Up the nose of the beholder? Aesthetic perception in olfaction as a decision-making process

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.

Wine Minerality and Funkiness: Blending the Two Tales of the Same Story

In wines, minerality is a complex concept with increasing popularity in scientific research and the wine press. The flavour conceptual space of mineral wines comprises sulphur-reduced aromas, such as flint, wet stone or chalk associated with freshness and lingering mouth perceptions. Professionals do not consider the perception of sulphur-reduced flavours as an off-flavour. Indeed, this sort of reduction is a cue for the recognition of minerality under a likely top-down mental process. However, untrained consumers perceive these aromas as unpleasant. This different qualitative assessment hampers the communication between professionals and amateurs. This review aimed to describe the perceptions of minerality by experts and novices to promote their mutual understanding. Funkiness is proposed as a descriptor of mineral wines when tasted by unexperienced consumers. The chemical basis of minerality and winemaking options were explored to understand their implications on sensory perception. Mineral flavours have two main features. The first comprises ephemeral aromas that may be described as funky, given their association with sulphur-reduced molecules. The second is linked to the fresh and vivacious lingering mouthfeel perceptions that remain after the reductive aromas vanish. Consumers recognise this dual perception by demonstrating positive emotional responses of surprise during tasting. Then, the perception of minerality is a question of cognition and not of particularly developed sensory skills. Appropriate tasting approaches encompassing emotional responses and emergent properties (e.g., harmony, depth, persistence, complexity) appear essential to understand the nature of wine minerality and to determine when it may be regarded as a surrogate for fine wine quality.

Consumer Neuroscience: Attentional Preferences for Wine Labeling Reflected in the Posterior Contralateral Negativity

During the decision-making process, consumers notice, inspect, and visually scan different products. External characteristics of a product, such as design, packaging, label, and logo, have been shown to strongly influence how customers perceive, assess, and select a product. Marketers have put a lot of effort into determining the factors that trigger consumers' visual attention toward products, using traditional research methods, self-reports, or observations. The use of neuroscientific tools to study consumer behavior may improve our understanding of how external characteristics influence consumers' visual attention. Consumer neuroscience research shows that preferences for a product may already be reflected in brain activity before customers make a final decision. Using electroencephalography (EEG), we investigated whether the design of different wine labeling influences individual preferences, reflected in the neural activity related to visual attention. More specifically, we examined whether the posterior contralateral negativity (PCN) can be used to assess and predict consumers' preferences for a specific product based on its external characteristics. The PCN is commonly used to estimate attentional selection by focusing on stimulus-side dependent EEG lateralization above parieto-occipital areas. We computed the PCN to assess whether a certain wine label caught participants' visual attention and additionally by comparing the PCN with behavioral data (wine preferences and reaction times) to determine whether early effects of visual attention could predict participants' final preferences for a specific label. Our findings indicate that the PCN provides relevant information on visual attention mechanisms for external characteristics, as the view of the four labels modulated PCN amplitude. We hope this study can help researchers and practitioners in examining the effects of external product characteristics on consumer choice by estimating the changes in the EEG that are related to visual attention.

Fashion fades, Chanel No. 5 remains: Epistemology between Style and Technology

Perfumes embody a chemical record of style and technology. Blurring the boundary between what counts as natural and artificial in both a material and a perceptual sense, perfumery presents us with a domain of multiple disciplinary identities relevant to social studies: art, craft, and techno-science. Despite its profound impact as a cultural practice, perfume has seldom featured in historical scholarship. The reason for this neglect is its inherently qualitative dimension: perfume cannot be understood via codified representation but requires direct acquaintance with its sensory and material basis. The historical study of perfumery thus necessitates an experimental approach that comes not without challenge. This article looks at contemporary recreations of old perfumes to identify the difficulties involved in the experimental recreation of fragrances as sensory and performative artifacts. We highlight the need for a reconceptualization of methodology for inconcrete objects of study as part of the broader interest in experimental approaches to the humanities.

In smell's shadow: Materials and politics at the edge of perception

This article examines the politics of smell at the edge of perception. In January 2014, the municipal water supply of Charleston, West Virginia was contaminated by an under-characterized chemical, crude MCHM. Even when instrumental measurements no longer detected the chemical, people continued to smell its licorice-like odor. In a space where nothing was certain, smell became the only indicator of potential harm. Officials responded by commissioning state-funded sensory testing of crude MCHM to determine its sensory threshold. Via the critical passage point of sensory science, some instances of embodied attunement were allowed to enter into the evidentiary regimes of perception, while other, similarly trained moments of attunement were excluded from the process. This, I show, produced knowledge about the spilled chemical that maintained the systems that contributed to the spill in the first place. Drawing on new materialist thought, I riff on biology and 'transduce' the ephemeral phenomena of smelling crude MCHM into a new medium: Rather than thinking of smell as a volatile molecular material (an odorant), I show that consideration of smell as a manipulable object that one can imagine as having tangible substance and shape offers a way to experiment with disciplinary forms. I suggest an alternate future, where sensory science acts to record sensory labor that produces facts about collective experience that cannot (easily) travel through current systems, a process that is one possible way of beginning to unravel entrenched systems of toxic harm.

A Critique of Olfactory Objects

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.