T Gaiser TEXSOM Tasting Seminar Notes


Published on

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

  • Be the first to comment

  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

T Gaiser TEXSOM Tasting Seminar Notes

  1. 1. Tasting Focus: Elements of Perception and Style Tim Gaiser, MS TEXSOM August 12th, 2013
  2. 2. www.timgaiser.com/blog tgaiser@earthlink.net
  3. 3. Today’s Session
  4. 4. Is not exactly about tasting …
  5. 5. It’s about how we think about tasting …
  6. 6. It’s also about how we learn …
  7. 7. Session Focus: My Tasting Project
  8. 8. Strategies from the Project
  9. 9. Exercises
  10. 10. Pair Up!
  11. 11. A Request …
  12. 12. Today’s Wines: 2010 Gunderloch Riesling “Rothenberg” Grosses Gewächs, Rheinhessen 2010 John Duval “Plexus,” Shiraz-Grenache- Mourvèdre, Barossa
  13. 13. A thought about tasting …
  14. 14. Teaching tasting can be among the most rewarding things we do
  15. 15. It can also be among the most frustrating things we do …
  16. 16. Why?
  17. 17. There are major disconnects in learning about wine
  18. 18. Wine is a liquid that smells and tastes like other things Complexity!
  19. 19. Wine has no inherent vocabulary
  20. 20. We use the language of seeing, hearing and feeling to describe what we smell and taste in wine
  21. 21. Our culture doesn’t place emphasis or value on olfactory memory
  22. 22. Little, if any, awareness that olfactory and taste memory are also visual experiences internally
  23. 23. ***An expectation that learning how to taste wine is somehow different from learning anything else …
  24. 24. The Project : Modeling Tasting Strategies of Top Professionals
  25. 25. Project Genesis: 2009 Film Sessions
  26. 26. Goals for the Project • To deconstruct internal strategies of top tasters • To replicate and use the best strategies in order to teach more effectively
  27. 27. 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
  28. 28. 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
  29. 29. Findings from Project Sessions
  30. 30. Eye positions and patterns are vital to experienced tasters The importance of a consistent starting place and tasting sequence
  31. 31. Olfactory Memory—Image Connection There is an internal visual component to smelling and tasting wine
  32. 32. Submodalities: The structure of internal images can be as important as the actual content
  33. 33. Existence of Internal Image Maps
  34. 34. Use of Visual Constructs as Aids for Calibrating Structural Elements Visual confirmation for taste
  35. 35. Strategies
  36. 36. Part I: Strategies for Beginners
  37. 37. Strategy I: Creating a Consistent Starting Point
  38. 38. Glassware Stance & Starting Eye Position
  39. 39. 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?
  40. 40. Starting Eye Position
  41. 41. Importance of Eye Positions and Patterns Eye Accessing Cues
  42. 42. Eye Accessing Cues
  43. 43. 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
  44. 44. 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
  45. 45. 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?”
  46. 46. Exercise II: Finding Your Starting Eye Position
  47. 47. 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
  48. 48. 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!
  49. 49. 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
  50. 50. Strategy II: Olfactory Memory and Imaging
  51. 51. The Beginner’s Dilemma: “But it just smells like wine …”
  52. 52. Needed: Awareness!
  53. 53. Awareness that there is usually an internal image connected to smell and/or taste memories
  54. 54. Challenge: how to make the olfactory-image connection
  55. 55. Concept: Front Loading Using the Basic Set to bring awareness to the image/olfactory connection AND improve one’s olfactory memory
  56. 56. What is the Basic Set? The 25-30 most common aromas/flavors in wine
  57. 57. 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
  58. 58. Using contrast with olfactory memory as a tool for learning
  59. 59. Basic Set: Common Fruit Aromas • Green apple • Red and/or Golden Delicious apple • Pear • Lemon • Lime • Orange • Pineapple • Banana
  60. 60. Common Fruit Aromas – Cont. • Peach • Apricot • Black cherry • Blackberry • Sour red cherry • Red raspberry • Cranberry • Raisin/prune
  61. 61. Common Non-Fruit Aromas • Roses • Violets • Mint/eucalyptus • Pyrazines – bell pepper • Herbs: rosemary • Lavender • Pepper: white and black
  62. 62. Common Non-Fruit Aromas – Cont. • Vanilla • Cinnamon • Cloves • Toast • Coffee • Chocolate • Chalk • Mushroom & forest floor
  63. 63. Basic Set Modules • Module I: words and images • Module II: images • Module III: words • Module IV: contrastive analysis
  64. 64. Exercise III: the Basic Set
  65. 65. I Look at the image and say the word internally
  66. 66. II Recall a time when you smelled and/or tasted the given fruit, spice, etc.
  67. 67. III In your mind’s “eye” reach out, pick up a slice of the fruit (etc.) and take a bite of it …
  68. 68. 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
  69. 69. 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
  70. 70. Exercise IV: the Basic Set: Experience the Following
  71. 71. Rewind! Use Your Own Memories
  72. 72. Your memories of the following: • Fruit: –Lemon –Lime –Orange • Non-Fruit –Roses –Vanilla –Mushroom/earth Where are the images?
  73. 73. Contrastive Analysis Trying to make something into something else …
  74. 74. Exercise V: Contrastive Analysis • Use your images/memories of the following components • Try to make one image the other • What happens?
  75. 75. Lemon into mushroom
  76. 76. Lime into vanilla
  77. 77. Orange into rose
  78. 78. Now we can begin …
  79. 79. Findings: Olfactory Image Connection
  80. 80. All project tasters represented aromas in wine with internal images or a combination of images and words Both still images or movies
  81. 81. Images vary not only in content but structure: size, proximity, color, brightness etc.
  82. 82. There is an relationship to the intensity of the aroma and the structure of the image
  83. 83. Exercise VI: Making the Olfactory-Image Connection “Seeing” what’s in the glass
  84. 84. 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!
  85. 85. Explorers: Show Your Partners: - Proximity (how close or far away) - Location - Size - Brightness - Color vs. black & white - 2D vs. 3D - Still image vs. movie
  86. 86. Report!
  87. 87. Part II: Strategies for More Advanced Tasters
  88. 88. Strategy IV: The Image Map
  89. 89. 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
  90. 90. Examples of Project Taster Image Maps
  91. 91. Karen MacNeil 2009 Yalumba Shiraz, South Australia No Consistent Auditory Prompt
  92. 92. Evan Goldstein 2009 Yalumba Shiraz, South Australia Auditory Prompt: “What kind of fruit is it?”
  93. 93. Tracy Kamens 2009 Joseph Leitz Riesling Erstes Gewächs Auditory Prompt: “What’s there?” Start
  94. 94. Emily Wines Auditory prompt: “What’s there?” 2008 Double Bond Pinot Noir, Wolff Vineyard, Edna Valley
  95. 95. Peter Marks 2009 Robert Mondavi Cabernet Sauvignon, Napa Valley Auditory Prompt: “What’s there?”
  96. 96. Tim Gaiser Pattern from several wines Auditory Prompt: “What’s there?” Start
  97. 97. Comment: tasting wine is a synesthetic experience
  98. 98. 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
  99. 99. Strategy V: Submodalities The Stuff of Thought and the Fabric of Experience
  100. 100. 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
  101. 101. 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
  102. 102. 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
  103. 103. 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
  104. 104. Exercise VII: Submodalities – From Nose to Palate
  105. 105. • 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?
  106. 106. Exercise VIII: Changing Submodalities
  107. 107. • 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
  108. 108. Submodalities Check List • Size: smaller vs. larger • Closer vs. farther away • Brightness • Color vs. black and white • 2D vs. 3D
  109. 109. Strategy VI: Calibrating Structure with Visual Constructs
  110. 110. Tasters in the project use internal visual constructs or cues to calibrate the structure of wine
  111. 111. 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
  112. 112. 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
  113. 113. 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
  114. 114. 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
  115. 115. 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
  116. 116. Exercise XII: calibrate the structural elements of the Terlano Lagrein Acidity Alcohol Tannin
  117. 117. 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 …
  118. 118. 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
  119. 119. 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
  120. 120. ©2013 Tim Gaiser MS www.timgaiser.com/blog tgaiser@earthlink.net