by Leanne Ogasawara

1.
All I wanted, I told him, was “the perfect teapot.” Just one would be enough, I said, but it had to be perfect (1) — as if a teapot could make everything else in the world okay. A seemingly simple task, and yet finding it was elusive as any great chase.
My first demand was it had to be a Yixing zisha teapot. Valued since at least the tenth century in China, zisha pots are purple or reddish-brownish, unglazed stoneware that are so beautiful they will make you drool (2). The first thing I did was spend hours at the Flagstaff Tea Museum in Hong Kong. Studying the pots in their collection, I tried to narrow down exactly what I wanted in my own “perfect pot.” I learned all about the way zisha pots are hand-modeled out of what is extremely hard clay. Like any great Literati art, one artist alone is traditionally in charge of the entire process from start to finish, and therefore the artist’s seal will be affixed to the bottom of the pot as it is in every way that artist’s creation: one of a kind.
It was in Hong Kong where I’d first fallen in love with tea and stoneware pots. Even now, I never cease to marvel at how soft and warm stoneware feels in comparison to porcelain. Handling unglazed pottery is always a very sensual experience; porous and velvety, it’s like human skin. One of the reasons zisha pots are favored by Chinese tea masters is because the clay absorbs the fragrance and taste of the tea and over time the pot brings something of itself to every brewing, like antique oak barrels used for wine or the ground used in certain kinds of pickling. Read more »







According to the anthropologist James Bielo
This is the first in a series of three articles on literature consider as affective technology, affective because it can transform how we feel, technology because it is an art (tekhnē) and, as such, has a logos. In this first article I present the problem, followed by some informal examples, a poem by Coleridge, a passage from Tom Sawyer that echoes passages from my childhood, and some informal comments about underlying mechanism. In the second article I’ll take a close look at a famous Shakespeare sonnet (129) in terms of a model of the reticular activity system first advanced by Warren McCulloch. I’ll take up the problem of coherence of oneself in the third article.

Jaffer Kolb. Untitled, June, 2024.


One longstanding debate in aesthetics concerns the relative virtues of formalism vs. contextualism. This debate, which preoccupied art theorists in the 20th Century, now rages in the culinary world of the 21st Century. Roughly, the controversy is about whether a work of art is best appreciated by attending to its sensory properties and their organization or should we focus on its meaning and the social, historical, or psychological context of its production. The debate is similar in the world of cuisine. How best should we appreciate the food or beverages we consume? Should we focus solely on the flavors and aromas or does authenticity and social context matter?
Historians often ask what led to Trump’s landslide victory back in 2024. All those guilty verdicts in the “PornHush” trial certainly helped — the final proof, for many, that the President was an innocent lamb set upon by crooks. And the November exit polls showed that millions of patriotic Americans found democracy a chore anyway, or were actively Fascism-curious, or simply got a buzz out of the fact that, being disempowered in every other meaningful way, they could at least step up and play a part in destroying their own children’s future. But surely the decisive factor was Trump’s inspired choice of running mate — philosopher and controversialist Thomas Hobbes. 