What does the term ‘complexity’ mean in the world of wine?

Fine wine recognition and appreciation: It is time to change the paradigm of wine tasting

Wine quality maybe understood under two perspectives: (a) commercial quality, intended to satisfy overall consumers, and (b) fine wine quality, aimed at achieving a product with aesthetic value. The current food sensory techniques (e.g. Descriptive Analysis) have been successfully applied to develop wines accepted worldwide and characterized by pleasant sweetish flavours and smooth mouthfeel. On the contrary, these techniques are not suited to characterize fine wines given their dependence on sensory properties with aesthetic value. The conventional tasting approaches follow the sequence of vision, smell (orthonasal), taste and mouthfeel, ending by an overall evaluation. The sensory descriptors tend to be analytic (e.g. different aromas and tastes) or synthetic (e.g. body, structure) and the quality judgement is left for the final step. Some synthetic attributes may have an aesthetic significance (e.g. complexity, harmony, depth) and are more valued when the analytic or synthetic descriptors are highly praised (e.g. oakiness, silkiness, body, minerality). Consequently, these highly praised attributes are regarded as surrogates of fine wine quality. However, commercial wines are frequently judged of higher quality than fine wines irrespective of the taster expertise. We argue that the conventional sensory analysis sequence makes the overall evaluation secondary in relation to the previous analytical steps blurring the assessment of wine's aesthetic properties. Probably due to top-down processing, the initial evaluation of colour or flavours governs the final overall quality evaluation that may be inconsistently rated. Then, to promote the recognition of fine wines, tasting should begin by first acknowledging the aesthetic properties and only proceed to the analytical steps if necessary. A tasting method is proposed to consumer educational programs where emotional responses are used to explain the differences between commercial and fine wine styles. Furthermore, cultural aspects should be included to appreciate the wholeness of wine. Hopefully, this holistic perspective would turn wine appreciation more approachable and facilitate the recognition of fine wines among consumers, increasing their appreciation and enjoyment.

Enhancing the design of wine labels

Introduction

The knowledge accrued through research in the domain of crossmodal correspondences has had a significant influence on a diverse array of disciplines, including behavioral studies, neuroscience, computational modeling, and notably, marketing, with the objective of aligning sensory experiences to help shape patterns of consumer behavior. A study is reported that explores the extension of these principles to the communication of products having a notably complex sensory profile, specifically within the context of wine. The central aim of the project is to explore the feasibility of using crossmodal communication as a strategic tool to augment the congruence between the consumers' multisensory expectations and their sensory experiences. For consumers venturing into the realm of wine selection without the advantage of prior tasting experience, it is of paramount importance to possess a robust understanding of the mandated information. This encompasses critical elements such as the wine's origin, grape varietal(s) used, geographical indications, producer qualifications, and the potential implications of these factors on the final wine product. This level of comprehension stands as a necessary prerequisite, enabling these consumers to make informed choices that align with their preferences, even in the absence of previous sensory encounters. Nonetheless, semiotic investigations underscore the significance attributed to symbolic components such as signs, logos, colors, gestures, and linguistic cues. Research from the field performing multisensory studies, presents a counterpoint to prevailing communication paradigms, advocating for a heightened incorporation of metaphors, analogies, symbols, metonymies, and allegories. This alternative approach aims to enhance the efficacy of communication strategies, offering a more profound and evocative means of conveying intricate messages on a more holistic level.

Methods

A questionnaire was sent to a specific group of engaged wine consumers (n = 329). Besides questions regarding demographics, purchase behavior, and consumption behavior, the questionnaire included examples of multisensory communication through a selection of symbols, as well as alternative wine information.

Results

The results showed significant correlations between demographics, consumption behavior, and attitudes toward the tested multisensory symbols and alternative information, thus helping to gain a better understanding of the sensory properties that should be communicated on wine labels.

Discussion

The findings reported here highlight the effectiveness of visual crossmodal communication as a promising pathway capable of skillfully capturing consumer attributes, conveying multisensory experiences, and portraying the comprehensive timeline of taste evolution. As a result, it assumes a pivotal role as a communicative tool for intricate consumables, like wine, functioning at the crossroads of visual and sensory dimensions.

Development of a Descriptive Profile and References for the Assessment of Taste and Mouthfeel Descriptors of Protected Designation of Origin Wines

Producers of PDO (Protected Designation of Origin) wines must submit to the EU authorities’ technical specifications that include the specific sensory description of each product typology, to be subsequently checked by the competent authority in each country. Unfortunately, there is no consensual and standardized approach for the development of sensory control methods for PDO wines. The aim of this work was to develop a sensory profile for the taste and mouthfeel descriptors that allows the characterization of wines from 11 existing PDOs in Catalonia (Spain), and with the purpose of advancing the process of harmonization of the official sensory analysis of wines. This paper includes the selection process of tasters, the procedure used for the definition and grouping of descriptors, and the development of references for the selected attributes. The use of this analytical tool should allow PDO/PGI product certification and control authorities to verify compliance with their specifications (descriptive and quantitative) based on objectively evaluated results.

Commercializing Sonic Seasoning in Multisensory Offline Experiential Events and Online Tasting Experiences

The term "sonic seasoning" refers to the deliberate pairing of sound/music with taste/flavour in order to enhance, or modify, the multisensory tasting experience. Although the recognition that people experience a multitude of crossmodal correspondences between stimuli in the auditory and chemical senses originally emerged from the psychophysics laboratory, the last decade has seen an explosion of interest in the use and application of sonic seasoning research findings, in a range of multisensory experiential events and online offerings. These marketing-led activations have included a variety of different approaches, from curating pre-composed music selections that have the appropriate sonic qualities (such as pitch or timbre), to the composition of bespoke music/soundscapes that match the specific taste/flavour of particular food or beverage products. Moreover, given that our experience of flavour often changes over time and frequently contains multiple distinct elements, there is also scope to more closely match the sonic seasoning to the temporal evolution of the various components (or notes) of the flavour experience. We review a number of case studies of the use of sonic seasoning, highlighting some of the challenges and opportunities associated with the various approaches, and consider the intriguing interplay between physical and digital (online) experiences. Taken together, the various examples reviewed here help to illustrate the growing commercial relevance of sonic seasoning research.

Multi-component food-items and eating behaviour: What do we know and what do we need to know?

Multi-component food-items are single food products that comprise more than one food class, brought together usually via some form of processing. Importantly, individual components of the food-item remain discernible and sensorially distinguishable from each other (e.g., chocolate chip cookies or 'choc ice'). Despite a sizable research literature on the formulation of such products, there lacks a concomitant research literature on the effect(s) of multi-component food-items (compared to single component food-items) on eating behaviour. Considerable previous research has investigated the effect of multiple separate food items on food intake, portion size selection and palatability. However, studies rarely use test foods that capture the physical or chemical interactions between components that are characteristic of multi-component foods. Nevertheless, previous research and relevant theory allow us to generate hypotheses about how multi-component foods may affect eating behaviour; consideration of food variety and perceived sensory complexity suggest that consumption of multi-component foods are likely to increase perceived palatability of such foods, self-selected portion size and food intake. Moreover, many (but not all) multi-component foods would be considered ultra-processed, which is a driver of food intake in and of itself. One possibility is that food components brought together as part of a multi-component food-item interact to strongly drive eating behaviour. To explore this idea, researchers will need to work across disciplines to address various practical and methodological barriers including the technical preparation of test foods.

Strategies for the identification and sensory evaluation of volatile constituents in wine

Wine aroma, which stems from complex perceptual and cognitive processes, is initially driven by a multitude of naturally occurring volatile constituents. Its interpretation depends on the characterization of relevant volatile constituents. With large numbers of volatile constituents already identified, the search for unknown volatiles in wine has become increasingly challenging. However, the opportunities to discover unknown volatile compounds contributing to the wine volatilome are still of great interest, as demonstrated by the recent identification of highly odorous trace (µg/L) to ultra-trace (ng/L) volatile compounds in wine. This review provides an overview of both existing strategies and future directions on identifying unknown volatile constituents in wine. Chemical identification, including sample extraction, fractionation, gas chromatography, olfactometry, and mass spectrometry, is comprehensively covered. In addition, this review also focuses on aspects related to sensory-guided wine selection, authentic reference standards, artifacts and interferences, and the evaluation of the sensory significance of discovered wine volatiles. Powerful key volatile odorants present at ultra-trace levels, for which these analytical approaches have been successfully applied, are discussed. Research areas where novel wine volatiles are likely to be identified are pointed out. The importance of perceptual interaction phenomena is emphasized. Finally, future avenues for the exploration of yet unknown wine volatiles by coupling analytical approaches and sensory evaluation are suggested.

Gas Chromatography Olfactometry (GC-O) for the (Semi)Quantitative Screening of Wine Aroma

This review discusses the different approaches developed by researchers in the last 40 years for the qualitative and semi-quantitative screening of odorants, with special emphasis in wine aroma profiling. In the first part, the aims and possibilities of Gas chromatography-olfactometry (GC-O) as odour-screening and aroma profiling technique are discussed. The critical difference between approaches is whether the ranking of odorants is carried out on an extract containing all the odorants present in the product, or on an extract representative of the odorants contained in the vapour phases that cause the odour and flavour. While the second alternative is more direct and can be more efficient, it requires a good understanding of the factors affecting orthonasal olfaction, handling volatiles (purging, trapping, eluting, and separating) and about the sensory assessment of GC effluents. The review also includes an updated list compiling all the odorants detected in wine by GC-O, including retention indexes and odour descriptions with a general guideline for the identification of odorants.

Wine psychology: basic & applied

Basic cognitive research can help to explain our response to wine, and the myriad factors that affect it. Wine is a complex, culture-laden, multisensory stimulus, and our perception/experience of its properties is influenced by everything from the packaging in which it is presented through the glassware in which it is served and evaluated. A growing body of experiential wine research now demonstrates that a number of contextual factors, including everything from the colour of the ambient lighting through to background music can exert a profound, and in some cases predictable, influence over the tasting experience. Sonic seasoning - that is, the matching of music or soundscapes with specific wines in order to accentuate or draw attention to certain qualities/attributes in the wine, such as sweetness, length, or body, also represents a rapidly growing area of empirical study. While such multisensory, experiential wine research undoubtedly has a number of practical applications, it also provides insights concerning multisensory perception that are relevant to basic scientists. Furthermore, the findings of the wine research are also often relevant to those marketers interested in understanding how the consumers' perception of any other food or beverage product can potentially be modified.

Sensory Nudges: The Influences of Environmental Contexts on Consumers' Sensory Perception, Emotional Responses, and Behaviors toward Foods and Beverages

Food products with highly acceptable flavors are not always successful in the marketplace. Sales of identical food products sold in two different stores often differ. Patrons’ choices of specific menu items vary depending on menu designs at restaurants. Such examples suggest that consumer behavior related to eating, preparing, or purchasing foods and beverages is typically complex, dynamic, and sensitive. There is a growing body of evidence that environmental cues surrounding foods and beverages can modulate consumer perception and behavior in the context of eating and drinking. In light of increasing interest in environmental cues, this Special Issue was designed to introduce recent research that highlights how sensory cues derived from environmental cues can modulate consumer perceptions, emotional responses, and behavior related to foods and beverages. The eleven articles addressed in this Special Issue provide informative and insightful findings that may be applied to a wide range of food-related sites, including grocery stores, retail markets, restaurants, dining facilities, and public dining areas. The findings from these articles also suggest that product developers, sensory professionals, retailers, marketers, and business owners should consider not only sensory aspects of food products, but also sensory cues derived from surrounding contexts to better understand consumer perception, acceptability, and behavior toward their food products.

Multisensory Flavour Perception: Blending, Mixing, Fusion, and Pairing Within and Between the Senses

This review summarizes the various outcomes that may occur when two or more elements are paired in the context of flavour perception. In the first part, I review the literature concerning what happens when flavours, ingredients, and/or culinary techniques are deliberately combined in a dish, drink, or food product. Sometimes the result is fusion but, if one is not careful, the result can equally well be confusion instead. In fact, blending, mixing, fusion, and flavour pairing all provide relevant examples of how the elements in a carefully-crafted multi-element tasting experience may be combined. While the aim is sometimes to obscure the relative contributions of the various elements to the mix (as in the case of blending), at other times, consumers/tasters are explicitly encouraged to contemplate/perceive the nature of the relationship between the contributing elements instead (e.g., as in the case of flavour pairing). There has been a noticeable surge in both popular and commercial interest in fusion foods and flavour pairing in recent years, and various of the 'rules' that have been put forward to help explain the successful combination of the elements in such food and/or beverage experiences are discussed. In the second part of the review, I examine the pairing of flavour stimuli with music/soundscapes, in the emerging field of 'sonic seasoning'. I suggest that the various perceptual pairing principles/outcomes identified when flavours are paired deliberately can also be meaningfully extended to provide a coherent framework when it comes to categorizing the ways in which what we hear can influence our flavour experiences, both in terms of the sensory-discriminative and hedonic response.

Taste the Bass: Low Frequencies Increase the Perception of Body and Aromatic Intensity in Red Wine

Associations between heaviness and bass/low-pitched sounds reverberate throughout music, philosophy, literature, and language. Given that recent research into the field of cross-modal correspondences has revealed a number of robust relationships between sound and flavour, this exploratory study was designed to investigate the effects of lower frequency sound (10 Hz to 200 Hz) on the perception of the mouthfeel character of palate weight/body. This is supported by an overview of relevant cross-modal studies and cultural production. Wines were the tastants - a New Zealand Pinot Noir and a Spanish Garnacha - which were tasted in silence and with a 100 Hz (bass) and a higher 1000 Hz sine wave tone. Aromatic intensity was included as an additional character given suggestions that pitch may influence the perception of aromas, which might presumably affect the perception of wine body. Intensity of acidity and liking were also evaluated. The results revealed that the Pinot Noir wine was rated as significantly fuller-bodied when tasted with a bass frequency than in silence or with a higher frequency sound. The low frequency stimulus also resulted in the Garnacha wine being rated as significantly more aromatically intense than when tasted in the presence of the higher frequency auditory stimulus. Acidity was rated considerably higher with the higher frequency in both wines by those with high wine familiarity and the Pinot Noir significantly better liked than the Garnacha. Possible reasons as to why the tones used in this study affected perception of the two wines differently are discussed. Practical application of the findings are also proposed.

Extrinsic Auditory Contributions to Food Perception & Consumer Behaviour: an Interdisciplinary Review

Food product-extrinsic sounds (i.e., those auditory stimuli that are not linked directly to a food or beverage product, or its packaging) have been shown to exert a significant influence over various aspects of food perception and consumer behaviour, often operating outside of conscious awareness. In this review, we summarise the latest evidence concerning the various ways in which what we hear can influence what we taste. According to one line of empirical research, background noise interferes with tasting, due to attentional distraction. A separate body of marketing-relevant research demonstrates that music can be used to bias consumers’ food perception, judgments, and purchasing/consumption behaviour in various ways. Some of these effects appear to be driven by the arousal elicited by loud music as well as the entrainment of people’s behaviour to the musical beat. However, semantic priming effects linked to the type and style of music are also relevant. Another route by which music influences food perception comes from the observation that our liking/preference for the music that we happen to be listening to carries over to influence our hedonic judgments of what we are tasting. A final route by which hearing influences tasting relates to the emerging field of ‘sonic seasoning’. A developing body of research now demonstrates that people often rate tasting experiences differently when listening to soundtracks that have been designed to be (or are chosen because they are) congruent with specific flavour experiences (e.g., when compared to when listening to other soundtracks, or else when tasting in silence). Taken together, such results lead to the growing realization that the crossmodal influences of music and noise on food perception and consumer behaviour may have some important if, as yet, unrecognized implications for public health.