Nomads and Gastronomes

by Dwight Furrow

Chef Morimoto’s Buri-bop

Flavors are nomads. They lurk in disparate ingredients and journey from dish to dish. They cross generations and geographical borders putting down roots in far-flung locations, pop up when least expected, and appear in different guises depending on specific mixtures and combinations. Flavors are a molecular flow continuously reshaping each other in reciprocal determination.

The task of gastronomy is to understand this complexity. But how? As I noted in a previous post, there appears to be no global similarity space mapping relations between flavors/aromas and no rules governing how they should be combined. Are there strategies for grasping this contingency and complexity?

In general, we humans have developed two strategies for dealing with complexity. The first, macro-reduction, is of ancient lineage. We develop a taxonomy of categories into which we can neatly slip any object we encounter, carving nature at its joints, as Plato wrote. Any phenomenon can be understood as a particular instance of a general category which can then serve as a norm to judge whether the phenomenon in question is a good example of its type.

In the food world, this means we think of flavors in terms of the ingredients and dishes in which they appear, which are then grouped according to the culture from which they emerge. We divide the world of cuisine into “Italian food,” “Chinese food,” “Mexican food, etc. and these categories guide our expectations about what food should taste like. Read more »



Monday, April 25, 2016

Art and Artification: The Case of Gastronomy

by Dwight Furrow

Atelier crenn

In grasping the role of art in contemporary life, one noteworthy theme is the process of artification. “Artification” occurs when something not traditionally regarded as art is transformed into art or at least something art-like. As far as I know, the term was first used in a Finnish publication by Levanto, Naukkarinen, and Vihma in 2005 but has found its way into the wider discussion of aesthetics. It is a useful concept for addressing the boundaries between art and non-art that are constantly being negotiated and renegotiated in contemporary society.

The general issue I want to address is whether artification is a confused and superficial misappropriation of art, a kind of “making pretty” of ordinary objects which we normally associate with kitsch. Or should we welcome artification as an enhancement of both art and life?

Since at least the 18th Century we have had a fine arts tradition that included painting, sculpture, literature, poetry, classical music, and the performing arts of dance and theatre. But over the last century cultural phenomena from architecture, film, jazz, rock music, and hip-hop to graffiti, video games, and even some natural objects have aspired to, and to some degree succeeded in, being included in the extension of the concept of art. The world in which “art” refers to a specific kind of object is long past

Furthermore, many cultural practices including advertising, science, and education are being mixed with art in order to introduce creativity, imagination, and emotional engagement. Among this group of artified objects and practices, many people would include gastronomy, which I want to use in this essay to test assumptions about art and artification. What does this process of artification mean in the context of gastronomy?

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