{"id":3020,"date":"2015-11-07T11:44:40","date_gmt":"2015-11-07T11:44:40","guid":{"rendered":"http:\/\/simpatico-melograno.it\/?p=3020"},"modified":"2015-11-07T11:44:40","modified_gmt":"2015-11-07T11:44:40","slug":"wine-symposium-7a-edizione-wine-flavors","status":"publish","type":"post","link":"http:\/\/simpatico-melograno.it\/?p=3020","title":{"rendered":"WINE SYMPOSIUM – 7a edizione – Wine & Flavors"},"content":{"rendered":"
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WINE AROMAS<\/o:p><\/span><\/b><\/p>\n

OLFACTION SEMINARS<\/span><\/b><\/o:p><\/span><\/p>\n

When smelling a wine, how can we make the<\/span> difference between oaktree and cedarwood <\/span>flavors? How can we distinguish a fiorai scent when we know nothing about th<\/span>\u00e8<\/span> perfume of <\/span>flowers? How to differentiate between anise notes and a licorice flavor? Between Guava and <\/span>Passion fruit? What does word like “balsamic” mean? How to distinguish a 4 Ethyl phenol <\/span>character from a nicest leather tone generally due to aging of th<\/span>\u00e8<\/span> wine? What are th<\/span>\u00e8<\/span> differences <\/span>between green notes and vegetal notes?<\/span><\/o:p><\/span><\/p>\n

The olfaction seminars should be able to answer ali these questions. This training is about wine tasting and is intended to help professionals to create solid smelling indicators in themselves.<\/span><\/o:p><\/span><\/p>\n

When you isolate th<\/span>\u00e8<\/span> elements that describe a wine you get a chance to know them thoroughly; for this reason odor samples are used in this training.<\/span><\/o:p><\/span><\/p>\n

We ali have mental images of plants, spices or fruits, but we don't really know what they smeli like. By describing each of their aromatic facets we learn how to master and memorize them. <\/span>Cinnamon, for example, has spicy, woody, leathery, sweet, almond-like, round, hot, resinous <\/span>aspects, sometimes even pharmaceutical ones, such as camphor. Isobutyl Methoxi Pyrazine <\/span>(IBMP) is responsible for th<\/span>e<\/span> vegetal note in certain wines, it develops green facets that evoke th<\/span>e <\/span>smell of raw vegetables such as green beli peppers and green beans, ivy leaves, when th<\/span>\u00e8<\/span> IPMP (Isoprpropyl Methoxy Pyrazine) also responsible for a vegetal notes in wines, develops asparagus <\/span>aspects, fava bean pods, sulfur notes, and having a strong dry earthy character. Once we have acquired a perfect knowledge of these indicators we are capable of identifying them in th<\/span><\/span>e <\/span>aromatic complexity of a wine. Without this previous exposure wine tasting appears to be a <\/span>random practice.<\/span><\/o:p><\/span><\/p>\n

The smelling sessions have a dual purpose : to structure our smelling universe and to teach us to <\/span>describe smells with an accurate use of th<\/span>e<\/span> rich vocabulary at our disposal. To memorize is first <\/span>and foremost to learn how to describe.<\/span><\/o:p><\/span><\/p>\n

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olfaction <\/span><\/b>: a new tool for winemakers<\/span><\/span><\/b><\/p>\n

Aromas are a collection of molecules and this explains th<\/span>e<\/span> complexity of th<\/span>e<\/span> aromatic universe. When we perceive a cassis aroma in a Merlot wine, or a raspberry note in a Pinot Noir, th<\/span><\/span>e <\/span>impression is caused by th<\/span>e<\/span> sum of twenty or thirty different molecules.<\/span><\/o:p><\/span><\/p>\n

Few molecules such as geraniol, (3-ionone, isobuthyl methoxypyrazine, to name a few, are solely <\/span>responsible for distinct odors in th<\/span>e<\/span> aromatic bouquet of a wine….lt is easy then to isolate and <\/span>memorize them.<\/span><\/o:p><\/span><\/p>\n

The rest is a more subtle matter. An insignificant variation in th<\/span>e<\/span> composition of these molecular groups will reveal new nuances in th<\/span><\/span>e<\/span> bouquet that emerges from th<\/span>e<\/span> wine glass. Wine is so <\/span>magical and complex that we can say that it includes ten or several hundred different cassis or <\/span>raspberry aromas. The cassis aroma perceived will vary from one bottle to another. The grapes combinations, th<\/span>e<\/span> assemblage, th<\/span>e<\/span> quality of th<\/span>e<\/span> soil, th<\/span>e<\/span> climate, th<\/span>e<\/span> wood, even th<\/span>e<\/span> oxygenation<\/span> <\/span>prior to serving th<\/span>e<\/span> wine, will influence th<\/span>e<\/span> olfactory variability of this aroma. Sometimes it <\/span>appears to be more or less ripe, green, sweet, acid, bland, sharp, round, dry, evoking memories of liqueur, eau-de-vie, jam, jelly, sorbet, sour sweets, syrup, coulis, cream filling, fresh fruit, dry <\/span>berries, cassis leaves, etc.<\/span><\/span><\/o:p><\/span><\/p>\n

In addition, perception is a personal experience. It resorts to memories, representations, image <\/span>associations that differ from one person to another. Indeed, we all have our own idea of th<\/span>e<\/span> cassis aroma. The reference that is created deep inside ourselves is not similar to that of another person.<\/span><\/o:p><\/span><\/p>\n

Is it necessary to add that each taster has a different olfactory apparatus? or that we don't have th<\/span><\/span>\u00e8<\/span> same perception thresholds? It is clear that learning how to identify wine aromas relates to <\/span>the squaring of th<\/span>e<\/span> circle.<\/span><\/o:p><\/span><\/p>\n

In these conditions, how can we work and develop our sense of smell? The smelling sessions intend to answer this question.<\/span><\/span><\/o:p><\/span><\/p>\n

Let us continue our example and ask a wine amateurto smell th<\/span>e<\/span> Absolu Bourgeons de cassis on <\/span>a paper sampler and tell us his impressions. In response to our request he will point out th<\/span>e <\/span>differences and similarities he perceives between his own cassis reference, th<\/span>e<\/span> one recorded in <\/span>th<\/span>e<\/span> intimacy of his memory, and th<\/span>e<\/span> Absolu Bourgeons de cassis. This exercise has a dual effect: on one hand, th<\/span><\/span>e<\/span> taster acquires a more precise idea of his own conception of th<\/span>e<\/span> cassis aroma <\/span>and on th<\/span>e<\/span> other hand, adds a new reference to th<\/span>e<\/span> stock of odors recorded in his brain, th<\/span>e <\/span>Absolu Bourgeons de cassis. Let's imagine that immediately after we ask him to comment on two new cassis aromas: one used by th<\/span><\/span>e<\/span> food industry and th<\/span>\u00e8<\/span> 4MMP. After smelling these two new <\/span>substances th<\/span>e<\/span> taster will start to seriously consolidate his knowledge of a fruity note. In just a few minutes he will have memorized three new cassis type references. To be honest, not altogether, <\/span>because in order to fully grasp a smell we must know all its aromatic facets, every one of its <\/span>aspects, and this knowledge can only be acquired through a regular practice. Of course, for a <\/span>complete memorization to take piace, th<\/span><\/span>e<\/span> wine amateur will need to smell these three new odors <\/span>repeatedly.<\/span><\/o:p><\/span><\/p>\n

These are not th<\/span>e<\/span> only benefits obtained by th<\/span>\u00e8<\/span> taster. Smelling also allows us to adjust and <\/span>enrich our vocabulary. This is particularly important because tasting is about being able to express with words th<\/span><\/span>e<\/span> sensory differences we perceive.<\/span><\/o:p><\/span><\/p>\n

It is clear that through a constant, stubborn and guided smelling practice we can acquire a <\/span>sound knowledge of th<\/span>e<\/span> aromatic descriptors of wine. It is surprising to see that wine <\/span>professionals and amateurs taste wine without having ever received olfactory training. The best <\/span>musicians spend years studying music theory and practicing scales on a daily basis. Why should it be different for wine professionals who use their sense of smell every day?<\/span><\/o:p><\/span><\/p>\n

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SENSATION AND PERCEPTION<\/span><\/b><\/o:p><\/span><\/p>\n

“The constitution of a memory is never <\/span><\/i>posterior  to that of <\/span><\/i>perception, it is simultaneous” – Bergson.<\/span><\/i><\/o:p><\/span><\/i><\/p>\n

It is a mistake to consider th<\/span>e<\/span> daily verbs “feel” and “smell” as synonyms. They are actually two <\/span>distinct stages of olfaction.<\/span><\/o:p><\/span><\/p>\n

STIMULATION AND SENSATION<\/span><\/o:p><\/span><\/p>\n

“Feel” plays th<\/span>e<\/span> crucial role of an equaliser. It is triggered by th<\/span>e<\/span> “stimulation” of a sensory <\/span>nerve. Its action is to induce th<\/span>e<\/span> individual to psychologically adjust to external conditions of th<\/span>e <\/span>surroundings.<\/span><\/o:p><\/span><\/p>\n

The stimulation is th<\/span>e<\/span> result of an effective “activation”. But th<\/span>e<\/span> stimulation generated may itself remain ineffective if it is not transmitted to th<\/span><\/span>e<\/span> central System which depends on sensory <\/span>feedback. This is particularly what happens when th<\/span>e<\/span> optic nerve is cut, th<\/span>e<\/span> light can still cause th<\/span>e <\/span>agitation of receptor cells of th<\/span>e<\/span> retina, but th<\/span>e<\/span> local response will not be transmitted to th<\/span>e <\/span>equalising centers. It will not affect th<\/span>e<\/span> overall behaviour of th<\/span>e<\/span> individual nor his adaptation.<\/span><\/o:p><\/span><\/p>\n

Sustaining th<\/span>e<\/span> sensation of a scent requires th<\/span>e<\/span> action of an olfactory stimulus that causes a <\/span>confined change, temporary but effective, a stimulation of th<\/span>e<\/span> sense of smell receptor cells. This <\/span>reaction must then be translated and then conveyed with th<\/span>e<\/span> aid of a nerve transmission to th<\/span>e <\/span>medulla oblongata as well as to th<\/span>e<\/span> higher brain centers. This process operates in a flash.<\/span><\/o:p><\/span><\/p>\n

The complexity of these mechanisms is even more important due to th<\/span>e<\/span> variability of human receptors. Physiologists state that their number and nature differ from an individual to another. <\/span>Thus do not be surprised if all th<\/span>e<\/span> olfactory apparatus does not react th<\/span>e<\/span> same way. But if th<\/span>e <\/span>physiological cause is not totally excluded, one should not underestimate th<\/span>e<\/span> importance of <\/span>psychological factors responsible for these variations.<\/span><\/o:p><\/span><\/p>\n

The 4MMP (4-mercapto-4-methylpentan-2-one) identified in many white varieties, especially in <\/span>Sauvignon blanc makes it possible to highlight these psychological factors. The molecule has <\/span>simultaneously an odor of boxwood, blackcurrant buds and cat pee, wild herbs, rustie, citrus, <\/span>grapefruit zest. If you ask several people to scent 4MMP, their diligence will not be focused on th<\/span>e <\/span>same aspects. Each one will follow his natural inclination and cling to a marker that struck him, th<\/span>e <\/span>wild herbs for example. If we guide them a new facet, blackcurrant for example, in turn they will <\/span>notice it. Gradually guiding their olfaction by vivid imagery, we will make a complete inventory of th<\/span>e<\/span> facets of th<\/span>e<\/span> smell and ultimately they will have a global view rather similar to that of our own.<\/span><\/o:p><\/span><\/p>\n

This tracking requires attention and concentration of mind that each individual is unwilling to <\/span>consent. This is often what makes one believe that th<\/span>e<\/span> senses of smell function differently. While <\/span>all individuals do not have th<\/span>e<\/span> same olfactory receptors, they nevertheless have strong similarities.<\/span><\/o:p><\/span><\/p>\n

Differences of perception are not always related to physiological differences, but mainly to <\/span>fatigue, lack of practice or knowledge.<\/span><\/o:p><\/span><\/p>\n

The importance of psychological factors in th<\/span>e<\/span> use of th<\/span>e<\/span> sense of smell has been long neglected <\/span>due to past studies conducted on animals. Experiments were based on their instinctive reactions, <\/span>thus less thought of and pondered by mankind. Finally th<\/span>e<\/span> transformation of perception through <\/span>education or voluntary training was not emphasized.<\/span><\/o:p><\/span><\/p>\n


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SENSATION AND PERCEPTION<\/span><\/o:p><\/span><\/font><\/p>\n

The sense of smell provides th<\/span>e<\/span> sensation of odors, that is to say th<\/span>e<\/span> response to an activation <\/span>on th<\/span>e<\/span> sensory organ. The aroma of a wine emerges from th<\/span>e<\/span> encounter of a few molecules <\/span>floating in th<\/span>e<\/span> air above th<\/span>e<\/span> surface of th<\/span>e<\/span> glass with millions olfactory receptor cells. This <\/span>encounter will cause a series of electrical and chemical reactions, creating a nerve impulse <\/span>transmitted to th<\/span>e<\/span> brain. The sensation is a passive physiological process.<\/span><\/o:p><\/span><\/p>\n

Perception is th<\/span>e<\/span> mental interpretation of sensation. It is an active process, which follows <\/span>sensation, and thus must be considered separately. It is an intellectual act; it involves higher levels <\/span>of consciousness, links to th<\/span>e<\/span> memory, associating images, depending on personal experience and <\/span>upbringing.<\/span><\/o:p><\/span><\/p>\n

Therefore, we will understand th<\/span>e<\/span> pivotal role of th<\/span>e<\/span> first sensations experienced by infants, <\/span>and behavioral consequences in adult life. Some irresistible attraction or repulsion for types of <\/span>smells can be explained only by attribution to strong sensations in early childhood.<\/span><\/o:p><\/span><\/p>\n

The conscious olfactive perception of smell is an alert and analysing mode of being. A wine tasting is based on th<\/span>e<\/span> differentiation of aromas and their classification by degree of relevance. It <\/span>refers to th<\/span>e<\/span> series of comparative sources: scents of fruits, wood, spices, etc…<\/span><\/o:p><\/span><\/p>\n

The mental structure of th<\/span>e<\/span> brain is based on th<\/span>e<\/span> sense of sight. For 100 sensations reaching <\/span>th<\/span>e<\/span> brain, 60 to 65 are from th<\/span>e<\/span> sight, 20 to 25 from hearing, and 10 to 15 from touch; whereby <\/span>only one comes from th<\/span>e<\/span> taste or smell. Our way of thinking is mostly visual. That is why <\/span>abstraction and mathematics pose many problems for young students.<\/span><\/o:p><\/span><\/p>\n

When we taste a wine, we are not surprised that an image appears spontaneously after sensation. The image prolongs th<\/span><\/span>e<\/span> sensation. Recognizing th<\/span>e<\/span> aroma of a wine is precisely to use <\/span>those images stored in our memory and trying to evoke them voluntarily. Images can be visual, acoustic, olfactory, gustatory, tactile, and thermal. Comparison runs th<\/span>e<\/span> process of perception <\/span>because it refers to flashes of images. We draw within our references th<\/span>e<\/span> closest image to th<\/span>e <\/span>aroma that we are trying to identify.<\/span><\/o:p><\/span><\/p>\n

Sometimes th<\/span>e<\/span> image that comes to mind is not thorough enough, as if we stopped along th<\/span>e <\/span>way to th<\/span>e<\/span> road that leads to th<\/span>e<\/span> identification of an aroma.<\/span><\/o:p><\/span><\/p>\n

Imagine taster number 1 perceives a rustie note, an impression of weeds while stirring a glass of white wine. Continuing his effort to analyze, he describes it as an anis-like flavor. The most <\/span>common references range to anise, are dill, tarragon, star anise, green anise, fennel seed (shoot <\/span>and root). His image references maybe infinite: sliced fennel thrown on coals when grilling a fish, a <\/span>glass of pastis, tarragon in ones grandparents garden, sour candy, etc…<\/span><\/o:p><\/span><\/p>\n

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Por th<\/span>e<\/span> same wine, Taster 2 perceives a spearmint note or even that of menthol. Due to th<\/span>e<\/span> fact that he is more sensitive to th<\/span><\/span>e<\/span> feeling of freshness that th<\/span>e<\/span> wine gives, his appreciation will refer to a different field of images including this somatosensory element: minty family references are <\/span>peppermint, spearmint, pennyroyal or wild mints. The tasters' representation can therefore <\/span>logically stop between menthol and peppermint, which also contains menthol aspect.<\/span><\/o:p><\/span><\/p>\n

One way or th<\/span>e<\/span> other, our two tasters are convinced of th<\/span>e<\/span> validity of their analysis. But saffice <\/span>it to a third taster, more experienced, to show they have “seen” one aspect of th<\/span>e<\/span> flavor in <\/span>question. Let's decide that th<\/span>e<\/span> said flavor is caraway. This referral contains both aniseed and minty <\/span>facets (due to th<\/span>e<\/span> presence of carvone). The two tasters will acknowledge this reference. In this <\/span>case, their aromatic description will not be accurate. Lack of accuracy could be lack of knowledge, <\/span>although these seeds are used as ingredients in some cheese (Munster or gouda) and some alcoholic beverages (aquavit, schnapps), or in many meaty dishes from Eastern and Northern <\/span>Europe or even in Indian food.<\/span><\/o:p><\/span><\/p>\n

Back to our example. Let's decide that aromatic element in th<\/span>e<\/span> wine described by our two <\/span>tasters is that of liquorice. On th<\/span>e<\/span> one hand, menthol is an ingredient of liquorice flavor. On th<\/span>e <\/span>other hand, tasters are frequently confused between th<\/span>e<\/span> aromas of anise and liquorice. If th<\/span>e<\/span> wine in question has been matured in oak, this example is particularly compelling because th<\/span><\/span>e<\/span> heating of a barrel can produce cycloten, a molecule known for its intense smeli of liquorice. Both taster<\/o:p><\/span><\/p>\n

have only gone halfway to find th<\/span>e<\/span> descriptor that corresponds best. When th<\/span>e<\/span> third taster will <\/span>evoke th<\/span>e<\/span> liquorice notes, they will realize th<\/span>e<\/span> gap that separates their impression from th<\/span>e <\/span>objective aroma present in th<\/span>e<\/span> wine.<\/o:p><\/span><\/p>\n

The role of olfactory education precisely is to give tasters th<\/span>e<\/span> best artillery possible to increase olfactory acuity; give them all th<\/span><\/span>e<\/span> existing links from one aroma to another.<\/span><\/o:p><\/span><\/p>\n


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SYNCRETIC PERCEPTION<\/font><\/span><\/o:p><\/span><\/p>\n

Continue our example. A fourth taster examines th<\/span>e<\/span> same wine. Inhaling th<\/span>e<\/span> aromas emanating from a glass, a summer memory arises in him unexpectedly. He sees himself sitting at an outdoor restaurant at dusk nearby a fishing port, carcasses of boats on a dry-dock. His impression is vague <\/span>and general; he doesn't distinguish any element in particular. Yet th<\/span>e<\/span> white wine that he sis tasting takes him back at this exact moment of his life. So to say, he smells this moment. What our tasters perceived first, th<\/span><\/span>e<\/span> context of this memory, th<\/span>e<\/span> welfare of his carefree years, post-adolescent, <\/span>before life force him to become a responsible person. The image that comes first to mind is the<\/span> <\/span>overall vision of a whole, before any distinction of olfactory elements. Setting his feelings, our <\/span>taster becomes aware that he would sometimes enjoy in this period of his life, a cocktail based on anise and mint. This remarkable perception which refers to an initial lack of differentiation of the<\/span><\/span> <\/span>elements composing ones memory before it could be analysed, is called syncretic perception. Unconsciously, th<\/span>e<\/span> memory of th<\/span>e<\/span> scent was bound to an emotional element. That is why such images explode in us with great intensity. Our tasters will be tempted to share this representation <\/span>with other tasters, but unfortunately for him, he won't be able to share his impression. This <\/span>explains why one taster sometimes goes for lyrical description while others will pity him.<\/span><\/o:p><\/span><\/p>\n

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PERCEPTION AND JUDGMENT<\/font><\/span><\/o:p><\/span><\/p>\n

The images that we use are tinged with judgements and assessments. There are appetizing and <\/span>nauseating odors, aromas of wine can belong to a register of defects or qualities. Perceiving an aroma is to note its presente and to evaluate it.<\/span><\/o:p><\/span><\/p>\n

The 4-ethyl phenol is a molecule that may appear in red wines in th<\/span>e use of new or used <\/span>barrels, it is related to the occurrence of Brettanomyces. The note is musky, leather, evokes <\/span>stables, horse sweat, but also paint and the band-aid. You can also find aspects of flowery jasmine. <\/span>It is usually classified as leather notes. It is easy to confuse it with an aroma of leather of an aging wine, more subtle, delicate, and dose to some facets of tobacco flavor. We understand the <\/span>importance to be able to distinguish these two leather aromas of a different type: the first one is <\/span>considered undesirable by wine professionals, while the other participates in the aromatic <\/span>complexity of the wine. Judging is a subjective phenomenon; it cannot escape the tasters' olfattive education. Hence an assessment may be erroneous, while the sensation (reflex) cannot be.<\/span><\/span><\/o:p><\/span><\/p>\n

The more we use our olfactory System, th<\/span>e more we benefit from it, the greater our education, the wider is our spectrum of references. Therefore if everyone smells, everyone will more or less <\/span>perceive, and some more accurately than others. It is therefore not surprising that tasters can <\/span>experience very similar feelings but express different judgements. If one of the tasters mind is less active, lacking of images, less trained, he will be less qualified to perceive.<\/o:p><\/span><\/span><\/p>\n


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Wine & Flavors<\/o:p><\/span><\/p>\n

26, rue de Ruat <\/o:p><\/span><\/p>\n

33000 Bordeaux \u2013 FRANCE<\/o:p><\/span><\/p>\n

Tel: <\/span>+33 614912 812<\/o:p><\/span><\/p>\n

schmitt@wineandflavors.com<\/a><\/o:p><\/span><\/p>\n

www.wineandflavors.com<\/a><\/o:p><\/span><\/p>\n


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a cura di Rocco Lettieri<\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

WINE AROMAS OLFACTION SEMINARS When smelling a wine, how can we make the difference between oaktree and cedarwood flavors? How<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"_links":{"self":[{"href":"http:\/\/simpatico-melograno.it\/index.php?rest_route=\/wp\/v2\/posts\/3020"}],"collection":[{"href":"http:\/\/simpatico-melograno.it\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/simpatico-melograno.it\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/simpatico-melograno.it\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"http:\/\/simpatico-melograno.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3020"}],"version-history":[{"count":0,"href":"http:\/\/simpatico-melograno.it\/index.php?rest_route=\/wp\/v2\/posts\/3020\/revisions"}],"wp:attachment":[{"href":"http:\/\/simpatico-melograno.it\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3020"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/simpatico-melograno.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3020"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/simpatico-melograno.it\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3020"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}