The Aesthetics of Food sets out the continuing philosophical debate about the aesthetic nature of food. The debate begins with Plato’s claim that only objects of sight and hearing could be beautiful; consequently, food as something we smell and taste could not be beautiful. Plato’s sceptical position has been both supported and opposed in one form or another throughout the ages. This book demonstrates how the current debate has evolved and critically assesses that debate, showing how it has been influenced by the changing nature of critical theory and changes in art historical paradigms (Expressionism, Modernism, and Post-modernism), as well as by recent advances in neuroscience. It also traces changes in our understanding of the sensory experience of food and drink, from viewing taste as a simple single sense to current views on its complex multi-sensory nature. Particular attention is paid to recent philosophical discussion about wine: whether an interest in a wine reflects only a subjective or personal preference or whether one can make objective judgments about the quality and merit of a wine. Finally, the book explores how the debate has been informed by changes in the cooking, presenting, and consuming of food, for example by the appearance of the restaurant in the early nineteenth century as well as the rise of celebrity chefs.

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

From Plato’s dismissal of food as a distraction from thought to Kant’s relegation of the palate to the bottom of the hierarchy of the senses, the sense of taste has consistently been devalued by Western aesthetics. Kant is often invoked as evidence that philosophers consider taste as an inferior sense because it belongs to the realm of the private and subjective and does not seem to be required in the development of higher types of knowledge. From a gastrosophical perspective, however, what Kant perceives as a limitation becomes a new field of enquiry that investigates the dialectics of diet and discourse, self and matter, inside and outside. The essays in this book examine the importance of food as a pivotal element – both materially and conceptually – in the history of the Western avant-garde. From Gertrude Stein to Alain Robbe-Grillet and Samuel Beckett, from F.T. Marinetti to Andy Warhol, from Marcel Duchamp to Eleanor Antin, the examples chosen explore the conjunction of art and foodstuff in ways that interrogate contemporary notions of the body, language, and subjectivity.

This book offers a wide-ranging yet concise introduction to the many philosophical issues surrounding food production and consumption. It begins with discussions of the metaphysics, epistemology, and aesthetics of food, then moves on to debates about the ethics of eating animals, the environmental impacts of food production, and the role of technology in our food supply, before concluding with discussions of food access, health, and justice. Throughout, the author draws on cross-disciplinary research to engage with historical debates and current events.

This book explores food from a philosophical perspective, bringing together leading philosophers to consider the most basic questions about food. Each essay analyses many contemporary debates in food studies. Slow Food, sustainability, food safety, and politics, and addresses such issues as happy meat, aquaculture, veganism, and table manners.

Taste, perhaps the most intimate of the five senses, has traditionally been considered beneath the concern of philosophy, too bound to the body, too personal and idiosyncratic. Yet, in addition to providing physical pleasure, eating and drinking bear symbolic and aesthetic value in human experience, and they continually inspire writers and artists. Carolyn Korsmeyer explains how taste came to occupy so low a place in the hierarchy of senses and why it is deserving of greater philosophical respect and attention. Korsmeyer begins with the Greek thinkers who classified taste as an inferior, bodily sense; she then traces the parallels between notions of aesthetic and gustatory taste that were explored in the formation of modern aesthetic theories. She presents scientific views of how taste actually works and identifies multiple components of taste experiences. Turning to taste's objects—food and drink—she looks at the different meanings they convey in art and literature as well as in ordinary human life and proposes an approach to the aesthetic value of taste that recognizes the representational and expressive roles of food. Korsmeyer's consideration of art encompasses works that employ food in contexts sacred and profane, that seek to whet the appetite and to keep it at bay; her selection of literary vignettes ranges from narratives of macabre devouring to stories of communities forged by shared eating.

As nutrition, food is essential, but in today’s world of excess, a good portion of the world has taken food beyond its functional definition to fine art status. From celebrity chefs to amateur food bloggers, individuals take ownership of the food they eat as a creative expression of personality, heritage, and ingenuity. Dwight Furrow examines the contemporary fascination with food and culinary arts not only as global spectacle, but also as an expression of control, authenticity, and playful creation for individuals in a homogenized, and increasingly public, world.

Kitchen, cooking, nutrition, and eating have become omnipresent cultural topics. They stand at the center of design, gastronomy, nutrition science, and agriculture. Artists have appropriated cooking as an aesthetic practice - in turn, cooks are adapting the staging practices that go with an artistic self-image. This development is accompanied by crisis of eating behaviour and a philosophy of cooking as a speculative cultural technique. This volume investigates the dimensions of a new culinary turn, combining for the very first time contributions from the theory and practice of cooking.

When does eating become art? The Aesthetics of Taste answers this question by exploring the position of taste in contemporary culture and the manner in which taste meanders its way into the realm of art. The argument identifies aesthetic values not only in artistic practices, where they are naturally expected, but also in the spaces of everydayness that seem far removed from the domain of fine arts. As such, it seeks to grasp what artists – who offer aesthetic as well as culinary experiences – actually try to communicate, while also pondering whether a cook can be an artist.

This collection explores the aesthetic qualities of human relationships, sports, taste, smell, food, and natural and built environments.