The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed (...) just as obvious to many philosophers that aesthetic judgment requires first-person experience. In this article we argue that, despite its initial appeal, the claim that gustatory and critical judgments are analogous in this way is mistaken. The two sorts of judgments are, as a matter of fact, similar in their epistemology, but earlier theorists have got things entirely backward—neither gustatory judgment nor aesthetic judgment requires first-hand acquaintance with their objects. Our particular focus in this article is on arguing that first-person experience is not required to know how an item of food or drink tastes. In fact, there are a wide variety of ways in which we can acquire this knowledge. (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)

Many experiential properties are naturally understood as dispositions such that e.g. a cake tastes good to you iff you are disposed to get gustatory pleasure when you eat it. Such dispositional analyses, however, face a challenge. It has been widely observed that one cannot properly assert “The cake tastes good to me” unless one has tried it. This acquaintance requirement is puzzling on the dispositional account because it should be possible to be disposed to like the cake even if this (...) disposition has never been manifested. We argue that familiar response strategies on behalf of the dispositionalist fail. These include appeals to conversational implicatures, expressivism, semantic presuppositions and norms of assertion. Against this background, we propose a new analysis in terms of what we call tendencies, where a tendency is a disposition that has been manifested. The acquaintance requirement comes out as an entailment. We point out a hitherto unnoticed parallel to sentences ascribing character traits such as “Hannah is brave,” and extend our tendency-based analysis to this domain. (shrink)

Are there ‘basic’ tastes and, if so, how many are there? While, to date, this question has mostly been addressed by sensory scientists, it would seem ripe for contemporary philosophical consideration (i.e., after Plato and Aristotle’s early discussion of the matter). Consider only the fact that the majority of those scientists who have written on the subject appear unable to make up their minds as to whether or not umami should be classed as a basic taste, alongside sweet, bitter, (...) sour, and salty. The emergence of various other taste qualities in recent years, such as fatty acid (or ‘oleogustus’) and kokumi, has led (at least one group of) researchers to add another category, namely ‘alimentary’ tastes alongside the so-called basic tastes. Several different lines of evidence have been used to support the existence of basic tastes, including phenomenological (i.e., introspection or perception), cross-cultural linguistic/anthropological, neurophysiological, and neuroimaging data. Perhaps unsurprisingly, though, the answers provided sometimes differ. In this narrative historical review, we critically evaluate the evidence focusing, in particular, on the problematic case of umami, as well as investigating whether an embodied account of basic taste can be supported. Based on the reviewed evidence, we argue for a three-tiered interpretation of ‘basic’, ‘possibly basic’, and ‘ancillary taste qualities’. (shrink)

Simple taste predications come with an acquaintance requirement: they require the speaker to have had a certain kind of first-hand experience with the object of predication. For example, if I tell you that the creme caramel is delicious, you would ordinarily assume that I have actually tasted the creme caramel and am not simply relying on the testimony of others. The present essay argues in favor of a 'lightweight' expressivist account of the acquaintance requirement. This account consists of a (...) recursive semantics and an account of assertion; it is compatible with a number of different accounts of truth and content, including contextualism, relativism, and purer forms of expressivism. The principal argument in favor of this account is that it correctly predicts a wide range of data concerning how the acquaintance requirement interacts with Boolean connectives, generalized quantifiers, epistemic modals, and attitude verbs. (shrink)

Sentences such as 'Chocolate tastes good' have been widely discussed as sentences that give rise to faultless disagreement. As such, they actually belong to the more general class of impersonal perception reports, which include 'The violin sounds / looks strange' as well sentences that are about an agent-centered situation such as 'It feels / seems like it is going to rain'. I maintain the view that faultless disagreement is due to first person-based genericity, which, roughly, consists in attributing a property (...) to anyone the speaker (or described agent) identifies with (which generally requires a first-person experience) (Moltmann 2010). Unlike my previous analysis (and similar analyses), this paper no longer makes use of experiencers or judges as implicit arguments of taste predicates, but argues that impersonal perception verbs (taste, look, feel, seem), have a logophoric character. More precisely, such verbs describe perceptual occurrences whose experiencer is identical to the agent of the utterance situation, described attitudinal situation, or the situations a generic operator may range over. Perceptual occurrences are sharply distinguished ontologically from perceptual experiences as well as perceptual objects, entities we refer to as ‘the taste of chocolate’, ‘the sound of the violin’, ‘the look of the violin’. Sentences about perceptual objects ('the taste of chocolate is good', 'the sound of the violin is great', 'the look of the violin is beautiful') also give rise to faultless disagreement, but the source of that is a first-person-based attribution of an evaluative predicate to an (objective) perceptual object. (shrink)

Today, a consistent part of our everyday interaction with art and aesthetic artefacts occurs through digital media, and our preferences and choices are systematically tracked and analyzed by algorithms in ways that are far from transparent. Our consumption is constantly documented, and then, we are fed back through tailored information. We are therefore witnessing the emergence of a complex interrelation between our aesthetic choices, their digital elaboration, and also the production of content and the dynamics of creative processes. All are (...) involved in a process of mutual influences, and are partially determined by the invisible guiding hand of algorithms. With regard to this topic, this paper will introduce some key issues concerning the role of algorithms in aesthetic domains, such as taste detection and formation, cultural consumption and production, and showing how aesthetics can contribute to the ongoing debate about the impact of today’s “algorithmic culture”. (shrink)

This paper explores taste fragmentalism, a novel approach to matters of taste and faultless disagreement. The view is inspired by Kit Fine’s fragmentalism about time, according to which the temporal dimension can be constituted—in an absolute manner—by states that are pairwise incompatible, provided that they do not obtain together. In the present paper, we will apply this metaphysical framework to taste states. In our proposal, two incompatible taste states (such as the state of rhubarb’s being tasty (...) and the state of rhubarb’s being distasteful) can both constitute reality in an absolute manner, although no agent can have joint access to both states. We will then develop a formalised version of our view by means of an exact truthmaker semantics for taste assertions. Within this framework—we argue—our linguistic and inferential practices concerning cases of faultless disagreement are elegantly vindicated, thus suggesting that taste fragmentalism is worth of further consideration. (shrink)

Aesthetic taste rose to prominence in the eighteenth century, and then quickly disappeared. Since the start of the 2000s, scholars have slowly returned to the main traditional concepts in aesthetics—beauty, the sublime, and aesthetic experience. Aesthetic taste, however, has lagged behind. I focus on two explanations for this downturn: aesthetics is too often associated with art alone and taste is thought to have no connection with anything objective. In this paper, I suggest that theories of aesthetic (...) class='Hi'>taste are still valuable. While tastes will surely differ, individuals should explore the ways that their life and circumstances affect their taste and how they can become more intentional about developing their taste. Using prisons, engineering, and business, I show how theories of aesthetic taste can enter the contemporary scene by suggesting ways that it can influence their respective practices. (shrink)

Use of the terms ‘‘taste’’ and ‘‘flavor’’ is often confusing, both in everyday use and in the academic literature. Failure to distinguish these basic terms can cloud the understanding of the chemical senses, currently a rapidly growing area of study in perception science. The chapter claims that it doesn’t make sense to treat experiences of the putative basic tastes, such as ‘‘sweetness’’ and ‘‘sourness’’ in everyday experience as _tastes_. Rather, the evidence suggests that they should be treated as flavors, (...) just like ‘‘fruity’’ or ‘‘meaty’’. The chapter highlights the confusion between tastes and flavors and outlines reasons for its occurrence, linked to the topics of attention and oral referral. It then provides psychological, physiological, and philosophical reasons for the stance that tastes should be classified as a subcomponent of flavors and shows how doing so helps to dissolve certain debates. (shrink)

This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity (...) of pure judgments of taste, and the moral and systematic significance of taste. The fourth part considers two important topics often neglected in the study of Kant's aesthetics: his conceptions of fine art, and the sublime. (shrink)

We are often confronted with attempts to debunk our aesthetic tastes, like: “You only like jazz because you’re a pretentious hipster,” or, “Your love of the Western canon is just colonialism speaking.” Such debunking arguments often try to give a socio-historical accounting, intended to de-legitimize our tastes by showing that they arise from processes uninterested in real aesthetic value. One common version is the Art Populist debunk: that claims of aesthetic expertise in esoteric arts are really just elitist gatekeeping. Then (...) we have its mirror twin, the Art Expert debunk: that the populist love of simple arts serves the interests of profiteering entertainment corporations dispensing simplified slop. Suppose we accept one of these debunking argument. How are we supposed to got on? Are we supposed to not like the things we like, or force ourselves to choke down food we don’t enjoy? And suppose we accept both of these debunking arguments — what then? Are we supposed to simply give up our grip on beauty altogether? This is hard to imagine. Aesthetic debunking arguments have a harder time getting a grip on us, because aesthetic life involves a distinctively tight relationship between our felt aesthetic phenomena and our aesthetic judgments. Aesthetic life gives us phenomenal resistance to debunking arguments, when our felt loves lag behind our endorsed beliefs. I suggest a way through that offers a livable accommodation. We may be able to treat such debunking arguments, not as targeting the positive content of our taste, but as targeting the boundaries and limitations on our taste. That is, a Populist may not be able to debunk my deep felt love of opera, but they may be able to debunk my dismissal of dance-pop. In this case, we can take onboard both the Art Expert’s and the Art Populist’s debunking arguments, as targeting different varieties of narrowness and dismissal. These debunkings, then, move us, not towards aesthetic nihilism, but aesthetic expansionism. (shrink)

ABSTRACTWide-ranging semantic flexibility is often considered a magic cure for contextualism to account for all kinds of troubling data. In particular, it seems to offer a way to account for our intuitions regarding embedded perspectival sentences. As has been pointed out by Lasersohn [2009. “Relative Truth, Speaker Commitment, and Control of Implicit Arguments.” Synthese 166 : 359â374], however, the semantic flexibility does not present a remedy for all kinds of embeddings. In particular, it seems ineffective when it comes to embeddings (...) under operators with truth evaluative adverbs such as ‘correctly believes that’ and ‘incorrectly believes that’ and under factive verbs. This paper takes a closer look at the problematic embedding data with respect to predicates of personal taste. It argues that there is indeed no semantic solution for contextualism but a pragmatic way out. (shrink)

In this series of dialogues, Derrida discusses and elaborates on some of the central themes of his work, such as the problems of genesis, justice, authorship and death. Combining autobiographical reflection with philosophical enquiry, Derrida illuminates the ideas that have characterized his thought from its beginning to the present day. If there is one feature that links these contributions, it is the theme of singularity - the uniqueness of the individual, the resistance of existence to philosophy, the temporality of the (...) singular and exceptional moment, and the problem of exemplarity. The second half of this book contains an essay by Maurizio Ferraris, in which he explores the questions of indication, time and the inscription of the transcendental in the empirical. A work of outstanding philosophy and scholarship, the essay is developed in close proximity to Derrida and in dialogue with figures such as Plato, Aristotle, Plotinus, Kant, Hegel and Heidegger. It thereby provides a useful introduction to the philosophy of one of Italy's most prominent philosophers as well as an excellent complement to Derrida's own ideas. A Taste for the Secret consists of material that has never before appeared in English. It will be of interest to second-year undergraduates, graduate students and academics in philosophy, modern languages, literature, literary theory and the humanities generally. (shrink)

Perceptual experience enables us to know features of objects in our environment. But what does the experience of tasting enable us to know? By tasting we discover the tastes of foods or liquids; but what are tastes? An objectivist sees tastes as properties of foods and drinks, which are there anyway, independent of how we experience them. On this view, tasting provides us with perceptual knowledge of real features of foods and liquids. By contrast, a subjectivist sees tastes as just (...) features of our own experience: sensations on the tongue answerable to nothing other than themselves. Tastes, on this view, are not _in the foods_; rather foods give rise to tastes _in us_. A metaphysics of tastes that sees them not as properties of foods but as parts of our experience makes the epistemology of tasting an aspect of self-knowledge. Knowing how something tastes is being immediately aware of a certain sort of experience that occurs when we are eating or drinking. On this view, we can know all about tastes so long as we know all about our experience. However, this simple subjectivist story fails to do justice to the epistemology of tasting. The experiences generated when tasting are not unisensory but multisensory, though unified. They are perceptions of flavor and due to touch, taste, and smell. A satisfactory metaphysics and epistemology of flavor leaves room for flavors as configurations of sapid, odorous, and tactile properties of the food and liquids we consume. (shrink)

Taste as Experience puts the pleasure of food at the center of human experience. It shows how the sense of taste informs our preferences for and relationship to nature, pushes us toward ethical practices of consumption, and impresses upon us the importance of aesthetics. Eating is often dismissed as a necessary aspect of survival, and our personal enjoyment of food is considered a quirk. Nicola Perullo sees food as the only portion of the world we take in on (...) a daily basis, constituting our first and most significant encounter with the earth. Perullo has long observed people's food practices and has listened to their food experiences. He draws on years of research to explain the complex meanings behind our food choices and the thinking that accompanies our gustatory actions. He also considers our indifference toward food as a force influencing us as much as engagement. For Perullo, taste is value and wisdom. It cannot be reduced to mere chemical or cultural factors but embodies the quality and quantity of our earthly experience. (shrink)

Acquired taste is an integral part of the cultivation of taste. In this essay, I identify acquired taste as a form of intentional belief acquisition or adaptive preference formation, distinguishing it from ordinary or discovered taste. This account of acquired taste allows for the role of self-deception in the development of taste. I discuss the value of acquired taste in the overall development of taste as well as the ways that an over-reliance (...) on acquired taste can distort overall taste. (shrink)

“There’s no disputing about taste.” That’s got a nice ring to it, but it’s not quite the ring of truth. While there’s definitely something right about the aphorism – there’s a reason why it is, after all, an aphorism, and why its utterance tends to produce so much nodding of heads and muttering of “just so” and “yes, quite” – it’s surprisingly difficult to put one’s finger on just what the truth in the neighborhood is, exactly. One thing that’s (...) pretty clear is that what’s right about the aphorism, that there’s no disputing about taste, isn’t that there’s no disputing about taste. There’s heaps of disputing about taste. People engage in disputes about which movies, music, paintings, literature, meals, furniture, architectural styles, etc. are good, beautiful, tasty, fun, elegant, ugly, disgusting, etc. all the time. This is obvious to anyone who has watched dueling-movie-critics shows, read theater reviews, or negotiated with a group or partner about which movie or restaurant to go to, or which sofa or painting to put in the living room. It takes great care and good aim to fling a brick without hitting somebody who’s engaged in a dispute about taste. (shrink)

This chapter argues that fat oppression has a significant aesthetic dimension, namely that our collective taste in bodies is geared toward aesthetic displeasure at fat. It argues that our collective repulsion and disgust at fat is not a mere effect of fat hatred but, rather, is an important _constitutive element of the oppression of fat people_. The deformation of our collective taste in the direction of aversion to fat bodies, rendering fat repulsive in the eyes of most, is (...) an important part of the debasement, stigmatization, marginalization, and subordination of fat people. This chapter first develops this new model of fat oppression and then explores some Aristotelian strategies for combatting it. These strategies involve promoting and disseminating vivid, imaginatively engaging, and artistically interesting pictures that celebrate, aestheticize, and sometimes eroticize fat bodies. (shrink)

Using a vague predicate can make commitments about the appropriate use of that predicate in the remaining part of the discourse. For instance, if I assert that some particular pig is fat, I am committed to judging any fatter pig to be fat as well. We can model this update effect by recognizing that truth depends both on the state of the world and on the state of the discourse: the truth conditions of ‘This pig is fat’ rule out evaluation (...) points for which the pig in question in world w is thinner than the cutoff for fatness in the discourse d. Then disagreements about taste are disagreements about the discourse. Unlike disagreements about the world, disagreements about the discourse can be faultless, given that none of the discourse participants has privileged authority to make pronouncements about conventions for appropriate use of a predicate. Thus on the dynamic view developed here, whether or not a dispute about taste turns out to be faultless depends in part on predictable features of the previous discourse. On this account, faultless disagreement involving predicates of personal taste does not force relativizing truth to a judge or assessor. (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 (...) class='Hi'>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)

Tackles the neglected question of whether tastes and smells can be objects of aesthetic interest, appreciation, satisfaction, and value. Bypassing the question of whether the objects of tasting and smelling are works of art, Sibley states that it is not the case that tastes and smells are wholly excluded from the realm of the aesthetic, that is to say, that they do not necessarily lack those features that would make them eligible in such a way that aesthetic judgements or descriptions (...) of them are possible. Sibley offers a variety of considerations in favour of the view that tastes and smells meet some of the demands we typically impose on objects if viewed in the context of aesthetic evaluation. Since, furthermore, no suitable candidate presents itself to serve as a criterion of demarcating the aesthetic and the sensuous, and since, consequently, these domains have to be understood as merging along a continuum, the diverse intersections between the two permit of some aesthetic evaluation of the sensuous. (shrink)

“Forget Taste” rejects the classical notion of taste as a viable concept for the exercise of critical evaluation and proposes an alternative approach to critical evaluation based crucially on the idea of the constitutive purpose of the artwork. The goal of this paper is to advance an approach—which I call the purpose-driven approach—to the critical evaluation of artworks that develops from and refines the views of art evaluation presented in my previous work. This approach, in virtue of its (...) focus on the constitutive purposes of artworks, regards the artwork as typically singular. For that reason, it follows that this approach is pluralistic in contrast to the hedonic conception of the taste model popularized in the eighteenth century and which still recurs today, if sometimes only subconsciously, and that reduces critical evaluation to feelings of pleasure. I argue that the hedonic taste model, which is noncognitive and reductive, should be abandoned in favor of one that is cognitivist and pluralistic, namely, the purpose-driven approach. (shrink)

First published in 1990. This title, originally a Ph. D. dissertation submitted to the Department of Philosophy at Harvard University in July 1988, grew out of an interest in the foundations of twentieth-century analytic philosophy. Believing that the idea of the primacy of judgment was an important one for understanding more recent issues in analytic philosophy, the author started to think about its historical antecedents. By examining Kant’s _Critique of Judgement_, Ginsborg explores the notion of a judgment of taste, (...) as a judgment which has intersubjective validity without being objectively valid, and therefore bear’s directly on the notion of the primacy of judgment as an aspect of Kant's account of objectivity. This title will be of interest to students of philosophy. (shrink)

According to contextualism, the extension of claims of personal taste is dependent on the context of utterance. According to truth relativism, their extension depends on the context of assessment. On this view, when the taste preferences of a speaker change, so does the truth value of a previously uttered taste claim, and the speaker might be required to retract it. Both views make strong empirical assumptions, which are here put to the test in three experiments with over (...) 740 participants. It turns out that the linguistic behaviour of ordinary English speakers is consistent with contextualist predictions and inconsistent with the predictions of the most widely discussed form of truth relativism advocated by John MacFarlane. (shrink)

It is commonplace to consider taste as the organ through which we know beauty and enjoy beautiful things. Looking beyond this facade, the newest translation of Italian philosopher Giorgio Agamben's work lays bare the far-from-comforting character of a fault line that irremediably divides the human subject. At the crossroads of truth and beauty, cognition and pleasure, taste appears as a knowledge that is not known and a pleasure that is not enjoyed. From this vantage point, aesthetics and economics, (...) Homo aestheticus and Homo economicus reveal their secret and uncanny complicity. With Taste, Agamben takes a step into the history of philosophy, reaching to the very origins of aesthetics, to critically recover the roots of a cardinal concept for Western culture. Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and with taste he turns his critical eye to the realm of Western art and aesthetics. Originally written in 1979, this essay illuminates a key category in his most recent writings, promising to engage not only the author's readers in philosophy, sociology and literary criticism but also his growing audience among art theorists and historians as well. (shrink)

This chapter contains sections titled: Philosophers' Denigration of Fashion Taste and Style Genius Love of Beauty as A Moral (Or Proto‐moral) Motive Conclusion.

This paper explores the relationship between common sense and taste in the history of aesthetic thought. “Common sense” guarantees the communication of tastes through different modalities. It can either facilitate agreement among individuals, fostering mutual understanding and envisaging a universal aesthetic community, or provoke disagreement. In the former scenario, common sense is literally common to everyone, while in the latter case, it implies diversity and dissensus. By associating the concept of taste with judgement and the sensible (Arendt and (...) Rancière), we scrutinize some contemporary political interpretations of Kantian aesthetics. Through this analysis, we illustrate that common sense is intertwined with certain metaphysical assumptions that not only hinder its claims of universality but also introduce structural paradoxes within the system of aesthetic judgment. In the last section of the article, we explore these paradoxes, proposing another communicability beyond the confines of the judgment of taste or subjective limitations. (shrink)

It may be that Kant’s inherently communal concept of taste is a morally laden notion that blurs the line between the good and the beautiful, on the one hand, and moral evaluation and aesthetic appreciation, on the other. In particular, it can be shown how, on Kant’s view, moralistic factors, such as considerations of social appropriateness, enter into estimations of aesthetic value. Moreover, Kant’s tendency to overlap taste and morals suggests an underlying assumption operative in Kant’s aesthetics. According (...) to this ‘decency assumption’, as I have termed it, taste is first and foremost a trait of people with certain supposedly refined socio-moral characteristics. Kant also seems to think that having good taste and a morally good character go hand in hand. Even though we do find separate sets of ultimate principles in Kant’s ethics and aesthetics, the aforesaid assumption nevertheless implies a shared ground between these two branches of philosophy and thereby links them tightly together, contrary to the common view that ethics and aesthetics are distinct enterprises. In addition, Kant’s morally laden conception of taste will be shortly examined in relation to the Enlightenment project as Kant saw it and our contemporary world. (shrink)

The recent literature abounds with accounts of the semantics and pragmatics of so-called predicates of personal taste, i.e. predicates whose application is, in some sense or other, a subjective matter. Relativism and contextualism are the major types of theories. One crucial difference between these theories concerns how we should assess previous taste claims. Relativism predicts that we should assess them in the light of the taste standard governing the context of assessment. Contextualism predicts that we should assess (...) them in the light of the taste standard governing the context of use. We show in a range of experiments that neither prediction is correct. People have no clear preferences either way and which taste standard they choose in evaluating a previous taste claim crucially depends on whether they start out with a favorable attitude towards the object in question and then come to have an unfavorable attitude or vice versa. We suggest an account of the data in terms of what we call hybrid relativism. (shrink)

The sense of taste has served as a governing metaphor for aesthetic discernment for several centuries, and recent philosophical perspectives on this history have invited literal, gustatory taste into aesthetic relevance. This paper summarizes the disposition of taste in aesthetics by means of three stories, the most recent of which considers food in terms of aesthetics and its employment in works of art. I conclude with some reflections on the odd position that taste has achieved in (...) the postmodern art world, and I make a case for the often unnoticed role that bodily senses have in the apprehension of art. (shrink)

This paper explores taste in the context of phenomenology and outlines possibilities for situating a phenomenological approach to taste within the framework of educational theory. In such an approach, taste emerges as a complex interaction between all senses and as interplay between recollection and anticipation. In this respect, taste-experience is indicative of a privileged but hitherto relatively unexplored access to cognition. It is a sensory encounter that encompasses possibilities for learning, not only about taste but (...) also about other subjects through taste. (shrink)

In De Gustibus Peter Kivy deals with a question that has never been fully addressed by philosophers of art: why do we argue about art? We argue about the 'facts' of the world either to influence people's behaviour or simply to get them to see what we take to be the truth about the world. We argue over ethical matters, if we are ethical 'realists,' because we think we are arguing about 'facts' in the world. And we argue about ethics, (...) if we think matters of ethics are simply matters of 'attitude,' to influence the behaviour of others. But why should we argue about works of art? There are no 'actions' we wish to motivate. Whether I think Bach is greater than Beethoven and you think the opposite, why should it matter to either of us to convince the other? Kivy claims here that we argue over taste because we think, mistakenly or not, that we are arguing over matters of fact. (shrink)

I consider the role of psychology and other sciences in telling us about our senses, via the issue of whether empirical findings show us that flavours are perceived partly with the sense of smell. I argue that scientific findings do not establish that we're wrong to think that flavours are just tasted. Non-naturalism, according to which our everyday conception of the senses does not involve empirical commitments of a kind that could be corrected by empirical findings is, I suggest, a (...) plausible view that is not easy to dismiss. (shrink)

The paper confronts the disagreement argument for relativism about matters of taste, defending a specific form of contextualism. It is first considered whether the disagreement data might manifest an inviariantist attitude speakers pre-reflectively have. Semantic and ontological enlightenment should then make the impressions of disagreement vanish, or at least leave them as lingering ineffectual Müller-Lyer-like illusions; but it is granted to relativists that this does not fully happen. López de Sa’s appeal to presuppositions of commonality and Sundell’s appeal to (...) metalinguistic disagreement are discussed, and it is argued that, although they help to clarify the issues, they do not fully explain why such impressions remain under enlightenment. To do it, the paper develops a suggestion that other writers have made, that the lingering impression of disagreement is a consequence of a practical conflict, appealing to dispositions to practical coordination that come together with presuppositions of commonality in axiological matters. (shrink)

In this paper, I reflect on the importance of the traditional conceptual pair of beauty and taste. Despite recent proclamations within philosophy that beauty is making a comeback, the concept still provokes confusion. I trace such confusion, in part, to philosophers increasingly viewing beauty—in the so-called narrow, common-sense way—as an essentially shallow and thin concept. However, in stark contrast to most philosophers today, I observe that ‘beauty’, in the narrow sense, allowed philosophers in the past—not unlike many laypersons today—to (...) see beauty as linked to our most fundamental values, speaking of beauty of intellect, moral beauty, or the beauty of theorems, as well as artistic and natural beauty. And it is this understanding of beauty that was seen as a fundamental component of a flourishing life. Thus, to think of beauty as shallow and thin is not just undesirable, but evinces an impoverished outlook on aesthetics and value more generally. I begin by giving some background on beauty’s alleged comeback in recent philosophy. I then note that in recent years, this comeback has concentrated on aesthetic value rather than beauty, which is often dismissed as less important. I suggest that this is at least partly due to an association between, or a running together of, three distinctions: between a narrow and a broad sense of beauty; between beauty as a thin and a thick concept; and between beauty that is easy, sensuous, and shallow on the one hand, and deep, profound, and meaningful, on the other. I argue that useful as these distinctions may be, they are unrelated to one another. Importantly, there is a distinct concept of beauty in the narrow sense that is thick, neither easy nor shallow, and inextricably tied to form, pleasure, and (non-aesthetic) value. However, whether an alleged instance of beauty, or indeed a person’s or group’s conceptions and experiences of beauty, are easy and shallow or profound and meaningful, turns on another recently disparaged, yet central concept—namely, taste. If we wish to better understand and promote the profound, meaningful, and enlightening varieties of beauty, we should ensure that the conceptual pair of beauty and taste stand at the forefront of our philosophical enquiries. (shrink)

This chapter contains section titled: I II III IV V VI VII VIII IX X XI XII Coda Appendix Acknowledgements.

Aesthetic Taste Taste is the most common trope when talking about the intellectual judgment of an object’s aesthetic merit. This popularity rose to an unprecedented degree in the eighteenth century, which is the main focus of this article. Taste became a major concept in aesthetics. This prominence was so pronounced that it might seem that … Continue reading Aesthetic Taste →.

This book offers a sustained, interdisciplinary examination of taste. It addresses a range of topics that have been at the heart of lively debates in philosophy of language, linguistics, metaphysics, aesthetics, and experimental philosophy. Our everyday lives are suffused with discussions about taste. We are quick to offer familiar platitudes about taste, but we struggle when facing the questions that matter--what taste is, how it is related to subjectivity, what distinguishes good from bad taste, why (...) it is valuable to make and evaluate judgments about matters of taste, and what, exactly, we mean in speaking about these matters. The essays in this volume open up new, intersecting lines of research about these questions that cross traditional disciplinary boundaries. They address the notion of aesthetic taste; connections between taste and the natures of truth, disagreement, assertion, belief, retraction, linguistic context-sensitivity, and the semantics/pragmatics interface; experimental inquiry about taste; and metaphysical questions underlying ongoing discussions about taste. Perspectives on Taste will be of interest to researchers and advanced students working in aesthetics, philosophy of language, linguistics, metaphysics, and experimental philosophy. (shrink)

Reinterprets Rousseau as a political thinker by reconstructing his Epicurean theory of taste.

“Parting is such sweet sorrow.” Taste metaphors provide a rich vocabulary for describing emotional experience, potentially serving as an adaptive mechanism for conveying abstract emotional concepts using concrete verbal references to our shared experience. We theorized that the popularity of these expressions results from the close association with hedonic valence shared by these two domains of experience. To explore the possibility that this affective quality underlies the semantic similarity of these domains, we used a behavioral “odd-one-out” task in an (...) online sample of 1059 participants in order to examine the semantic similarity of concepts related to emotion, taste, and color, another rich source of sensory metaphors. We found that the semantic similarity of emotion and taste concepts was greater than that of emotion and color concepts. Importantly, the similarity of taste and emotion concepts was strongly related to their similarity in hedonic valence, a relationship which was also significantly greater than that present between color and emotion. These results suggest that the common core of valence between taste and emotion concepts allows us to bridge the conceptual divide between our shared sensory environment and our internal emotional experience. (shrink)

In Truth and Objectivity, Crispin Wright argues that because truth is a distinctively normative property, it cannot be as metaphysically insubstantive as deflationists claim. We offer a reconstruction of Wright’s Inflationary Argument that highlights the steps required to establish its inflationary conclusion. We argue that if a certain metaphysical and epistemological view of a given subject matter is accepted, a local counterexample to the Inflationary Argument can be constructed. As a case study we focus on the domain of basic (...) class='Hi'>taste. We develop two variants of a subjectivist and relativist metaphysics and epistemology that seem palatable in that domain and we show that the Inflationary Argument doesn’t go through in the domain of basic taste thus construed. We conclude by briefly discussing the significance of this result for the debate on alethic pluralism. (shrink)

Over the past 20 years, predicates of personal taste (PPT) have been at the centre of a set of lively debates in the philosophy of language and linguistics. These debates have yielded many subtle and inventive analyses of PPT. There is, however, a crucial methodological question about PPT that remains underexplored: what sorts of evidence should be used in evaluating an account of PPT? In line with a fairly large body of recent work, we point out that since hypotheses (...) about PPT are empirical, they need to be evaluated empirically, using clearly articulated tests. The test on which we focus involves ordinary speakers’ judgments about retraction. We identify what we take to be two significant problems with the leading account, due to John MacFarlane, of why retraction data matter in the PPT debates. We then develop an improved framework for thinking about this issue. To close, we use our improved framework to re-evaluate the findings on retraction reported by Markus Kneer, and we discuss a few loose ends that will need to be addressed by future experimental research on PPT. (shrink)

The programmatic 2-page Ch. 4 reinforces the importance of taste as an ability to discern the aesthetic qualities of things and taste as an ability to recognise aesthetic merit and make judgements of aesthetic worth.

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 (...) class='Hi'>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)