which we seek out, and through which we evaluate what we eat and drink—at least in many cases. What is surprising (...) is that aftertastes, from a psychological point of view, seem to be analogous to afterimages, and thus have little or no epistemic import. In this paper we tackle this puzzle, and argue that we are right in treating aftertastes seriously. The moral is that both from a metaphysical and an epistemic point of view aftertastes should be categorized differently from afterimages. (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)

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)

Within contemporary philosophy of perception, it is commonly claimed that flavour experiences are paradigmatic examples of multimodal perceptual experiences. In fact, virtually any sensory system, including vision and audition, is believed to influence how we experience flavours. However, there is a strong intuition, often expressed in these works, that not all of these sensory systems make an equal contribution to the phenomenology of flavour experiences. More specifically, it seems that the activities of some sensory systems are constitutive for flavour perception (...) while others merely influence how we experience flavours. This paper aims to answer the question regarding the constitutive factors of flavour perception in a twofold way. First, a theoretical framework is developed, relying on debates regarding constitutivity in analytic metaphysics and philosophy of science, which defines the stronger and weaker senses in which the activities of sensory systems may be constitutive for flavour perception. Second, relying on empirical results in flavour science, the constitutive status of activities related to distinct sensory systems in the context of flavour perception is investigated. (shrink)

The dual role of olfaction in both smelling and tasting, i.e. flavour perception, makes it an important test case for philosophical theories of sensory individuation. Indeed, the psychologist Paul Rozin claimed that olfaction is a “dual sense”, leading some scientists and philosophers to propose that we have not one, but two senses of smell: orthonasal and retronasal olfaction. In this paper I consider how best to understand Rozin’s claim, and upon what grounds one might judge there to be one or (...) two distinct olfactory modalities. I conclude that while Rozin may be right that humans have dual occurrences of an olfactory ‘sense’, the concept of a sense-modality, and hence the ‘sense’ of smell, is ambiguous between two different notions: a physiological sensory channel and an experiential modality, along the lines suggested by J. J. Gibson. Furthermore, recognising that these are complementary rather than competing conceptions of a sense-modality enables the formulation of a powerful ‘dual-concept’ framework for posing and addressing questions concerning the complex architecture of human multisensory experience. (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)

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)

This project begins with the selective sensory experience suggested by lngarden followed by an insensitivity he insinuates to digestive processes. This is juxtaposed with an oenological explanation of phenomenal sedimentation offered by Jean-Luc Marion. It compares the dynamics of time in the former with the those of wine in the latter. Emphasis is given to lngarden's insinuation of time as fluid, liquid, or aquatic. It revisits Ingarden's physiological explanations of partially-open systems by way of the bilateral excretion and absorption of (...) semi-permeable cellular membranes. The importance he eventually grants to inner secretion is considered alongside perspiration and salivation collateral to skin and membranes. It suggests that Ingarden's interest in thermoregulation, partial permeation, and secretion invites alternative conceptions of temporal consciousness in physiological experiences, beyond sequential and linear clock-time and/or Kantian intuition. Temporality experienced as temperance becomes discernible at a permeable point in which the sedimentation of Husserl, the maturation of Marion, and the fluidity and secretion of Ingarden mix and mingle into the taste of time. (shrink)

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)

Multisensory processing encompasses all of the various ways in which the presence of information in one sensory modality can adaptively influence the processing of information in a different modality. In Part I of this survey article, I begin by presenting a cartography of some of the more extensively investigated forms of multisensory processing, with a special focus on two distinct types of multisensory integration. I briefly discuss the conditions under which these different forms of multisensory processing occur as well as (...) their important perceptual consequences and interrelations. In Part II, I then turn to examining of some of the different possible ways in which the structure of conscious perceptual experience might also be characterized as multisensory. In addition, I discuss the significance of research on multisensory processing and multisensory consciousness for philosophical attempts to individuate the senses. (shrink)

This book is a qualitative, interpretive, phenomenological, and interdisciplinary, examination of food and food practices and their meanings in the modern world. Each chapter thematically focuses upon a particular food practice and on some key details of the examined practice, or on the practice’s social and cultural impact.

A l’instar de bien d’autres activités, manger du chocolat suscite du plaisir. Mais comment articuler de manière satisfaisante les différents sens en jeu dans l’ingestion d’un aliment – le goût, bien sûr, mais aussi l’odorat, l’ouïe et le toucher – avec ce plaisir ? Selon une approche traditionnelle, ce dernier n’est rien de plus qu’une expérience ineffable qui, si elle s’avère accompagner certaines stimulations sensorielles ou des activités plus intellectuelles, ne porte sur rien du tout. Est-ce plausible ? Ou faudrait-il (...) plutôt comprendre le plaisir comme un sens supplémentaire qui viendrait prêter main forte au goût, à l’odorat et au toucher afin de parachever notre appréhension du chocolat ? Et, après tout, qu’est-ce qu’un plaisir ? Je suggère dans ce qui suit que la variété des types de plaisirs que nous sommes susceptibles de ressentir ainsi que la manière dont nous les ressentons vont à l’encontre de l’approche traditionnelle : les plaisirs portent sur quelque chose et nous renseignent à son propos. Cependant, cela ne signifie pas pour autant qu’il faille situer le plaisir sur le même plan que les sens. Il se situe plutôt en aval de leur activité, présuppose les informations qu’ils délivrent et constitue une réaction évaluative à leur endroit. (shrink)

In 1929 when Aurel Kolnai published his essay “On Disgust” in Husserl's ]ahrbuch he could truly assert that disgust was a "sorely neglected" topic. Now, however, this situation is changing as philosophers, psychologists, and historians of culture are turning their attention not only to emotions in general but more specifically to the large and disturbing set of aversive emotions, including disgust. We here provide an account of Kolnai’s contribution to the study of the phenomenon of disgust, of his general theory (...) of emotions and of the phenomenological methodology he employed in his work. (shrink)