This chapter contains sections titled: Canary Wine and Beyond Wine, the Analogy with Art, and Expression Dewey Seeing As and Seeing In Critical Rhetoric The Institutional Theories Attention, Attitude and Appreciation Aesthetic Attributes and Experiences Aesthetic Experience: What Is It? Functionalist Theories The Necessity of Aesthetic Competency Aesthetic Emergence Aesthetic Competency Notes.

The lack of agreement about the meaning of common wine-describing terms such as structure has led to conflicting views about the ontological nature of wine as an aesthetic object. I argue that a wine’s structure is a dispositional property of that wine realized in the temporal organization of qualities centered in the middle palate of a taster’s gustatory experience. I defend this claim from those (e.g., Scruton) who argue that only experiences have such properties, not (...) wines. I also oppose those (e.g., Kant) who hold that gustatory objects are hedonically experienced immediately and hence do not afford an extended temporal encounter. I follow Brillat-Savarin’s lead in arguing that gustatory experience has a progressive temporal character. Finally, I further articulate the theory that a wine’s structure is a temporal organization of qualities. (shrink)

This chapter contains sections titled: Taste and Discernment Delicacy of Taste and the Supertasters Practices and Comparisons Who Are the True Judges of Wine? Experts and Projects Experts and Evaluation Ideal and Izeal experts ‐ And You The Canon and Ideal Critics: The Special Relationship Levinson's Problems The Canon and Wine Wine Canons and Ideal Wine Critics Taste, the Competencies and Trust Iconic or Iconoclastic Critics Conclusion Notes.

For sensible men I prepare only three kraters: one for health (which they drink first), the second for love and pleasure, and the third for sleep. After the third one is drained, wise men go home. The fourth krater is not mine any more—it belongs to bad behaviour; the fifth is for shouting; the sixth is for rudeness and insults; the seventh is for fights; the eighth is for breaking the furniture; the ninth is for depression; the tenth is for (...) madness and unconsciousness. The collection Questions of Taste: The Philosophy of Wine, edited by Barry Smith, originated at a conference at London University in 2004.1 Smith writes that “it was the first ever conference on the philosophy of wine” (i). As Smith claims.. (shrink)

This article first addresses the question of “why” we teach business ethics. Our answer to “why” provides both a response to those who oppose business ethics courses and a direction for course content. We believe a solid, comprehensive course in business ethics should address not only moral philosophy, ethical dilemmas, and corporate social responsibility – the traditional pillars of the disciple – but also additional areas necessary to make sense of the goings-on in the business world and in the news. (...) These “new pillars,” that we advocate include moral psychology, organizational design and behavior, motivational theory, and a unit on how society, business, and law interact. This last unit builds upon the work of Francis P. McHugh (1988) who urged an integration of “disciplines related to business ethics.” Our seventh pillar would encompass an integration of law, socio-political theory, and policy to demonstrate how business helps construct its own regulatory framework. The concluding recommendation is for a comprehensive “Seven Pillars” of business ethics approach. (shrink)

This book represents the first full-length study of the aesthetics of the appreciation of wine. It introduces and argues for the validity and significance of several new concepts: competency, project, and aesthetic practices. Using these concepts -- together with analyses borrowed from cognitive science, sensory science, Husserlian phenomenology and hermeneutics -- the case is made that wine can be a proper and indeed significant object of aesthetic attention. The implications of this are pursued in three ways: (...) First, within the culture of wine, with a sustained treatment of important concepts such as terroir; second, within philosophical aesthetics. The latter results in a position termed 'contextual aesthetics' that sees aesthetic acts as always situated within cultural practices, and given meaning thereby. The third implication is for the cultural and aesthetic value accorded to the various senses, and the kinds of underlying issues that might have led to, and might now lead away from, these values. (shrink)

Recent corporate legal and ethical meltdowns suggest that avoiding such harms to companies and to society requires a significant culture change within the organization. This paper addresses the issue of what it takes to change a corporate culture. While conventional wisdom may suggest that a change requires only the institution of an ethics office with proper reporting paths and an ethics code, such an approach is only a beginning. Many large corporations, especially those in danger of legal and ethical catastrophes, (...) need to undertake multiple initiatives to generate a new culture that manifests new values and new vocabularies. A cultural change accomplished by changing large numbers of personnel is expensive in financial and human terms. One component of a less costly approach is to tell new and different stories within the corporation because stories establish the cultural DNA that gives organizations, families, and individuals their identities. Such changes in individual firms, however, are influenced by the ideological assumptions within which and under which the industry and the society operates. (shrink)

This essential business ethics text touches on many themes important to future leaders of business. Broad in its scope, the book presents the business aspects of philosophy, law, politics, government policy, and education. The material is designed to heighten the reader's sensitivity to the moral domain existing in business. As the culture of American "big business" has clouded the view of society towards business professionals, Ethics, Law, and Business realizes a need to prepare business students for leadership roles in the (...) communities, as well as in business. This text discusses the basics of free speech, violence, affirmative action, and public education. Filling an important gap, this textbook presents imminently readable information on several business topics. In the past, there was not one or even any combination of books that provided the necessary coverage in a usable format. This book is appropriate for a semester course on business ethics in any graduate or undergraduate program. This textbook will be accompanied by an Instructor's Manual written by Wines and Nancy L. Bodie, Boise State University. It will feature PowerPoint slides, discussion problems, test items, and teaching suggestions. (shrink)

Art is one thing, the aesthetic another. Things can be appreciated aesthetically – for instance, in terms of the traditional category of the beautiful – without being works of art. A landscape can be appreciated as beautiful; so can a man or a woman. Appreciation of such natural objects in terms of their beauty certainly counts as aesthetic appreciation, if anything does. This is not simply because landscapes and people are not artefacts; for there are also artefacts which (...) are assessable aesthetically without being works of art (e.g. an elegant car or a mathematical proof)... (shrink)

In an increasingly global environment, managers face a dilemma when selecting and applying moral values to decisions in cross-cultural settings. While moral values may be similar across cultures (either in different countries or among people within a single country), their application (or ethics) to specific situations may vary. Ethics is the systematic application of moral principles to concrete problems.This paper addresses the cross-cultural ethical dilemma, proposes a tentative model for conceptualizing cross-cultural ethics, and suggests some ways in which the model (...) may be tested and operationalized. (shrink)

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 paper provides an account of the nature of our appreciation of wine, and a defence of the aesthetic value of tastes and smells. Focusing primarily on Roger Scruton’s recent claims, I argue against him that our appreciation of wine meets his own constraints on aesthetic interest and, moreover, that the cultural significance he grants to wine is in large part grounded in its aesthetic value. I show that Scruton’s claims are thus in tension (...) with each other, not because he has misunderstood the nature of aesthetic interest, but because he fails to appreciate the aesthetic capabilities of wine. Appealing to a well-known argument of Kendall Walton’s, I defend the aesthetic interest and value of tastes and smells by demonstrating that our judgements of wine can be correct or incorrect relative to the categories that govern its production and proper appreciation and understanding. I thereby show that tastes and smells can attain aesthetic significance in virtue of the types of objects they constitute. In particular, I hold that this significance, in the case of wine, rests in large part on its ability to be expressive and to embody certain kinds of meaning. (shrink)

The theme of this issue of Ethical Perspectives is the French tradition in liberal thought, and the unique contribution that this tradition can make to debates in contemporary liberalism. It is inspired by a colloquium held at the Katholieke Universiteit Leuven in December of 2008 entitled “In Search of a Lost Liberalism: Constant, Tocqueville, and the singularity of French Liberalism.” This colloquium was held in conjunction with the retirement of Leuven professor and former Dean of the Institute of Philosophy, André (...) Van de Putte, who found much inspiration in this tradition. A revised version of his valedictory lecture from the conference serves as the final contribution to this issue. Much contemporary liberal political philosophy is currently done in conversation with a line of liberal thinkers starting with John Locke, running through Immanuel Kant and John Stuart Mill, and culminating in the work of John Rawls and his followers. The reasons for the enormous appeal of this philosophical tradition are, among other things, the combination of the central role of the intuitively appealing value of individual liberty with a strong rationalistic, universalistic, and normative character. The thread running through most of these liberal theories is a commitment to what the French liberal Benjamin Constant referred to as “the liberty of the moderns,” that is, liberty in a negative sense, as a lack of interference in one’s activity from others and from government. This focus has expanded over time to include a richer body of civil, political, social, economic and cultural rights, for instance, in the work of liberal thinkers who have tried to integrate the insights of communitarian thought and discourse ethics in their work. However, the emphasis on individual liberty in the negative sense continues to be the normative and theoretical touchstone and default position for many contemporary liberal theories. The limitation of the canon of liberal thought to the aforementioned authors and themes deprives the contemporary debate of a rich source of ideas: the French liberal tradition. Montesquieu, considered to be the father of this tradition, provides a good example of how it can enrich current debates in liberal theory. Montesquieu’s work evinces a keen eye for the dynamics of power relations and the limitations of the power of the better rational argument. His insight that power can sometimes only be checked by an equal and opposing power, so that a system of separation and balance of powers is necessary in order to preserve liberty, is reflected in the foundations of most modern democracies. Montesquieu also argues that contingent environmental, historical, social and economic conditions play a dramatic role in determining what kind of government is appropriate for a particular society. On his view, ignoring these facts when framing a government can inadvertently end in despotism. Montesquieu’s observations challenge us to reexamine some of contemporary liberalism’s universalist and rationalist claims. Benjamin Constant is most famous for his distinction between two kinds of liberty: the liberty of the ancients and the liberty of the moderns. The ancient form of liberty manifested itself in the active political participation of citizens in the ancient republic. While this form of government and decision-making was suitable for small, homogeneous city-states, Constant argues that it is impracticable for large modern nation-states. Hence, the concept of modern liberty shifts to an emphasis on the rule of law and the non-interference of the state in private matters. This form of liberty is familiar to us from contemporary liberalism – and Constant cherishes this form of freedom as much as any liberal does today. However, his position is complex: he also argues that the liberty of the ancients should not be neglected. Active political participation is needed to ensure that the government is executing its duty of preserving the modern form of liberty by publicly pointing out violations. The contemporary relevance of Constant’s work is clear when we consider the alleged “democratic deficit” that plagues the EU and international institutions such as the UN, the IMF, and the World Bank. Not only does this democratic deficit threaten the modern form of liberty by placing decision-making processes out of sight of the people, it also threatens citizens’ sense of self-respect derived from self-governance. Constant’s argument for the necessity of combining the liberty of the ancients with that of the moderns provides a fruitful resource for confronting these contemporary issues. Tocqueville’s work on liberalism benefits from his opportunity to observe a society founded on liberal democratic principles – the United States of America – in action. In his Democracy in America, he examines the social consequences, both intended and unintended, of building a society on ‘the equality of conditions’, as he defines ‘democracy’. Tocqueville sees a tension between the democratic value of equality and the aristocratic value of the rule of the best. He observes that democratic societies do not necessarily choose the best leaders and instead promote mediocrity instead of virtue, talent, and excellence. Democracy also confronts citizens with the threat of ‘soft despotism’, where a government that preserves the outer signs of the liberty of the moderns nevertheless controls the behavior of its citizens in minute detail through a system of detailed rules ostensibly aimed at their welfare. This paternalism is an even more insidious threat to liberal values than the hard variety of despotism, since it is so difficult to detect and done in the name of liberal values themselves. Taking Tocqueville’s observations seriously would add complexity to attempts to theorize about the modern social-democratic welfare state. The contributions to this issue supplement and critique mainstream liberal thought and its relation to contemporary issues through a serious engagement with the French liberal tradition. Annelien De Dijn’s contribution discusses Bertrand de Jouvenel, a lesser-known 20th Century representative of the French political tradition she terms ‘aristocratic liberalism’. This tradition has its roots in the work of Montesquieu, and emphasizes the importance of intermediary bodies, most importantly the aristocracy, in providing a check to the top-down power of despotic state authorities and the bottom-up power of revolutionary leveling tendencies, both of which threaten liberty. De Dijn situates Jouvenel in this tradition, but then indicates an important difference between his thought and that of his predecessors: his most significant work, On Power, is not only on French history, but on European history. Pointing to the enthusiastic reception of this work in the Anglophone world, she suggests that the rise of totalitarianism in Europe gave the anti-totalitarian features of aristocratic liberalism a broader appeal. Valentino Lumowa’s paper concerns Constant’s classic text, The Liberty of the Ancients Compared with that of the Moderns. Lumowa argues that in order to understand Constant’s piece, we must be aware that its two parts were written under different historical circumstances and decipher the argumentative thrust inherent in the text. Following Stephen Holmes, he argues that to understand the shift Constant made in the second part of the text, we should read it within the context of the increasing influence of the ultra-Royalists in the legislature during the Bourbon Restoration. However, in contrast to Holmes, he contends that the spirit of both civic and individual freedom, which enlivens representative system, is the backbone of the text in its unity. Demin Duan’s essay investigates an apparent ambivalence between liberal and imperialist tendencies in the work of Alexis de Tocqueville, which has already drawn some attention from Tocquevillian scholars. These interpretations of Tocqueville and his writings on empire generally agree that Tocqueville stands in a recognized tradition of liberalism, which is characterized by respect for human rights, individual freedom and a sense of universal humanism. On this standard view, Tocqueville’s support of imperialism represents nothing but an unfortunate breach of his own otherwise consistent liberal thinking. Duan’s article questions this standard position. By questioning the assumption of Tocqueville’s liberalism in the first place, he tries to gauge the influence of both the old republican tradition and the new liberal perspective on his thinking. In conclusion, he argues that Tocqueville’s overall thought, especially his notion of freedom, is very much informed by an old republican tradition. His support of French imperialism could be better understood from this perspective rather than be rendered simply as a deviation from liberal norms. Pawel Marczewski’s contribution is an attempt to show that Tocqueville’s conception of liberty transcends the divisions between negative and positive aspects of freedom. He begins by juxtaposing this conception with the opposition drawn by Constant between liberty of the ancients and liberty of the moderns. While Tocqueville and Constant shared a concern for the preservation of individual rights, Tocqueville was much more reluctant to accept the modern loss of the communal dimension of liberty. He did not accept the view that jouissances privées, private pleasures, are the main compensation that the modern world has to offer for the lost ancient treasure of political participation. The essay then looks into the relevance of Tocqueville’s standpoint for current debates between liberal defenders of negative freedom and republican advocates of freedom as non-domination. Participants on both sides of the debate seem to be so devoted to showing that their particular approach provides the best guarantees against actual and possible threats to liberty that they overlook the fact that their definitions of freedom remain significantly similar. By arguing that ‘to be free is to be guided by one’s own will’, contemporary republicans, as well as their liberal counterparts, move along the lines drawn by Constant towards private pleasures. By questioning the inevitability of this turn, Tocqueville provides us with a valuable contribution to these discussions in contemporary political philosophy. Finally, André Van de Putte’s contribution, an adaptation of his emeritus speech that closed the conference on French Liberalism, appeals to Tocqueville in order to draw attention to the importance of intermediary, dialogical bodies in mitigating the implicit despotic tendencies of the democratic drive to equality. In Tocqueville’s view, the transition from the feudal corporate inequality to democratic individual equality was not a clean break. Rather, this transition is a continual process of democratization that is driven by a desire for equality, or egalité des conditions. This dissolution of distinctions of estate, class and status has the unintended consequence of concentrating the diffuse power of these entities into a centralized state, which is responsible for ensuring the equality of all under the law. This process leaves increasingly isolated and atomized individuals to face the power of a monolithic state in defense of their freedom, and moves toward a soft, paternalistic despotism. Constant’s freedom of the moderns is not sufficient to protect individuals from this centralized power. Democracy also requires the political freedom of the ancients. Van de Putte argues for a system in which atomized individuals organize themselves into intermediary bodies that, in a Montesquieuian balance of powers, can enter into dialogue with each other and the state on more equitable terms. Van de Putte’s contribution closes with a plea for a conception of democracy as a regime of dialogue. (shrink)

The intellectualization of wine has given importance to what would ordinarily be seen as a self- indulgent recreation. Charters found that knowledge facilitates the ability for consumers to understand the nuances of and distinctions of different types of wine and that the extreme diversity of wines creates an intellectual challenge for consumers that can fuel a desire to investigate more about wine.1The exploration of knowledge about wine, in support of enjoyment through a broader understanding of the (...) product, is not dissimilar to the exploration required of other leisure activities, such as the appreciation of works of art.2 In fact, wine has been described as a work of art in and of itself.3 Further, wine can be... (shrink)

In Kant's Critique of Judgment (CJ), the actual mechanism of the construction of aesthetic ideas is only briefly sketched. I suggest that there may be a connection between certain aspects of Sections 49 and 59, such that the creation of aesthetic ideas can be related to the process of "symbolic hypotyposis" (¤59.2). I will argue that the process of symbolic hypotyposis relates to the formation of aesthetic attributes, as symbols, through an analogical process; that a symbol (...) acts, in effect, as one part of the four parts of an analogy, and that the aesthetic idea may result from the application of the process of analogy. I will suggest that aesthetic attributes may, in some cases, function as symbols, and induce what I will term "conceptual overflow," in which the normal contents of the symbol are supplemented through the analogical process. (shrink)

Plato's views on tragedy depend in large part on his views about the ethical consequences of emotional arousal. In the Republic, Plato treats the desires we feel in everyday life to weep and feel pity as appetites exactly like those for food or sex, whose satisfactions are ‘replenishments’. Physical desire is not reprehensible in itself, but is simply non-rational, not identical with reason but capable of being brought into agreement with it. Some desires, like that for simple and wholesome food, (...) are in fact ‘necessary’ and approved by reason. Other appetites, like lust and gluttony, are ‘unnecessary’ and anti-rational in that they are actively opposed to reason. According to the Republic, the satisfaction of these ‘unnecessary’ desires inevitably strengthens the elements in the soul that oppose reason. The desire to weep at the theatre is treated in this dialogue as just such an anti-rational desire. Even a temporary indulgence in tragic pity and fear has a permanent deleterious effect on the soul, although it does not lead directly to any action. This paper argues that a radically different psychological theory, with important aesthetic implications, appears in the discussion of wine-drinking in Books 1 and 2 of Plato's Laws. Though this long passage has been much scorned and neglected, it is of considerable philosophical importance. While in the Republic Plato condemns drunkenness and other anti-rational states, in the Laws he extols the benefits of a hypothetical ‘fear drug’ that could induce a temporary state of anti-rational terror and of wine to produce other anti-rational emotions and desires. (shrink)

Recent corporate legal and ethical meltdowns suggest that avoiding such harms to companies and to society requires a significant culture change within the organization. This paper addresses the issue of what it takes to change a corporate culture. While conventional wisdom may suggest that a change requires only the institution of an ethics office with proper reporting paths and an ethics code, such an approach is only a beginning. Many large corporations, especially those in danger of legal and ethical catastrophes, (...) need to undertake multiple initiatives to generate a new culture that manifests new values and new vocabularies. A cultural change accomplished by changing large numbers of personnel is expensive in financial and human terms. One component of a less costly approach is to tell new and different stories within the corporation because stories establish the cultural DNA that gives organizations, families, and individuals their identities. Such changes in individual firms, however, are influenced by the ideological assumptions within which and under which the industry and the society operates. (shrink)

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

Plato's views on tragedy depend in large part on his views about the ethical consequences of emotional arousal. In theRepublic, Plato treats the desires we feel in everyday life to weep and feel pity as appetites exactly like those for food or sex, whose satisfactions are ‘replenishments’. Physical desire is not reprehensible in itself, but is simplynon-rational, not identical with reason but capable of being brought into agreement with it. Some desires, like that for simple and wholesome food, are in (...) fact ‘necessary’ and approved by reason. Other appetites, like lust and gluttony, are ‘unnecessary’ andanti-rational in that they are actively opposed to reason. According to theRepublic, the satisfaction of these ‘unnecessary’ desires inevitably strengthens the elements in the soul that oppose reason. The desire to weep at the theatre is treated in this dialogue as just such an anti-rational desire. Even a temporary indulgence in tragic pity and fear has a permanent deleterious effect on the soul, although it does not lead directly to any action.This paper argues that a radically different psychological theory, with important aesthetic implications, appears in the discussion of wine-drinking in Books 1 and 2 of Plato'sLaws. Though this long passage has been much scorned and neglected, it is of considerable philosophical importance. While in theRepublicPlato condemns drunkenness and other anti-rational states, in theLawshe extols the benefits of a hypothetical ‘fear drug’ that could induce a temporary state of anti-rational terror and of wine to produce other anti-rational emotions and desires. (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)

In _Wine & Philosophy,_ philosophers, wine critics, and winemakers share their passion for wine through well-crafted essays that explore wine’s deeper meaning, nature, and significance Joins _Food & Philosophy_ and _Beer & Philosophy_ in in the "Epicurean Trilogy Essays are organized thematically and written by philosophers, wine writers, and winemakers Chapters include, “The Art & Culture of Wine”; “Tasting & Talking about Wine”; “Wine & Its Critics”; “The Beauty of Wine”; “The Metaphysics (...) of Wine”; and “The Politics & Economics of Wine” Accessible to a general audience while at the same time covering some serious philosophical ground Incorporates traditional areas of philosophical study, including philosophy of language, philosophy of perception, aesthetics, metaphysics, ethics and political philosophy A great complimentary text to any guided-tour visit to the Napa Valley or other wineries. (shrink)

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

The starting point of this paper is a recent exchange in the Journal of Aesthetics and Art Criticism1 that pits moderate moralism against robust immoralism and has Humean antecedents. I will proceed by agreeing in part with both, but fully with neither, thereby annoying as many people as possible in one go. I believe, with Anne Eaton, the proponent of robust immoralism, that fictions which valorize what she calls "rough heroes" can arouse both aesthetically compelling and morally troubling reactions. On (...) the other hand, I argue that the troubling moral reaction targeted need not be a sufficient ground for attributing a moral flaw to the... (shrink)

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

His first point is that knowledge about economic development is very limited. Much of economic growth has to be attributed to the "residual" -- "the measure of our ignorance," as Robert Solow calls it. In the best studied case, the United States, two-thirds of the rise in per capita income falls within this category. Similarly, the Asian NICs provide "no obvious lessons," having followed "varied and ambiguous" paths that surely do not conform to what "current orthodoxy says are the key (...) to growth." Krugman recommends "humility" in the face of the limits of understanding, and caution about "sweeping generalizations.". (shrink)

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

In Wine & Philosophy, philosophers, wine critics, and winemakers share their passion for wine through well-crafted essays that explore wine’s deeper meaning, nature, and significance Joins Food & Philosophy and Beer & Philosophy in in the "Epicurean Trilogy Essays are organized thematically and written by philosophers, wine writers, and winemakers Chapters include, “The Art & Culture of Wine”; “Tasting & Talking about Wine”; “Wine & Its Critics”; “The Beauty of Wine”; “The (...) Metaphysics of Wine”; and “The Politics & Economics of Wine” Accessible to a general audience while at the same time covering some serious philosophical ground Incorporates traditional areas of philosophical study, including philosophy of language, philosophy of perception, aesthetics, metaphysics, ethics and political philosophy A great complimentary text to any guided-tour visit to the Napa Valley or other wineries. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the world (...) in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our (...) species’ evolutionary development, which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

An early version of "Kant on the Normativity of Taste" above. Original abstract: In moving away from the objective, property-based theories of earlier periods to a subject-based aesthetic, Kant did not intend to give up the idea that judgments of beauty are universalizable. Accordingly, the “Deduction of Judgments of Taste” aims to show how reflective aesthetic judgments can be “imputed” a priori to all human subjects. The Deduction is not successful: Kant manages only to justify the imputation of (...) the same form of aesthetic experience to everyone; he does not show that this experience will universally occur in response to the same objects. This is what I call Kant’s problem of particularity. After critiquing Anthony Savile’s attempt to overcome this problem by linking Kant’s aesthetics to the theory of rational ideas, I elucidate the concept of aesthetic attributes in a way that suggests a possible resolution to the problem of particularity. -/- . (shrink)

"Die Unterscheidung in Haupt- und Nebensache ist ein kulturabhängiges ästhetisches Konstrukt, das immer wieder neu ausgehandelt wird. Dieser Band erschließt die Ästhetik des Beiwerks in der Bild- und Textkultur des Quattrocento über den historischen Begriff Parergon (dt. Beiwerk) folglich auch innerhalb einer Normen- und Rezeptionsgeschichte. Der Topos von der potentiellen Gefährdung des Werkes durch übermäßiges Beiwerk prägt seit der Antike westliche kunsttheoretische, theologische und nicht zuletzt auch wissenschaftliche Diskurse. In eingehenden Analysen verfolgt dieser Band das Phänomen aus der Perspektive von (...) Künstlern des ausgehenden 15. Jahrhunderts, die das scheinbar Nebensächliche als konstitutiv anerkennen und dergestalt produktiv einsetzen. Maler wie Francesco del Cossa, Carlo Crivelli oder Vittore Carpaccio schöpfen aus dem prekären Verhältnis von Ergon und Parergon, indem sie dieses visuell reflektieren und dabei gerade im sakralen Tafelbild das Beiwerk als Ort elaborierter ästhetischer Auseinandersetzungen entdecken."--P. [4] of cover. (shrink)

Eco-labels emphasize information disclosure as a tool to induce environmentally friendly behaviors by both firms and consumers. The goal of eco-labels is to reduce information asymmetry between producers and consumers over the environmental attributes of a product or service. However, by focusing on this information asymmetry, rather than on how the label meets consumer needs, eco-labels may send irrelevant, confusing, or even detrimental messages to consumers. In this article, the authors investigate how the environmental signal of eco-labels interacts with (...) product characteristics such as brand, quality, and price. In a discrete choice experiment, the authors examine consumer response to two similar eco-labels for wine, one associated with a quality reduction and the other not. The results show that respondents preferred both eco-labeled wines over otherwise identical conventional counterparts when the price was lower and the wine was from a lower quality region. However, they preferred conventional, more expensive wine from a high-quality region. This preference indicates that respondents not only obtain some warm glow value from eco-labeled wine but also possibly interpret eco-labeling as a signal of lower quality. This relationship held across both types of eco-labels, meaning that consumers did not understand the difference between them. This research contributes to the literature on information disclosure policies by highlighting important elements for effective eco-labels. These elements include consumer awareness and understanding of the eco-label, and consumer willingness to pay for an eco-labeled product. The results emphasize the need to create eco-labels that communicate clearly both the environmental attributes and the private benefits associated with them. (shrink)

This chapter contains sections titled: The Cognitive Background to the Aesthetic Problem Wine, Cognition and Philosophy The Phenomenology of “Projects” The Aesthetic Project Notes.

It is a fact that wine tasting can at times take the form of an aesthetic experience and that many wines can be regarded as proper aesthetic objects. Can we consider wines works of art, then? This is the question I explore in this essay. I have reservations towards a positive answer to the question, but I think their nature is psychological or cultural, rather than theoretical. From a theoretical point of view we probably have sufficient reasons (...) to claim that high quality wines are artworks: in this essay I try to lay out those reasons. My remarks are based on the discussion of three key points: (a) the artifactual nature of wine, (b) a version of the aesthetic theory of art, and (c) the metaphysical view Nick Zangwill calls ‘Aesthetic Functionalism’. According to this view, in order to be an artwork an object must have originated in an insight concerning the fact that certain aesthetic properties would be realized by certain non-aesthetic properties. The thesis I defend is that a certain wine is an artwork if and only if it has been produced with the intention to realize certain aesthetic properties in other, non-aesthetic properties, i.e. in the smell and taste of the wine, on the ground of an insight into the dependence of the former on the latter. (shrink)

One of the most intractable issues in Kierkegaard scholarship continues to be the question of what one is to make of the relation between infinite resignation and faith in Fear and Trembling. Most commentators follow Kierkegaard's pseudonymous author in claiming that progression to faith is a “linear” process that requires infinite resignation as a first step. The problem with such a reading is that it leads to paradox: It seems to require attributing to the “knight of faith” two inconsistent belief‐attitudes (...) simultaneously—on the one hand, the willingness to resign one's heart's desires (infinite resignation) and, on the other, the conviction that one will somehow receive back what one has resigned. But this is a confused way of thinking about faith. I will show that faith's alleged paradoxicality is only apparent and that the element of resignation that constitutes an aspect of it actually bears some striking similarities to what the aesthete has in mind when he speaks, in Either/Or, of throwing hope overboard in order to make possible a truly artistic way of life. Hence, on my interpretation, the knight of faith does not need to adopt two contradictory attitudes at the same time (or constantly to “annul” one of them), but must rather practice a form of spiritual discipline in many ways analogous to the aesthete's endeavour to become a “poet of possibility.”. (shrink)

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

This chapter contains sections titled: Introduction Wine as a Moving Target Wine as a Vague Object 2030 ‐ A Thought Experiment Wine as “Pure Experience” or as “Rich Object”? The Taster of the Future Conclusions Notes.

Recently, Jean-Luc Marion has developed the role of hermeneutics within his phenomenology of givenness. This paper aims to demonstrate that there is an aesthetic path to accessing hermeneutic engagement of a basic kind in his previous work. The Marionian hermeneutic management of the gap between what gives itself and what shows itself finds its heuristic model in the artist’s task of making the unseen visible, as becomes clear in his studies of painting.

Philosophers have been quarrelling for ages over the correct understanding of the identity relation and its applications, but seldom have they discussed the identity of foods, including beverages under this herd. Taking wine as a working example, the present study shows that foods call attention over unnoticed metaphysical difficulties, most importantly the role of authenticity in ascertaining the identity of an individual and the possibility of identity being determined by a collectivity of people. More in details, the paper examines (...) the relationship between a rank of wines and its specific instances, that is, on what grounds some wine is of a certain rank. A “rank of wines” here stands for wines that are identical under some respect, be it the area of production, the style, the color, the variety, and so forth. Extant wine labels are taken as the best candidates to carve out a class of wine ranks that is metaphysically prior to any other; the analysis focuses on geographic indications because of the extensive discussion they have generated, but the morals here drawn extend also to other classes of wine ranks, such as those utilized by wine experts. After some introductory remarks (§1), the case is made that the identity of wines is established through judgments of authenticity (§2). Issues of authenticity are then discussed through the special case of geographic indications (§3). Two different views on how to justify the attribution of a geographic indication are presented and criticized; those rest respectively on terroir (§3.1) and chemical composition (§3.2). The last section (§4) argues for a conventionalist view on wine identity. Distancing itself from conventionalist proposals advanced to favor industrial wine production, the view defended here ties the identity of a wine to collective expert judgments of authenticity that are based on the extensive pleasure of the product. (shrink)

In the story of Coriolanus, as depicted mainly by Plutarch and Shakespeare, we become aware of the norms and parameters of the nobility, the sincerity and the legitimacy of violence, both in diction and action, both political and personal, both as a rhetorical strategy and as a way of living. These attributes indicate a firm culture of violence and a definite system of values, which, within the span of Roman antiquity and history, comprises an early idea of chivalry and (...) which aims at gloria. (shrink)

This chapter contains sections titled: Introduction Competency Aesthetic Practices Inter‐Subjective Validity Project Conclusion Notes.

Cavell’s interest in aesthetic objects can be understood to be motivated by an interest in the nature of meaning and value. The idea is that perceptual objects considered as cultural artefacts under-determine the meaning and value attributed to them. The process involved in determining their meaning and value is essentially a creative one. Through his study of film, literature and music, Cavell could be said to indirectly address the axiomatic, or what is sometimes referred to as the bedrock, of (...) our value judgments. In being embedded within larger cultural commitments, such axioms are impenetrable to the traditional analytical approaches in Anglo-American philosophy. Cavell’s style of philosophy can be understood to have been pioneered to attempt to understand and clarify aspects of experience which elude traditional analytical methods. (shrink)