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.

Culinary products have culinary value. That is, they have value qua culinary products. However, what is the nature of culinary value and what elements determine it? In the light of the central and universal role that culinary products play in our lives, offering a philosophical analysis of culinary value is a matter of interest. This paper attempts to do just this. It develops three different possible models of culinary value, two rather restricted ones and a third more encompassing one, rejects (...) the first two, and defends the third one. (shrink)

Recent discussions of culinary authenticity have focused on the problematic sociopolitical implications of Euro‐Americans seeking authenticity in food perceived as ethnic. This article seeks to rehabilitate the concept of culinary authenticity. First, the author relates the issue of culinary authenticity to other philosophical debates concerning authenticity, arguing that the concept of authenticity is value‐neutral. Second, a general theory of culinary authenticity making use of the theoretical apparatus of Kendall Walton's “Categories of Art” is developed and defended against objections. Third, a (...) variety of reasons that authenticity is valued are discussed, with an emphasis on aesthetic reasons. Ultimately, the author acknowledges that some ways of valuing culinary authenticity are objectionable but argues that this should not lead us to abandon our interest in authenticity altogether. (shrink)

This contribution explores the aesthetic dimensions of culinary practice. Starting point is an investigation of the menu “The Elementary” by the Swiss avantgarde and Michelin-starred chef Stefan Wiesner. The methodological interweaving of phenomenology, speech act, pictorial, and design analysis points to an innovative cooking mindset which takes on shape in the menu “Elementary”: Wiesner renders nature experienceable with regard to taste in an essential manner. It is based on a concept of radical simplicity, which he calls “monotype”. “Monotype” mimicries neither (...) existent nature nor conventional cooking styles. Rather, Wiesner sets out from very few elements which he then unfolds inwards taste-wise. The sequence of courses creates a spatio-temporal reference field that is inspired by nature but does not replicate it, instead it takes us through a culinary transformation of its elements. “Elementary”, so my argument, develops a new definition of the relationship between nature and food through a singular cooking practice out of which derives a desideratum for a culinary aesthetics. (shrink)