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)

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)

The article investigates the potential of mysticism to revitalise theology. It firstly traces how aesthetics was understood in theology and provides reasons for this view. It then investigates how the predominant epistemological approach in theology privileged conceptual knowledge and relativised aesthetics as being subjective and therefore unreliable. It gives special attention to this epistemology by spelling out how the intellectualisation of contemporary theology intensified the process of obfuscating and sidelining aesthetics. In a third part, the article spells out the consequences (...) of this position by analysing how theology is becoming a disenchanted enterprise. The article then investigates how aesthetics often is taking over the role of theology and its formative role in social discourse. It focuses on the epistemological nature of this turn towards aesthetics, arguing that aesthetics with its profound notion of beauty, is increasingly reappraised as a legitimate, but different kind and source of knowledge. The article then argues how aesthetics can reinvigorate theology as a source of knowledge together with conceptual knowledge. It ends by investigating how theology can be re-enchanted by learning from the prominent role and invigorating forms of aesthetics in mysticism. (shrink)