T gaiser bloggers conference ppt 8 12
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The Neuroscience of Wine Tasting
Unlocking the Tasting Strategies of Genius
Tim Gaiser MS
Wine Bloggers’ Conference
August 18, 2012
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Initial Thoughts
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Today’s Objectives • Discussion of the modeling project
• Introduction of concepts:
– Modeling internal strategies
– Eye accessing cues
– Olfactory memory and imaging
– Submodalities
– The internal image map or grid
– Internal visual constructs for calibrating structure and more
• Project methodology, findings and exercises
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The wine:
2008 John Duval Plexus, Barossa
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My Background
• Two degrees in music:
– BA Music History: University of New Mexico 1979
– MM Classical Trumpet: University of Michigan 1983
– A short music free-lance career: 1984-1989
• Restaurant industry: 1972 – 1993: everything but kitchen and maître ‘d
• MS diploma 1992
• Court of Master Sommeliers Americas: Education Chair – Education Director 2003-2011
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The Project
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Teaching Tasting
Is one of the most
rewarding things we do
It can also be one of
the most frustrating …
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Teaching Tasting: the Challenge
• Trying to give students our own experiences and vocabulary of wine
• Knowing that everyone has different neurologies, memories and life experiences
• How can we establish commonality so the students can learn easily and quickly using their own experience?
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Desired State:
More effective strategies for teaching students tasting
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Resources:
The strategies of top tasters
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Overall Goals for the Project
• To improve how we teach tasting: – Students learning to taste with more ease in a shorter
period of time
– Using their own internal maps, memories and neurology
• To discover internal strategies of top tasters
• To replicate and use the best strategies in order to teach more effectively
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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
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Project Genesis:
2009 Film Sessions
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Session Results
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Eye positions and patterns are vital to experienced tasters
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Olfactory memory—image connection
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Submodalities:
The structure of internal images can potentially be more important than
the actual content
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The existence unique and very personal internal image maps or grids
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Internal visual constructs are commonly used for every aspect of
experiencing wine
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Why hasn’t someone
figured this out before?
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How Can You Be In Two Places At Once When You're Not
Anywhere At All?*
*Firesign Theater
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Mastery of any skill:
unconscious competence at a very high level
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Needed:
the “meta” position -
An observer or guide to help slow down one’s internal thinking processes to elicit strategies
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The Ongoing Project:
Modeling top tasters
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Goal:
To see if the findings from the 2009 film sessions were consistent
in other tasters
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Goal:
To attempt to find commonality of strategies among other
experienced tasters
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Goal:
To create sequences using these strategies in order to be able to
teach them to students
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Final goal:
To improve how we teach tasting
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What is modeling?
Eliciting internal patterns of excellence in behavior and
communication
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Modeling Criteria for Tasting Project
• Language usage and patterns
• Eye movements and patterns
• Olfactory image representations
• Internal image maps
• Driver submodalities
• Visual constructs for calibrating structure and other aspects of tasting
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How Sessions Were Conducted
• Most sessions recorded and transcribed
• My acting as a guide
• Use of an outline of questions based on the Meta Model:
– Goals
– Evidence procedures
– Needs
– Outcomes
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Project Findings
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Overall Goals for Tasting
• Contextual-based for all tasters:
– Tasting for pleasure
– Tasting for a buyer’s role
– Tasting for reviewing wine
– Tasting for exam practice
– Tasting for teaching purposes
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Evidence: Needs for Tasting
• Adequate light
• Quiet environment
• Odor free
• Tasting wine in batches
• Wines at proper temperatures
• Good glassware
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I. Sight
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Goals For Looking at Wine
• The appearance of a wine, especially the color, builds instant expectations
• Identify color and use that information to:
– Identify age
– Identify grape variety
– Identify wine making type style
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Finding:
Use of Visual Constructs for Determining Color and Age
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Visual Constructs for Color
• Tasters commonly identified the color (and often age) of a wine by using internal color swatches created from memories of previously tasted wines
• Swatches were either gradated or segmented into different colors (“Like paint samples.” EW)
• An internal auditory prompt often precedes using construct, i.e., “what color is it?”
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Visual Color Construct: Evan Goldstein
• Internal question (“What color is it?”) prompts appearance of flat panel: – Panel directly in front, eye-level, about 2-3 feet
away – The panel is rectangular, about 2’ x 3’ and flat, like
a flat screen monitor
• Colors range changes in a gradual gradation from light red on the left side to deep purple on the right.
• Matches color in the glass to a color in the spectrum
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II. Smell:
the Main Event
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Findings: Eye Positions
All tasters used a consistent starting eye position or pattern
when smelling wine
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Eye Positions:
Background
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Taster’s Eye Positions
• Emily Wines: straight ahead (about 3 feet) and slightly down
• Doug Frost: pattern of several very rapid movements: down, centered and moving left to right
• Peter Marks: down and centered
• Brian Cronin: down and center/ slightly left
• Tim Gaiser: down and to the left
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Eye Positions & Auditory Prompts
• An internal auditory “prompt” was almost always used following the starting eye position: – “What’s there?” – “What am I smelling?” – “What’s in the glass?” – “What kind of fruit is it?”
• The combination of a starting eye position and
internal auditory question started the smelling sequence
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Eye Patterns: Other Findings
• Other eye positions used to access:
– Internal imaging “field ” for creating or comparing images
– Auditory memories about a wine
– To look at a tasting “grid” as a guide
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Eye Patterns and Eye Accessing Cues
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What Are Eye Accessing Cues?
• 1890: William James -- relationship between eye movements and internal representation in his book Principles of Psychology
• 1970’s: Richard Bandler, John Grinder and colleagues: – Found consistent patterns of eye movements
associated with the activation of different parts of the brain
• Neurologists now call them lateral and vertical eye movements
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Eye Accessing Cues Defined
• 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
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Eye Accessing Cues
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Important to Note
• Not everyone utilizes the same eye accessing cues
• Some individuals, particularly if left handed, have the pattern reversed
• Everyone was found to use eye patterns on a consistent basis to access various memory functions
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Eye Position Exercise
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Finding:
The Olfactory Image Connection
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Remember a time when wine just smelled like … wine
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Statement: “It smells like black cherries.” Question: “How do you know?” “If I had to be you, how would I know? “What would I do?” “What would I experience?” “What would I see?”
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Findings: Olfactory Image Connection
• All 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
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Image Maps
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Findings
• All tasters formed an internal map of the aroma images once generated
• The image maps or grids differ-- sometimes radically--from person to person
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Project Taster Image Maps
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Karen MacNeil
2009 Yalumba Shiraz, South Australia
No Consistent Auditory Prompt
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Evan Goldstein
2009 Yalumba Shiraz, South Australia
Auditory Prompt: “What kind of fruit is it?”
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Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewächs
Auditory Prompt: “What’s there?”
Start
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Emily Wines Auditory prompt: “What’s there?”
2008 Double Bond Pinot Noir, Wolff Vineyard, Edna Valley
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Peter Marks
2009 Robert Mondavi Cabernet Sauvignon, Napa Valley
Auditory Prompt: “What’s there?”
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Tim Gaiser
Pattern from several wines
Auditory Prompt: “What’s there?”
Start
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Conclusion:
Image Maps are Unique and Vary
Dramatically from Person to Person
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Olfactory Image Exercise
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Partner Up
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Front Loading
• The most common aromas of red wine:
– Black fruits: berries, cherries, currants, raspberries
– Red fruits: cherries, cranberries, currants etc.
– Dried fruits: figs, prunes, raisins, dates
– Non-fruit: flowers, herbs, spices
– Wood: vanilla, spices
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Exercise
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Submodalities
The Structure of Thought and Experience
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Findings:
Submodalities are vitally important to the internal imaging process and
tasters’ experience of wine
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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 modality can possess
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Common Submodalities: Visual
• Black & white or color*
• Proximity: near or far*
• Location*
• Brightness*
• 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
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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
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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
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Findings:
Altering driver submodalities in all tasters changed their experience of
a wine—sometimes dramatically
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Driver Submodality Findings
• Karen MacNeil:
– Proximity, Size, 2D vs. 3D, Color vs. black and white
• Emily Wines:
– Proximity, Size, and 2D vs. 3D
• Doug Frost:
– Changing any structural aspect of the images of either fruit or words makes the experience artificial and unreal
• Tim Gaiser
– Proximity, Size, 2D vs. 3D, Color vs. black and white
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Submodality Exercise
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IV. Palate
Olfactory Confirmation and Structural Calibration
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Palate:
Confirmation of aromatics
Do images and image maps change from nose to palate?
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Findings: Images and the Palate
• As flavors change or increase/decrease in intensity, the structure of the images changes for most tasters.
• Stronger intensity on the palate vs. nose equals the image increasing in size, brightness or closer proximity or location.
• Less intensity on palate vs. nose equals image decreasing in size, brightness or a more distant proximity or location.
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Palate Findings: Image Grid Changes
• Tim Gaiser – Images stay in their grid but may shift in terms
of size, brightness, proximity or 2D vs. 3D
• Emily Wines – Order and size of cards reshuffles from the nose to
the palate. – Stronger flavors causes cards on the “table” to
move closer, increase in brightness and color. – Less intense flavors do the opposite.
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Palate: Structural Calibration
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Finding:
Tasters commonly used internal visual constructs or scales to
calibrate the structure of wine
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Structural Calibration: Tracy Kamens
• For sweetness/dryness: sees scale directly in front of her.
• A continuum with markers from dry on the left to sweet on the right.
• Her attention moves on the scale until the right sweetness level found; a tick (mark) on the scale marks the right point.
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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
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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
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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
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Utilization:
How can the findings be used to help students learn?
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Teach students to ID color and age in wine with color spectrums/swatches
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Help students to become aware of the aroma-image connection that
they already possess and use
Using imaging to install new memories
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Practicing Tasting Without Wines –
Disassociated and Associated Rehearsal as a Learning Tool
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Teaching students to calibrate structural elements using internal
visual scales/constructs
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Final thoughts
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Q&A
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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
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Thanks to 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