T Gaiser TEXSOM Tasting Seminar Notes
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T Gaiser TEXSOM Tasting Seminar Notes

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Here is a PDF of the PPT from my TEXSOM tasting seminar on August 12th.

Here is a PDF of the PPT from my TEXSOM tasting seminar on August 12th.

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T Gaiser TEXSOM Tasting Seminar Notes T Gaiser TEXSOM Tasting Seminar Notes Presentation Transcript

  • Tasting Focus: Elements of Perception and Style Tim Gaiser, MS TEXSOM August 12th, 2013
  • www.timgaiser.com/blog tgaiser@earthlink.net
  • Today’s Session
  • Is not exactly about tasting …
  • It’s about how we think about tasting …
  • It’s also about how we learn …
  • Session Focus: My Tasting Project
  • Strategies from the Project
  • Exercises
  • Pair Up!
  • A Request …
  • Today’s Wines: 2010 Gunderloch Riesling “Rothenberg” Grosses Gewächs, Rheinhessen 2010 John Duval “Plexus,” Shiraz-Grenache- Mourvèdre, Barossa
  • A thought about tasting …
  • Teaching tasting can be among the most rewarding things we do
  • It can also be among the most frustrating things we do …
  • Why?
  • There are major disconnects in learning about wine
  • Wine is a liquid that smells and tastes like other things Complexity!
  • Wine has no inherent vocabulary
  • We use the language of seeing, hearing and feeling to describe what we smell and taste in wine
  • Our culture doesn’t place emphasis or value on olfactory memory
  • Little, if any, awareness that olfactory and taste memory are also visual experiences internally
  • ***An expectation that learning how to taste wine is somehow different from learning anything else …
  • The Project : Modeling Tasting Strategies of Top Professionals
  • Project Genesis: 2009 Film Sessions
  • Goals for the Project • To deconstruct internal strategies of top tasters • To replicate and use the best strategies in order to teach more effectively
  • Goals for the Project • Ultimately to improve how we teach tasting: –Students learn to taste with more ease in a shorter period of time –Students learn to taste using their own memories and internal maps
  • Project Participants: • Karen MacNeil • Evan Goldstein MS • Tracy Kamens Ed.D., DWS, CWE • Emily Wines MS • Doug Frost MS MW • Peter Marks MW • Brian Cronin MS • Tim Gaiser MS • Sur Lucero MS • Thomas Price MS • Roland Micu MS • Emily Papach MS • Gilian Handelman • Yosh Han • Alyssa Harrad
  • Findings from Project Sessions
  • Eye positions and patterns are vital to experienced tasters The importance of a consistent starting place and tasting sequence
  • Olfactory Memory—Image Connection There is an internal visual component to smelling and tasting wine
  • Submodalities: The structure of internal images can be as important as the actual content
  • Existence of Internal Image Maps
  • Use of Visual Constructs as Aids for Calibrating Structural Elements Visual confirmation for taste
  • Strategies
  • Part I: Strategies for Beginners
  • Strategy I: Creating a Consistent Starting Point
  • Glassware Stance & Starting Eye Position
  • Exercise I: Glassware Stance • Criteria: –Resting point –Glass angle: finding the sweet spot –Passive vs. active inhalation * Inhalation patterns/angles – where are you smelling in the glass?
  • Starting Eye Position
  • Importance of Eye Positions and Patterns Eye Accessing Cues
  • Eye Accessing Cues
  • Eye Accessing Cues • Visual memory: up and to the left • Visual imagination: up and to the right • Auditory memory: lateral eye movements to the left • Auditory imagination: lateral eye movements to the right • Internal dialogue: down and to the left • Kinesthetic (either physical or emotional sensations): down and to the right
  • Importance of Starting Eye Position • Consistent start to the sequence of smelling and tasting wine • Focus – shutting the world out! • Coupled with an auditory prompt • Literally knowing exactly HOW to start
  • Auditory Prompts • “What’s there?” • “What am I smelling?” • “What’s in the glass?” • “What kind of fruit (etc.) is it?” • What is this on the end of my fork?”
  • Exercise II: Finding Your Starting Eye Position
  • Exercise: • Start by looking down in front and/or to the left/right • As you smell the wine move your eyes side to side slowly • Use your free hand to point EXACTLY where your eyes are looking • Find your zone - the place that feels the most comfortable WHILE you talk to yourself
  • Tips • Use SOFT eyes! • Keep smelling the wine! • Repetition: practice going to your spot multiple times • Finally: play around with smelling the wine and looking at horizon level and above— see what happens!
  • Other Eye Positions and Patterns • Other eye positions used to access: –Internal imaging “field ” for creating or comparing images (one’s “IMAX theater”) –Side: auditory memories about a wine –Up: using a tasting “grid” as a guide
  • Strategy II: Olfactory Memory and Imaging
  • The Beginner’s Dilemma: “But it just smells like wine …”
  • Needed: Awareness!
  • Awareness that there is usually an internal image connected to smell and/or taste memories
  • Challenge: how to make the olfactory-image connection
  • Concept: Front Loading Using the Basic Set to bring awareness to the image/olfactory connection AND improve one’s olfactory memory
  • What is the Basic Set? The 25-30 most common aromas/flavors in wine
  • Using the Basic Set • Working with words and images to: –Make the image/olfactory connection –Improve memory of the list components –Use sight and auditory to prompt personal memories* • *Multi- memory learning vs. visual memory
  • Using contrast with olfactory memory as a tool for learning
  • Basic Set: Common Fruit Aromas • Green apple • Red and/or Golden Delicious apple • Pear • Lemon • Lime • Orange • Pineapple • Banana
  • Common Fruit Aromas – Cont. • Peach • Apricot • Black cherry • Blackberry • Sour red cherry • Red raspberry • Cranberry • Raisin/prune
  • Common Non-Fruit Aromas • Roses • Violets • Mint/eucalyptus • Pyrazines – bell pepper • Herbs: rosemary • Lavender • Pepper: white and black
  • Common Non-Fruit Aromas – Cont. • Vanilla • Cinnamon • Cloves • Toast • Coffee • Chocolate • Chalk • Mushroom & forest floor
  • Basic Set Modules • Module I: words and images • Module II: images • Module III: words • Module IV: contrastive analysis
  • Exercise III: the Basic Set
  • I Look at the image and say the word internally
  • II Recall a time when you smelled and/or tasted the given fruit, spice, etc.
  • III In your mind’s “eye” reach out, pick up a slice of the fruit (etc.) and take a bite of it …
  • IV Make your experience of the fruit, spice or other component as complete and intense as possible down to the aromas, flavors and the texture/mouthfeel
  • V Intensify your experience of the memory by doing the following: a. Make your images (or movie) larger b. Make your images closer c. Make the colors brighter d. Make any sounds louder e. Intensify any physical/tactile sensations
  • Exercise IV: the Basic Set: Experience the Following
  • Rewind! Use Your Own Memories
  • Your memories of the following: • Fruit: –Lemon –Lime –Orange • Non-Fruit –Roses –Vanilla –Mushroom/earth Where are the images?
  • Contrastive Analysis Trying to make something into something else …
  • Exercise V: Contrastive Analysis • Use your images/memories of the following components • Try to make one image the other • What happens?
  • Lemon into mushroom
  • Lime into vanilla
  • Orange into rose
  • Now we can begin …
  • Findings: Olfactory Image Connection
  • All project tasters represented aromas in wine with internal images or a combination of images and words Both still images or movies
  • Images vary not only in content but structure: size, proximity, color, brightness etc.
  • There is an relationship to the intensity of the aroma and the structure of the image
  • Exercise VI: Making the Olfactory-Image Connection “Seeing” what’s in the glass
  • Instructions I. With your partner find at least 3 aromas in the glass (or more!) II. As you ID an aroma be aware of the image of it in your mind’s eye III. Show your partner precisely where they are in your “mind’s eye” IV. Partners: keep track!
  • Explorers: Show Your Partners: - Proximity (how close or far away) - Location - Size - Brightness - Color vs. black & white - 2D vs. 3D - Still image vs. movie
  • Report!
  • Part II: Strategies for More Advanced Tasters
  • Strategy IV: The Image Map
  • Tasting Maps • All tasters in the project formed an internal map of the images of the aromas in a given wine • The image maps or grids differ-- sometimes radically --from person to person
  • Examples of Project Taster Image Maps
  • Karen MacNeil 2009 Yalumba Shiraz, South Australia No Consistent Auditory Prompt
  • Evan Goldstein 2009 Yalumba Shiraz, South Australia Auditory Prompt: “What kind of fruit is it?”
  • Tracy Kamens 2009 Joseph Leitz Riesling Erstes Gewächs Auditory Prompt: “What’s there?” Start
  • Emily Wines Auditory prompt: “What’s there?” 2008 Double Bond Pinot Noir, Wolff Vineyard, Edna Valley
  • Peter Marks 2009 Robert Mondavi Cabernet Sauvignon, Napa Valley Auditory Prompt: “What’s there?”
  • Tim Gaiser Pattern from several wines Auditory Prompt: “What’s there?” Start
  • Comment: tasting wine is a synesthetic experience
  • Exercise VI: Review Your Image Map 1. Review your previous aromas/images 2. Find more if there 3. Questions: - What happens to the images once you create them? - Do they move? - Can you find them again if you need them? 4. Map image location
  • Strategy V: Submodalities The Stuff of Thought and the Fabric of Experience
  • What are Submodalities? • Moda: Greek term for the five senses • Modalities: the inner representation of the five senses: visual (V), auditory (A), kinesthetic (K), olfactory and gustatory • Submodalities: the structural qualities that each internal modality can possess
  • Common Submodalities: Visual • Black & white or color* • Proximity: near or far* • Location* • Brightness* • Location* • Size of image* • Three dimensional or flat image* • Associated / Dissociated • Focused or Defocused • Framed or Unframed • Movie or still image • If a Movie- Fast/Normal/Slow *Driver Submodality
  • Auditory • Volume: loud or soft • Distance: near or far • Internal or external • Location • Stereo or mono • Fast or slow • Pitch: high or low • Verbal or tonal • Rhythm • Clarity • Pauses
  • Kinesthetic • Intensity: strong or weak • Area: large vs. small • Weight: heavy or light • Location • Texture: smooth, rough or other • Constant or intermittent • Temperature: hot or cold • Size • Shape • Pressure • Vibration
  • Exercise VII: Submodalities – From Nose to Palate
  • • With your partner: • Taste the wine –Note how the flavors change from nose to palate – do the images change? –Does the image structure change too? – Size, brightness, color, proximity, dimensionality –Does your map of the wine change as well?
  • Exercise VIII: Changing Submodalities
  • • Choose one aroma/flavor • Experiment with the following while smelling the wine: –Size: smaller vs. larger –Closer vs. farther away –Brightness –Color vs. black and white –2D vs. 3D • How does each change affect the wine? • Change one thing at a time! Then Reset It
  • Submodalities Check List • Size: smaller vs. larger • Closer vs. farther away • Brightness • Color vs. black and white • 2D vs. 3D
  • Strategy VI: Calibrating Structure with Visual Constructs
  • Tasters in the project use internal visual constructs or cues to calibrate the structure of wine
  • Structural Calibration: Emily Wines • Uses different internal scales for structural elements. • Acid: yellow ruler about 12” long with markers for low, medium, etc. – Tastes wine and then points to a mark on the ruler • Alcohol: 24” blue ruler with a “level”-like bubble that moves to the appropriate mark
  • Structural Calibration: Emily Wines • Tannin: piece of wool stretched out, thin at one end and much thicker and larger at the other. –Texture combined with amount of tannin • Finish: image of the horizon –The longer the finish the farther down the horizon can be seen
  • Structural Calibration: Tim Gaiser • All structural components calibrated with a 3- 4’ “slide rule”-like device with a red button in the middle resting at “medium” • As I taste the wine the button moves until it matches the amount of acid, alcohol etc., I’m sensing on my palate. • Internally I point to the marker on the ruler and say “it’s medium-plus” or whatever • If I’m not sure I bring the ruler in closer to me and more increments on the ruler appear
  • Exercise XI: Installing Your Calibration Scale • With your partner: • Create your scale: use a ruler, dial or whatever works best, easiest – make it BIG! • Locate “low,” “medium” and “high” on the scale (also med- and med+) • Place calibration “button” or “marker” etc. at medium
  • Installation Cont. • Calibrate for acidity, alcohol, tannin • Use EXTREMES! • Examples: –Acidity: lemon juice for high and water for low –Alcohol: port for high vs. Moscato di Asti for low –Tannin: Barolo (Fernet Branca?) for high vs. Nouveau Beaujolais for low
  • Exercise XII: calibrate the structural elements of the Terlano Lagrein Acidity Alcohol Tannin
  • The Future … • Open source project • This presentation and the Basic Set will be available at slideshare.com; link on Facebook and link in my blog • Experiment! Have fun with it! • Report in! • Funding wanted …
  • Thanks • To JamesandDrew! • Richard Bandler and John Grinder for the principles behind this work. • Tim and Kris Hallbom, Robert Dilts and Suzi Smith for their superb instruction and guidance. • Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
  • Project Participants: • Karen MacNeil • Evan Goldstein MS • Tracy Kamens Ed.D., DWS, CWE • Emily Wines MS • Doug Frost MS MW • Peter Marks MW • Brian Cronin MS • Tim Gaiser MS • Sur Lucero MS • Thomas Price MS • Roland Micu MS • Emily Papach MS • Gilian Handelman • Yosh Han • Alyssa Harrad
  • ©2013 Tim Gaiser MS www.timgaiser.com/blog tgaiser@earthlink.net