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Velouté de Céleri-Rave
with confit of pheasant, truffle purée
Warm, aromatic, and with the refined consistency of homogenized milk, the dairy based celery soup was like a blanket around rich and lean pheasant confit that was topped with a ripple of mushroom puree (likely laced with the aforementioned truffle). This course reminded me much of the Cappuccino de Truffe but on a homier scale. It's hearty yet mild flavours fitting of the winter season. I love game and fowl meats, so this was my favourite course of the three rather consumer friendly starters that Chef Bangerter was kind enough to send to all members of our table.
My guess as to the wine pairing with this course (again, due to attention paid to guests at the table, my mind draws a blank at the careful pairing our friendly sommelier made):
2008 Cave Spring ‘Jump’ Chardonnay, Niagara, Canada
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Do you still wonder why modern man is so sick? You put processed, synthesized, hydrolized, homogenized, dead, non-food in your body, you will reap misery, sickness and death. It is an inescapable law of biology, no matter how much marketing garbage is forced down our throats.
Victoria University
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A Work of art is more than an object, more than a commodity. It embodies
a vision of the world, and if taken seriously must be seen as a Way of mak-
ing a world. A few signs marked on paper, a barely touched canvas, or a vast
installation can amount to different ways of worldmaking, and the strength
of the vision is hardly dependent on the complexity of the tools brought
into play. It is only through the plurality of languages that the theme of this
year's International Art Exhibition emerges: Fare Mondi, Making Worlds,
Aö búa til Heima, Sozdavanje Svetovi, Stvaranje svjetova, Facere de lumi,
Construire des Mondes, Világok Teremtése, Konstruojant Pasaulius,
Luues Maailmu, Welten Machen. ..
It is perhaps not that easy to translate the title of the exhibition into
every language, but if Édouard Glissant, a major theorist of poetic migra-
tion and transformation, is right, the translation act itself is a way of making
our shared world richer. With every language we lose, the imagination of
the world is impoverished. With every translation of a poem into another
language, our collective imaginary universe is enhanced: “The cultures of
the World are furiously and knowingly coming into contact With each oth-
er, changing by exchanging, through irremediable collisions and ruthless
wars-but also through the breakthrough of moral conscience and hope.”
Perhaps the most productive collision is that of a poem being transformed
from one language to the next, or a work of art being introduced to an
audience for whom the encounter implies a Widening of the intellectual
horizon. La Biennale can be seen as a place Where such artistic translations
and productive misreadings take place, and this is what makes it a creative
site and not simply a place Where one culture is put on display for another
in a way that treats each culture as something static, a fixed essence that
is inevitably rooted in stereotypes. Instead, beyond the world of specta-
cle culture, there is still the possibility of truly poetic clashes, that which
Glissant calls an éclat-a collision that also creates sparks of novelty. With-
out such sparks, life would be a dreary thing.
Today's world consists of individual nations as well as of globalizing
forces, and artists around the world create their works amid the tension
between the' two. Internationalization can be an emancipatory power that
liberates individuals from the limitations of their local culture, but there is
no doubt also a homogenizing tendency that involves a leveling of cultural
differences that can turn the world into a place of monotonous sameness. It
may be interesting to think about art as a counterforce to such leveling-an
insistence on differences that have nothing to do with the politically reac-
tionary return to nationalism. The artists invited to the 53rd International
Art Exhibition do not represent their nations or linguistic communities but are responsible solely for their own visions. “Worldmaking as We know it al-
ways starts from worlds already on hand; the making is a remaking,” claims
Nelson Goodman in Ways of Wor/dmakíng a book full of relevant observa-
tions that has been a source of inspiration when preparing this project.
The graphic design language developed for this exhibition shows how
the most well-known symbols, the national flags of the world, can be bro-
ken down into basic visual shapes that display unexpected painterly quali-
ties. A new visual language emerges that allows for repetition and differ-
ence producing infinite variation. A world tends to be inhabited by more
than one individual, and so “making” in this case revolves around building
something common, something that can be shared. Perhaps new worlds
emerge where worlds meet. I don't really now what Dünyalar Yaratmak,
Te Mahi Ao or Fazer Mundos sound like to the people who speak these
languages, but underlying all these valences of “making” and “worlds” is
the impulse to move away from any understanding of the show as a mu-
seum-like presentation of self-sufficient ready-made objects. Numerous
artists working in the Giardino delle Vergini take advantage of the highly
unusual opportunities available in a garden With old architectural struc-
tures that have not been in use for decades. This previously unexplored
area opens up a new atmospheric universe for the exhibition. It is full of
surprises and provides a unique backdrop for artistic interventions.
It is an exhibition without sections that presents different themes yet
weaves them into one articulated whole. Placing particular emphasis on
La Biennale as a site for production and experimentation, it will involve
projects that probe the possibilities of the built world. But the emphasis on
the creative process and on things in the making will not exclude an ex-
ploration of visual richness-abstract imagery and painting in the broadest
sense. When Fare Mondi Making Worlds brings back expressions from a
recent past it is never for nostalgic reasons but in order to find tools for the
future and to make possible new beginnings. It is an exhibition driven by
the aspiration to examine Worlds around us as well as worlds ahead.
Daniel Birnbaum
I seem to have some sort of strange fascination with supermarkets and the way food and consumables are organized. It seems to suggest that the manner in which we consume is essentially compartmentalized and categorized. The supermarket seemingly represents a microcosm of modernity and modern living and as much as there is variety in what we can purchase, it is insofar only limited to what manufacturers and conglomerates want to produce or think we, the consumers, want to consume. Our methods of consumption are governed not by the laws of free-will or choice but by market trends and research. While there is indeed diversity, it is the sheer homogenization of this diversity that seems frightening.
(Do we seriously need spam with cheese....yeck!)
Mamiya 7
Kodak E100VS
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Michelle Farhat and Jonathan Pruitt, graduate students at the University of Michigan's School for Environment and Sustainability, fix a pelletizer they've been using to homogenize biomass such as coffee husks, bamboo and inga tree clippings. They will then use the pellets to feed a gasifier that will turn them into singas to be used in a hybrid microgrid in Adjuntas, Puerto Rico. The byproduct of the process, called biochar, would be used to enhance coffee farms' soil. Photo credit: Levi Stroud.
Mr. Brown Pelican's methods are much subtler now than ever before. Mr. Pelican is more adept at hidden mind control, and his techniques of social brainwash are much more appealingly streamlined and homogenized. He intends to create a new social class. That's why he says that university professors must conform their theses and conclusions to his devious prejudices if they want to publish papers and advance their careers. Mr. Pelican makes a living out of absolutism. I call this tactic of his "entrepreneurial absolutism". Mr. Pelican and his eulogists have indeed raised entrepreneurial absolutism to a fine art by using it to make our lives an endless treadmill of government interferences while providing few real benefits to our health and happiness.
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A hand cranked cream separator. My grandparents had one on the farm. I can still remember them milking the cows, by hand, and bring 2 or 3 pails of fresh milk to the house and separating the cream. The cream was so thick that a spoon would stand up straight.
Once the milk and cream were separated we would have a glass of fresh warm milk and some cookies. Those were the days of fresh un-pasteurized and un-homogenized milk.
Grant's Mill Winnipeg Manitoba Canada
Semifreddo with strawberries and nectarines. Compote of nectarines and strawberries as topping. Ingredients are whipped cream, chunks of ricotta cheese, melted white chocolate, chopped solid white chocolate, chopped strawberries, chopped nectarines and pistachios. White kitchen board.
Weathered black shales disconformably overlying limestones in the Devonian of Kentucky, USA.
The rocks in the upper and middle parts of the photo are weathered black shales of the New Albany Shale, a Devonian-aged formation in Kentucky, Indiana, Illinois, and eastern Missouri. The unit is dominated by dark-colored marine mudshales of Late Devonian age. These black shales were deposited in a moderately deep, anoxic seafloor environment. This was a widespread lithofacies during the Late Devonian's Global Anoxia Event. The New Albany Shale is equivalent to the Ohio Shale, the Antrim Shale, and the Chattanooga Shale in surrounding states.
The basal New Albany here is the Blocher Member - it consists of dolomitic black shales (dolosiltites, actually). The fissile nature of Blocher rocks is due to post-depositional compaction. Blocher beds are rich in organic carbon and have been homogenized by bioturbation.
The rocks in the lower left part of the picture are the Middle Devonian North Vernon Limestone, which is part of a widespread sheet of Devonian carbonates that extends from New York State to the Midwest. The North Vernon Limestone represents deposition in a subtropical, shallow-water, carbonate platform environment. The limestone here is fossiliferous, with decent-sized camerate crinoid columnals. An encrinite bed is present in the top-preserved North Vernon.
Just above the top of the North Vernon Limestone is a thin, lensoidal lag unit with phosphatic nodules, glauconitic pellets, and conodonts.
The New Albany-North Vernon contact represents missing time - such stratigraphic boundaries are called unconformities, which are surfaces of erosion and/or non-deposition of sediments. This is a disconformity, with horizontal sedimentary rocks above and below the contact, which here has noticeable paleotopography. A paleosinkhole was visible here when the cut was fresh.
Oxidative weathering of pyrite (FeS2 - iron sulfide; "fool's gold") at the New Albany-North Vernon boundary has produced iron oxide minerals such as reddish-brown hematite and yellowish-brown limonite. The iron oxides have stained the underlying rocks via descending meteoric waters (rain and runoff). The end result is a "bleeding unconformity".
Stratigraphy: lowermost-preserved New Albany Shale (uppermost Givetian Stage to lower Frasnian Stage, uppermost Middle Devonian to lower Upper Devonian) disconformably over the Beechwood Member of the North Vernon Limestone (Givetian Stage, upper Middle Devonian)
Locality: roadcut along the western side of the south-bound entrance ramp to Interstate 65 at the Route 245-Interstate 65 interchange, north-northeast of Belmont & south of Sherpherdsville, south-central Bullitt County, north-central Kentucky, USA (37° 55' 24.45" North latitude, 85° 41' 18.33" West longitude)
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Info. at:
Schieber, J. & R. Lazar (eds.). 2004. Devonian black shales of the eastern U.S. New insights into sedimentology and stratigraphy from the subsurface and outcrops in the Illinois and Appalachian Basins. Field Guide for the 2004 Annual Field Conference of the Great Lakes Section of SEPM. Indiana Geological Survey Open-File Study 04-05. 90 pp.
Mike Haeg is the founder and Mayor of Mt. Holly, MN (pop. 4), Minnesota’s Smallest Small Town. Since establishment, The City of Mt. Holly has experimented with fostering creativity in it’s neighboring communities through events, film-festivals, occasional gallery shows and public art. The most recent of these public works projects is the M*A*S*H Pole which he plans to extend to the Walker Art Center this summer as part of Open Field.
M*A*S*H Pole
Social networking has changed the way we relate to each other, minimizing the space between us, yet diluting who we are by formatting and homogenizing the things we make and share. I propose a physical arrow exchange that ties real, physical people together via real, physical artifacts designed to literally connect us over real, physical distances. Participants (artists & public) bring an arrow and place it on the pole. Participant is photographed with their arrow, the destination coordinates are logged. The participant may then take an arrow from the pole and are given the information about the arrow’s creator and coordinates, connecting the two in the real world with a real handmade item. What is here? What is there? What is in-between?
More information: mashpole.blogspot.com
Wednesday, June 8th, 2011
FlatPak House, Walker Art Center
An Open Field project by Works Progress & Walker Art Center
Photos © Zoe Prinds-Flash
we just bought some raw milk (not pasteurized, not homogenized) from Stoney Ridge Farm in Chambersburg, PA. it's right on our way to pick up Kyler, which we do every other week. i think i'm going to start making cheese soon :)
The opening reception for our "Tiffany Shin: Microbial Speculation of Our Gut Feelings" featured a food-based performance entitled, "Perfect Fruit"–which mapped the degradation of biodiversity and homogenization of microbiota in our food systems.
The era of the singing fakir announcing the 'sehri' during Ramzan may be over.
A decade ago, there were over 100 fakirs in Kolkata. Today, there are just a handful left. Mohammed Sabbir is one of them. Waking at 1 AM every day during Ramzan, he wanders the streets, singing to wake people up for the sehri or morning prayer. These days, mosques also announce the morning prayer, rendering the fakir's job defunct. For generations, Mohammed Sabbir's family has performed this duty, not for money, but as a good deed.
101 Traces looks at the last of anything: ethnic communities, folk craftsmen, disappearing trades, forgotten people.
It sketches portraits of these unique individuals, locked in a battle they cannot win: a battle against the future. Together, they represent the dying whispers of ancient heritage and traditional individuality.
As India moves towards homogenized global pop culture, 101 Traces honors the people, the objects, and the skills that connect us to our ancient identity.
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101India is youth focused YouTube channel serving entertaining videos trying to connect urban Indian audiences. 101India aims to give you a mix of humor, music, travel, people profiles, alternate sports and food. We believe in embracing our differences and celebrating them because this keeps us unique and diverse
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Hielscher's ultrasonic devices are efficient and effective tools to disperse particles. The video shows how effectively the highly hydrophobic carbon nanotubes can be dispersed into water by ultrasonication. To learn more visit www.hielscher.com/dispersion
The opening reception for our "Tiffany Shin: Microbial Speculation of Our Gut Feelings" featured a food-based performance entitled, "Perfect Fruit"–which mapped the degradation of biodiversity and homogenization of microbiota in our food systems.
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I drank the milk and ate the cheese of these cows and holy shit it was good- fresh from the dairy. If you are old you will remember milk before homogenization when the cream rose to the top of milk bottles and you would either pour off the cream or just shake the bottle for real whole milk. That's what this dairy does- it pasteurizes the milk and nothing more. I poured off about a cup of cream and shook up the rest. Superb- the best milk I've ever had.
Jersey Girls Dairy, Chester, VT, 157 Thompson Rd for your GPS. I highly recommend a visit if you're going up 103. ON the left if you are going to Ludlow/Okemo from 91.
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KARIBU Zanzibar - Transportation TUK TUK.
Stone Town, because of its unique Architecture & Culture, it was declared a UNESCO World Heritage Site in 2000.
Contains fine buildings that refiect its particular culture, which has brought together & homogenized disparate elements of cultures of Portuguese, British, Africa, the Arab region, India over more than a millenium.
Forgotten diaries.
May MMV
Juchitán, Ver.
México
(This is a handmade flower necklace, with "Flores de mayo" (May's flowers), which only blossoms during that month in the Tehuantepec Isthmus. A friend and I had a photo exhibition in Juchitan a few years ago, and our host made us a ceremony before the opening and gave us these necklaces. We also walked from the house to the gallery accompanied with fireworks and music as it's used in traditional zapotec celebrations. As Juchitan is the hometown of one of my grandparents, I was happy to be there in such a ocassion, even they were sad to realize how much this place has changed, since globalization seems to homogenize everything.
Nevertheless, even though I've always felt in the middle of that struggle (modernity vs tradition), l do believe everything guards a mysticism, a mystery to be revealed, a knowledge to be found, so I keep searching in both, trying to find a middle ground, where duality merges as a new possibility to understand this bizarre complex world.
Cake mold with cling film filled with semifreddo mixture. Ingredients are whipped cream, chunks of ricotta cheese, melted white chocolate, chopped solid white chocolate, chopped strawberries, chopped nectarines and pistachios. White kitchen board.
These were good, but not great in my opinion - I think when I want a tart I really want the pastry to be conventional and flaky. This had a batter like crust that was more like a cake batter, and when I added a frangipane layer and then the pear slices everything kind of homogenized when baking. I do love almond and pear together.
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Cake mold with cling film filled with semifreddo mixture. Ingredients are whipped cream, chunks of ricotta cheese, melted white chocolate, chopped solid white chocolate, chopped strawberries, chopped nectarines and pistachios. White kitchen board with light effect.