Tasting Strategies of Genius
Tim Gaiser, MS
Society of Wine Educator’s Conference
Orlando – August 2nd, 2013
Today’s Session
Review and Update of the
Tasting Project
Strategies from Project
Part I:
Strategies For Beginners
Part II:
Strategies For More
Experienced Students
Exercises
Pair Up!
A Request …
Today’s Wine:
2010 Cantina Terlano
Lagrein Riserva “Poryphery,”
Alto Adige
Teaching tasting is the most
rewarding thing we do
It can also be the most
frustrating thing we do …
The Major Disconnects of 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
The Project :
Modeling the 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
or...
Project Participants:
• Karen MacNeil
• Evan Goldstein MS
• Tracy Kamens Ed.D.,
DWS, CWE
• Emily Wines MS
• Doug Frost MS ...
Findings
Eye positions and patterns are
vital to experienced tasters
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
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 inhalatio...
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: latera...
Importance of Starting Eye Position
• Consistent start to the sequence of smelling
and tasting wine
• Focus – shutting the...
Auditory Prompts
• “What’s there?”
• “What am I smelling?”
• “What’s in the glass?”
• “What kind of fruit (etc.) is it?”
•...
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 sl...
Tips
• Use “SOFT” eyes!
• Repetition: practice going to your spot multiple
times
• Finally: play around with smelling the ...
Other Eye Positions and Patterns
• Other eye positions used to access:
–Internal imaging “field ” for creating or
comparin...
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 help the beginner or
novice taster to make that connection
Concept: Front Loading
Using the Basic Set to bring awareness to
the image/olfactory connection AND
improve one’s olfactor...
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 c...
Using contrast with olfactory
memory as a tool for learning and
improving tasting
Basic Set: Common Fruit Aromas
• Green apple
• Red and/or
Golden Delicious
apple
• Pear
• Lemon
• Lime
• Orange
• Pineappl...
Common Fruit Aromas – Cont.
• Peach
• Apricot
• Black cherry
• Blackberry
• Sour red cherry
• Red raspberry
• Cranberry
• ...
Common Non-Fruit Aromas
• Roses
• Violets
• Mint/eucalyptus
• Pyrazines – bell
pepper
• Herbs: rosemary
• Lavender
• Peppe...
Common Non-Fruit Aromas – Cont.
• Vanilla
• Cinnamon
• Cloves
• Toast
• Coffee
• Chocolate
• Chalk
• Mushroom &
forest flo...
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, fla...
V
Intensify your experience of the memory
by doing the following:
a. Make your images (or movie) larger
b. Make your image...
Exercise IV:
Experience the Following
Rewind! Use Your Own Memories
• Fruit:
–Lemon
–Lime
–Orange
*Where are the
images?
• Non-Fruit
–Roses
–Vanilla
–Mushroom/e...
Contrastive Analysis
And trying to make something into
something else …
Exercise V: Contrastive Analysis
• Use your images/memories of the
components listed below
• Try to make one image the oth...
Now we can begin …
Exercise VI: Making the
Olfactory-Image Connection
• “Seeing” what’s in the glass
• With your partner
I. Find at least 3 a...
Keep track of the following:
- Proximity (how close or far away)
- Location
- Size
- Brightness
- Color vs. black & white
...
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 m...
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 is a
synesthetic experience
Exercise VI: Review Your Image Map
1. Review your previous aromas/images
2. Find more if there
3. Questions:
- What happen...
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: ...
Common Submodalities: Visual
• Black & white or color*
• Proximity: near or far*
• Location*
• Brightness*
• Location*
• S...
Auditory
• Volume: loud or soft
• Distance: near or far
• Internal or external
• Location
• Stereo or mono
• Fast or slow
...
Kinesthetic
• Intensity: strong or
weak
• Area: large vs. small
• Weight: heavy or
light
• Location
• Texture: smooth,
rou...
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 i...
Exercise VIII:
Changing Submodalities
• Choose one aroma/flavor
• Experiment with the following while smelling
the wine:
–Size: smaller vs. larger
–Closer vs. f...
Submodalities Check List
• Size: smaller vs. larger
• Closer vs. farther away
• Brightness
• Color vs. black and white
• 2...
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 1...
Structural Calibration: Emily Wines
• Tannin: piece of wool stretched out, thin
at one end and much thicker and larger
at ...
Structural Calibration: Tim Gaiser
• All structural components calibrated with a 3-
4’ “slide rule”-like device with a red...
Exercise XI: Installing Your
Calibration Scale
• With your partner:
• Create your scale: use a ruler, dial or
whatever wor...
Installation Cont.
• Calibrate for acidity, alcohol, tannin
• Use EXTREMES!
• Examples:
–Acidity: lemon juice for high and...
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 Face...
Thanks
• Richard Bandler and John Grinder for the
principles behind this work.
• Tim and Kris Hallbom, Robert Dilts and Su...
Project Participants:
• Karen MacNeil
• Evan Goldstein MS
• Tracy Kamens Ed.D.,
DWS, CWE
• Emily Wines MS
• Doug Frost MS ...
©2013 Tim Gaiser MS
www.timgaiser.com/blog
tgaiser@earthlink.net
Tg tasting strategies of genius ppt swe pdf
Tg tasting strategies of genius ppt swe pdf
Tg tasting strategies of genius ppt swe pdf
Tg tasting strategies of genius ppt swe pdf
Tg tasting strategies of genius ppt swe pdf
Tg tasting strategies of genius ppt swe pdf
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Tg tasting strategies of genius ppt swe pdf

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

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