Results for ' morphology of aesthetic taste'

945 found
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  1. De gustibus est disputandum: An empirical investigation of the folk concept of aesthetic taste.Constant Bonard, Florian Cova & Steve Humbert-Droz - 2022 - In Jeremy Wyatt, Julia Zakkou & Dan Zeman, Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy. Routledge. pp. 77-108.
    Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the (...)
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  2. The Aesthetic Self. The Importance of Aesthetic Taste in Music and Art for Our Perceived Identity.Joerg Fingerhut, Javier Gomez-Lavin, Claudia Winklmayr & Jesse J. Prinz - 2021 - Frontiers in Psychology 11:577703.
    To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the (...)
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  3. De gustibus est disputandum: An empirical investigation of the folk concept of aesthetic taste.Bonard Constant Charles, Florian Cova & Steve Humbert-Droz - 2022 - In Jeremy Wyatt, Julia Zakkou & Dan Zeman, Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy. Routledge.
    Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the (...)
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  4.  56
    Dewey's Deconstructive Hermeneutic: Contra the Phenomenology and Morphology of Aesthetic-Mystical Experience Statically Conceived.Gregory Aisemberg - 2014 - Journal of Aesthetic Education 48 (1):54-75.
    Either beauty is the beholding of a fixed and final aesthetic essence discontinuous with the rest of nature, or it is an intuitive grasp and encompassing feel of a consummated movement of natural energies and elements through their inner relations into a single, qualitative unity, whose pervasive tonality is a situational emergent from the biologically active, temporally continuous, and reciprocally constituting-constituted transactional dialectic between a human creature and the world. If aesthetic-mystical experience is indeed something “eternalized” out of (...)
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  5.  48
    Aesthetic Taste Now: A Look Beyond Art and the History of Philosophy.Michael R. Spicher - 2020 - Journal of Comparative Literature and Aesthetics 3 (43):159-167.
    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 (...)
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  6. Aesthetic Taste: Perceptual Discernment or Emotional Sensibility?Irene Martínez Marín & Elisabeth Schellekens - 2022 - In Jeremy Wyatt, Julia Zakkou & Dan Zeman, Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy. Routledge.
    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 (...) 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)
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  7.  19
    Aesthetic Taste and Moral Sentiment in Hume and Mengzi.Dobin Choi - 2024 - Hume Studies 49 (2):331-349.
    I examine Hume’s and Mengzi’s reliance on aesthetic and moral taste in their sentiment-based theories of virtue. Their views on taste seem to conflict. In his essay “Of the Standard of Taste,” Hume observes that people’s taste sentiments appear to vary, but he seeks a standard that can reconcile them. In contrast, relying on the uniformity of aesthetic taste, Mengzi argues that humans, by nature, share a universal taste toward morality. I argue (...)
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  8. Aesthetic Taste.Michael R. Spicher - 2017 - Internet Encyclopedia of Philosophy.
    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 →.
     
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  9.  39
    The Science of Aesthetics, the Critique of Taste, and the Philosophy of Art: Ambiguities and Contradictions.J. Colin McQuillan - 2021 - Aesthetic Investigations 4 (2):144-162.
    Aesthetics is the part of contemporary academic philosophy that is concerned with art, beauty, criticism, and taste. As such, it must address metaphysical issues, epistemic problems, and questions of value. This makes it difficult to present a coherent account of the subject matter of aesthetics. In this article, I argue that this difficulty is the result of ambiguities and contradictions that arose in disputes about the relationship between the science of aesthetics, the critique of taste, and the philosophy (...)
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  10.  21
    “Merely” Aesthetic: The Centrality of Aesthetic Judgments of Taste.John Kaag - 2013 - In Stefano Bacin, Alfredo Ferrarin, Claudio La Rocca & Margit Ruffing, Kant und die Philosophie in weltbürgerlicher Absicht. Akten des XI. Internationalen Kant-Kongresses. Boston: de Gruyter. pp. 107-118.
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  11. Kant’s Theory of Taste: A Reading of the Critique of Aesthetic Judgment.Henry E. Allison - 2001 - New York: Cambridge University Press.
    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 (...)
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  12. The morphology of art as a branch of aesthetics.Thomas Munro - 1954 - Journal of Aesthetics and Art Criticism 12 (4):438-449.
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  13.  67
    Kant on the Science of Aesthetics and the Critique of Taste.J. Colin McQuillan - 2017 - Kant Yearbook 9 (1):113-132.
    This article considers the reasons Kant rejects the possibility of a science of aesthetics throughout his career. It begins by surveying the background of Kant’s denial, focusing first on the introduction of aesthetics as a new science in the works of Alexander Baumgarten and Georg Friedrich Meier. After showing that there are numerous ambiguities in the way Baumgarten and Meier present their new science, the article considers Kant’s account of the differences between aesthetics and logic in the transcripts of his (...)
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  14. Hume's standard and the diversity of aesthetic taste.H. Osborne - 1967 - British Journal of Aesthetics 7 (1):50-56.
  15.  71
    Taste and other senses: Reconsidering the foundations of aesthetics.Carolyn Korsmeyer - 2018 - Nordic Journal of Aesthetics 26 (54).
    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 (...)
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  16.  15
    Hume's Aesthetic Theory: Sentiment and Taste in the History of Aesthetics.Dabney Townsend - 2000 - New York: Routledge.
    _Hume's Aesthetic Theory_ examines the neglected area of the development of aesthetics in empiricist thinking, exploring the link between the empiricist background of aesthetics in the eighteenth century and the work of David Hume. This is a major contribution to our understanding of Hume's general philosophy and provides fresh insights into the history of aesthetics.
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  17. The Conclusion of the Deduction of Taste in the Dialectic of Aesthetic Power of Judgment in Kant.Manuel Sánchez Rodríguez - 2013 - Trans/Form/Ação 36 (2):45-62.
    In this paper, it is argued that only in the section on dialectic in the Critique of Judgment does Kant reach a definitive and conclusive version of deduction, after discovering the concept of the supersensible. In the section on the deduction of pure aesthetic judgments, Kant does not satisfactorily explain the critical distinction between the sensible nature of humanity and the supersensible nature of human reason presupposed in the concept of universal communicability. While the concept of the supersensible illustrates (...)
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  18. Developing Aesthetic Taste.David Fenner - 2020 - Journal of Aesthetic Education 54 (2):113-122.
    Once a group of physicists at my university invited me to a physics colloquium. They were certain that I would get a great deal out of it. I love theoretical physics, although my preparation for understanding the "real stuff" is extremely modest. After the first ten minutes of the lecture, I realized I was in way over my head; though I understood the topic and the trajectory, I was not able to follow the path. But I stayed and continued to (...)
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  19.  57
    Social identity and aesthetic taste.Carol Sherrard - 1995 - Philosophical Psychology 8 (2):139 – 153.
    Bourdieu's theory of aesthetic taste shares with social identity theory the concepts of reciprocal comparison and differentiation among social groups. This study used discourse analysis of interviews with further-education students on the topic of aesthetic taste to test the hypothesis, derived from these theories, that individuals always present their tastes in line with social differentiations. Since these students were moving from working-class to middle-class identities via education, it was expected that their discourse would be rich in (...)
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  20. Kant on the normativity of taste: The role of aesthetic ideas.Andrew Chignell - 2007 - Australasian Journal of Philosophy 85 (3):415 – 433.
    For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal (...)
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  21.  87
    On Nietzsche's Judgment of Style and Hume's Quixotic Taste: On the Science of Aesthetics and "Playing" the Satyr.Babette Babich - 2012 - Journal of Nietzsche Studies 43 (2):240-259.
    "Homer and Classical Philology," Nietzsche's 1869 inaugural lecture at the University of Basel, addresses not only the history of the Homer question as a problem but also raises the question of the discipline of classical philology as science . Thematically, Nietzsche's first lecture as a professor of classical philology focuses on the significance of style as such. In this meta-scholarly context, the issue of scholarly discernment is explored in terms of aesthetic judgment, as a judgment of taste, a (...)
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  22.  31
    A norm of aesthetic assertion and its semantic (in)significance.John Collins - 2021 - Inquiry: An Interdisciplinary Journal of Philosophy 64 (10):973-1003.
    ABSTRACT The paper proposes that the distinctive features of aesthetic assertion are due to a special norm governing such assertion rather than any semantic features of aesthetic predication. The norm is elaborated as a reading of Kant’s analysis of aesthetic judgment. Apart from the proposed norm capturing various features of aesthetic assertion, it is supported by various linguistic considerations that point to the semantic profile of predicates of personal taste and aesthetic predicates being in (...)
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  23.  13
    A new cultural theory of aesthetics: genes, memes, symbols, and simulacra.Roberto Terrosi - 2023 - Lanham: Lexington Books.
    This book develops a theory of aesthetics that criticizes scientific and philosophical reductionism that denies the importance of culture in art and taste, but its theory accepts some fundamental aspects of Neo-Darwinist theory of culture by addressing points of convergence among the notions of meme, simulacrum, and symbol.
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  24.  61
    Nicola Perullo. Taste as Experience: The Philosophy and Aesthetics of Food. Reviewed by.Korsmeyer Carolyn - 2017 - Philosophy in Review 37 (2):68-70.
    Nicola Perullo's Taste as Experience draws on the author's philosophical background and his experience as a professor of aesthetics at a culinary institute. He aims to understand the experience of taste, analyzing it into three 'modes of access': pleasure, knowledge, and indifference. His perspective, influenced by Dewey, illuminates various elements of taste, eating, and drinking.
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  25.  27
    The mute foundation of aesthetic experience?Marguerite La Caze - 2013 - Culture, Theory, and Critique 54 (2):209-224.
    Luiz Cost Lima argues in The Limits of Voice that Kant’s Critique of Judgment plays a pivotal role in furthering aestheticization, or the objectification and universalization of aesthetic experience. He introduces the term criticity to refer to the act of questioning and finds that Kant poses the alternatives of aestheticization and criticity. However, Costa Lima sees Kant and most of the following literary criticism as accepting aestheticization, with exceptions such as Schlegel and Kafka. (xii) He states ‘The effective actualization (...)
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  26. Hume's Science of Aesthetics: Human Nature and the Century of Criticism.Justine Noel - 1993 - Dissertation, Queen's University at Kingston (Canada)
    Although Hume did not produce any major work in aesthetics, several of his essays, as well as numerous passages in A Treatise of Human Nature and in An Enquiry Concerning the Principles of Morals, do address central debates in eighteenth-century aesthetics. In this dissertation I show that Hume made some interesting contributions to these debates that in fact changed the course of aesthetic inquiry. He was the first British thinker to apply systematically an empirical method to such aesthetic (...)
     
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  27.  20
    Online music recommendation platforms as representations of ontologies of musical taste.Benjamin Krämer - 2018 - Communications 43 (2):259-281.
    The framework of the ‘social ontology of the internet’ is applied to music recommendation platforms. Those websites provide individual suggestions of music to users, creating new dynamics of taste that are no longer based on human-to-human interaction and verbalized judgments. An exemplary analysis of three platforms shows that different conceptions of musical tastes are represented by technical systems: situational emotional preferences, a formalist aesthetics, and social proximity based on tastes. The platforms share certain assumptions about the ontology of musical (...)
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  28.  59
    Kant’s Theory of Taste: A Reading of the Critique of Aesthetic Judgment. [REVIEW]Allen W. Wood - 2003 - Review of Metaphysics 56 (3):633-634.
    Allison begins this book by observing that although the eighteenth century is often called the “age of reason,” it has also been called the “century of taste.” There is a clear enough connection, however, between the two names, for anyone with eyes open enough to see it. For the phenomenon of taste—of likings and dislikings conforming to sharable standards, and invited or sought from others precisely for the sake of sharing them universally—was recognized by eighteenth-century rationalists, and certainly (...)
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  29.  53
    Kant’s Theory of Taste: A Reading of the Critique of Aesthetic Judgment.Henry E. Allison - 2001 - Journal of Aesthetics and Art Criticism 60 (4):353-354.
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  30. Taste and objectivity: The emergence of the concept of the aesthetic.Elisabeth Schellekens - 2009 - Philosophy Compass 4 (5):734-743.
    Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from (...)
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  31. Maggots are delicious, sunsets hideous: false, or do you just disagree? Data on truth relativism about judgments of personal taste and aesthetics.Dylan Murray - 2020 - In Tania Lombrozo, Shaun Nichols & Joshua Knobe, Oxford Studies in Experimental Philosophy Volume 3. Oxford University Press. pp. 64-96.
     
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  32. Henry E. Allison, Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment Reviewed by.Gloria Cruickshank - 2002 - Philosophy in Review 22 (3):157-159.
  33.  26
    Critical Aesthetics. Baumgarten and the Logic of Taste.Alessandro Nannini - 2021 - Aesthetic Investigations 4 (2):201-218.
    In this essay, I discuss Baumgarten’s neglected doctrine of taste. In particular I investigate his definition of taste as the judgment of the senses against the backdrop of the philosophical debate of his day, pointing out the biblical and classical sources of the idea of a judging aisthesis. In addition, I analyse the radical change that the definition of taste as the judgment of the senses brings about in the idea of both taste and the judgment (...)
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  34. Kant’s Theory of Taste: A Reading of the Critique of Aesthetic Judgment.Anthony Savile - 2002 - Mind 111 (442):355-360.
  35.  15
    ALLISON, HENRY E. Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. Cambridge UP 2001. pp. 440.£ 17.95. [REVIEW]Essays After Sibley & Human Kind - 2002 - British Journal of Aesthetics 42 (1).
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  36.  85
    Kant’s Regulative Principle of Aesthetic Excellence: The Ideal Aesthetic Experience.Rob van Gerwen - 1995 - Kant Studien 86 (3):331-345.
    It is rather intriguing that we will often try to persuade people of what we find beautiful, even though we do not believe that they may subsequently base their judgement of taste on our testimony. Typically, we think that the experience of beauty is such that we cannot leave it to others to be had. Moreover, we are often aware of the contingency of our own judgements’ foundation in our own experience. Nevertheless, we do think that certain aesthetic, (...)
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  37.  35
    Taste as Experience: The Philosophy and Aesthetics of Food.Nicola Perullo - 2016 - Columbia University Press.
    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 (...)
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  38. A Linguistic Specification of Aesthetic Judgments.Jochen Briesen - 2019 - British Journal of Aesthetics 59 (4):373-391.
    This paper aims to delineate the class of aesthetic judgments linguistically. The main idea is that aesthetic judgments can be specified by a certain set of assertibility conditions, i.e., by norms that govern appropriate speech-acts. This idea is spelled out in detail and defended against various objections. The suggestion leads to an interesting account of aesthetic judgments that is theoretically fruitful: It provides the basis for a non-circular and satisfying characterization of the whole domain of aesthetic (...)
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  39.  37
    Kant’s Theory of Taste: A reading of the Critique of Aesthetic Judgment. [REVIEW]John Mcguire - 2002 - Graduate Faculty Philosophy Journal 23 (2):242-245.
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  40. Individual and stage-level predicates of personal taste: another argument for genericity as the source of faultless disagreement.Hazel Pearson - 2022 - In Jeremy Wyatt, Julia Zakkou & Dan Zeman, Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy. Routledge.
    This chapter compares simple predicates of personal taste (PPTs) such as tasty and beautiful with their complex counterparts (eg tastes good, looks beautiful). I argue that the former differ from the latter along two dimensions. Firstly, simple PPTs are individual-level predicates, whereas complex ones are stage-level. Secondly, covert Experiencer arguments of simple PPTs obligatorily receive a generic interpretation; by contrast, the covert Experiencer of a complex PPT can receive a generic, bound variable or referential interpretation. I provide an analysis (...)
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  41.  13
    Winckelmann and the notion of aesthetic education.Jeffrey Morrison - 1996 - New York: Oxford University Press.
    In this book, Morrison discusses the process of aesthetic education, as defined by Johann Joachim Winckelmann on the basis of his status as arbiter of classical taste and as applied to his teaching of two pupils. Morrison identifies the key features of Winckelmann's treatment of classical beauty and elucidates how Winckelmann taught the appreciation of beauty. He argues that Winckelmann's practice of aesthetic education fell short of his aesthetic theory. Morrison concludes by looking at Goethe's (...) self-education, which was strongly influenced by Winckelmann. (shrink)
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  42.  99
    Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment (review). [REVIEW]Paul Guyer - 2002 - Journal of the History of Philosophy 40 (3):406-408.
    In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.3 (2002) 406-408 [Access article in PDF] Book Review Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment Henry E. Allison. Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. New York: Cambridge University Press, 2001. Pp. xvi + 424. Cloth, $69.95. Paper, $24.95. In his new book, Henry Allison provides a study (...)
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  43.  74
    Tastes of the Parents: Epigenetics and its Role in Evolutionary Aesthetics.Mariagrazia Portera & Mauro Mandrioli - 2015 - Evental Aesthetics 4 (2):46-76.
    Evolutionary Aesthetics is a bourgeoning and thriving sub-field of Aesthetics, the main aim of which is “the importation of aesthetics into natural sciences, and especially its integration into the heuristic of Darwin’s evolutionary theory.” Scholars working in the field attempt to determine through the adoption of an interdisciplinary research methodology whether and to what extent Darwinian evolution can shed light on our capacity to have aesthetic experiences, make aesthetic judgments (both of art and natural beauty), and produce literary, (...)
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  44. Nietzsche’s Aesthetic Taste for Moral Metacritique.David B. Allison - 2005 - Symposium: Canadian Journal of Continental Philosophy/Revue canadienne de philosophie continentale 9 (2):153-167.
  45.  35
    Kant and the Reorientation of Aesthetics: Finding the World.Joseph J. Tinguely - 2017 - New York, NY, USA: Routledge.
    This book argues that the philosophical significance of Kant’s aesthetics lies not in its explicit account of beauty but in its implicit account of intentionality. Kant’s account is distinct in that feeling, affect, or mood must be operative within the way the mind receives the world. Moreover, these modes of receptivity fall within the normative domain so that we can hold each other responsible for how we are "struck" by an object or scene. Joseph Tinguely composes a series of investigations (...)
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  46. The Hope of Agreement: Against Vibing Accounts of Aesthetic Judgment.Nat Hansen & Zed Adams - 2023 - Mind (531):742-760.
    Stanley Cavell’s account of aesthetic judgment has two components. The first is a feeling: the judge has to see, hear, ‘dig’ something in the object being judged, there has to be an ‘emotion’ that the judge feels and expresses. The second is the ‘discipline of accounting for [the judgment]’, a readiness to argue for one’s aesthetic judgment in the face of disagreement. The discipline of accounting for one’s aesthetic judgments involves what Nick Riggle has called a norm (...)
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  47.  62
    The morphology of art and the psychology of the artist.Lucien Rudrauf - 1954 - Journal of Aesthetics and Art Criticism 13 (1):18-36.
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  48.  30
    Predicates of Personal Taste.Nenad Miščević - 2018 - Croatian Journal of Philosophy 18 (3):385-401.
    The paper addresses issues of predicates of taste, both gustatory and aesthetic in dialogue with Michael Glanzberg. The first part briefly discusses his view of anaphora in the determination of the semantics of such predicates, and attempts a friendly generalization of his strategy. The second part discusses his contextualism about statements of taste, of the form A is Φ, and then proposes a pluralist alternative. The literature normally confronts contextualism and relativism here, but the pluralist proposal introduces (...)
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  49.  24
    David Hume’s epistemologies of aesthetic experience.Andrea Gatti - 2023 - Studi di Estetica 25.
    When used with regard to aesthetic inquiries prior to the nineteenth century, the concept of "aesthetic experience" is subjected to the criticism of those who consider its a posteriori application illegitimate. At the same time, it seems undeniable that the concept was already present and developed during the 18th century: in particular, among British empiricists. For David Hume, the concept of experience results for many reasons foundational to his aesthetic reflection, especially when analyzed from the perspective of (...)
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  50.  68
    A Matter of Taste. The semi-serious musings of a wine taster on the contentious prospects of professional tasting.Giampaolo Gravina - 2012 - Rivista di Estetica 51:149-154.
    During a Barolo en primeur tasting session, a seasoned wine taster is assailed by a procedural unease which leads him to question the foundations on which his work rests. Sparked off by his reading of Michel Le Gris’ pamphlet Dionysos crucifié, the taster’s objections and perplexities are directed towards teasing out the rules and coordinates of a tasting aesthetic which has become tamed and domesticated, at the service of a narcissistic “tyranny of instant gratification”. Such an approach translates into (...)
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