Turn Waste into Value. A science-backed certification for wine producers, distributors and wholesalers who transform overlooked resources into exceptional, certified wine — through upcycling and sensory realignment.
Across the entire wine supply chain, a significant and underestimated problem silently creates waste: the alignment gap. A wine's sensory character changes during storage, transport and maturation — but the brand promise on the label does not. Consumers expect Coca-Cola to taste exactly the same every time. When a wine deviates from that expectation, even when it has genuinely improved — developed more bouquet, gained complexity, acquired new aromatic dimensions — it risks being rejected, returned or left unsold.
The result is warehouses holding packaged wine that nobody analyses and few want to touch. Yet many of these lots have not deteriorated. They have evolved. With the right sensory analysis, adjustment and communication strategy, they can be repositioned, certified and returned to market as the products they have genuinely become.
Our core method — the Double Grip Analysis — was developed at Campus Grythyttan, Örebro University. It combines analytical precision (what can be measured) with analogical depth (what the wine communicates as a whole experience) to identify exactly what a wine is, what it can become, and how to close the gap between its sensory reality and its market potential.
The Upcycled By certification rests on a triad of scientific methods that together guarantee both the quality and the environmental integrity of every certified product.
The Upcycled By seal is a guarantee of three verified commitments — origin, method and environmental impact. Backed by peer-reviewed research at Örebro University and Oxford.
Each certified product carries a unique identifier traceable to its origin, analysis and certification date.
Three steps bring your product from potential to certified. Each stage builds on the previous, ensuring no aspect of quality or environmental value is overlooked.
The Double Grip Analysis is not a startup claim. It is the result of two decades of continuous empirical research — from the first dialogue seminars in 2003 to peer-reviewed applications in upcycling, crossmodal communication and robotic cultivation. Three peer-reviewed studies published 2023–2024 directly validate its application to upcycled wine certification.
Key peer-reviewed publications directly underpinning the Upcycled By certification methodology.
Rewine The World® is an independent international research platform founded in 2021 by Anders Crichton-Fock (formerly Herdenstam) at Campus Grythyttan, Örebro University.
The group conducts research within wine rescue, sensory communication, sommellierie and culinary science & arts — developing novel methods for how complex food products can be better understood, communicated and preserved. Its work is driven by the questions: how do we identify the full value of what already exists, and how do we communicate it?
The consortium brings together researchers from experimental psychology, sensory science, food chemistry, metabolomics, culinary arts and consumer research. Methods include sensory and chemical analysis, cross-modal experiments, analogical inductive methods and creative design.
Rewine The World® is not affiliated with or managed by Upcycled By. It is an independent research group whose ongoing work in novel sensory methods contributes to the broader scientific field from which the Double Grip Analysis and related methodologies continue to develop.
Want to join the network? Reach out and let's explore what your waste can become.
The Double Grip Analysis is not a startup claim. It is the result of two decades of empirical research — and a methodology that bridges art and science to identify, communicate and certify upcycled value.
From the first encounter to the farewell — the analytical grip isolates what can be measured, the analogical grip captures what can only be experienced. Neither alone is sufficient. Together, they form a trained capacity to pendulate between science and art in real time.
From individual sensory perception to systemic alignment — the Double Grip framework eliminates waste at every level of the value chain.
Wine is not a static product — it is an event. From the first encounter (attack) to the farewell (finish), it passes through senses that cannot be isolated. The analytical grip gives deductive precision; the analogical grip gives inductive gestalt. Together they form the Double Grip — a trained capacity to pendulate between science and art in real time.
Sensory experience is modulated in real time by context. Crossmodal research documents that music, light, shape, touch and ambient scent all measurably affect taste perception and consumer acceptance — the mechanism used to align product and consumer, reducing the interpretation gap that drives waste.
Individual sensory experience is the starting point — not the endpoint. Three sequential steps build a shared language and identify the critical attributes, moving from personal, autobiographical analogy to inter-subjective consensus without losing the richness of the individual experience.
The interpretation gap between producer and consumer is the root of waste. When a shared sensory language is built — supported by crossmodal tools — the gap narrows. 95% of consumers were open to purchasing a blended wine if sensory descriptors matched their preference. 91% were positive to buying based on sensory information alone. (Crichton-Fock et al., Frontiers in Psychology 2023, n=329 engaged wine consumers)
47 peer-reviewed and scholarly sources — the complete foundation of the Double Grip Analysis and the Upcycled By certification methodology.
| 2024 | Crichton-Fock APF & Spence C The imitation game — exploring the double-grip analysis for creating analog wines Journal of Wine Research, 35(2), 139–159. DOI: 10.1080/09571264.2024.2310307 OwnDGACrossmodal |
| 2024 | Califano G, Crichton-Fock APF & Spence C Consumer perceptions and preferences for urban farming, hydroponics, and robotic cultivation Future Foods, Vol. 9. OwnRobotFood |
| 2024 | Crichton-Fock APF & Scander H Sommelierens estetiska hantverk: Vinprovning som aristotelisk kunskap i handling Gastronomiska Akademiens årsbok, Carlsson Bokförlag OwnDGADialogue |
| 2023 | Crichton-Fock A, Spence C & Pettersson N Using crossmodal correspondences as a tool in wine communication Frontiers in Psychology, 14:1190364. DOI: 10.3389/fpsyg.2023.1190364 OwnCrossmodalSensory |
| 2023 | Crichton-Fock A, Spence C, Mora M & Pettersson N Enhancing the design of wine labels Frontiers in Psychology, 14:1176794. DOI: 10.3389/fpsyg.2023.1176794 OwnCrossmodalSensory |
| 2023 | Spence C Explaining visual shape-taste crossmodal correspondences Multisensory Research, 36, 313–345. Crossmodal |
| 2022 | Crichton-Fock APF, Kurtser K, Swahn J & Arunachalam A Nature versus machine: sensory evaluation of robot-cultivated basil Int'l Journal of Gastronomy and Food Science, 29, 100578. OwnRobotSensory |
| 2022 | Crichton-Fock APF Re:wine the world — A multisensory food rescue project EuroSense Conference, Turku, Finland OwnDGACrossmodal |
| 2022 | Spence C & Van Doorn G Visual communication via the design of food and beverage packaging Cognitive Research, 7:42. CrossmodalFood |
| 2022 | Spence C Experimental atmospherics: a multi-sensory perspective Qualitative Market Research, 25, 662–673. CrossmodalSensory |
| 2022 | Hoffmann CH Is AI intelligent? 70 years after Turing Technology in Society, 68, 101893. Robot |
| 2021 | Croijmans I & Wang QJ Do you want a description with that wine? Journal of Sensory Studies, 37:e12712. CrossmodalSensoryLanguage |
| 2021 | Torres-Martínez S Complexes, rule-following, and language games Semiotica, 2021(242), 63–100. DialogueLanguage |
| 2020 | Crichton-Fock APF, Nilsen AN & Öström Å Breaking the silence: communication skills after analogical training Int'l Journal of Gastronomy and Food Science, 20, 100210. OwnDGADialogue |
| 2020 | Spence C Senses of place: architectural design for the multisensory mind Cognitive Research, 5:46. Crossmodal |
| 2020 | Croijmans I, Speed LJ, Arshamian A & Majid A Expertise shapes multimodal imagery for wine Cognitive Science, 44(5):e12842. SensoryCrossmodalLanguage |
| 2019 | Heatherly M, Dein M, Munafo JP & Luckett CR Crossmodal correspondence between color, shapes, and wine odors Food Quality and Preference, 71, 395–405. CrossmodalSensory |
| 2019 | De Luca M, Campo R & Lee R Mozart or pop music? Effects of background music on wine consumers Int'l Journal of Wine Business Research, 31(3), 406–418. CrossmodalSensory |
| 2018 | Crichton-Fock APF, Nilsen AN, Öström Å & Harrington RJ Sommelier training: Dialogue seminars and repertory grid method Int'l Journal of Gastronomy and Food Science, 13, 78–89. OwnDGADialogue |
| 2018 | Wang QJ & Spence C A smooth wine? Haptic influences on wine evaluation Int'l Journal of Gastronomy and Food Science, 14, 9–13. CrossmodalSensory |
| 2018 | Wang QJ & Spence C Wine complexity: an empirical investigation Food Quality and Preference, 68, 238. CrossmodalSensory |
| 2017 | Hagtvedt H & Brasel SA Cross-modal communication: sound frequency influences consumer responses Journal of Marketing Research, 53, 551–562. Crossmodal |
| 2016 | Lehrer K & Lehrer A The language of taste Inquiry, 59(6), 752–765. LanguageSensory |
| 2015 | Spence C & Wang QJ Wine and music I, II, III Flavour, 4:34, 4:33, 4:36. CrossmodalSensory |
| 2015 | Reid CA, Green JD, Wildschut T & Sedikides C Scent-evoked nostalgia Memory, 23(2), 157–166. SensoryCrossmodal |
| 2014 | Spence C, Velasco C & Knoeferle K A large sample study on the multisensory environment and wine drinking Flavour, 3:8. CrossmodalSensory |
| 2014 | Fusaroli R, Rączaszek-Leonardi J & Tylén K Dialog as interpersonal synergy New Ideas in Psychology, 32, 147–157. DialogueLanguage |
| 2013 | Deroy O, Crisinel AS & Spence C Crossmodal correspondences between odors, musical notes, and geometrical shapes Psychonomic Bulletin & Review, 20, 878–896. CrossmodalSensory |
| 2013 | Hanson-Vaux G, Crisinel AS & Spence C Smelling shapes: Crossmodal correspondences between odors and shapes Chemical Senses, 38, 161–166. Crossmodal |
| 2013 | Paradis C & Eeg-Olofsson M Describing sensory experience: the genre of wine reviews Metaphor and Symbol, 28(1), 22–40. LanguageSensory |
| 2013 | Christ KL & Burritt RL Critical environmental concerns in wine production Journal of Cleaner Production, 53, 232–242. Food |
| 2012 | Crisinel AS & Spence C A fruity note: Crossmodal associations between odors and musical notes Chemical Senses, 37(2), 151–158. CrossmodalSensory |
| 2012 | Piqueras-Fiszman B & Spence C The weight of the bottle as extrinsic cue for wine quality Food Quality and Preference, 25, 41–45. CrossmodalSensory |
| 2012 | Varela P & Ares G Sensory profiling, the blurred line between sensory and consumer science Food Research International, 48, 893–908. SensoryFood |
| 2011 | Crichton-Fock APF (publ. as Herdenstam) Den arbetande gommen: vinprovarens dubbla grepp Doctoral Thesis, KTH Royal Institute of Technology OwnDGADialogue |
| 2011 | Spence C Crossmodal correspondences: a tutorial review Attention, Perception & Psychophysics, 73, 971–995. Crossmodal |
| 2010 | Gallace A & Spence C The science of interpersonal touch: an overview Neuroscience & Biobehavioral Reviews, 34, 246–259. Crossmodal |
| 2009 | Crichton-Fock APF, Hammarén M, Ahlström R & Wiktorsson PÅ The professional language of wine: perception, training and dialogue Journal of Wine Research, 20(1), 53–84. OwnDGADialogueLanguage |
| 2008 | Csíkszentmihályi M Flow: The psychology of optimal experience Harper Perennial. DialogueSensory |
| 2008 | Harrington RJ Food & wine pairing: a sensory experience John Wiley. SensoryFood |
| 2006 | Göranzon B & Hammarén M The methodology of the dialogue seminar In: Dialogue, Skill and Tacit Knowledge. John Wiley & Sons. Dialogue |
| 2006 | Shepherd GM Smell images and the flavour system in the human brain Nature, 444, 316–321. Sensory |
| 2005 | Göranzon B, Hammarén M & Ratkić A Training in analogical thinking: The dialogue seminar method In: Dialogue, Skill and Tacit Knowledge. John Wiley. Dialogue |
| 2004 | Crichton-Fock APF (publ. as Herdenstam) Sinnesupplevelsens estetik: vinprovaren, i gränslandet mellan konsten och vetenskapen Licentiate Thesis, KTH Royal Institute of Technology OwnDGA |
| 2003 | Crichton-Fock APF, Hammarén M, Ahlström R & Wiktorsson A The professional language for wine tasters: improving communication by dialogue method ICCAS Conference, Bournemouth & Örebro OwnDialogueLanguage |
| 2000 | Chu S & Downes JJ Long live Proust: The odour-cued autobiographical memory bump Cognition, 75(2), B41–B50. SensoryDialogue |
| 1968 | Wittgenstein L Philosophical investigations (3rd ed.) Blackwell. DialogueLanguage |
The Double Grip Analysis does not end with evaluation — it ends with a decision. Which tier does this material belong to? The four tiers represent a spectrum of resource optimisation: from the least-processed product closest to origin, to maximum extraction where nothing is wasted.
Both grips are applied at every tier — but their emphasis shifts. For wines rescued without blending (Tier 1), the analytical grip maps quality while the analogical grip finds the new context. For new categories and maximum extraction (Tier 3–4), the analogical grip builds the product's identity from scratch, the analytical grip secures quality.
Packaging rule: Tier 1 & 2 are available in all five formats. Tier 3 & 4 are delivered exclusively in cans — the can surface becomes the primary crossmodal communication canvas. (Wang & Spence 2018; Velasco et al. 2015)
Each format carries independent crossmodal signals — weight, shape and material communicate quality and expectation independently of the label. Format selection is part of the sensory communication strategy.
Double Grip certification belongs to no one name — it is a capacity. To pendulate between the analytical and the analogical. To capture wholeness, the wine's rhythm and dynamics, from meeting to farewell. The seal remains — only the name changes.




















Join the producers who are turning overlooked resources into certified, high-value products — and making a verifiable difference to the planet.