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This paper discusses aspects of certain notions such as "critique" and "taste" that bring together and distance authors of British philosophy, such as Shaftesbury and Hume, on the one hand, and Kantian critical philosophy, on the other hand. It also discusses how Schiller's notion of formation of sensibility blurs the limits of the Kantian distinction between taste and morals, resuming elements of the British notion of «taste». [ABSTRACT FROM AUTHOR]

This paper starts from the need to face the social production of ignorance in the contemporary environment of hyperinformation favored by the infotelecommunications complex, which undermines the emergence of consciences and collective emancipatory actions. Based on Marx's famous metaphor about the need to pull out the imaginary flowers from the shackles, which poetically synthesizes the dialectical relationship between base and superstructure, we highlight the decisive role of the struggle for the capture of taste, understood as an expression and measure of the use value of goods, material and symbolic, and at the same time as a sensitive substrate of ideologies, in the current context of the advance of the extreme right around the world. [ABSTRACT FROM AUTHOR]

The article discusses the philosophical foundations and the modus operandi of the streaming services automated music recommendation systems which are becoming increasingly important for music consumption. In the first part of the text, we present the definition of taste according to three different intellectual traditions: philosophy, sociology and neurology. The goal is to stress differences between those approaches and to suggest that the neurological approach assumes prominence among digital technology developers. In the second part, we discuss the main automatic recommendation methods, developed with the support of Artificial Intelligence (AI). Finally, we comment on the possible consequences of the intensive use of AI for music distribution through streaming services, from the communications standpoint, focusing on circulation and consumption. [ABSTRACT FROM AUTHOR]

The ultimate goal of this paper is to make it emerge the merit, pertinence and urgency of Kant's aesthetic theory, its beauty, to our art and our time. There will be, first, a presentation of the Kantian judgment of taste as narrowly connected with pleasure, disinterest, and contemplation, a description of Kant's posterity hostile attitude towards a conception of beauty linked with contemplative and disinterested pleasure, and an explanation of the close relation between the characterization of the judgment of taste as an aesthetic and universally valid a priori judgment and the entire Kantian project; then, there will be a dive into the meaning and sense of the contemplation, disinterestedness, and pleasure that are inherent to the aesthetic experience of beauty. [ABSTRACT FROM AUTHOR]

In the Letter to d'Alembert about spectacles, Rousseau answers to the questions which arise in the Geneva entry, published in volume VII of Encyclopaedia. D'Alembert defended comedy and the comedians, who were socially lowered and seen with low esteem in Europe, as well as suggests to create a theater company in Geneva, considering that through decent spectacles would help to educate the taste of this specific nation citizens and, maybe, influence the whole Europe in a possible reform towards art. Such initiative would awake the nations to the delicacy of feelings which would end up in good social mores. It would resume, this way, the theater role from the aristotelian opinion of terror and pity feelings purging, adapting it from tragedy to comedy - role that Rousseau will strongly deny, because the philosopher was not in favor of the idea that spectacles would purge men addictions and educate them to the virtues. Yet, to Rousseau the main objective of theater spectacles is to please and entertain, and, according to the philosopher, the theater in general is a board of human passions. In spite of topping up that man is one, Rousseau reminds us that this man one will be modified by religions, by the governments, by the mores, laws, prejudices, climates, etc. And, among themselves, men tend to become different, and to depend upon the time and place in which they live. So, how the same spectacle may please and entertain all civilizations? This is the question that Rousseau makes and answers, by saying that the kinds of spectacles will be adapting according to the diverse tastes of nations, their habits and mores. It is based on this observation that the philosopher, differently from d'Alembert, does not attribute to theater, the power to modify the feelings and mores, but before reproducing them and, with some effort, adorn them. Therefore, Rousseau criticism to this art to please so pernicious, execrated in the scene of french theater of the time, indirectly sustained the in force political-aristocratic model. [ABSTRACT FROM AUTHOR]

In the third moment of the "Analytic of the Beautiful", Kant suggests that jugdments of taste in general rely on the perception of purposiveness without purpose. He nevertheless promptly admits that this is an ideal of purity to which many of our concrete judging situations do not entirely conform. Art is a case in point, because when we produce or appreciate its objects we cannot completely ignore the purposes that determine what they should be. In this paper I consider these problems suggesting that judgments of the beauty of art, unlike jugdments of beauty in nature, rely on the perception of "purposelessness with purpose", an expression which, although not employed by Kant, may help us undertand what he has in mind in key sections of his discussions on genius and art. [ABSTRACT FROM AUTHOR]

Although the consumer culture field has addressed the role of ritual processes in consumption, no research has yet identified how connoisseur consumers, through ritual practices, establish and manipulate their distinction from other consumers. Drawing on key concepts from ritual theory, this research addresses the role played by ritual in connoisseurship consumption and consumers' taste. In conducting an ethnographic study on connoisseurship consumption, the first author immersed himself in the North American specialty coffee context--Toronto, Montreal, Seattle, and New York--from August 2013 to July 2014. He used long interviews and participant observation to collect data, which was then interpreted using a hermeneutic approach. We introduce the taste transformation ritual, theorizing the process that converts regular consumers into connoisseur consumers by establishing and reinforcing differences between mass and connoisseurship consumption. We develop a broader theoretical account that builds on consumption ritual and taste formation. [ABSTRACT FROM AUTHOR]

This article aims at setting up encounters between the popular turn in media and the rising of a "new working class" (SOUZA, 2012) in Brazil, in the last years. According to Turner (2010), we live today, on mediatic societies, a "demotic turn" - but not necessarily democratic - regarded as new relations between ordinary people and the media in a tabloid culture. This work intends to identify some aspects and particularities of this turn in our context, on what concerns the narrative circulation of lifestyles, practical visions of world, and identities. Although visibility does not imply an effective politics of participation, the article, in turn, assuming the notions that affection and taste are important class markers, proposes the media culture and its crossings as a privileged field for confrontation and disclosure of social conflicts in our nation. [ABSTRACT FROM AUTHOR]

In a note in Religion within the limits of reason alone (1793), Kant comments Schiller's utterance, contained in On grace and dignity (1793), as having associated the aesthetic element (grace) to the purely moral element (dignity). However, such an approach is impracticable due to the dignity of the law. From other texts by Schiller, such as the fragment of the Lectures on aesthetics (1792-3), On the sublime (1793), On the usefulness of moral customs aesthetic (1793) and Letters on the aesthetic education of man (1795) one can show that he does not thought the interaction between grace and dignity in the form it was imputed him by Kant. Without attracting to itself the aesthetic element (grace), in Schiller's understanding the dignity does not reject it, in the face of it should not leave involve itself in the extremes of the human condition, to the savage and the barbarian. We demonstrate this by thematising the notions of allocation and disinterested affection. [ABSTRACT FROM AUTHOR]

The tasting act is both cultural and natural. The natural bit has to do with the make-up of what's on the end of your fork and what happens physiologically when food hits your tongue. We can subject the former to chemical analysis and we can learn about the latter through the findings of modern neurophysiology. The general form of these natural things is stable over time. The cultural bit has to do with expectations and understandings about how things should taste, with frameworks relating taste both to the nature of aliments and to bodily consequences, and with the available vocabularies for talking about them and describing them to others: such things are temporally and culturally variable. [ABSTRACT FROM AUTHOR]

The article deals with the brief Methodology of taste that closes the Critique of aesthetic judgment (§ 60), in order to examine the Kantian theory of the aesthetical origin of legal sociability, which allegedly gave rise to the first political body in the ancient Greece. Insofar as both conditions of universal feeling of sympathy and intimate and universal communication are determinants for the sociability appropriate to the man, they constitute, in our opinion, the basis for every future culture of method. Moreover, they show that the manner (Manier) or aesthetical mode of exposure prepares and leads to the culture of a logical method (Methodus), where the unity of discourse depends on universal and objective principles and not merely on subjective feelings. We want to stress especially that the question of method is indissoluble in Kant of a long process of communitarian education concerning social customs, humaniora culture and juridical and political harmony, which gives priority to the interests of men and to the cosmic sense of philosophy with regard to monopolies of schools. [ABSTRACT FROM AUTHOR]

Is relativism about truth ever a coherent doctrine? Some people have argued that an answer to this question depends on whether there can be cases of genuine disagreement where those who disagree hold conflicting beliefs towards the same proposition and yet are each entitled to say that what they believe is true. These have been called cases of faultless disagreement and are often explored by considering the case of disagreements about taste. However, this is not the right way to formulate the relativist's doctrine, and the discussions of taste are often based on a faulty view about the nature of taste and about the workings of predicates of taste. I examine the taste case in more detail and consider the prospects for a genuine form of truth relativism. [ABSTRACT FROM AUTHOR]

Based on semi-directive interviews with wealthy people groups of São Paulo and on cultural critics from this city's contemporary press, this article discusses some visions that bankers, art collectors, ambassadors, farmers, rentiers, philanthropists, entrepreneurs, powerful businessmen, industrialists, etc. create of themselves and of the other groups through their manifest aesthetical preferences. The analysis of their preferences in architecture, cinema and paintings indicates a general lack of vanguard taste. [ABSTRACT FROM AUTHOR]

The objective of this research was to study the effect of enological tannins in the sensory composition of the Cabernet Sauvignon wine. The study was conducted in Bento Gonçalves, RS, with Cabernet Sauvignon grapes, harvest 2004. This is a cultivar that stands out in importance in Brazil for the production of red wines. However, in some crops there are difficulties for a proper maturation, which hampers the development of wines with the sensory profile desired by consumers. Among the strategies to minimize this problem there is the management of vineyards, combined with technological adjustments in stages of winemaking. To this end, quebracho and nut tannins were used and applied in three doses (5.0g hl-1, 10.0g hl-1, 20.0g hl-1), with three times of application (maceration, drawing off and after malolactic fermentation). In the stabilized wines, there were sensory analysis, related to the attributes associated with olfactory and taste profiles, with analysis of 8 olfactory descriptors 8 and 9 descriptors taste, besides a general concept. Thus, it was found that the enological tannins enabled some differences, mainly in the volatile profile of wines, which showed an increase of quality when treated with the enological tannins. Similarly, there was superiority smell and taste in the wines that received treatment with tannins in the stage of maceration. [ABSTRACT FROM AUTHOR]

This article offers a new interpretation of how and why Europeans developed a taste for chocolate. While previous studies have suggested that Europeans transformed chocolate materially and ideologically in order to make it fit their existing set of tastes and prejudices, it is demonstrated that Europeans learned to like chocolate on Indian terms as a result of their status as cultural minorities in colonial Mesoamerica. In addition this article uses the historical case study of chocolate's trans-cultural migration to revise current models of taste used in historical and anthropological literature. It rejects biological-essentialism and cultural-functionalism and instead shows that taste is an independent historical variable affected by social circumstances. [ABSTRACT FROM AUTHOR]