Wine

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)

Of all the things we eat or drink, wine is without question the most complex. So it should not be surprising that philosophers have turned their attention to wine: complex phenomena can lend themselves to philosophical speculation. Wine is complex not just in the variety of tastes it presents – ‘wine tastes of everything apart from grapes’, I once heard an expert say – but in its meaning...

Art is one thing, the aesthetic another. Things can be appreciated aesthetically – for instance, in terms of the traditional category of the beautiful – without being works of art. A landscape can be appreciated as beautiful; so can a man or a woman. Appreciation of such natural objects in terms of their beauty certainly counts as aesthetic appreciation, if anything does. This is not simply because landscapes and people are not artefacts; for there are also artefacts which are assessable (...) aesthetically without being works of art (e.g. an elegant car or a mathematical proof)... (shrink)

Art is one thing, the aesthetic another. Things can be appreciated aesthetically – for instance, in terms of the traditional category of the beautiful – without being works of art. A landscape can be appreciated as beautiful; so can a man or a woman. Appreciation of such natural objects in terms of their beauty certainly counts as aesthetic appreciation, if anything does. This is not simply because landscapes and people are not artefacts; for there are also artefacts which are assessable (...) aesthetically without being works of art (e.g. an elegant car or a mathematical proof)... (shrink)

What could be more dull than the idea of a symposium? The word conjures up associations with dusty dons, tedious academic papers on deservedly obscure facts and theories. In universities these days, what used to be called ‘symposia’ are often called ‘workshops’ – perhaps in a feeble attempt to make the symposium sound more exciting. If this is your view of the symposium, you may be surprised to learn that the original ancient Greek symposium was a drinking party: the word (...) derives from the Greek for ‘drinking together’. A Greek symposium was a ritualised and often debauched affair. The master of the symposium would begin by drinking a small ‘libation’ of undiluted wine – the Greeks normally mixed their wine with water – and he would then decide in what proportion the wine was to be diluted to determine what kind of evening it was going to be. Plato’s Symposium, a dialogue on the nature of love, describes the most famous symposium of all. The great philosopher Socrates dominates the discussion (as he normally did), drinks more than anyone else, and leaves the symposium sober in the early morning, with the inferior thinkers and drinkers comatose. (shrink)

The history of wine-drinking is a history of excess. From Noah’s disastrous first experiments and the bacchanalia of the ancient Greeks to the spectacular overindulgence described in the diaries of Evelyn Waugh, the consumption of wine to excess has been a recurrent theme among those drink and those who write about it. Sometimes the quantities consumed by the drinkers of the past are staggering. According to Roy Porter’s English Society in the Eighteenth Century, ‘to gain a reputation as a blade (...) one had to be at least a three-bottle man. Sheridan, Pitt the Younger, and the Greek scholar Porson were all said to be six-bottle men’. One cannot help wondering whether they meant the same by ‘bottle’ as we do... (shrink)