This paper examines the importance that judgements of taste have within Kant’s Critique of Judgement. It claims that looking for de facto agreements about judgements of taste is a mistake and that disagreements, instead, are desirable. Following Kant in the antinomy of taste, judgments of taste are not based on determined concepts, but rather on an undetermined one. Since the concept is not determined one cannot exhibit it in a sensible intuition or make direct reference to it. It is argued that universal agreement does not seek de facto agreement, but rather the discovery of a common sense in which one discovers that others can feel the same as one does with respect to a given representation. This undetermined concept becomes a “regulative ideal”, unobtainable in so far as one cannot determine it, but to which one must aim in order to perfect one’s taste. It is in the sphere of discussion and disagreement that one confronts one’s judgements of taste. / Este trabajo investiga la importancia que tiene la discusión sobre juicios de gusto dentro de la Crítica de la facultad de juzgar de Kant. Se sostiene que buscar acuerdos de facto sobre juicios de gusto es un error y que, más bien, el desacuerdo es deseable. Siguiendo a Kant en la antinomia del gusto, los juicios de gusto no se basan en algún concepto determinado, sino en uno indeterminado. Al no ser determinado, no tenemos intuición sensible de dicho concepto ni podemos emplearlo directamente. No se trata de encontrar un acuerdo de facto para nuestra aspiración de acuerdo universal, sino del descubrimiento de un sentido común, en el que encontramos que los otros pueden sentir como uno ante una representación dada. Este concepto indeterminado se torna en un “ideal regulativo”, inalcanzable, en tanto no se puede determinar, pero al cual se debe apuntar para perfeccionar el gusto. Es en el campo de la discusión y el desacuerdo donde se confrontan los juicios de gusto.

Magíster en Ciencias Sociales, mención Sociología de la Modernización

Nuestro objetivo era comprender la particularidad de la teoría kantiana del genio dentro del contexto de la historia de la estética, particularmente, la historia del problema de la creatividad artística. Al respecto hemos logrado mostrar cómo Kant ofrece una explicación sistemática y racional de la naturaleza del genio o creatividad artística que, a diferencia de las interpretaciones de sus antecesores, permite comprender la naturaleza “irracional” del genio dentro de los límites de la razón humana finita.

The present paper has the purpose of analyzing the notion of disinterest in Kant’s aesthetics. The first part focuses on Shaftesbury’s and Schopenhauer’s aesthetic approaches, wherein the presence of disinterest in relation to the appraisal of beauty is highlighted –albeit, as will be seen, in very different senses than the one proposed by Kant. The second part approaches the Analytics of beauty, around which some reflections about disinterest will be attempted in order to pay attention to disinterest as proposed by Kant, not only as a negative element, but also with an open, positive, connotation that enables a relationship with the world different than usual. / El presente trabajo tiene como propósito analizar la noción de desinterés en la estética kantiana. Para ello, en la primera parte, se revisará brevemente el planteamiento estético de Shaftesbury y Schopenhauer, en los que se advierte la presencia del desinterés en relación con la apreciación de lo bello; aunque, como se verá, en sentidos muy distintos de lo propuesto por Kant. La segunda parte se centrará en la Analítica de lo bello, sobre la base de la cual se ensayarán algunas reflexiones sobre el desinterés; de esta manera se busca poner atención al desinterés propuesto por Kant no solo como un elemento negativo, sino además con una connotación abierta, positiva, que hace posible una relación distinta de la habitual con el mundo.

Esta investigación surge de la danza contemporánea, y busca reflexionar en torno a la utilización del sentido del gusto como herramienta, dentro de un proceso de exploración, para investigar las cualidades de movimiento innatas en seis estudiantes de la Facultad de Artes Escénicas de la Pontificia Universidad Católica del Perú. De esta manera, la pregunta que se formula es la siguiente: ¿Por qué explorar con el sentido del gusto puede ser un recurso para investigar cualidades de movimiento innatas que puedan llevar al creador/intérprete a un lenguaje distintivo? Es a través del reconocimiento de las sensaciones que evoca el alimento que uno podría desarrollar movimiento innato, ya que la activación de nuestra percepción dentro del proceso de degustar y saborear, nos puede permitir ser conscientes del movimiento con el que quizás no estamos familiarizados corporalmente, pero que es nuestro. Para poder llevar a cabo la investigación, se diseña un laboratorio que sirva como espacio de exploración e investigación, en donde los participantes puedan utilizar el sentido del gusto como un recurso guía para descubrir sus cualidades de movimiento. Para llevar el registro del presente estudio, se utilizaron herramientas metodológicas como: bitácoras, entrevistas, documentación a través de fotos, vídeos y grabaciones de audios de los diálogos con los participantes. / This research arises from contemporary dance, and seeks to reflect on the use of the sense of taste as a tool, within a process of exploration, to investigate the innate qualities of movement in six students of the Faculty of Performing Arts of the Pontifical University Catholic of Peru. In this way, the question that is asked is the following: Why exploring with the sense of taste can be a resource to investigate innate qualities of movement that can lead the creator / interpreter to a distinctive language? It is through the recognition of the sensations that food evokes that someone could develop innate movement, since the activation of our perception within the process of tasting, can allow us to be aware of the movement which perhaps we are not familiarly in our bodies, but that is ours. In order to carry out the research, a laboratory is designed to serve as a space for exploration and research, where participants can use the sense of taste as a guiding resource to discover their qualities of movement. To keep track of the present study, methodological tools were used such as: logs, interviews, documentation through photos, videos and audio recordings of the dialogues with the participants.

Nel sistema di Croce l'Estetica costituisce il primario fondamento, e nella sua auroralità eccede per aver trovato immediata declinazione, e crescita nella critica letteraria, attraverso la redazione della rivista la critica; determinando la rapida e diffusa infiltrazione dei suoi principi nel terreno della cultura artistica nazionale. ma importare le conquiste filosofiche nella critica letteraria, vuol dire anche trasferirne le problematiche aperte. Serra, Cecchi, de Robertis e Boine sulla Voce avanzano l'esigenza di un superamento; Russo, Levi e Capasso sono esempi del difficile accordo o del contrasto di una critica storica e stilistica con l'estetica di Croce. Anche la critica musicale e figurativa provano uno sviluppo decisivo nella spinta dell'idealismo. l'influenza è circolare: i motivi generati dalle rassegne spingono croce a riformulare la propria estetica nella Poesia del 1936. / Estetica (Aesthetics) is the primary foundation of Croce's system, and in auroral (auroralita') character it excels for having discovered his immediate inflexion, confirmation and growth into the literary criticism through the redaction of the review La Critica; causing the quick and widespread diffusion of his principles into the national artistic culture. Importing philosophic pursuits in literary criticism means also transfer deep problems. Serra, Cecchi, De Robertis and Boine in the review Voce push for the downfall of Croce's thought; Russo, Levi and Capasso are examples of the opposition of a historicist and stylistic criticism with Croce's aesthetics. The music and art criticism demonstrate also a decisive development with an idealistic thrust. The influence is circular: the critiques coming from reviews urge Croce to re-formulate his own aesthetics that was in his 1936 work Poesia.

At the third section of the “Analytic of the Beautiful” of the Critique of Judgement, Kant establishes the difference between pure judgements of taste and judgements of adherent beauty. The Author contends that the definitions presented there are problematic when one attempts to reconcile them with judgements of artistic beauty. In principle, every work of art supposes certain concepts and contents that determine it as an artistic object, so it would not be possible to formulate pure judgements of taste in their regard. In order to overcome these difficulties, it becomes necessary to articulate the ideas in relation to the nature of artistic production that Kant presents in the sections on Fine Art and the Genius, where the concept of “aesthetic ideas” (understood as internal intuitions of artistic objects) is introduced. Finally, the debate on landscape and gardening in the 18th century allows us to understand how pure judgements of taste can be made from two different ways of presenting aesthetic ideas in an artistic genre. / En el tercer momento de la “Analítica de lo bello” de la Crítica de la facultad de Juzgar, Kant establece la diferencia entre juicios puros de gusto y juicios de belleza adherente. A juicio del autor, las definiciones presentadas resultan problemáticas a la hora de intentar conciliarlas con juicios de belleza artística. En principio, toda obra de arte supone conceptos y contenidos que la determinan como objeto artístico, por lo que no sería posible emitir juicios puros de gusto sobre ellos. Es necesario articular las ideas en relación a la naturaleza de la producción artística presentadas en las secciones sobre arte bello y el genio, donde se introduce el concepto de “ideas estéticas” (entendidas como intuiciones internas de los objetos artísticos), para superar aquellas dificultades. Por último, el debate sobre paisaje y jardinería en el siglo XVIII permite entender cómo se puede emitir juicios estéticos puros a partir de dos formas distintas de presentar ideas estéticas en un género artístico.

This study delves into the intricacies of the language used in wine reviews, focusing on the adoption of standardised wine vocabularies, specifically the original Wine Aroma Wheel (Noble A. C. et al., 1984) and the Wine Lexicon of the Wine and Spirit Education Trust (WSET Level 4 Systematic Approach to Tasting Wine®, 2023). It investigates the extent to which professional wine reviewers adhere to these standard lexicons or opt for individualistic expression. An essential component of the research identifies and analyses emerging terms in wine reviews, shedding light on the evolving nature of wine discourse. The study's findings indicate that while standardised vocabularies are influential and foundational, there remains room for individualised expression in conveying the nuanced sensory experience of wine tasting. Additionally, the research highlights the importance of these emergent terms and their potential to enrich existing wine vocabularies. Given the global nature of the wine industry, the study underscores the need for a more inclusive and adaptive linguistic approach. To this end, the research suggests the potential benefits of a controlled vocabulary system tailored for the wine sector. Despite its inherent challenges, such a system could streamline wine descriptions, promoting a more consistent understanding across diverse audiences along with better communication among professionals. / Questo studio approfondisce la complessità del linguaggio utilizzato nelle recensioni di vino, focalizzando sull'adozione di linguaggi standardizzati e in particolare su "The Wine Aroma Wheel" (Noble A. C. et al., 1984) e su "The Wine Lexicon of the Wine and Spirit Education Trust" (WSET Level 4 Systematic Approach to Tasting Wine®, 2023). La ricerca intende concentrarsi nella misura in cui i recensori professionisti di vino aderiscono a questi linguaggi controllati, o preferiscono optare per un'espressione individuale. Una parte sostanziale della ricerca che identifica ed analizza i termini emergenti nelle recensioni di vino, rivela l'evoluzione del discorso sul vino. I risultati dello studio indicano che, sebbene i linguaggi standardizzati siano influenti e fondamentali, lasciano ancora spazio all'espressione personale a descrivere l'esperienza sensoriale della degustazione del vino. Inoltre, i risultati sottolineano l'importanza dei termini emergenti e la loro potenzialità di arricchire i linguaggi inerenti al discorso di vino. Considerando la visione olistica dell'industria vinicola, questo studio mette in rilievo la necessità di un approccio linguistico più inclusivo e flessibile. In tal senso, si propongono i benefici impliciti di un sistema di linguaggio controllato su misura per il settore vinicolo. Nonostante le complessità che possano insorgere, un sistema di questo tipo potrebbe semplificare la descrizione del vino, promuovendo sia l'intesa reciproca tra gruppi di persone diversi, che una migliore comunicazione tra i professionisti nel mondo del vino.