ON TASTE PERCEPTION
Taste, as a common-sense notion, refers to the ability to distinguish flavours. However, it also refers to the capacity to discern beauty and other aesthetic values. The concept of taste as a faculty of detecting beauty reached its zenith in 18th-century aesthetic theory, particularly in the works of Hume and Kant. For Kant, in particular, taste was defined as the "faculty of estimating an object... by means of pleasure apart from any interest". The concept of aesthetic pleasure is defined by the notion that an object is considered beautiful when it is perceived in a positive way. This perspective suggests that taste is not solely a cognitive ability, but also a form of enjoyment derived from objects that align with our sensibilities and the manner in which they are perceived. Furthermore, it is emphasised that the development of taste is not an innate ability, but rather a cultivated one. As Hume asserts, "A robust sensibility, amalgamated with refined sensibilities, enhanced by practice, perfected through comparison, and unencumbered by prejudice" serves as the ideal criterion for evaluating beauty.
The 20th century witnessed a decline in theories of taste until recent studies emerged that focus on the philosophy of food, particularly wine. Interest in the aesthetics of gustation has revived the notion of taste, so it is timely to present a collection that brings together contemporary investigations of the concept from a wide range of philosophical perspectives. These perspectives move beyond well-trodden Kantian or Humean philosophies on the one hand, or the sociological studies of those such as Bourdieu on the other.
The vast majority of people believe that they possess refined tastes in various domains, including art, music, attire, personal appearance, design, cuisine, decoration and gardening. However, the notion of the possibility of error in these self-perceptions warrants consideration. The question arises as to whether individuals can possess substandard taste without being cognizant of it, or whether it is possible to exhibit superior taste without being consciously aware of it.  If, in Sibleyan terms, taste is defined as an ability involving perceptiveness, sensitivity, discrimination and appreciation, then it can be argued that it should be directed towards a particular set of objects. This would suggest that there is clear room for error and critical debate about which objects – and which responses – are in fact correct and which provide evidence of the presence of tasteful discrimination. Relativists and sceptics have contested this proposition, contending that taste is merely a matter of preferring certain things over others, and that its manifestation is inherently private and subjective. They argue that there are no distinctly tasteful objects, nor is there a taste capacity that can be cultivated or subjected to critical scrutiny.
This is evidenced by the 20th century, which demonstrated that aesthetic delicacy does not entail ethical virtue. It has been a considerable period of time since beauty was associated with the moral good, yet the connection persists, and is evident in a number of papers presented here, both directly and indirectly. Similarly, the association between beauty and truth has persisted, despite the passage of time.Taste is not merely an esoteric aesthetic concept; rather, it serves as a conduit for exploring the most pressing philosophical issues of our era.
