The Aesthetics of Wine

The Perniciousness of Higher-Order Evidence on Aesthetic Appreciation

“…That is, their instruction entails not blinding oneself to contextual factors, but actively inviting them in. If one consults a work like that of Burnham and Skilleås's The Aesthetics of Wine (Burnham & Skilleås, 2012), there they will find arguments to the effect that to properly appreciate a wine, we must know what sorts of grapes were used to make it, what region it was grown in, and the style in which it was made. Similarly, a seasoned art appreciator might maintain that to properly appreciate an early Picasso, we must know that it was painted by Picasso.…”

Wine prices in economics: A bibliometric analysis

“…There is no precise and clear definition of fine wine (Malfeito‐Ferreira, 2021). Sometimes called Vin de Garde, certain wines share characteristics with esthetic products and require different standards of quality evaluation (Burnham & Skilleas, 2012). As an investment, fine wine is an asset with a potential return, as opposed to a non‐fine wine named to investors “normal wine” (Baldi et al, 2013; Introvigne et al, 2017).…”

Five Degrees of Separation between Art and New Media: Art and Technology Projects under the Critical Lens

“…70). La estética relacional se basa en las personas y no permite que las redes humanas se fusionen con las que no lo son (por ejemplo los ecosistemas o los sistemas de información), como sí plantearon las teorías de estética de sistemas de Burnham a finales de la década de 1960 (Burnham, 1967(Burnham, , 1969. De un modo bastante anticuado, Bourriaud se empeña en limitar el espacio de las relaciones intersubjetivas a grupos de personas, situados muy cerca los unos de los otros.…”