It is arguably the case that olfactory system contains two senses that share the same type of stimuli, sensory transduction mechanism, and processing centers. Yet, orthonasal and retronasal olfaction differ in their types of perceptible objects as individuated by their sensory qualities. What will be explored in this paper is how the account of orthonasal smell developed in the Molecular Structure Theory of smell can be expanded for retronasal olfaction (Young, 2016, 2019a-b, 2020). By considering the object of olfactory perception (...) to be the molecular structure of chemical compounds composing odor plumes, Molecular Structure Theory provides a means for determining an odor’s olfactory quality, how odors can be identified and individuated, and how we perceive smellscapes. Surveying the differences between orthonasal and retronasal olfaction provides the basis for the central argument of the paper that the perceptible objects we refer to as smells and individuated on the basis of their olfactory qualities are only relative to orthonasal olfaction. Retronasal olfaction it is speculatively concluded might play an essential role in our perception of flavorful objects. (shrink)

Several theorists argue that one does not experience something as being at or coming from a distance or direction in olfaction. In contrast to this, I suggest that there can be a variety of spatial aspects of both synchronic and diachronic olfactory experiences, including spatial distance and direction. I emphasise, however, that these are not aspects of every olfactory experience. Thus, I suggest renouncing the widespread assumption there is a uniform account of the nature, including the spatial nature, of what (...) is experienced in olfactory experience. (shrink)

We demonstrate that many philosophers accept the following claim: When an aesthetic object is apprehended correctly, taking pleasure in said object is a reliable sign that the object is aesthetically successful. We undermine this position by showing that what grounds our pleasurable experience is opaque: In many cases, the experienced pleasure is attributable to factors that have little to do with the aesthetic object. The evidence appealed to is a form of Higher-Order Evidence (HOE) and we consider attempts to overcome (...) said evidence. We argue they are unsuccessful. We conclude by considering what this means for our practice of making aesthetic judgements. (shrink)

Mind &Language, Volume 35, Issue 1, Page 90-114, February 2020.

This article defends a conception of philosophy popular outside the discipline but unpopular within it: that philosophy is unified by a concern with the meaning of life. First, it argues against exceptionalist theses according to which philosophy is unique among academic disciplines in not being united by a distinctive subject matter. It then presents a positive account, showing that the issue of the meaning of life is uniquely able to reveal unity between the practical and theoretical concerns of philosophy, while (...) meeting a range of desiderata for a typical specification of subject matter. After showing how recent analytic work on “the meaning of life” has conflated the traditional question with issues of social meaningfulness, it offers an explanation of why the traditional question has become marginalised in philosophy. The reasons are not good, however, so it concludes that philosophy should embrace its popular image. (shrink)

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 a growing sense of dissatisfaction (...) with an undifferentiated category of taste, comes to be set apart from gustatory taste on account of its normativity and aspirations to objectivity. The paradox of taste, as found in Hume and Kant, is examined, and shown to be highly relevant to contemporary metaphysical debate within aesthetics. Specifically, this paper argues that both Realists and Anti-Realists rely more heavily than assumed on the idea of taste. (shrink)

I argue that perceptual consciousness is constituted by a mental activity. The mental activity in question is the activity of employing perceptual capacities, such as discriminatory, selective capacities. This is a radical view, but I hope to make it plausible. In arguing for this mental activist view, I reject orthodox views on which perceptual consciousness is analyzed in terms of peculiar entities, such as, phenomenal properties, external mind-independent properties, propositions, sense-data, qualia, or intentional objects.

A position has been advanced by a number of philosophers, notably by Burnham and Skilleås, that certain knowledge is required to aesthetically appreciate a fine wine. They further argue that pleasure is not an integral part of aesthetically appreciating wine. Their position implies that a novice cannot aesthetically appreciate a fine wine. This paper draws on research into tasting and psychology to rebut these claims. I argue that there is strong evidence from both the average consumer and from wine experts (...) that they are unable to separate enjoyment from aesthetic evaluation; secondly, I argue that wine knowledge may actually preclude tasting of the wine as it exists in the glass due to perceptual bias. I conclude by arguing that it is unclear how exactly knowledge of things like terroir is supposed to affect the taste, as well as question what role conforming to a certain style plays in aesthetic success, as arguments that require knowledge for appreciation typically emphasize knowledge of styles of wine. (shrink)

Realists about aesthetic judgment believe something like the following: for an aesthetic judgment of be correct, it must respond to the intrinsic aesthetic properties possessed by the object in question (e.g., Meskin et al., 2013; Kieran 2010). However, Cutting’s (2003) empirical research on aesthetic judgment puts pressure on that position. His work indicates that unconscious considerations extrinsic to an artwork can underpin said judgements. This paper takes Cutting’s conclusion a step further: If philosophers grant that it’s possible to appreciate artwork (...) on the basis of unconscious biases, then we never can be fully confident that our aesthetic judgment is undergirded by the intrinsic aesthetic properties of an artwork. Furthermore, if judgment on the basis of unconscious, external reasons cannot be ruled out, we cannot be confident that our aesthetic judgments are ‘correct’. I argue that Cutting’s research is just the tip of the iceberg regarding the extrinsic, unconscious factors that influence aesthetic judgment. Expectation bias formed via social influence and context greatly influence aesthetic judgments and are unavoidable: we inevitably form expectations based on all kinds of contextual cues independently of any actual exposure to the item in question. Such factors make it terribly difficult to be confident in our aesthetic judgments. Even if there are objective properties that mark out some items as aesthetically superior to others, we cannot be sure that our judgments are responding to those properties. (shrink)

In philosophy of aesthetics, scholars commonly express a commitment to the premise that there is a distinctive type of judgment that can be meaningfully labeled “aesthetic”, and that these judgments are distinctively different from other types of judgments. We argue that, within an Aristotelian framework, there is no clear avenue for meaningfully differentiating “aesthetic” judgment from other types of judgment, and, as such, we aim to question the assumption that aesthetic judgment does in fact constitute a distinctive kind of judgment (...) that is in need of, or can be subject to, distinctive theorizing. We advance our argument primarily through demonstrating that leading contemporary accounts of aesthetic judgment do not successfully distinguish a type of judgment in that they do not tell us how making an aesthetic judgment differs substantially from judging that 2 + 3 = 5, that football is entertaining, or that today is Tuesday. (shrink)

According to the mixed lexicographic/additive account of ‘better than’ and similar aggregative value comparatives like ‘healthier than’, values are multidimensional and different aspects of a value are aggregated into an overall assessment in a lexicographic way, based on an ordering of value aspects. It is argued that this theory can account for an acceptable definition of Chang’s notion of parity and that it also offers a solution to Temkin’s and Rachels’s Spectrum Cases without giving up the transitivity of overall betterness. (...) Formal details and proofs are provided in an “Appendix”. (shrink)

Current debates in food aesthetics are moving away from a focus on whether food is art, and worries about the subjectivity and objectivity of taste, and towards questions about food's aesthetic properties, the cultural and social significance of food, our modes of aesthetic engagement with food, and issues involving cultural appropriation and the authenticity of dishes.

In this essay I propose a new theory of taste, starting from the assumption of the multisensorial and ecological approach to the senses, as proposed by Gibson in his psychology of perception and by Dewey in his philosophy and aesthetics. In contrast with an optical approach to tastes and tasting, here I propose the concept of haptic taste to describe a perceptual engagement deeply involved in the processes of experiencing food and beverages, although my examples are mostly related to wine. (...) Finally I spell out the implications of a theory of haptic taste for the way we approach cultivation of taste and expertise. I suggest we should turn from the idea of ‘good taste’ as the result of trained and acquired skills to taste as a task, to mean the practical and continuous attuning with the environment we actively contribute to shape. I believe it is appropriate today to move from a culture of taste, based on an elevation strategy, to a culture with taste, which emphasizes educated nurture. (shrink)

My partner loves the experiences she gets from eating olives. I, on the other hand, hate the experiences I get from eating olives. We differ in tastes. But how exactly do we differ? In particular: do our taste experiences differ phenomenologically—that is, do my olive-experiences feel different than my partner’s olive-experiences? Some philosophers have assumed that the answer is “no,” and have advanced important arguments which turn on this assumption. I argue that, contrary to what these philosophers assume, ordinary taste (...) differences do involve differences in phenomenology. My olive-experiences feel different than my partner’s olive-experiences. I argue for this phenomenal thesis in stages. First, I argue that there is a link between our attitudes and our pleasures; second, I argue that there is a link between our pleasures and our phenomenology. Together, my conclusions link our attitudes and phenomenology in a way that vindicates the phenomenal thesis. Along the way, I fend off various worries about what the phenomenal thesis might entail. I show that it does not entail any form if radical subjectivism, nor does it entail that there is a “distinctive feeling of pleasure.” I close by considering how opponents of the phenomenal thesis might retreat to a weaker thesis: one which concerns extraordinary taste differences, as opposed to ordinary taste differences. I argue that there are no obviously sound arguments for even this weaker thesis, which should make us all the more confident in the phenomenal thesis. (shrink)

Recent work on non-visual modalities aims to translate, extend, revise, or unify claims about perception beyond vision. This paper presents central lessons drawn from attention to hearing, sounds, and multimodality. It focuses on auditory awareness and its objects, and it advances more general lessons for perceptual theorizing that emerge from thinking about sounds and audition. The paper argues that sounds and audition no better support the privacy of perception’s objects than does vision; that perceptual objects are more diverse than an (...) exclusively visual perspective suggests; and that multimodality is rampant. In doing so, it presents an account according to which audition affords awareness as of not just sounds, but also environmental happenings beyond sounds. (shrink)

Sensorimotor enactivism takes perceptual experience to be constituted by a kind of attunement to sensorimotor contingencies – law‐like relations between sensory inputs and bodily activity. The chemical senses have traditionally been construed as especially simple and passive, and a number of philosophers have argued that flavour and smell are problem cases for the sensorimotor approach. In this article, I respond to these objections to the sensorimotor approach, and in doing so offer the beginnings of a sensorimotor account of the chemical (...) senses. (shrink)

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)

1. Historically, our sense of smell has been deemed informationally impoverished, not very discerning, subjective, ineffable, and generally of little value (for an overview, see e.g., Barwich, 2020...

This is a jointly written paper. It has two parts: an empirical part and a theoretical one. Part one, the empirical part, is written by Adrienne Lehrer and describes the language of taste, illustrated by the vocabulary for wine language. The language of the taste of wine often has both a descriptive and evaluate element. Using wine talk as an example, one wine may be described as fruity, acidic, and light, and another as sour, unbalanced, and thin. The second uses (...) highly evaluative terms not found in the first. We analyze the structure of the semantic field of wine descriptors, both literal and metaphoric. A heavy wine uses a deal metaphor, but recent wine writers have expanded the vocabulary by terms such as brawny and muscular. The authority of experts, the advantages and pitfalls thereof, in the description of wine is considered as an instance of delegation of semantic authority. Part two, written by Keith Lehrer, deals with the theoretical implications for a theory of meaning. The theory of wo... (shrink)

The object of our paper is to examine how wine-related knowledge and practices play an important role in determining the respective flavour experiences of novice wine drinkers and sommeliers. We defend the idea that sensation is informed by knowledge, as it circulates in a cultural environment. Biosemiotics has developed appropriate concepts helping us understand how the same wine can generate diverging experiences. Within a biosemiotic framework, we consider wine flavours as relational, semiosic experiences produced by the convergence of sensory-discriminative, motivational-affective (...) and cognitive-evaluative factors. Drawing from fundamental biosemiotics we argue that these factors vary according to the creature and its simultaneously biological and cultural umwelt. We conclude by examining a series of empirical studies consolidating the idea that sensation is informed by knowledge and language. (shrink)

An important part of David Hume’s work is his attempt to put the natural sciences on a firmer foundation by introducing the scientific method into the study of human nature. This investigation resulted in a novel understanding of the mind, which in turn informed Hume’s critical evaluation of the scope and limits of the scientific method as such. However, while these latter reflections continue to influence today’s philosophy of science, his theory of mind is nowadays mainly of interest in terms (...) of philosophical scholarship. This paper aims to show that, even though Hume’s recognition in the cognitive sciences has so far been limited, there is an opportunity to reevaluate his work in the context of more recent scientific developments. In particular, it is argued that we can gain a better understanding of his overall philosophy by tracing the ongoing establishment of the enactive approach. In return, this novel interpretation of Hume’s ‘science of man’ is used as the basis for a consideration of the current and future status of the cognitive sciences. (shrink)

One way to characterize the special relation that one has to one's own body is to say that only one's body appears to one from the inside. Although widely accepted, the nature of this specific experiential mode of presentation of the body is rarely spelled out. Most definitions amount to little more than lists of the various body senses (including senses of posture, movement, heat, pressure, and balance). It is true that body senses provide a kind of informational access to (...) one's own body, which one has to no other bodies, by contrast to external senses like vision, which can take many bodies as their object. But a theory of bodily awareness needs to take into account recent empirical evidence that indicates that bodily awareness is infected by a plague of multisensory effects, regardless of any dichotomy between body senses and external senses. Here I will argue in favour of a multimodal conception of bodily awareness. I will show that the body senses fail to fully account for the content of bodily experiences. I will then propose that vision helps compensate for the insufficiencies of the body senses in people who can see. I will finally argue that the multimodality of bodily experiences does not prevent privileged access to one's body. (shrink)

Kant claims in the third Critique that one can make about wine the merely subjective judgment that it is agreeable but never the universally valid judgment that it is beautiful. This follows from his views that judgments of beauty can be made only about the formal (spatiotemporal) features of a representation and that aromas and flavors consist of formless sensory matter. However, I argue that Kant's theory permits judgments of beauty about wine because the experience displays a temporal structure: the (...) aromas and flavors evolve over the course of a tasting from the bouquet through the palate to the finish. An analogy with music, which Kant describes as 'a play of sensations in time', illuminates how wine qualifies as an object of pure judgments of taste: the 'structure' of a wine can be compared to harmonic structure, and its development throughout the taste can be compared to the unfolding of melody and harmonic progression. (shrink)

Our main concern in this paper is the semantics of predicates of personal taste. However, in order to see these predicates in the right perspective, we had to broaden the scope to the wider class of relative gradable adjectives. We present an analysis of the meaning of these adjectives in the framework of update semantics. In this framework the meaning of a sentence is not identified with its truth conditions, but with its impact on people’s intentional states. In this respect, (...) an important characteristic of relative gradable adjectives is the interplay between their evaluative features and people’s expectations. The dynamic set-up also makes it possible to model the interpretation of a relative gradable adjective without supposing that the context always supplies a ‘cut-off’ point determining its application, and to deal in a pragmatic way with situations in which the Sorites paradox arises. (shrink)

In this paper, I will defend that there is an asymmetry between straightforwardly factual and non-straightforwardly factual disagreements in terms of persistency and retraction, and that we can use what I will call coordination of contexts to explain these two asymmetries. To make my point I will focus on the kinematics of this type of disagreements. I will argue that one way to give a proper account of the kinematics of disagreements about taste and to discriminate between these two cases (...) of disagreement is to focus on coordination of contexts. (shrink)

Theories of perception have traditionally dismissed the sense of smell as a notoriously variable and highly subjective sense, mainly because it does not easily fit into accounts of perception based on visual experience. So far, philosophical questions about the objects of olfactory perception have started by considering the nature of olfactory experience. However, there is no philosophically neutral or agreed conception of olfactory experience: it all depends on what one thinks odors are. We examine the existing philosophical methodology for addressing (...) our sense of smell: on the one hand appeals to phenomenology that focus on the experiential dimensions of odor perception and on the other approaches that look at odor sources and their material dimensions. We show that neither strategy provides enough information to account for the human sense of smell and argue that the inclusion of the missing dimension of biology, with its concern for the function (or functions) of olfaction, provides the means to develop a satisfactory and empirically informed philosophy of smell. (shrink)

Does the sense of smell involve the perception of odor objects? General discussion of perceptual objecthood centers on three criteria: stimulus representation; perceptual constancy; and figure-ground segregation. These criteria, derived from theories of vision, have been applied to olfaction in recent philosophical debates about psychology. An inherent problem with such framing of olfactory objecthood is that philosophers explicitly ignore the constitutive factors of the sensory systems that underpin the implementation of these criteria. The biological basis of odor coding is fundamentally (...) different from the coding principles of the visual system. This article analyzes the three measures of perceptual objecthood against the biological background of the olfactory system. It contrasts the coding principles in olfaction with the visual system to show why these criteria of objecthood fail to be instantiated in odor perception. The argument demonstrates that olfaction affords perceptual categorization without the need to form odor objects. (shrink)

Philosophers have recently paid increasing attention to the aesthetic and artistic worth of food (Korsmeyer 2005, 1999; Kuhen 2005; Monroe 2007; Myhrvold 2011.

This paper presents forms of multimodal perceptual experience that undermine the claim that each aspect of perceptual experience is modality specific. In particular, it argues against the thesis that all phenomenal character is modality specific (even making an allowance for co-conscious unity). It concludes that a multimodal perceptual episode may have phenomenal features beyond those that are associated with the specific modalities.

Is the sense of smell a source of aesthetic perception? Traditional philosophical aesthetics has centered on vision and audition but eliminated smell for its subjective and inherently affective character. This article dismantles the myth that olfaction is an unsophisticated sense. It makes a case for olfactory aesthetics by integrating recent insights in neuroscience with traditional expertise about flavor and fragrance assessment in perfumery and wine tasting. My analysis concerns the importance of observational refinement in aesthetic experience. I argue that the (...) active engagement with stimulus features in perceptual processing shapes the phenomenological content, so much so that the perceptual structure of trained smelling varies significantly from naive smelling. In a second step, I interpret the processes that determine such perceptual refinement in the context of neural decision-making processes, and I end with a positive outlook on how research in neuroscience can be used to benefit philosophical aesthetics. (shrink)

This study investigates the relationship between evidentiality, temporality and epistemic control through detailed interpretive analysis of wine reviews written by Robert Parker, whose outstanding authority in this particular discourse field provides an exceptionally fruitful backdrop for the exploration of credibility in discourse. The material consists of 200 entire reviews, which are divided into units based on differences in temporality, evidentiality and modes of knowing. The analysis takes into consideration linguistic markers realized in the texts as well as implicitness that emanates (...) from general world knowledge and more specific contextual awareness. It is shown in detail how the construction of credibility in this particular instance of persuasive discourse relies on complex interrelations between explicit and implicit features of texts as well as combinations of socio-cultural factors, which taken together result in epistemic control of the depicted events, i.e. an impression that what is communicated is the ultimate truth about the wines. The more general implications of the study are first to contribute to the body of theoretical work that strives to extend the understanding of evidentiality and temporality beyond explicit linguistic markers, and second to promote the approach adopted in this study as a useful complement to other methods used in interpretive discourse analysis. (shrink)