In this paper we discuss the role that individual and collective acts of interpretation play in shaping a metaphysics of food. Our analysis moves from David Kaplan’s recent contention that food is always open to interpretation, and substantially expands its theoretical underpinnings by drawing on recent scholarship on food and social ontology. After setting up the terms of the discussion (§1), we suggest (§2) that the contention can be read subjectively or structurally, and that the latter can be given three (...) sub-readings. We then lay out (§3) three case studies that, we submit, any viable theory of a metaphysics of food should be able to account for. We show that one structural reading—based on the idea of negotiation—swiftly accommodates for the three case studies. We thus conclude that this reading is most promising for charting a metaphysics of food. (shrink)

Healthy Eating Policy and Political Philosophy: A Public Reason Approach by Barnhill and Bonotti is a terrific effort to provide a systematic method for appraising the ethical aspects, broadly understood, of regulations and policies connected to food, diet, and eating. In this commentary I purport to highlight the originality and the merits of the volume by considering what it doesn’t accomplish in three of its parts. I first call attention to the specific construction of the subject matter, namely on the (...) question whether to be at stake are eating behaviors, dietary patterns, or certain food items; while Barnhill and Bonotti do not problematize it, this question is arguably pivotal to design effective policies and to adequately assess them. Second, I discuss the technical concept of “constitutive evaluative standards,” used by Barnhill and Bonotti to lay out their view, as this part of their work calls for an alignment with research on the philosophy of nutritional science and, more generally, philosophy of science. Finally, I take up the technical concept of “accessible reason,” which plays a central role in ascribing the public status to reasons, advocating for a more thorough determination of this concept based on recent work in epistemology. (shrink)

In this paper we provide a framework for studying the ways in which food endures the passage of time. Central to our inquiry is the following Duration Question: when is it that the predicate-schema “Is an X-Food,” where “X-Food” stands for a certain type of food (e.g., Champagne, yoghurt) ceases to apply to an entity? We show that the answer depends on two independent theoretical aspects: the underlying conception of food and the kinds of change that a specific food can (...) undergo. We then argue that specific answers to the duration question should take the form of conceptual rethinking among different stakeholders (e.g., producers, consumers, institutions), where philosophers would feature among the experts guiding the negotiation. (shrink)

Eating local food has become a mainstream proxy for virtue and a reliable model of sustainable dieting. It suffers, nonetheless, from genuine criticisms and limitations. In this paper, we suggest theoretical amendments to reorient the local food movement and turn eating local into a robust concept—comprehensive, coherent, and inclusive, affording a firm grip over structural aspects of the food chain. We develop our argument in three parts. The first contends that ‘local’ can be said of lots of entities (e.g. whole (...) or multi-ingredient foods, recipes, menus) and that its meaning varies depending on which entities are under consideration. The second examines three dimensions of being local: the distance from the place of production; the geographical origins; the social links to consumers and producers. The third presents our robust conception of eating local, grounded on a more realistic model that accommodates for heterogeneous and complex actors. (shrink)

Our aim in this paper is to employ conceptual negotiation to inform a method of rethinking defective food concepts, that is concepts that fail to suitably represent a certain food-related domain or that offer representations that run counter to the interests of their users. We begin by sorting out four dimensions of a food concept: the data upon which it rests and the methodology by which those data are gathered; the ontology that sustains it; the social acts that serve to (...) negotiate and establish the concept; and the aims and values that it fosters. We then discuss the conditions that make a food concept defective, pointing out four types of defects—fragility, polarization, incoherence, and schizophrenia—which we illustrate by means of two specific examples: local food and healthy food. (shrink)

In this paper I attempt to show that a certain degree of hunger, intended as a material and psychological condition of the diner, can become a constitutive property of a culinary work. One may believe that the best possible argument supporting this thesis is one relying on the general assertion that an author’s stipulative authority over the features of his or her work, if adequately exercised, is absolute. Quite the contrary, I show that we should prefer a different and more (...) specific argumentative strategy based on the twofold fact that the conventions ruling over culinary works are peculiarly less stringent than in many other art fields, and that hunger has a very special status with regard to culinary works, in the sense that fixing the degree of hunger of the diner may serve to fix the appropriate conditions for any minimally acceptable perceptual experience of a culinary work to take place. (shrink)

In this paper, we discuss the conceptual structure of cocktail recipes. This topic involves engaging questions for philosophers and food theorists due to some peculiar characteristics of cocktail recipes, such as the fact that they are standardised by international associations but, nonetheless, vagueness in some elements of the recipes introduces a degree of variability between cocktails of the same type. Our proposal is that a classical theory of concepts is unable to account for such peculiar features. Thus, only a hybrid (...) theoretical approach, combining definitional and prototypical aspects, can capture how cocktail recipes are usually conceptualised among bartenders and mixologists: while the spirit is usually a necessary (though not sufficient) condition for establishing whether an individual cocktail falls under a specific cocktail concept, all the other ingredients and procedures listed in recipes may vary to a certain extent. In order to assess whether variability in prototypical elements of cocktail recipes has any limitations, we exploit the notion of conceptual scheme applied to cocktail recipes and argue that, as long as the quality dimensions of a specific cocktail are respected, its identity remains unchanged regardless of changes in the ingredients or in its preparation. (shrink)

The experimental practice in contemporary molecular biology oscillates between the creativity of the researcher in tinkering with the experimental system, and the necessity of standardization of methods of inquiry. Experimental procedures, when standardized in lab protocols, might definitely be seen as actual recipes. Considering these protocols as recipes can help us understand some epistemological characteristics of current practice in molecular biology. On the one hand, protocols represent a common ground, i.e. the possibility of reproducibility, which constitutes one of the essential (...) properties for contemporary science to define an actual discovery. At the same time, however, protocols are flexible enough to be adapted by the individual researcher (within a space of maneuver given by the experimental system and by the practices that each individual discipline gives to itself) to his/her specific needs. These variations, just like the recipes, remind us that the legitimacy of an experimental practice, involves both objective and subjective constraints and it is articulated on a fuzzy background rather than a rigid and clear context. Moreover, looking at experiments according to this perspective can provide a key to understanding how different forms of science (which adopt different methodologies but which investigate the same phenomena), such as computational biology, are precisely different in the use of a different “cookbook”.Indeed, given the procedural/operational realism of biologists towards phenomena, the clash of different procedures has opened a discussion also about the nature and the meaning of the obtained results. Thus, according to the recipe-perspective that, the methodological struggle over the nature of biological phenomena (and their ways of discovery) among scientists, might be seen as a not always explicit, epistemological debate, however coming from the practice of science itself. (shrink)

The automation of many repetitive or dangerous human activities yields numerous advantages. In order to automate a physical task that requires a finite series of sequential steps, the translation of those steps in terms of a computational procedure is often required. Even apparently menial tasks like following a cooking recipe may involve complex operations that can’t be perfectly described in formal terms. Recently, several studies have explored the possibility to model cooking recipes as a computational procedure based on a set (...) of instructions. This vision is the foundation for the construction of robotics kitchen, as Moley. These kitchen robots have shown promising results. Moley, for instance, is the very first example of a new generation of bioinspired robotics, based on the reproduction of particular movement, cooking, through artificial arms and hands. It is entirely different from the current appliances present in our domestic domain because Moley is able to manipulate ingredients and interact with kitchen equipment in order to prepare a dish autonomously. Nonetheless, they have also shown several limitations. In particular, Moley is an entirely autonomous robot in a structured environment in which it knows precisely the object position and manipulates the ingredients based on a list of instructions and a training phase made by Machine Learning. In this contribution we contend that these limitations arise from an essential mismatch between computational procedures, as originally described by Turing in his seminal 1936 paper, and recipes. Computational procedures have been originally created to observe and modify formal symbols with formal operators. Thus, they are independent from time and they are ideally executed in a closed environment, in which the computer directly produces all the relevant changes required to produce the intended result. Recipes, instead, are followed in an open environment, in which, while time goes by, changes happen independently from the cook’s intervention: the cook puts the butter on the pan, starts the fire and then waits until the butter is melted. To operate effectively in the open environment a kitchen robot must couple computational procedures with sensors, e.g a sensor which provides a time signal. These sensors are de facto oracles for the procedures and yet are required to bridge the gap from the formal to the physical world. (shrink)

You are sitting in Chez Panisse, Alice Waters’ acclaimed restaurant in Berkeley, California. After an extensively prepared, multi-course meal, out comes the dessert course: an unmodified but perfectly juicy, fresh peach. Many chefs serve such unmodified or barely-modified foods with the intention that they count as culinary art. This paper takes up the question of whether unmodified foods, served in the relevant institutional settings, can count as culinary art. I propose that there is a distinctive form of aesthetic trust involved (...) in formal culinary settings, and it plays a central role in many instances of culinary art. Culinary institutions summon aesthetic trust, which helps to explain why a dish of unmodified food served in an appropriate institutional setting can count as culinary art. (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)

In this paper I address some ways of making sense of, and so of understanding, recipes. I first make clear the plausibility of a recipe having aesthetic significance, thus situating recipes as continuous with other aspects of our lives and experiences, both artistic and non-artistic. My notion of “aesthetic” here derives from Ludwig Wittgenstein. Second, I also highlight how some recipes and cookbooks may actually serve another aesthetic goal: they facilitate attunement to aesthetic features of cooking and food, and to (...) things more generally. I show how this kind of preparation is consistent with Wittgenstein’s aims in his “Lectures on Aesthetics”, where he encourages a particular aesthetic attitude or predisposition. (shrink)

The relationship between 1. recipes, 2. ingredients and 3. dishes may be understood in analogy to the relationship between elements in the performing arts: for example, in music, 1. musical works, 2. ‘musical ingredients’ and 3. performances. The recipe’s inventor is a ‘composer’ and the cook is a ‘performer’. As I will argue, both in musical performances and in the preparation of dishes, the application of norms requires ‘creative’ adaptation to the concrete specific situation and the final product emerges from (...) practical interactions that involve transformations of their own normative bases. Hence, both in culinary practices and performing arts like music, the improvisational case is paramount for understanding how their normativity, as paradigmatic of the normativity of human practices in general, works. (shrink)

When investigating the nature of culinary works, it is easy to take for granted that they all share the same ontology. This paper argues that, on the contrary, the ontology of culinary works is really threefold. Some culinary works are edible concrete particulars, or dishes, as many of us may first assume. But others are types, or multiply realisable abstract entities. And, while some of these types are determined by one recipe, others are rather chased after by their indefinitely many (...) recipes. So, there are really three kinds of culinary works; only those belonging to one of the three are edible per se; and, each kind has a very different relationship to recipes. Indeed, it is very doubtful that culinary works consisting in edible concrete particulars are suitable to have one or more recipes: by exploring what are the requirements for being a recipe, the paper also examines under what necessary conditions there is a recipe for preparing a culinary work qua concrete particular. (shrink)

Contemporary philosophers have studied food and its consumption from several disciplinary perspectives, including normative ethics, bioethics, environmental ethics, political philosophy, epistemology, and aesthetics. Many questions remain, however, underexplored or unaddressed. It is in the spirit of contributing to fill in these scholarly gaps that we designed the current issue, which represents the first collection of papers dedicated to food from a perspective of analytic metaphysics. Before presenting the five papers published in this issue, we shall briefly frame the current research (...) on food linked to analytic metaphysics and point out future directions of research in this area. We begin with the most basic interroga- tive, namely What is food?, and then offer three illustrations of more specific re- search questions. We hope these examples suffice to demonstrate that food is a fertile terrain of inquiry for analytic metaphysics and that it deserves to be devel- oped. (shrink)

In this paper we suggest that discussions about the identity of recipes should be based on a distinction between four categories of recipes. The central feature that we use to single out a category is the type of relationship that a recipe bears to its author. The first category comprises “open recipes” like wine, pizza, or salad, which come in taxonomic layers and are structurally open for new authors to reshape them. The second category comprises “institutional recipes,” namely those whose (...) authors typically form consortium-like institutions, such as Champagne wines or Quebec maple syrup. The third category comprises “brand recipes” like Coca-Cola, Nutella, or Big Mac, whose names are elusive semantic devices and connote rather than denote recipes. Finally, the fourth category comprises “flagship recipes,” which include all the personal renditions of a recipe whose identity is strongly bound to individual authors; we suggest that their semantics follows a causal-reference model of proper names. Besides its theoretical value, the classification we put forward is offered as a ground for settling legal disputes about recipes, evaluating charges of cultural appropriation that concern recipes, and guiding consumers, producers, and policy makers when they think about foods and diets. (shrink)

This paper explores the Persistence Question about cities, that is, what is necessary and sufficient for two cities existing at different times to be numerically identical. We first show that we can possibly put an end to the existence of a city in a number of ways other than by physically destroying it, which reveals the metaphysics of cities to be partly different from that of ordinary objects. Then we focus in particular on the commonly perceived vulnerability of cities to (...) imaginary relocation; and we make the hypothesis that cities do have among their essential properties that of being surrounded by a specific geographical context. Finally we investigate the pos- sibility that a city can survive relocation in virtue of the capacity of its geographical context to survive it in the first place. We suggest that city contexts may not be essentially context-dependent in turn, and outline a possible description of the cri- teria for their persistence over time. (shrink)

Can there be improvised recipes? This paper argues that improvised recipes are possible. I call them instantaneous-recipes. They emerge at the same instant where a dish is also prepared. The improvisational freedom of instantaneous-recipes is displayed in the spontaneity of using what is available in terms of ingredients, tools, utensils, and techniques. Similar to what graffiti writers do while tagging – that is, leaving their signatures on – a wall or the side of a train car, in creating their signature (...) dishes, improvisers of the kitchen are forced to adapt on the spot to changing contextual conditions just like a missing or newly available ingredient, a technical failure, or a mistake. Analogously to tags, improvised recipes are formally imperfect: they do not comply with established ones and are often rough, unpolished, broken, and disordered. But their imperfections are not aesthetic flaws, but merits. Imperfectionism in cooking, as I call the view rejecting the idea that only perfect instantiations of pre-existing recipes afford positive aesthetic experiences, is linked with three values: aesthetic, humanistic, and sustainable. By bringing imperfect features within the domain of gastronomic appreciation, instantaneous-recipes broaden the range of our aesthetic palette, while also reminding us of our finitude as humans. By encouraging creative uses of available ingredients and leftovers, improvisation in the kitchen also embodies a more sustainable approach to food waste. (shrink)