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)

For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

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)

Does this Bonnes-Mares really have notes of chocolate, truffle, violets, and merde de cheval? Can wines really be feminine, profound, pretentious, or cheeky? Can they express emotion or terroir? Do the judgements of 'experts' have any objective validity? Is a great wine a work of art? Questions like these will have been entertained by anyone who has ever puzzled over the tasting notes of a wine writer, or been baffled by the response of a sommelier to an innocent question. Only (...) recently, however, have they received the serious philosophical attention they deserve. Touching on issues in metaphysics, epistemology, the philosophy of mind, and aesthetics, this book provides a clear and engaging discussion of the philosophical significance of wine that will be accessible to all wine lovers, specialists and non-specialists alike. The author offers throughout a sustained defence of the objectivity of wine judgements, a demystification of the nature of expertise, and a theory of the aesthetic value of wine and its appreciation. (shrink)

Nearly every theory of perception just focuses on one sense at a time; but most of the time we perceive using multiple senses. Casey O'Callaghan offers a revisionist multisensory philosophy of perception: he explores how our senses work together and influence each other, leading to surprising perceptual illusions and novel forms of experience.

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)

Robert Stecker investigates the universal human need for aesthetic experience of the world around us. He examines three contexts where aesthetic value plays a central role: art, nature, and the everyday. He explores how the aesthetic interacts with moral, cognitive, and functional values, and considers the place of the aesthetic in a good life.

Do recipes and their instances, i.e. dishes, have any representational power? This is vexed question in the philosophy of food. In this paper, I take a fresh look on the issue by means of a theory of recipes. I argue that once a certain conception of recipes is in place, complemented by a certain conception of traditions, it becomes plausible that certain recipes, traditional ones, and their instances, traditional dishes, can be said to represent past living conditions. Hence, at some (...) some food items experiences could be said to genuinely possess a representational dimension. (shrink)