Fermenting Culture – Emergence Magazine
In this in-depth interview, David Zilber, director of the fermentation lab at Noma—named the best restaurant in the world—discusses how food is culture, but fermentation is culture on a deeper level.
Controlled Mold
A blog about fermentation, engineering, and cell-ag. We run wild experiments on microbes and try to eat them, all with the help of computers and math.
The art of simple food : notes, lessons, and recipes from a delicious revolution
ix, 405 p. : 25 cm; Here you will find Alice's philosophy on everything from stocking your kitchen, to mastering fundamentals and preparing delicious, seasonal inspired meals all year long. Always true to her philosophy that a perfect meal is one that's balanced in texture, color, and flavor, Waters helps us embrace the seasons' bounty and make the best choices when selecting ingredients.--From publisher's description; Subtitle from cover; Includes index
Shockingly Easy No-Knead Focaccia
This recipe requires exactly zero skill and provides ample opportunity to be amazed by yourself and the wonders of yeast.
Read The Work of Art in the Age of Mechanical Reproduction
1935 essay by Walter Benjamin; proposes that mechanical reproduction devalues the aura of an artwork, that—in the age of mechanical reproduction and traditional ritualistic value’s absence—art production would be inherently based on political praxis
Cognition without brains? Learning and memory in microorganisms
Memory and learning are cognitive abilities typically associated with animals that possess a complex nervous system. Interestingly, recent studies suggest that microorganisms might also display learning-like behaviours. However, a factor limiting progress in this field is the lack of shared, microbe-specific frameworks that allow microbiologists to easily compare discoveries with concepts developed in cognitive sciences. In this review, we aim to bridge this gap by providing a conceptual overview of the definitional requirements for memory and learning to classify microbial behaviours and capabilities. Additionally, we identify and address problems that cause conceptual ambiguity in the microbial cognition literature, thereby facilitating more productive debates on the topic. Finally, we provide a novel perspective on how microbes might ‘learn’ from each other.
(PDF) The Four-C Model of Creativity: Culture and Context
PDF | In this chapter, we highlight the Four-C Model of creativity, which traces creative development from mini-c (personal creativity) to little-c... | Find, read and cite all the research you need on ResearchGate
The Great Season — 13FOREST Gallery
On Friday, January 24, 13FOREST Gallery will open The Great Season, an exhibition of new and recent acrylic work by painter Nicole Duennebier. Dark and sumptuous, The Great Season highlights a fantastical six-panel painting that associates the random beauty of nature with an elaborate 19th-century parlor game. Set against black backgrounds, Duennebier’s complex forms strongly refer to Baroque still-life paintings in which fruits and vegetables simultaneously emerge and pass into different stages of maturity. A key difference in Duennebier’s work is that, rather than render images of everyday objects, she bases them on her fascination with biology, particularly bacteria, fungi and other objects hidden from view. Referring to her use of darkness, the artist states that her inky backgrounds are “like a primordial soup, a pool of black that springs forth a decadent and sometimes horrible growth.” Each of the paintings in the show is associated with lush proliferation. In Bright Beast After Nature, for instance, a black background gives rise to a nebula of unfolding, biomorphic forms that seem to divide and overtake one another. Painted in thin, translucent layers, the work suggests a still life captured in only one of many stages it will eventually pass through. With Bright Beast Dissected View Duennebier gives an equally fantastic image of the engine behind such proliferation. Similar to vivisections seen in science textbooks, the painting shows the surface of a soft, woolly plant and the interior, biological source of its existence. In content the “engine” plays with the idea of a still life, but one made of flowers, vegetables and animal viscera. Duennebier’s centerpiece in The Great Season is a vast, six-panel painting titled, Hydnellum Myriorama. Its title refers to a type of fungus found in nature and to a Victorian card game – myriorama – in which children could arrange a series of illustrated cards to form hundreds of different landscapes. In Duennebier’s six panels are hybrid images that resemble Baroque still lifes, coral, fur, crystals and close-ups of microscopic fauna. Each of the forms emerges from nothing and stands bathed in a common light source. Despite the panels’ differing environments, Duennebier negates their importance by enabling viewers to arrange the panels into aesthetic experiences of their own choice. With Hydenellum Myriorama, the random potential of generation and decline in nature is given its parallel in art. Of her own work Duennebier states: “My interests in natural phenomenon (dermoid cysts, fungus, invasive flora/fauna) and my love of candied Old Master opulence always seem to be present in my painting… Painting with attention to detail, I’ve become accustomed to the fact that nature in itself, or anything living really, never totally allows you to have a perfectly idealized experience. Everything is always spewing, dripping, rotting a little.”
From Bacteria to Bach and Back
'A supremely enjoyable, intoxicating work.' —<em>Nature</em>, From Bacteria to Bach and Back, The Evolution of Minds, Daniel C Dennett, 9780393355505
What Art Does: An Unfinished Theory
Why do we need art? What Art Does is an invitation to e…
Taste Is All That's Left | Blog
On what is left to do once the machine can make anything, and why taste is the last craft worth keeping.