Tasting is not a procession of obsessions, oenological or ideological. It is the perilous blend of a sum of sensations and experiences, of rigour and language. Far from the “like it or dislike it” that is so dear to influencers.
One of the first lessons taught in the history of art concerns the point of view from which a painting or a sculpture should be analysed. To be relevant, the gaze, the perspective, is not a matter of chance or free will of the viewer. This is very annoying, because the way they are hung in many museums, the crowds that visit them and, alas, sometimes even the light do not do them justice. The parallel is obvious with a well-conducted tasting protocol. As a young journalist at the beginning of the 1980s,
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