Soursop juice stabilized with soy fractions: a rheologial approach

The potential use of soybean soluble polysaccharide (SSPS) as a stabilizer in acidic beverages was evaluated using rheological and stability studies. For this purpose, soy-based beverages were formulated with soy protein isolate (SPI) and soursop juice due to the low stability of this kind of dispersion. The influences of the concentrations of soybean soluble polysaccharide, calcium chloride, and soy protein isolate on the stability and rheology of soursop juice were evaluated using a factorial experimental design. Interactions between the concentrations of soybean soluble polysaccharide and soy protein isolate exerted a positive effect on the maximum Newtonian viscosity. The stability was positively influenced by the soybean soluble polysaccharide and soy protein isolate concentrations, but the interactions between soy protein isolate and CaCl2 also affected the sedimentation index. These results suggest that soybean soluble polysaccharide is effective in stabilizing fibers and proteins in acidic suspensions due to the increase in viscosity and steric effect caused by the formation of complexes between the soybean soluble polysaccharide and soy protein isolate.

From transcendental to practical intersubjectivity: a social psychological approach to Kant's musical aesthetics

It is well known that Kant’s aesthetics is framed intersubjectively because he upholds the claim of taste to universality. However, the transcendental foundation of this shared universality is a supersensible ground which is taken for granted but which cannot be brought directly into communicative experience. Kant’s reliance on the synthetic a priori structure of aesthetic judgment also removes it from the sphere of observable personal interaction. This argumentative strategy exposes it to skeptical challenge and generates inaccessible references to inner representations (be they intuitions, categories of the understanding or rational ideas). It is not sufficient, as Kant did, to propose a description of aesthetic experience that is subjectively plausible and thereby claim its intersubjective validity. It is indispensable to embody intersubjectivity in behavior and language. In practical intersubjectivity, aesthetic attitudes are dealt with in a concrete and accessible manner without relying on mentalistic assumptions as a foundation. Conceptual terms such as 'agreeable’, 'beauty’, 'sublime’, 'ugly’, 'universality’ acquire new meaning in a conversational context and aesthetic claims are tested in a dialogical game semantics model.

On the Beautiful and the Ugly

Classical aesthetics sees the experience of the beautiful as an anthropological necessity. But, in fact, the beautiful is rather the central category designating classical art, and one can question the relevance of this category considering contemporary art. The reference term most frequently used for contemporary art is interesting: works of art solicit the interests of my faculties (the cognitive-intellectual, the pragmatic community-oriented moral, the affective aesthetic faculties). It is interesting to notice that the categories of the beautiful and the ugly have an axiological-moral value. It looks as if the qualities of contemporary art works are judged according to the intensity of the impact on the interests of our faculties. It reveals important, in this respect, to distinguish the ugly from the sublime and the monstrous. Kant’s Third Critique is of some importance in defining these categories.