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Después de leer a Carolyn Kosmeyer reflexione sobre cómo percibe la comida. No solo en el aspecto estético, sino en todo lo que involucra tener un plato servido en la mesa: existe un trabajo por parte del campesino y campesina, también por parte de las personas que transportan los alimentos, y podríamos pensar en cuánto le cuesta a la tierra generarlos, el conocimiento y el cuidado que se requiere para prepararlos, etc. Ahora, le pido responder las siguientes preguntas:

1. Piense en un sabor y elíjalo (amargo, ácido, dulce, salado o umami). Luego, piense en una idea filosófica que se pueda relacionar con el sabor. Incluso, para desarrollar este punto, puede elegir a una autora de las que ya han visto en el diplomado. Y, por último, debe explicar lo anterior a través de un texto breve (200 palabras máx.) o un dibujo.

2. Escriba una historia (puede ser personal) de máximo 200 palabras en donde exponga un alimento que le parezca de suma importancia y que represente para usted una parte importante de la cultura.

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Carolyn Korsmeyer is a novelist and philosopher, specializing in historical fiction and mysteries.

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Philosopher examines sense of taste
Korsmeyer's book, "Making Sense of Taste," takes philosophy into the kitchen

By MARA McGINNIS
Reporter Assistant Editor

Philosophers historically have paid little attention to the sense of taste, dismissing it as an inferior sense and one that is too idiosyncratic to be worthy of consideration.

But a UB professor breaks new philosophical ground and offers interesting food for thought in a recent book that reveals the symbolic and aesthetic value of taste and uncovers why this bodily sense largely has been ignored for so long in the realm of philosophy.

As a philosopher of art, Carolyn Korsmeyer has extensive experience with the metaphorical "taste" that refers to aesthetic refinement, but "Making Sense of Taste: Food and Philosophy" (Cornell University Press, 1999), considers instead the philosophical merit of the literal "taste." The book investigates the objects of taste-food and drink-and the activity of their consumption, as well as their representation in art and literature.

Korsmeyer explains that a source of her interest in the sense of taste was the fact that recent feminist perspectives in philosophy have disclosed the limitations of the discipline's traditional focus.

"By questioning both the universality and gender neutrality of basic philosophical concepts, feminist perspectives opened up the question: 'What has philosophy unduly overlooked or dismissed from its purview?'" notes Korsmeyer, who has focused most of her scholarly work on aesthetics and the philosophy of art. "I decided that one answer is: the sense of taste, food and the intimate, everyday activity of eating."

She points out that she was dissatisfied with the assumption that there is nothing of philosophical interest in studying the sense of taste and that she set out to make the case that taste-traditionally considered primitive and inferior compared to the "higher" senses of sight and hearing-is worthy of philosophical attention.

"The common assumption that taste presents no interesting philosophical problems is a deep-seated error that banished a potentially fascinating subject from the scope of philosophical inquiry," says Korsmeyer, noting that the classification of taste, smell and touch as the inferior, bodily senses began with the early Greek philosophers.

Korsmeyer adds that the significance of food and eating also has been overlooked because it is tied to the necessities of existence and has become such a normal, routine activity. But it is exactly the centrality of eating to everyday life that led her to question why something so common and full of meaning has been left out of philosophical study.

"Food, if valued at all in aesthetic terms, is usually regarded only as a gourmet item of particular delectability," which, she says, are "meager grounds" on which to establish aesthetic features of tasting and eating, especially when considering the symbolic significance of foods and their consumption.

"Food is most like art in that it bears meaning," says Korsmeyer. "The taste experience is a cognitive experience packed with understanding. I deepen this claim by asserting that pleasure is not just feeling good, but that it requires cognition.

"The sophisticated pleasures that food can deliver are the usual grounds for defending the aesthetic importance of taste, but if we focus only on pleasure, we neglect the aspects of food and eating that most resemble what is valuable in works of art: the cognitive, symbolic roles they play, even in everyday life. Foods qualify as symbolic and meaningful in a host of ways, for they are representational and expressive."

Korsmeyer counters the philosophical traditions that discount taste pleasures by interpreting them as merely a bodily sensation.

"Pleasure itself has been misunderstood as only private and subjective. The very flavors in our mouths mean something, and standard theory has been quite wrong in concluding that savoring them ensnares us in our own bodily sensations, oblivious to the social, cultural and personal meanings that taste provides."

She explains that food has a high degree of symbolic value, especially when you consider it is attached to almost all ceremonial events and holidays. Birthdays, weddings, religious ceremonies, she adds, are examples of how food enters into things with tremendous importance.

Many philosophers have assumed that food does not represent anything outside itself, says Korsmeyer, who quickly dismisses that notion with such simple examples as Easter eggs, butter lambs, candy corn, chocolate kisses, gingerbread men, croissants and goldfish crackers.

According to Korsmeyer, many common foods were created with meaning that has since disappeared, such as croissants, which, she explains, were invented by Viennese bakers in 1683 to resemble the shape of the crescent moon on the banners of Ottoman Turk invaders after a successful defense of their city.

Other foods have more expressive properties, she says, such as chicken soup, which is "soothing" and comforting," and indicates an expression of care. She refers to these as "implicit properties that food acquires when it occupies a particular place in the rhythm of nourishment that is represented by mealtimes."

She adds that sometimes meanings are obvious, such as in the bread and wine of the Christian Eucharist or the Jewish Passover seder. Other meanings are reflected upon less, such as the pertinence of root vegetables at Thanksgiving because they are a late-harvest food appropriate for November.

Korsmeyer explains that food, while not art itself, performs many of the same symbolic activities as works of art. "We can discover many of the meanings attached to tastes and foods by considering how these subjects are represented in art."

In her book, she examines several artistic representations of taste and food, specifically in visual art and literature, and demonstrates, through the use of several famous paintings and narratives, that eating and drinking continue to inspire artists and writers, and offer important reflections about taste and food.

Korsmeyer's work on taste has led her to pursue work on theories of emotion, specifically emotions termed "difficult pleasures."

"Disgust, fear, sorrow and nostalgia all are feelings we value when evoked by a movie, play or other work of art because we are deeply moved, but at the same time we can label something as 'too' gross or 'too' sad, hence the term 'difficult pleasure.' We seek out these feelings but then are somewhat uncomfortable when presented with them."

Of all the difficult pleasures, Korsmeyer is most intrigued by the emotion of disgust. "It is an interesting emotion and one that is variously interpreted," she says. "On one hand, disgust can be seen as being a helpful benefit that creates an aversion to that which is foul," explains Korsmeyer. However, she adds that disgust also can become transformed into what is considered a sophisticated or heightened flavor, such as with gamey meat, which often is left to decompose slightly before cooking, or products like bleu cheese.

In her book, Korsmeyer shows that this also is evident with art work, using Chaim Soutine's painting "Carcass of Beef" to show how the artist took something disgusting-a hung, beheaded ox carcass-and made it into a subject of art.

"Food is a powerful vehicle for the expression of that which is dangerous, terrible and abhorrent," says Korsmeyer. "While sometimes the artistic rendering of foods seems virtually to mirror daily life and real patterns of eating, at other times art moves into worlds where foods are palatable only as representations, for art reaches toward limits of tolerability that practice cannot approach."

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February 20, 2000-Vol31n20: Philosopher examines sense of taste

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Philosopher examines sense of taste Korsmeyer's book, "Making Sense of Taste," takes philosophy into the kitchen By MARA McGINNIS Reporter Assistant Editor Philosophers historically have paid little attention to the sense of taste, dismissing it as an inferior sense and one that is too idiosyncratic to be worthy of consideration.

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Interview with philosopher Dr. Carolyn Korsmeyer on Touch

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Artículo: Efervescencias salvajes: una mirada retrospectiva al arte feminista

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Artículo: Efervescencias salvajes: una mirada retrospectiva al arte feminista

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Entregable

Eddy zuley Contreras Moreno

Desde la Lectura de Carolyn Kosmeyer

1.     Piense en un sabor y elíjalo (amargo, acido, dulce, salado o umami), Luego, piense en una idea filosófica que se pueda relacionar con el sabor. Incluso, para desarrollar este punto, puede elegir una autora de las que ya han visto en el diplomado, y por último, debe explicar lo anterior a través de un texto breve (200 palabras máximo) o un dibujo.

Tomando como base para esta reflexión , el sabor dulce del arequipe santandereano, desglosaré desde la mirada de tres mujeres filósofas:

Carolyn Korsmeyer y el placer estético del gusto

Korsmeyer, en su trabajo "Making Sense of Taste: Food and Philosophy," sostiene que el gusto no es solo un placer sensorial básico, sino que puede tener un valor estético. La dulzura del arequipe santandereano se eleva a un nivel estético cuando se aprecia su complejidad: la textura suave, el sabor a leche caramelizada, la tradición y el proceso artesanal que lo envuelve. Es un placer que va más allá de la mera satisfacción del hambre, convirtiéndose en una experiencia cultural y de aprecio por su elaboración.

Susan Haack y el 'Foundherentism'

La filosofía de Susan Haack se centra en la epistemología y su concepto de "foundherentism" (una combinación de fundacionalismo y coherentismo) podría aplicarse de forma analógica al sabor. El sabor del arequipe puede considerarse un conocimiento justificado. La justificación de su "dulzura" no depende solo de la experiencia sensorial inmediata (el fundamento), sino también de la coherencia con otras creencias sobre lo que es un buen postre, la tradición culinaria santandereana, y la historia del producto. Es decir, sabes que es delicioso porque tu paladar lo confirma (fundamento) y porque tu conocimiento cultural te dice que es un postre de calidad (coherencia).

Margaret Cavendish y el materialismo vitalista

Margaret Cavendish defendió una filosofía natural materialista donde la materia no es inerte, sino que tiene una vitalidad intrínseca y es capaz de percibir. Desde esta perspectiva, el arequipe no es solo un objeto pasivo, sino que tiene una cualidad material que afecta directamente nuestros sentidos de manera activa. La dulzura que percibimos es la interacción de nuestra propia materia (nuestro cuerpo) con la materia viva y activa del arequipe. El sabor no es una cualidad "proyectada" por nosotros, sino una propiedad inherente y perceptible del postre en sí mismo, que se manifiesta al entrar en contacto con nuestra materia.

2.     Escriba una historia (puede ser personal), de máximo 200 palabras en donde exponga un alimento que le parezca de suma importancia y que represente para usted una parte importante de la cultura.

El humo del tamal santandereano llenaba la cocina de Doña Eufemia, no solo con el aroma del cerdo y el pollo, sino con el de la memoria. Para ella, cada tamal era un argumento filosófico en sí mismo. La masa de maíz, envuelta en las hojas de plátano, era la esencia, el ser de su existencia, un "a priori" que se transmitía de generación en generación. No era un mero alimento, sino una idea, un concepto inmutable de lo que significa ser nortesantandereano.

Al abrirlo, cada ingrediente revelaba una capa del conocimiento: la zanahoria, el guiso de cebolla y tomate, las alverjas, no eran partes separadas, sino un todo coherente. Era un "foundherentism" culinario, donde cada elemento se justificaba no solo por su sabor individual, sino por cómo se armonizaba con el resto. El sabor dulce de las uvas pasas y el picante de la pimienta eran la dialéctica de los opuestos que se resolvían en la boca. En cada bocado, Doña Eufemia no solo comía, sino que reafirmaba su identidad y la del legado que sus manos, con una sabiduría ancestral, le transmitían a su familia y a su pueblo.

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Entregable 8.

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Entregable 8 - Ana María Torres Cuervo - Carolyn Korsmeyer  

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Entregable Carolyn Kosmeyer.

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Entregable 8 - Taller de Filosofía y Cocina

https://www.youtube.com/watch?v=b88hV66dGIw

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Entregable 8 - Samuel Danilo Bastidas Pantoja

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Entregable #8 Taller de filosofía y cocina.

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Julio César Martínez Bedoya

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Entregable # 8

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Si la banalidad del mal fuera un sabor...

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Si la banalidad del mal fuera un sabor...

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Entregable 8

Carolyn Korsmeyer

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Carolyn Korsmeyer (HÉCTOR ALEJANDRO OSPINA)

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Entregable 8. Carolyn Kosmeyer.

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Entregable Carolyn Korsmeyer

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Entregable Nº8

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Como siempre me fue imposible escribir solo 200 palabras, escribí unas mas buscando unir los dos ejercicios, no se si funcione pero fue un espacio de reflexión y memoria muy bello e interesante así que millll graciassss.

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Entregable 8

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Carolina Alvarez Cardona

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Johanna Zapata Ospina

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Entrega 8

YHEISON ANDRÉS GUERRERO ZAPATA

Parte 1

SABOR AMARGO

Hannah Arendt afirmó que “morir es el pequeño precio a pagar por la fortuna de haber vivido” (Arendt, 2002). Desde esta visión, la muerte no es una deuda injusta, sino la consecuencia natural del privilegio de la existencia. Sin embargo, este precio, aunque pequeño en proporción a la magnitud de lo que es la vida, puede sentirse tan amargo como un veneno lento que nos recuerda, con cada sorbo el tiempo vivido.

El veneno no está solo en el instante final, sino los sabores y placeres de la vida. Esta conciencia, como un sabor metálico en el paladar, acompaña incluso los momentos más bonitos. Pero es precisamente ese contraste de sabores en las frutas, frente al amargor de las semillas que intensifica la experiencia.

Así, la muerte es a la vida lo que la amargura es al dulce: un recordatorio de que nada es eterno, y que la belleza radica en la fragilidad del ser. Vivir, entonces, no es negar el veneno, sino aprender a beberlo lentamente, agradeciendo cada instante la mezcla con la certeza de su fin.

Parte 2

RELACIÓN DEL SABOR CON UNA HISTORIA

La muerte que se encuentra presente en mi familia.

el filosofo Husserl nos enseñaría a suspender las creencias ingenuas y atender a cómo la muerte se intuye en cada instante de vida: en el marchitar de una flor, en la fatiga del cuerpo, en el paso del tiempo que no retorna.

Por otro lado Heidegger, señalaría que esta presencia velada de la muerte configura nuestro ser en el mundo como un ser para la muerte, donde la amargura se experimenta a pesar de la finitud.

La amargura, como fin, no destruye el valor de lo vivido, sino que lo intensifica. Fenomenológicamente, el sabor de la vida es inseparable de su término: la amargura del instante sólo es posible porque está impregnado por el trasfondo de lo perecedero. El amargo se convierte, así, en la condición de posibilidad de recordar la vida y la muerte.

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ENTREGABLE 8

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Brayan Steven Arias Quintero

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Entregable 8 Brayan Steven Arias Quintero

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David Ricardo López Osorio

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Juan Carlos González Sáenz

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ENTREGABLE 8

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Entregable # 8

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ENTREGABLE N° 8 ASOCIACION IDEA FILOSOFICA Y SABOR

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Entregable la filosofía de los sabores

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Entregable Los sabores y la filosofía Luisa F. Montoya

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Adriana Largo

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TALLER DE FILOSOFIA Y COCINA Entregable 8

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Entregable No. 8

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ENTREGABLE 8 CAROLYN KOSMEYER

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HECTOR IVAN SANCHEZ GRAJALES. Entregable 7

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HECTOR IVAN SANCHEZ GRAJALES. Entregable 7

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Entregable # 8

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Iván Alexis Valencia Álvarez - Entregable 8

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Entregable # 8 Carolyn kosrmeyer por Jhonatan Jaramillo Herrera.

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1. El sabor dulce y la concepcion de la persona. Una relacion entre la filosofía del gusto de Korsmeyer y  la idea de persona  capaz de amar y ser amada de Edith Stein. 2. El Monumento a la empanada. 

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1. El sabor dulce y la concepcion de la persona. Una relacion entre la filosofía del gusto de Korsmeyer y  la idea de persona  capaz de amar y ser amada de Edith Stein. 2. El Monumento a la empanada. 

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El ácido de la condición humana

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Entregable 8

Fernando Antonio Gañan Largo

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Entregable nº8