Wait! For criminy’s sake! This is a cigar article with the background info first. Stay with me.
Bacon and the Mind: Art, Neuroscience, and Psychology. In brief: The publication focuses on what neuroscience and psychology bring to the table with the late artist’s works. (“Francis Bacon was an Irish-born British figurative painter known for his emotionally charged raw imagery and fixation on personal motifs.” (Wiki) Many of his works grotesquely distort the reality of what actually is.)
“For some 20 years now, a subfield of the neurosciences called neuroaesthetics has been investigating the neurobiological under-pinnings (sic) of human art behaviour (sic). Using brain scanners to probe neural activity while people experience works of art, this research effort has predominantly pursued two central questions: how does the brain come to like or dislike objects it encounters, and how does it represent art objects perceptually, cognitively and emotionally?” (www.theartnewspaper.com)
There are tons of cigar reviews on the internet. (Too many if you ask me, but you’re not asking me so I’ll keep that discussion at bay for now.) There are sites that do nothing but review cigars, some analyze our choices, some go so far as to make our choices; some are good and some are not so good. It’s all an opinion anyway, just like this article.
Point: The above tome published by Thames & Hudson brings to the fold another angle to looking at cigars that I don’t believe has been brought up in conversation, print or podcasts – And that is “. . . how does the brain come to like or dislike objects . . . ?” And to come full circle how does a cigar smoker’s brain process this information?
Well, this book on Bacon is 160 pages in length. I haven’t read it all. But there are a few sentences, that the reviewer of the book, one Martin Skov, hypothesizes or at least brushes up against an answer by writing “ . . . the central impact of Bacon’s paintings consists (of) their ability to shock the . . . nervous system . . . .” He further goes on to write,” . . . Specifically, the visual (sensory) system contains dedicated neural systems for recognizing (normal) bodies and faces (or tobacco tastes and flavors). . . .” He then continues, “ . . . Bacon’s paintings succeed in shocking us because they effectively distort how our visual (sensory) systems expect a face to look.”
To conclude, Kotz writes “To me as a neuroscientist, one of the most striking things about Bacon’s paintings is that he deliberately crafted images (cigars) that provoke negative emotions, ugly colors, deformed human bodies, etc.” To be (dis)engagingly different.
So we cannot answer the question with intellectual clarity and emotional alacrity to any degree of correctness and can only speculate what goes on in the brains of cigar smokers as to why he or she is dizzy with enthusiasm for one brand and another causes the same individual to wince in sensorial discomfort. All we can know is that the results occur but the “why” is left for the Martin Skov’s of the world.