https://sophiadorfsman.info Sophia Dorfsman Tue, 08 Mar 2022 21:47:14 +0000 https://sophiadorfsman.info en https://sophiadorfsman.info/Preface Thu, 10 Jun 2021 10:12:33 +0000 Sophia Dorfsman https://sophiadorfsman.info/Preface Preface If we consider this virtual space assigned to my name, Sophia Dorfsman, to represent me, then it should seem only natural that I have devoted it to what has inhabited my mind for countless, consecutive days. What I have been preoccupied with is the notion of re-complexifying the design of modern recipes and the containers that carry them. With this website – a site of deconstruction under constant construction – I will organize my thoughts and research on edible archives and imagine new forms of them.&nbsp; Manifesto Research Practice Contact https://sophiadorfsman.info/Contact Wed, 16 Jun 2021 10:57:00 +0000 Sophia Dorfsman https://sophiadorfsman.info/Contact Contact I am currently based in Amsterdam. My email is mail@sophiadorfsman.info, should you want to exchange greetings, thoughts or, of course, recipes. &nbsp; Preface Manifesto Research Practice https://sophiadorfsman.info/Manifesto Fri, 04 Jun 2021 17:40:40 +0000 Sophia Dorfsman https://sophiadorfsman.info/Manifesto Manifesto As a designer who loves to cook, I find modern recipes to be an inadequate form of graphic design. This frustration ignited in me after experiencing a gradually increasing aversion to following recipes when I’m in a kitchen. The main problem for me being that the common recipe format fails to mention the occurrence or possibility of unscripted moments that inevitably happen in the cooking process. And it is because of these kinds of moments that I love to cook. “I am seeking answers to questions I am still formulating.” Rebecca May Johnson, Small Fires: An Epic in the Kitchen, Hot Red Epic (p. 44) “...to think slowly an idea that runs fast through modern heads...” Jane Bennett, Vibrant Matter “...in Entangled Life Merlin argues that “composers make, decomposers unmake. And unless decomposers unmake, there isn’t anything that composers can make with.” art-agenda’s editors, The world is a flask “...finding a precarious and never definitive correspondence between a fractured reality and its temporary representation...” on the work of&nbsp;Eugenio Tibaldi “If this is only the inevitable result of the impulse towards profit and efficiency as it spreads across all fields of human activity, even those most essential to life, then the homogenizing effect it has had on our cooking, the loss of instinct and skill, and the building in its place of complacency and even laziness is still hard to stomach.” Thom Eagle, First, Catch “[Systematic misunderstanding] occurred because this substance had a certain form.” Paul Connerton, How Societies Remember As of now, recipes are not built for considering the individuality of the experience: the specific set of ingredients, collection of tools, or quantity of time and space at one cook’s disposal, compared to those of another. Through standardization, recipes do not encourage a way of being that is responsive to that cook’s unique context. “To cook is not only a transformation of the ingredients into a particular dish, but the transformation of that dish’s very meaning within the ever-changing contexts of its preparation.” Robert T. Valgenti, Cooking as Interpretation “Cooking has evolved in such brilliant ways because most people throughout history didn’t follow recipes.” David Chang, Cooking at Home Unifying and codifying individual elements through design so far has led me to yearn to celebrate the endless diversity inherent to food. I want my practice to involve both designing and cooking to bring balance to the dichotomy I notice between design’s simplifying tendencies and food’s multi-layered complexities.&nbsp;To me, a recipe holds the power to convey much more than a technique. I feel strongly that they are able to prompt further inquiry into knowing how food impacts humans and non-humans, both externally and internally. “For many people, food is the most direct interaction they will have with the environment. We are obligated to consider the history of each object we consume, and acknowledge to vast web we weave by partaking in its consumption.” Allie Wist, How do you pay attention to a glacier? “The value of food, is something—I think it’s got bound up in this idea that, you know, the need to eat is a tedious task and wouldn’t it be lovely if we didn't have to worry about it anymore, whereas actually we need to flip that on its head and say the need to eat is actually a great blessing because it gives structure to our lives, and to our days, and to our relationships with people and with nature and it’s literally what kind of ties us to the world and gives everything meaning. And, you know, to disrespect food, to try and treat it as cheap is to literally devalue life because food is life, it’s living things that we kill so we can live.” Carolyn Steel,&nbsp;Cooking the Books with Gilly Smith “It is a luxury to have year-round access to summer berries and winter greens, but this ubiquity also dulls the magic of anticipation.” Bee Wilson,&nbsp;Why We Need the Ritual of Holiday Meals Perhaps here I will elaborate more on, “Why food?” in the first place.&nbsp; “When he buys an item of food, consumes it, or serves it, modern man does not manipulate a simple object in a purely transitive fashion; this item of food sums up and transmits a situation; it constitutes an information; it signifies. That is to say that it is not just an indicator of a set of more or less conscious motivations, but that it is a real sign, perhaps the functional unit of a system of communication.” Roland Barthes, Toward a Psychosociology of Contemporary Food Consumption “Taste... is an avenue for intimacy with our environment. Those moments of paying attention add up, and they will ground us more fully in what our experience of dwelling has to do with non-hu­mans, with ecological and industrial systems, with our climate, and with scales of time and space beyond ourselves... We will not always see the vast network at play, but we can start to see individual links, and use our senses and our attention to actively co-shape our environments.” Allie Wist, How do you pay attention to a glacier? “Cookery requires a concept of food in which food is not only an object ‘for us’ ...but also an object in itself with capacities and tendencies undiscovered.” John Cochran, Object Oriented Cookery Through this project, I will investigate what a recipe was, is, and could be. I am simultaneously exploring those three tenses of a recipe, with the future goal of proposing and propagating alternatives.&nbsp; “History is not a play of contingent forces.” Paul Connerton, How Societies Remember “Recipes should not be left out of the range of cultural artifacts that give us insight into the world around us, or our place in that world.” Colleen Cotter, Claiming a Piece of the Pie: How the Language of Recipes Defines Community Although applicable to disciplines besides food, I use the term recipe in relation to the reproduction of an edible meal and will make note if I do so otherwise.&nbsp; “A+B=C, that’s the equation for a recipe. But what’s in-between?” Elena Braida,&nbsp;The Carrier Bag of Recipes “..we need both critique and positive formulations of alternatives, alternatives that will themselves become the objects of later critique and reform.” Jane Bennett, Vibrant Matter “The fixation on rules means we’ve created generations of people who rely on recipes and can’t actually cook a dish without one.” David Chang, Cooking at Home The research and ideas on this website served as my thesis for the Master of Gastronomy: Creativity, Ecology, Education from the&nbsp;Università degli Studi di Scienze Gastronomiche in Pollenzo, Italy. I formally presented this work and graduated on February 25th, 2022.&nbsp; https://sophiadorfsman.info/Research Thu, 10 Jun 2021 10:39:33 +0000 Sophia Dorfsman https://sophiadorfsman.info/Research Research I have been mulling over the purpose of notation, the format of knowledge, the act of simplifying, the inconsistencies in routine and the documentation of the ephemeral. Within this network of interests, I have engaged with the thoughts of authors, academics and artists to further develop my own. I am making a conscious effort to keep an ever-expanding list of my influences and inspirations for this research. It is through this contamination of perspectives that I hope to gain new insights on the power and potential of recipes.There are unexpected similarities and striking metaphors that arise from intersecting one practice to another. The two often have a lot to learn from each other. I proceed to look towards other disciplines with a view keenly pointing back to recipes.&nbsp; “Similar to the manner in which a great actor interprets the lines given to a character in a play into a living performance, or a musician interprets the notes written in the score into the sounds of an instrument, or a dancer interprets the rhythms of a musical performance into bodily motion, or a poet interprets the meanings of lived experience into language, a chef interprets the qualities of edible materials into gustatory experiences and sensory events.” Robert T. Valgenti, Cooking as Interpretation “I would go so far as to say that sensory experience is the core of intelligence, the engine of metaphor, the essence of understanding, and the architecture of meaning.” Charles Eisenstein,&nbsp;Virtual Intelligence “Metaphor is a way of telling truth far greater than scientific data.” Robin Wall Kimmerer, Braiding Sweetgrass Introduction My studies are grounded by a few key points: cooking, recipes, musical scores, choreology, words and maps. On this page, I explore those terms in that order. I raise questions by reflecting on various quotes and ideas in an effort to expand upon and beyond each of their definitions. Consider all the following text (distinct yet interwoven ideas, ordered via quotes and excerpts) as the basis to a forthcoming book. I suspect that the process of sustaining this inquiry of mine is just as valuable as any end product that will result from it. The research in and of itself is for now the heart of the project—maybe even the whole body. “The knowing involved in making a cake is ‘contained’ not simply ‘in my head’ but in my hands, my wrists, my eyes and nose as well. The phrase ‘bodily knowledge’ is not a metaphor. It is an acknowledgement of the fact that I know things literally with my body, that I, ‘as’ my hands, know when the bread dough is sufficiently kneaded, and I ‘as’ my nose know when the pie is done.” Lisa Heldke, Foodmaking as a Thoughtful Practice “Before the recipe was a text it was written by the body: it was cooked. The recipe bears the traces of its corporeal origins by remaining in the service of the body. Without a body (and bodies, things, ingredients) a recipe text makes no sense.” Rebecca May Johnson, Small Fires: An Epic in the Kitchen,&nbsp;Hot Red Epic (p. 74) &nbsp; “Cooking often hovers at the fringes of serious thought. I see it used as metaphor in philosophical texts, invoked in introductory paragraphs, deployed to convey the complexity of processes that are not cooking… I have not found a limit for what the recipe can teach me about being in the world.”&nbsp;Rebecca May Johnson, Small Fires: An Epic in the Kitchen,&nbsp;Hot Red Epic (p. 59) “...to master a range of skills any competent jazz player has at his command is to have a habitual knowledge – one might equally say a rememberance – in the hands.” Paul Connerton, How Societies Remember “The Koreans have a description for the specific qualities of a person’s cooking which translates as something like ‘the taste of your hands’; they know I suppose, that knowledge rests in muscle and bone, which is never written down.” Thom Eagle, First, Catch I would like to acknowledge that most of the perspectives I’ve engaged with have been rooted in Western ways of thinking.&nbsp; “In preparing anything one does not only put one’s magnetism into it, but the voice of one’s soul is produced in the thing one prepares.” Hazrat Inayat Khan (from ‘Cosmic Language’), quoted in&nbsp;Food For Thought: A Fresh Food Cook Book “Only when placed in the context of skills gained through prior experience does information specify a route that is comprehensible and that can practicably be followed, and only a route so specified can lead to knowledge. It is in this sense that all knowledge is founded in skill.” Tim Ingold, Anthropology and/as Education “Cookbooks are experiential, and that’s why I love them. You’re seeing into a mind at work, yes, but also a body at work. Food is never a purely intellectual exercise (or, when it is, it’s boring).” Alicia Kennedy, On Cookbooks But what if we did not propogate the mind-body dichotomy? “Get to grips with the demands of your ingredients and your appetite rather than the words on the cookbook page.” Thom Eagle, First, Catch “...knowledge is a product of doing and is a discovery of doings.” John Cochran on Levi Bryant, Object Oriented Cookery “A recipe doesn’t belong to anyone. Given to me, I give it to you. Only a guide, only a skeletal framework. You must fill in the flesh according to your nature and desire. Your life, your love will bring these words into full creation. This cannot be taught. You already know. So please cook, love, feel, create.” Edward Espe Brown (from ‘The Tassajara Bread Book’), quoted in Food For Thought, A Fresh Food Cook Book Cooking It would be difficult to study recipes if I didn’t love the act they represent. Cooking is something I have great familiarity with and affection for. I learned the basics from my mom. In the many years of now cooking for myself, I keep up the process of trial and error. Cooking is a skill I’m constantly sharpening, unlike the one knife to my name. I have what John Cochran calls a home amateur culinary praxis. “...the amateur is free of the restraints of ‘knowledge and skill’ to experience the ‘phase space’ of objects. This is not to say an amateur is ignorant, that he lacks knowledge. No, the amateur acts out of affirmation. Here affirmation is instinct, experience and the acknowledgement of webs of objects that act autonomously and in aggregate.” John Cochran, Object Oriented Cookery “The best cooks you know didn’t become the best cooks you know by memorizing instructions. They learned to follow their own instincts and ideas of what was delicious to them, unthethered by the rules and restrictions of recipes.” David Chang, Cooking at Home “The first mindset is pretty common. Take good notes. Make tiny changes. Repeat. Improve. Incrementally move along the asymptote. Test and measure. The other mindset is rare indeed. Do things that might not work. Develop new assertions. Go past the edges to unexplored territory. Try to figure out why things are the way they are. Fail often. Blaze a trail. After all, it’s a test kitchen, not a Michelin restaurant... But real innovation comes from the science of ‘this might not work.’” Seth Godin, The test kitchen mindsets What is the relationship that both amateurs and professionals have with recipes? Are my intentions applicable to the professional realm at all? Perhaps my lack of experience in that type of environment makes me exclaim “no” without pause. &nbsp; “And when I cook, I never measure or weigh anything. I cook by vibration. I can tell by the look and smell of it. Most of the ingredients in this book are approximate… Different strokes for different folks. Do your thing your way.” Vertamae Smart-Grosvenor “Treat a recipe as an idea; there’s no need to follow it, teaspoonful by teaspoonful. Read it through, get a feeling for the basic processes involved, assemble the main ingredients and begin. If you’re feeling good, and you’re enjoying yourself, how can you go wrong?” Marilyn King and William Scott, Food For Thought: A Fresh Food Cook Book&nbsp; “The best meals... are fashioned with wisdom and experience and are shaded, always, with spontaneity. So don’t chart every turn before going to the market, and don’t feel you must follow a recipe slavishly.” Judy Rodgers, The Zuni Cafe Cookbook The way I cook is very intuitive. Even developing the idea of what I want to make is so. I tend to conceptualize my favorite meals based on the placement of ingredients on a shelf, in the store, my cabinet or fridge. The steps I take to make a dish are loosely set out in front of me. I enter the experience expecting detours. I am not keen on using objects to specifically measure any ingredient or time, unless I’m baking or soft-boiling an egg. Rather, I rely on my own bodily senses. “If creativity is not to be subjected to unnecessary rules and prescriptions, the principle intuition . . . instead of cookbook (as Beuys calls one of his works) can be applied to the culinary art of living to set cooking practice free from the unimaginative and uncreative applications of recipes.” Harald Lemke, Joseph Beuys: Gastrosophical Aesthetics “To follow a recipe is to read someone else’s script.” David Chang, Cooking at Home Cookbooks This would be a good place for a discourse on cookbooks, before going into recipes without which such a book wouldn’t exist. What is here now is just the beginning.&nbsp; “She could ‘read’ her cookbooks because they carried elements that fired her imagination, that drew her in, that caused her to reflect on her own behavior (as a cook), and to construct her identity...” Colleen Cotter, Claiming a Piece of the Pie: How the Language of Recipes Defines Community Talk more about the narrative power held within cookbooks.&nbsp; “Cookbooks will give you ideas, but the market will give you dinner.” Judy Rodgers, The Zuni Cafe Cookbook “Ingredients have to be grown, harvested and prepared by hand: quails and turkeys killed, eggs slowly gathered as the hens lay and then preserved over months; nuts one by one roasted, shelled and the bitter inner skin removed. Food in this culture and time can fill - and use up - a whole life, and part of the point of the recipes is to speak to the gap between our worlds and theirs. The recipes themselves are magic realist devices - making strange the ordinary and making the magical real by giving us a set of rules which will apparently reproduce it.” Nicola Humble, The Literature of Food “Behind these bodies of text there is a maker and his urgency to convey his specific knowledge.” Elena Braida, The Carrier Bag of Recipes “Recipes do not make food taste good; people do.” Judy Rodgers, The Zuni Cafe Cookbook “The text does not anticipate the liveliness of the process it describes… The substance in the pan trespasses beyond its linguistic boundary.” Rebecca May Johnson, Small Fires: An Epic in the Kitchen, Hot Red Epic (p. 51) “[Food is] affected by the tendencies of the cook who prepares it and by the tendencies of the mind and the quality of thoughts while it is being eaten. So the frame of mind in which one eats and the company and conversation at the time are highly important.” Maharishi Mahesh Yogi, quoted in&nbsp;Food For Thought: A Fresh Food Cook Book Recipes Any cook will inevitably take a personal approach to the dish they intend to make. Their own biases, moods, tastes, associations, preferences and past experiences will have an effect. No matter how hard that cook tries to reproduce the dish exactly as called for, it will never turn out the same as the one the recipe was derived from. If there is so much variation in what we cook, then why should recipes push for uniformity? “...it is hard to generalize about it given the wide range of practices and cuisines, and the even wider range of tastes.” David Kaplan, Food Philosophy “Try telling an Italian that their recipes are fluid and adaptable, you might think, but the fact of the matter is that writing a recipe is a form of translation, from a physical act to a verbal record. Something might always be lost in that process, but just the fact of acknowledging that loss – the imprecision of our technical language, the allowance for differences in ingredient and utensil – can let us find it again, or something new.” Thom Eagle, in Vittles How could we imagine that “something new”? “I often feel guilty when writing recipes. To capture what one can of elusive, changing experience... and imprison it in a chilly formula, composed of cups, tablespoons, inches and oven temperatures, is like robbing a bird of flight.” Richard Olney “In her cookbook-memoir, Bong Mom’s Cookbook, Sandeepa Mukherjee Datta cheekily declares that ‘it is a bit difficult to emulate the taste of the roadside aloor [potato] chop at home because you lack basic ingredients like dust, grime and the blackened oil that every popular shop swears by’.” Supriya Roychoudhury, in Vittles Recipes as we presently know them (a list of ingredients followed by didactic language, normally paired with a brief explanation) are efficient. They reveal a clear way and reason to get to B from A. “The recipe form we are most familiar with today—the list of ingredients and instructions on how to compile them—actually was not conventionalized until 1887 with the publication of The Boston Cookbook, which ‘tabulated ingredients at the head of each recipe and offered [details] to guide the housewife who might be confused by the meaning of ‘butter the size of an egg.’” Colleen Cotter, Claiming a Piece of the Pie: How the Language of Recipes Defines Community This notion of precision will be revisited. “A recipe is supposed to be a formula, a means prescribed for producing a desired result, whether that be an atomic weapon, a well-trained Pekingese, or an omelet. There can be no frills about it, no ambiguities… and above all no ‘little secrets’.” M.F.K. Fisher, The Anatomy of a Recipe “Everything is supposed to be perfectly designed in order to avoid mistakes and accidents.” Nicola Perullo, Improvisation in Cooking and Tasting But they do not account for the inevitable deviations from the proposed trajectory which are frequent occurrences within the home kitchen. When it seems like there is only one right way to do something, individuality is subtly discouraged and a cook’s touch is dangerously deemed worth forgetting. “For many novels and memoirs the power of the recipe lies in its promise to bring the fleeting, ephemeral sensations of the past into the present; in its establishment of identity, of intimacy between speaking subject and reader - yet an awareness of the problematics of those promises lurk close to the surface. In its very form, the recipe dramatizes the tensions between food as text and food as bodily experience, between the food we read and the food we eat.” Nicola Humble, The Literature of Food “...the recipe finds its principal carrier in people’s hands so...” Elena Braida, The Carrier Bag of Recipes “...recipes can be regarded as living in the senses, existing as people’s intellectual but practical knowledge, and as part of their lived experience of culture, recorded in memory through successive performances, but able to be creatively adapted to changing circumstances.” Gillian Crowther, Eating Culture: An Anthropological Guide to Food How does this memory change over time? What do we really remember about our meals? “They will know how well the past can be kept in mind by a habitual memory sedimented in the body.” Paul Connerton, How Societies Remember “... food permits him to insert himself daily into his own past...” Roland Barthes, Toward a Psychosociology of Contemporary Food Consumption “...[rites] do not simply imply continuity with the past by explicitly claim such continuity.” Paul Connerton, How Societies Remember “...to remember is to make the past actual...”&nbsp;Paul Connerton, How Societies Remember I’m interested in the past tense of recipes because I see them as a means of forcing us to reconcile what we choose to historicize versus what we exclude from a future collective memory. What other details can be captured that are normally left out but really have an effect on the final dish? In what ways do we share a recipe, and how does the design of it dictate that process? I’m interested in the future tense of recipes because I’m curious how the format can demonstrate attitudes that are in support of variation rather than techniques that command the production of a standardized outcome. How can the language used to capture a process welcome individual input rather than set a criteria of homogeneity? In what ways do we receive a recipe, and how does the design of it impact that process? “Every experience both takes up something from those which have gone before and modifies in some ways the quality of those which come after.” John Dewey, Education and Experience “Keep reminding yourself of the way things are connected, of their relatedness. All things are implicated in one another and in sympathy with each other. This event is the consequence of some other one. Things push and pull on each other, and breathe together, and are one.”&nbsp;Marcus Aurelius,&nbsp;Meditations “...take stock of what you know and build on that...” Judy Rodgers, The Zuni Cafe Cookbook A habit can be understood as... “...an activity which is acquired in the sense that it is influenced by previous activity.” Paul Connerton, How Societies Remember “The principle of habit... rather than starting from ends, produces beginnings.” Tim Ingold,&nbsp;Anthropology and/as Education “Collectively, we assemble from the wisdom of the past a vision for the future, a worldview shaped by mutual flourishing.” Robin Wall Kimmerer, Braiding Sweetgrass A recipe documents how one cook made something so that another can attempt to recreate it. It is a form of writing that situates the reader between the past and future. “What all these recipes and reminiscent say to the reader cuts to the paradox at the heart of the cookbook. They say: you can’t have this. You can’t have this because I already had it. This food is unrepeatable. The cauliflower cheese made in California cannot be the same as that in Dijon. Food is a one-off, a fugitive moment, best appreciated as memory. We cannot catch it and keep it; and at their heart, all cookbooks know this, even as they try to freeze the dish in photographic form, to arrest the process of its destruction in consumption. Food is always in process: growing, being prepared, being chewed, digest and defecated. The only place it is ever fixed whole in time is in memory. In reality, its flavors and substance dissolve in our mouths and are gone.” Nicola Humble, The Literature of Food “...the nature of information itself is affected by the need to retain it through memory.” Frances Butler, Eating the Image: The Graphic Designer and the Starving Audience “Under pretext of supplementing memory, writing [the notation scores] makes one even more forgetful; far from increasing knowledge, it diminishes it” Derrida as quoted by Victoria Watts, Dancing the Score: Dance Notation and Difference “In itself, then, the recipe is not knowledge. Rather, it opens up a path to knowledge...” Tim Ingold, Anthropology and/as Education “The recipe is a method for responding to things.” Rebecca May Johnson,&nbsp;Small Fires: An Epic in the Kitchen,&nbsp;Hot Red Epic (p. 51) Additional transition needed here. “Cooking isn’t so different from jazz. The best jazz musicians seem to improvise effortlessley, whether by embellishing standards or by stripping them down... But in order to be able to improvise flawlessly, they had to learn the basic language of music—the notes—and develop an intimate relationship with the standards. The same is true for cooking, while a great chef can make improvisation look easy, the ability to do so depends on a strong foundation of the basics.” Samin Nosrat, Salt Fat Acid Heat I must say, sometimes music can really just be about cooking. See&nbsp;King Curtis&nbsp;&amp; The Kingpins playing&nbsp;"Memphis Soul Stew" live. This is a recipe in the form of a kick-ass song.&nbsp; “...I find it hard to thoroughly read and stick to a recipe. I’m much more improvisatory. It’s like composing—I choose a process, not a recipe. I’ll think, ‘Today is a good braising day,’ and then I’ll go to the store and see what ingredients are best for braising. Starting with a process, rather than having the finished product in mind, is the best approach for any creative endeavor.” Timo Andres,&nbsp;On classical music and cooking&nbsp; “Many of the things done by the musician, and absolutely essential to good performance, were not to be found in the score.” David Behrman, On What Indeterminate Notation Determines Musical Scores My thoughts on how gestures are translated into a language has led me to focus on graphic scores for musical performances. By analyzing how our sense of hearing has been visualized, I hope to improve upon and strengthen the visualizations I imagine for our sense of taste.&nbsp; “[A score] always contains hidden elements that defy definition because verbal dialectic is powerless to define musical dialectic in its totality. The realization of these elements is thus a matter of experience and intuition…” Igor Stravinsky “No notation can presume to record information encompassing all aspects of the sonic phenomenon for which it stands.” Brian Ferneyhough Why bother recording anything at all? Doesn’t it defeat the purpose of the ephemeral experience? “A composer’s notation arises from the pressures of what cannot be notated, and hence it can only be fully understood in relation to these elements.” Paul Roberts, The Mysterious Whether Seen as Inspiration or as Alchemy “For Ferneyhough, notation can never present an exact encoding of the aural experience; notation is the beginning of a process, not the end.” Stuart Paul Duncan, Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’ “Unless you’re Brian Ferneyhough (and you think you can notate everything), notation is to do with hints rather than absolute instruction. You are trying to convey the big image.” John Woolrich “It became apparent that the range of sound which a player is capable of covering is so extensive and so susceptible to nuance that no notation can hope to control the whole of it.” David Behrman, On What Indeterminate Notation Determines Is it possible that all this information is... “...unnecessarily complicated, eliminating the performer’s role to interpret and leaving the listener saturated in incomprehensible information[?]” Stuart Paul Duncan, Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’ “It is true that the world is complex, as are also our perceptive mechanisms through which we are receiving the fragments of the reality around us. Should our music reflect the endless information surrounding us, or should it reflect our personal way of filtering the world? The latter seems to me more interesting.” Kaija Saariaho “I distinguish between complexity and complicated. I use the word ‘complexity’ to describe a state of the world. The word ‘complicated’ describes a state of mind... we will see order and reason in complexity once we come to understand the underlying principles.” Donald Norman, Living with Complexity, Chapter 1 How complex can design be? “Complexity—not to be confused with complication!—is a prerequisite of any great art wishing to satisfy not only the sense of feelings, but also the mind.” Harry Halbreich This here can get a lot more complicated... “I have similar values in the food I cook as in the music I write. I like simplicity. One of the best food I’ve ever had is blue crabs... Crabs really speak for themselves. Similarly, I don’t like to gussy up my music with a lot of surface sheen or virtuosic frippery. If the materials can’t stand up by themselves, I don’t use them.” Timo Andres, On Food and Cooking “Where everything becomes simple is the most desirable place to be. But, like Wittgenstein and his ‘harmless contradiction’, you have to remember how you got there. The simplicity must contain the memory of how hard it was to achieve.” Cornelius Cardew Is this all just about memory? Need I go on about memory? “Take care of all your memories. For you cannot relive them.” Bob Dylan Maybe that’s for the best. “What makes something fully real is that it is impossible to represent it to completion.” Jaron Lanier, You Are Not a Gadget “Sounds are kept alive only through the use of memory.” Paulo de Assis, Prelude of Sound and Score “What a recording produces is a separate phenomenon.” Cornelius Cardew “‘Unless sounds are remembered by man, they perish, for they cannot be written down.’ — Isidore of Seville, 1472 … we could be tempted to say that ‘unless sounds are written down, they perish, for they cannot be remembered.’ Paulo de Assis, Prelude of Sound and Score “The score, fixed in the past, realised in the present, is open towards a future.” Kathleen Coessens, Exploring Musical Integrity and Experimentation “While in the graphic space, we can navigate in the time line, jumping from future to past and vice versa, in the real world the time appears to be irreversible.” Benny Sluchin and Mikhail Malt, A CAP for graphic scores Graphic notation and Performance “Score-writing is a powerful form of visual communication that reaches across the barriers of language, space and time.” John L. Walters, Sound, code, image Musical notation is a system that is used to visually represent aurally perceived music by the use of visual symbols. A graphic score is a drawing that represents a musical composition through the use of visual symbols outside the realm of traditional music notation. A collection of sonic visualizations that inspire me immensely can be found in my Are.na channel called Made to Order.&nbsp; “Your eyes lead your ears through the music. You take advantage of your brain's ability to process multiple pieces of visual information simultaneously.”&nbsp;Stephen Malinowski, NPR Interview “It is a matter of paying attention along the path of the experience, rather than of an intention instructed by prefixed models.” Nicola Perullo, Improvisation in Cooking and Tasting Instructions are a guide to get you somewhere, but should they allude to what the journey could feel like? “‘Notation’ [is the] totality of words, signs and symbols encountered on the road to a concrete performance of music.” Paulo de Assis, Prelude of Sound and Score A score is... “...a visual representation of sound structures… a conventional code… it offers an immediate and complete overview of something that is otherwise not visually perceivable… it mediates… radically different senses.” Kathleen Coessens, Exploring Musical Integrity and Experimentation “A score has a life of its own: its look has a lot to do with the power of the piece. When I look at a Classical score (Mozart, Beethoven and so on) you can’t actually see at a glance why it works.” Howard Skempton How does the visual experience of reading a score involve our other senses?&nbsp; “[Notations are] capsules of information both technical and expressive which require ‘reading’ (that is, decoding and digesting).” Stuart Paul Duncan, Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’ “Scores can remain the same, even as different readings of the score develop.” Kathleen Coessens, Exploring Musical Integrity and Experimentation “[These scores produce] an infinite number [of works] and a new one each time the score is ‘realized.’” John Evarts, The New Musical Notation: A Graphic Art? “Each reading is independent from the next… banish the belief in a single way to approach a work.” Stuart Paul Duncan, Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’ “The eye can move from any point to any other point on the page so the piece could be realized for any amount of time.” Earle Brown, On December 1952 Conduct a visual analysis and appreciation of Earle’s scores here.&nbsp; “The distance between abstract and complex music notation, on the one hand, and the immediate aural and embodied perception of music on the other, implies the need for an efficient learning process to enhance the complex process of translation that is involved.” Kathleen Coessens, Exploring Musical Integrity and Experimentation Can an alternative form of a recipe involve learning a new way to read? “[Notation] should be directed to a large extent towards the people who read it, rather than towards the sound they will make.” David Behrman, On What Indeterminate Notation Determines “Both score and script are at the mercy of the interpreter.” David Behrman, On What Indeterminate Notation Determines “Each musician plays from the score, reading it in terms of his individual instrument and inclination… an improvisatory character is essential to the piece.” Cornelius Cardew A performer... “...as interpreter… seeks to combine… ‘the virtues of fidelity and sympathy.’” Jeremy Cox, What I Say and What I Do? “An interpreter of a ‘musical graphic’ score seeks only to produce ‘sound pictures’ analogous to the graphic score before his eyes.” John Evarts, The New Musical Notation: A Graphic Art? “Three elements seem to be inherent in any notational system: the ability to offer a sound-picture…, the need to offer all essential instructions…, and the… collision of these two elements… incorporating an implied ideology of its own process of creation.” Paulo de Assis, Prelude of Sound and Score “Artistic freedom… must remain sovereign over the notated task.” Stuart Paul Duncan, Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’ How do rules invite breakers to bend them?&nbsp; “The score is not an element in itself but is dependent upon the historical situatedness of its performers.” Kathleen Coessens, Exploring Musical Integrity and Experimentation How can the design of a recipe adapt to a variety of contexts? “The would-be performer, bringing with him all his prejudices and virtues, intervenes in the composition of the piece, influences its identity in fact, at the moment when he first glances at the notation and jumps to a conclusion about what the piece is, what is its nature.” Cornelius Cardew “Very often a performer’s intuitive response to the notation influences to a large extent his interpretation of the instructions.” Cornelius Cardew “The performer must make decisions regarding the realization of the piece… the performer assumes the role of the relativizing filter, parsing Ferneyhough’s encapsulation of the ‘endless information surrounding us.’” Stuart Paul Duncan, Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’ “Musical integrity refers… to the need for critical and reflective abilities in a musician… [it does not] imply an uncritical mimicking of notational procedures or historical performances.” Kathleen Coessens, Exploring Musical Integrity and Experimentation “A performer who is prepared to spend time with the score and to interrogate it from perspectives other than that of the one-note-after-another linear reading will be able to elucidate many of these ‘higher order’ elements and use them to enrich his or her understanding of the Work.” Jeremy Cox, What I Say and What I Do? “...this need to actively put my body into the score is not a failure of mine, but a demand of the notation, and perhaps of reading practices more generally.” Victora Watts, Dancing the Score: Dance Notation and Differences “Reading requries separation and mental concentration and, thus, creates isolation both from the social group and from the physical world as well.”&nbsp;Frances Butler, Eating the Image: The Graphic Designer and the Starving Audience “Constraining the player with too many or overly binding rules might change his mood, the spirit in which he makes his sounds, and the sounds themselves.” David Behrman, On What Indeterminate Notation Determines “The composer is directing a psychological measure at him in hopes of making him think twice about what he is doing.” David Behrman, On What Indeterminate Notation Determines “A composer who hears sounds will try to find a notation for sounds. One who has ideas will find one that expresses his ideas, leaving their interpretation free, in confidence that his ideas have been accurately and concisely notated.” Cornelius Cardew “The notation acts as an intermediary… the role of notation is purely presentational; its success is defined by how ‘clearly’ the composer transmits his/her ideas to the performer.” Stuart Paul Duncan, Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’ Whoever is on the receiving end is then assumed to put in a certain amount of attention towards it. Reading a recipe can never be passive. Even if action is not taken up on the spot, it is at least imagined or anticipated.&nbsp; “A method of notation which precisely facilitates the reconstruction of the work, intensifies it, gives a full account of it and, in short, communicates a precise view of the composer’s intentions.” John Evarts, The New Musical Notation: A Graphic Art? “The act[s] of composition… seek to give us intimations of the musical thought and Gestalt that only the composer can know.” Jeremy Cox, What I Say and What I Do? “Words rarely capture the immediate emotional assault of a piece of poignant music, which allows the composer to say not ‘It felt something like this,’ but rather ‘Here is the unnamable emotion I felt.’” Diane Ackerman, A Natural History of the Senses “I, as the composer, have no idea how the piece will sound in performance. And why should I?” Cornelius Cardew “There is something confining and demeaning about having expectations...” Jaron Lanier, You Are Not a Gadget Is it okay if it leads to... “...something which the composer almost certainly did not intend or predict[?]” Stuart Paul Duncan, Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’ In this metaphor between scores and recipes, I consider both the composer and performer as cooks, where one has more familiarity with a dish than another. Let us briefly consider the listener or the eater. “The engagement of the eater, however, further increases the unpredictability of the process, because the taste of a dish – and maybe here we can see a difference, for example, with the auditory perception of a music performance – cannot be recorded.” Nicola Perullo, Improvisations in Cooking and Tasting We revisit the body to briefly consider the loneliness of the senses. However, what my research is focused on is the making of that which stimulates the senses, not what the sense itself receives. A score does not record what a sound feels like when it is heard, it captures how a sound is produced in the first place. A recipe does not capture the flavor of a bite, it documents how to make a plate full of many bites.&nbsp;A sound exists between bodies, like a meal does, but how that sound felt like and what that meal tasted like is enclosed within a single body.&nbsp; “The score must govern the music. It must have authority, and not merely be an arbitrary jumping-off point for improvisation, with no internal consistency.” Cornelius Cardew In this sense, we can think of having authority as possessing antecedent knowledge. This advantage deems one more eligible to guide a novice other.&nbsp; “Where no sound is specified, any sound may occur.” Cornelius Cardew “There is a great difference between: a) doing anything you like and at the same time reading the notations, and b) reading the notations and trying to translate them into action.” Cornelius Cardew “[Improvisations] eliminate the possibility of cliches.” Earle Brown, On December 1952 The nature of a recipe does not encourage improvisation, even if it is based on an instance of making that was improvised. What if we prefer to improvise in the kitchen? What good is a recipe then? Perhaps it is through this verb that we can see recipes more as a record of the past than a prompt for the future. I’d prefer to let a cook reinterpret the past than outline their future, to underscore attitude rather than hone in technique. However, some familiarity with technique mixed with willingness to make mistakes is a prerequisite for improvisation.&nbsp; “When the recipe is brought from an inner level to external (the social) it unfolds its characteristic as something sharable, available to everyone. And if something is made available to everyone it signifies that is open to interpretation.” Elena Braida, The Carrier Bag of Recipes “And while recipes may look similar or result in the same product, there is still room for wide interpretations if we also consider the interactional structure inherent in any communicative exchange.” Colleen Cotter, Claiming a Piece of the Pie: How the Language of Recipes Defines Community “The fact that people have different interpretations simply means that things can be carved up differently, not that all perspectives are equally valid.”&nbsp;David Kaplan, Food Philosophy “...the activity of interpretation itself became and object of reflection, rather than being simply practised...” Paul Connerton, How Socities Remember “First performed in Tokyo in 1969, the sauerkraut action started with a music stand on which a loose sauerkraut portion was arranged in place of the score. His ‘music’ thus positioned, Beuys would conduct music on stage according to the ‘sauerkraut principle.’ The principle is simple: instead of slavishly obeying aesthetic rules and repeating the recipes of musical scores that dictate what is played, the replacement of the score by sauerkraut allows the musician to improvise freely and be artistically creative.” Harald Lemke, Joseph Beuys: Gastrosophical Aesthetics To improv is to improve. To improv is to admit comfort with an uncertain spontaneity. To improv is to appreciate variation. To improv is to leave space for nuances. When you improvise under the guidance of a recipe, you are able to compare what happened to what was predicted to happen. “Cooking at home should be improv. Recipes should be a guideline. Follow them too closely, and they can be controlling.” David Chang, Cooking at Home “As life itself cannot be predicted and controlled, it calls for improvisation.” Nicola Perullo, Improvisation in Cooking and Tasting “Experience is the only process that can de-alienate information.” Jaron Lanier, You Are Not a Gadget “Notation’s ambiguities are its saving grace. Fundamentally, notation is a serviceable device for coping with imponderables. Precision is never of the essence in creative work.” Roberto Gerhard “Scores have a precision to them in terms of how they should be approached, but this precision is different from playing the right note. It’s more about attitude and a specific trajectory.” Wadada Leo Smith “The criteria for aesthetically adequate performances lie in the extent to which the performer is technically and spiritually able to recognize and embody the demands of fidelity (NOT exactitude!)” Stuart Paul Duncan, Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’ The score’s... “...technical elements offer access to a delayed or mediated auditory perception by way of an embodied process. The interface between score and sound is the artist’s body in the process of musical realisation.” Kathleen Coessens, Exploring Musical Integrity and Experimentation “Notations themselves are the determining factor in the method of composition of a piece, and hence in the piece’s identity and structure. The composer often provides his instructions as an interpretation of the piece. Often, then, these instructions are limiting (at best) and misleading (at worst).” Cornelius Cardew “One can understand a notation without understanding everything that the notation is able to notate. To abandon notation is therefore a sacrifice; it deprives one of any system of formal guidelines leading you on into uncharted regions. On the other hand, the disadvantage of a traditional notation lies in its formality.” Cornelius Cardew “The functions of notation in the music are in dire need of a re-complexification.” Stuart Paul Duncan, Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’ “A piece that was not going to be performed from left to right did not need to be composed from left to right.” Earle Brown, On December 1952 “Nonlinear reading amalgamates these discrete structural formats for legibility emphasizing top, line, center, and frame, with page formats organized to encourage multidirectional pursuit of understanding.”&nbsp;Frances Butler, Eating the Image: The Graphic Designer and the Starving Audience “In addition to a continuing need to devise new notational practices… there is also a need to permanently revisit and reconsider our understanding of past notational systems.” Paulo de Assis, Prelude of Sound and Score Choreology Thinking about movement, apart from sound.&nbsp;Why would I turn to the work of choregraphers? “Choreographers are people who have chosen body language as their primary form of expression. Many are not adept with words.” Dan Herbison-Evans, Dance, Video, Notation and Computers They pay attention to the body in close detail. This is what I’m trying to do for movements that occur in the kitchen space.&nbsp; “I must move into the space, disassemble the notation signs and then reassemble them in and through my body before I am able to understand what is written.” Victoria Watts, Dancing the Score: Dance Notation and Difference Additional quotes, further analysis and more organization coming to this section on Choreology very soon.&nbsp; “...the dancing body does leave an inscription in space...”&nbsp;Victoria Watts, Dancing the Score: Dance Notation and Difference “...food is also charged with signifying the situation in which it is used.”&nbsp;Roland Barthes, Toward a Psychosociology of Contemporary Food Consumption “The score demands my active physical participation: I must dance it if I am to knoow what is written...”&nbsp;Victoria Watts, Dancing the Score: Dance Notation and Difference “To be read the dance must be articulated through the dancer’s body.”&nbsp;Victoria Watts, Dancing the Score: Dance Notation and Difference “I have found the dance written in the score.” Victoria Watts, Dancing the Score: Dance Notation and Difference “The score will not, by itself, reveal how the dance looks, feels and sounds. Instead, the notation provides a set of instructions as to how the dance can, or should, be remade.” Victoria Watts, Dancing the Score: Dance Notation and Difference&nbsp; Transition needed here.&nbsp; On Benesh notation “It is based on a horizontal stave (like socred music), with time being stepped discontinuously from left to right. The various lines of the stave represent different levels above the floor. The movement of body parts is indicated by projections of their paths in space onto the stave. Ambiguities about the parts and front/back foreshortening are resolved by symbols. Benesh notation has about 52,000 symbols, many of them compound, and the movement lines can be of arbitrary shape.”&nbsp;Don Herbison-Evans, Dance, Video, Notation and Computers Rudolf and Joan Benesh “worked out various techniques for eliminating redundancy in the record and providing still further speed, economy, and simplcity without any loss of accuracy. One very important such technique is the writing of positions only when they change.” Fernau Hall, Benesh Notation and Ethnochoreology “...because of the enormous amount of information needed to record all details of movement of all parts of the body, in three dimensions of space and in time, it seemed that a great mass of symbols would be needed—and yet, to be workable, the resultant score had to be fast, economic, simple, universally applicable and as legible as the alphabet or music notation.” Fernau Hall, Benesh Notation and Ethnochoreology “In many forms of dance, movements of the eyes, hands, fingers, head, shoulders, hips, etc., are all-important...”&nbsp;Fernau Hall, Benesh Notation and Ethnochoreology “...recording at each moment, simply and accurately, the exact location of the dancer in the dancing area; his direction of facing and direction of movement; details of support and relative movement in duets; and movements of groups, showing stage patterns and at the same time providing a precise record of the movment of indivdiuals.”&nbsp;Fernau Hall, Benesh Notation and Ethnochoreology “Dance analysis is laborious work because of the vast spatial-rhythmical movement possibilities of the body and body-parts, the dynamic-phrasing features of movement, not recovered and formulated satisfactorily so far, and even more important, the determination of meaning in dance.” János Fügedi, Dance Notation and Computers “Dances which seem very simple sometimes prove on being analysed for recording purposes to be far more complex than they look.” Fernau Hall, Benesh Notation and Ethnochoreology On Laban notation “It is based on a vertical stave showing time running continuously upward. Different columns of the stave are assigned to the various major parts of the body. The movements of the body parts are indicated by symbols designating the various directions in space... there are approximately 1500 different symbols, although many of these are compounded from others.”&nbsp;Don Herbison-Evans, Dance, Video, Notation and Computers “By means of a Labanotated score, choreographers had finally gained the right of protection of their creations because such scores, like videotaps and DVDs, represnt an ephemeral art form in the tangible format required by the United States Copyright Office.”&nbsp;Mei-Chen Lu, The Dance Notation Bureau The ephemeral confronts ownership. What good does this serve?&nbsp; “The ephemeral character of dance injects into the art an attractive pathos, which has been taken by some as a virtue. It does, however, severely impede the establishment of dance on a par with the other arts as an academic discipline in Western society.” Don Herbison-Evans, Dance, Video, Notation and Computers Words Let us return to the notational form of recipes. Does the written word need to be the main medium? “Words can’t explain what you must learn using your hands and nose and mouth.” Lisa Heldke, Foodmaking as a Thoughtful Practice “Language is only a holding pattern for the recipe – not its origin, nor its terminus.” Rebecca May Johnson, Small Fires: An Epic in the Kitchen, Hot Red Epic (p. 51) “Words blow away. Even thought dissipates like wisps of cloud sailing up the headland. There is only being.” Robin Wall Kimmerer, Braiding Sweetgrass “Attentiveness, care and appreciation do not need to emerge always through explicit and conceptualized language.” Nicola Perullo, Improvisation in Cooking and Tasting Why put words to something that maybe didn’t need them in the first place? “We write to taste life twice, in the moment and in retrospect.” Anaïs Nin Is it worth considering taste as a noun and not just a verb?&nbsp; “Sharing a recipe is the sign of sharing a relationship... they map out networks of relationships.” Janet Theophano,&nbsp;Eat My Words: Reading Women's Lives Through the Cookbooks They Wrote “In a satisfying way, we are all bound by our language, history, family, food, and community.” Colleen Cotter, Claiming a Piece of the Pie: How the Language of Recipes Defines Community “[A recipe is] a silent conversation between cook and cooked.” Thom Eagle, First, Catch What other relationships can be revealed and reveled or renounced in a recipe? “A distinction should be made between the digressive potential of the recipe and the text in which it is embedded. Food, and therefore food writing, as this book has aimed to demonstrate, exerts a centripetal force capable of dragging all sorts of apparently diverse areas into its field: power, politics, sex, violence, national identity, body image, familial relations, the means of production, gender, history, the avant-garde — all these and more have, throughout its history, been considered a reasonable part of the discourse of the cookbook. For the most part, however, the more wildly digressive elements have not formed part of the recipe proper, and have instead been part of introductory material at the start of books or chapters or sections.” Nicola Humble, The Literature of Food “...food has capacities in excess of human intention and interaction, and we must recognize that food has encounters outside of its relation to humans.“ John Cochran, Object Oriented Cookery How can recipes go beyond the human? How can the inclusion of such non-human beings shift our perspective of our own being?&nbsp; “Creation stories offer a glimpses into the worldview of a people, of how they understand themselves.” Robin Wall Kimmerer, Braiding Sweetgrass Can a recipe serve as a creation story? “Good language alone will not save mankind. But seeing the things behind the names will help us to understand the structure of the world we live in. Good language will help us to communicate with one another about the realities of our environment, where we now speak darkly, in alien tongues.” Stuart Chase, The Tyranny of Words “[Artifical languages] were invented on purpose, cut from whole cloth, set down on paper, start to finish, by one person... They were testaments not to the wonder of nature but to the human impulse to master nature.” Arika Okrent, In the Land of Invented Languages&nbsp; How did the structure of the world we live in get built the way it did? Oh yeah, because... “Shortening messages meant saving money.” James Gleick, from Chapter 5 of The Information: A History, a Theory, a Flood “By representing all human economic interaction in numbers, knowledge about the underlying cultural and social value is lost.” Ruben Peter, Caps Lock How does what a language fails to capture contribute to the message that’s trying to be communicated? “Time is all too often of the essence in modern recipe-writing. Of course we need convenience, efficiency, a meal on the table in half an hour, but all that at the expense of flavour is counterproductive. What use, after all, is a quick meal that no one enjoys?” Thom Eagle, First, Catch “... linguistic structures that derive from printed, mass-media forms...” Colleen Cotter, Claiming a Piece of the Pie: How the Language of Recipes Defines Community If the graphic structure of recipes has been determined by the medium through which they are circulated, then shouldn’t I first imagine how I want my new recipes to be received? “Not everything should be convenient.” Robin Wall Kimmerer, in ‘The Honorable Harvest’ from Braiding Sweetgrass “...pre-capitalistic economies contained valuable knowledge about local contexts. Vernacular knowledge that is still produced today, but often marginalized and unrecognized.” Ruben Peter, Caps Lock “The reasons for the gradual changes in a basic recipe such as one for wheat bread, for instance, are inextricably tangled with man’s history and assumed progress.” M.F.K. Fisher, The Anatomy of a Recipe “...the substance of communal memory is changed by the transformation in the technology of preserved communication.” Paul Connerton, How Societies Remember How has our obsession with change created an aversion to repetition? “The male cooks took what were oral traditions and made them textual, and they took the knowledge away from the daily, domestic lives of women who cooked for their family, transforming it into the specialized knowledge of men who would cook for wealthy employers as a job. These two sites of cooking—at home and in public, for free or for wages, by women and by men—came to be identified as the location of lower cooking versus higher cooking, or low and high cuisine.” Gillian Crowther, Eating Culture: An Anthropological Guide to Food “Hearing about the traditions surrounding each dish made each one more memorable.” Judy Rodgers, The Zuni Cafe Cookbook These statements yearn for additional historical context. Is now a good time to get into that? “When the memories of a culture begin to be transmitted mainly by the reproduction of their inscriptions rather than by ‘live’ tellings, improvisation becomes increasingly difficult and innovation is institutionalised.” Paul Connerton, How Societies Remember “The more territorially located recipes are orally based, passed on through experience and conversation from one generation to another; the textually based ones, written up in cookbooks are less located, more mobile, and will be passed on to anyone who can read.” Gillian Crowther, Eating Culture: An Anthropological Guide to Food “...the ancient recipes were intended to circulate and be transmitted within a specific group of people” Elena Braida, The Carrier Bag of Recipes Bring the two-dimensional recipe into the three-dimensional realm by dwelling on another two-dimensional form—the map.&nbsp; “The recipe is like a map: it is not a representation of the field, but is, rather, an invitation, a field of affordances.” Nicola Perullo, Improvisations in Cooking and Tasting Maps When we make a map, we compress a scale otherwise uncontainable. What does a map add to or take away from the thing it represents? “I find that words have been used like maps to impose order from above.”&nbsp;Rebecca May Johnson, Small Fires: An Epic in the Kitchen,&nbsp;Hot Red Epic (p. 67) “The fact that you know what lies ahead does not lessen the pleasure of getting there.” Thom Eagle, First, Catch “These are not ‘instructions’ like commandments, though, or rules; rather, they [the Original Instructions] provide an orientation but not a map. The work of living is creating that map for yourself.” Robin Wall Kimmerer, Braiding Sweetgrass “There are multiple ways one can use mapping or cartography to understand our place in the world, amongst them, a societally endorsed, scientifically applied cartography and an individually perceived one. Each of us assesses, prioritizes and rates things in a different way, not all aspects of life have the same value and map representations are shaped by the purpose of the map and the intentions of the map maker.” e-flux, Temporary Atlas Announcement What more can be said about maps? And is that really the note I want to end on? “It’s like Google Maps: We’re terrible at navigating now because we just blindly follow whatever our phones tell us.” David Chang, Cooking at Home “The recipe is a method of navigation, a method for seeing or seeking what is beyond me.” Rebecca May Johnson, Small Fires: An Epic in the Kitchen, Hot Red Epic (p. 59) Why notate at all? Why worry so much about making tangible what you cannot fully grasp? What’s the point of it all?&nbsp; “The very notion of preservation is thought suspect...” Victoria Watts, Dancing the Score: Dance Notation and Difference “The objects produced by the designer as engineer are graphs, diagrams, maps, forms, manuals, and guidelines... Their aesthetics may be questioned, but rarely their reason for existence.” Ruben Peter, Caps Lock “Rites have the capacity to give value and meaning to the life of those who perform them.” Paul Connerton, How Societies Remember Holds Here are a few of the texts next on my reading queue. The takeaways I have from these will eventually be incorporated into the reflections on this page above.&nbsp; Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction Andrea Borghini’s Recipes, Their Authors, and Their NamesAndrea Borghini and Nicola Piras’ The Philosophy of Food Recipes Between Arts and Algorithms Anne Bower’s Romanced by Cookbooks&nbsp;&nbsp; Martha Davis’s Methods of Perceiving Patterns of Small Group Behavior Cecily Dell’s Primer for Movement Description Using Effort-Shape Cecily Dell, Aileen Crow and Irmgard Bartenieff’s Space Harmony Thierry de Duve’s When Form Has Become Attitude — And Beyond John Dunn and Mary Anne Clark’s "Life Music": The Sonification of Proteins Josette Féral and Ronald P. Bermingham’s Theatricality: The Specificity of Theatrical LanguageOrion Edgar’s Things Seen and Unseen Megan Elias’s Food on the PageCraig Fox’s On Making Sense of Recipes Barbara Kirshenblatt Gimblett’s Playing To The Senses Food as a Performance Medium Donald F. Koch’s Recipes, Cooking, and Conflict—A Response to Heldke’s “Recipes for Theory Making” Ann Hutchinson Guest’s Dance Notation Lisa Heldke’s In Praise of Unreliability Colin Lawson’s Nourishment, Body and Soul: Modern Performers, Diverse TastesJill Lepore’s The Cobweb: Can the Internet be archived?Maya Lin’s Making the Memorial Bruno Munari’s The Shape of Words Henry Notaker’s A History of Cookbooks&nbsp;Arika Okrent’s In the Land of Invented LanguagesAndrew Sneddon’s Recipes for Moral Paradox Bobbi Sutherland’s Cookbooks in Conversation David Sutton’s Cooking Skills the Senses and Memory the Fate of Practical Knowledge Fran Tonkiss’s Aural Postcards: Sound, Memory and the City Wendy Wall’s&nbsp;Recipes for Thought Nicole L. Woods’s Taste Economies: Alison Knowles, Gordon Matta-Clark and the intersection of food, time and performance And many more... Find a place to elaborate upon Nathalie Miebach’s weather scores, since as of now this work does not naturally fall within my established sections. Maybe somewhere in line with Judy Rodgers’ quote: “I rediscover daily that the best dishes are the result of honoring the ingredients, continually tasting, and heeding not just the season, but also the weather outside.” Judy Rodgers, The Zuni Cafe Cookbook https://sophiadorfsman.info/Practice Thu, 10 Jun 2021 10:48:39 +0000 Sophia Dorfsman https://sophiadorfsman.info/Practice Practice When I’m not reading the words of others, I am recipe testing. By that I mean I am testing out new forms of documenting how and what I cook. Below, I give a glimpse of those various forms which include scrambling eggs, photographing&nbsp;and writing.&nbsp; <img width="3000" height="2197" width_o="3000" height_o="2197" data-src="https://freight.cargo.site/t/original/i/32184b0e5e1e1b3b3d192ed8e4568e4d1c2a9f38175651301726c5430f32f2cd/Emulsion.gif" data-mid="237956308" border="0" src="https://freight.cargo.site/w/1000/i/32184b0e5e1e1b3b3d192ed8e4568e4d1c2a9f38175651301726c5430f32f2cd/Emulsion.gif" /> Dialogues Recipes as transcribed conversations, revealing the nature of the relationship between the two speakers, while the relationship dynamics themselves are supported by the technicalities of the dish. Pictured above, Emulsion, as a means for understanding separation.&nbsp; <img width="1787" height="2000" width_o="1787" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a79aa25c0bb3ca46bfb16193abb92f0a7a11d60aa592ea844fea1e4658fa5c30/ChagaRecipe.gif" data-mid="237956696" border="0" src="https://freight.cargo.site/w/1000/i/a79aa25c0bb3ca46bfb16193abb92f0a7a11d60aa592ea844fea1e4658fa5c30/ChagaRecipe.gif" /> Sketches Recipes for a warm drink with chaga and other accompaniments, each powerful in their own right. I’m capturing not only the beauty of adapting this drink to what’s desired, on hand, or in season, but also the reasons one might choose to consume chaga, a mushroom, in the first place.The outer layer of chaga is rich in melanin, a pigment that absorbs all frequencies of the electromagnetic spectrum, transforming light and shielding from harmful ones. When we have enough melanin in our bodies, we can make better use of the information carried in sunlight. You produce melanin by being in the sun, but sometimes our lifestyles do not give us as much as we need. If you are curious, listen to a few of Jack Kruse’s rants, Cameron Borg’s interviews, or Sowing Prosperity conversations to get a better sense of what I mean.I share this because it is vital to think about light when you think about health, and to see food as light slowed down. It is an idea I will keep exploring through recipes, but I will leave you with this: When you take something into your body, you are letting in its light. “Each of humanity’s episodes of madness involved the unmooring of symbol from symbolized.” Charles Eisenstein,&nbsp;Virtual Intelligence <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/15b816ab4be0325daac448c8015306cd542d80c23c25dfd57cbb0153ac0bbe7d/Dorfsman-FormsofReciprocity-1.jpg" data-mid="212268724" border="0" src="https://freight.cargo.site/w/1000/i/15b816ab4be0325daac448c8015306cd542d80c23c25dfd57cbb0153ac0bbe7d/Dorfsman-FormsofReciprocity-1.jpg" /> “Each time I cook the recipe I produce a new translation of the text.” Rebecca May Johnson,&nbsp;Small Fires: An Epic in the Kitchen,&nbsp; Tracing the Sauce Text (p. 81) Exhibit I created a series of 12 handwritten recipes titled&nbsp;Forms of Reciprocity.&nbsp;Each recipe represents a specific time in 2022 when I scrambled an egg for breakfast and retells the exact gestures I performed in order for the meal to materialize. These hyper-specific remembrances denote what would normally be lost in conventional recipes — from showing when I opened the fridge, to counting the number of times I spun a fork through an egg to whisk it. They capture my intuitive approach and interpretation, as well as the unexpected contingencies that inevitably arose.&nbsp; <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/6d2cdf188dcb3a7567718b6ae453806c12859f4e2964fd06592793ae94967ea7/Code-Updated-02.png" data-mid="114027157" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/6d2cdf188dcb3a7567718b6ae453806c12859f4e2964fd06592793ae94967ea7/Code-Updated-02.png" /> “Documenting what I do in the kitchen can feel like the task of recording almost nothing. But it is the nothing that I am doing, and do almost every day, and have been doing every day for over a decade.” Rebecca May Johnson,&nbsp;Small Fires: An Epic in the Kitchen, Prologue in the Kitchen (p. 11) “Making even a simple dish three times in two weeks can teach you more about cooking than trying three different dishes in the same period of time.” Judy Rodgers, The Zuni Cafe Cookbook “The recipe is most likely perceived as a frozen moment enhanced by the articulation of verbs of command, materials, quantity, and how these features are structured together.” Elena Braida, The Carrier Bag of Recipes “There is only one recipe, really: prepare your ingredients and cook them until done. Everything else is just a variation on that.” Thom Eagle, First, Catch “No return to the ‘original’ recipe is possible because its original form has been eaten.” Rebecca May Johnson, Small Fires: An Epic in the Kitchen, Tracing the Sauce Text (p. 82) <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3e1cd0b98bbfcf88430ecfe19d624c0b3811634f8137b103d95487cc9a97d665/Dorfsman-FormsofReciprocity-4.jpg" data-mid="212269643" border="0" src="https://freight.cargo.site/w/1000/i/3e1cd0b98bbfcf88430ecfe19d624c0b3811634f8137b103d95487cc9a97d665/Dorfsman-FormsofReciprocity-4.jpg" /> I devised an iconographical system to represent the meaning of 56 verbs and 40 nouns used in describing my process of making scrambled eggs. Each symbol occupies a space of .25cm by .25cm and is handwritten in black or white ink over egg tempera paint. Each recipe is on 40/45 grams Hahnemühle transparent sketch paper. “Variability is from performance to performance, not within a single performance.” Cornelius Cardew “...humans perceive by noting differences, are intrigued by novelty and learn from it, and eventually ignore redundancy.” Frances Butler, Eating the Image: The Graphic Designer and the Starving Audience <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/6ef8267850da369319feda93f9ed4d8c960a982aa98458ff6fd27f28aede7c55/Code-Updated-03.png" data-mid="114027173" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/6ef8267850da369319feda93f9ed4d8c960a982aa98458ff6fd27f28aede7c55/Code-Updated-03.png" /> “Recognizing beauty in diversity is the urgency for our times... We need a new aesthetics of diversity.” Vandana Shiva <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/94a5ecd6c80f214138877f350b7bc51dca1b7149293dd524238a068b48cec79d/Dorfsman-FormsofReciprocity-3.jpg" data-mid="212269680" border="0" src="https://freight.cargo.site/w/1000/i/94a5ecd6c80f214138877f350b7bc51dca1b7149293dd524238a068b48cec79d/Dorfsman-FormsofReciprocity-3.jpg" /> “Each time I encounter the same thing, the same ingredient, I find that it’s different again, again, different again, so the recipe is always a method for seeking.” Rebecca May Johnson, Small Fires: An Epic in the Kitchen, Hot Red Epic (p. 52) “Make dishes more than once, and pay attention to the slight or substantial differences in each variable and how each affects the results, for the better or the worse. This effort, more important than any recipe, rewards even the most experienced cook with insights and surprises.” Judy Rodgers, The Zuni Cafe Cookbook <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/022b34dced7750da9050fa337d389f22bb7079083ae2357c6048e12cf537336f/Code-Updated-04.png" data-mid="114027174" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/022b34dced7750da9050fa337d389f22bb7079083ae2357c6048e12cf537336f/Code-Updated-04.png" /> “The recipe lends itself naturally to ‘variationist’ study, a theoretical approach in which linguists consider how the same thing is said in many different ways... the revelations come in an awareness of the differences.” Colleen Cotter, Claiming a Piece of the Pie: How the Language of Recipes Defines Community “There is very little consensus about how and what we should produce and consume.” David Kaplan, Food Philosophy <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/83eab760e44964760883a5fb085e751d894113710fafdc80bc6b6e4ab2312b36/Dorfsman-FormsofReciprocity-5.jpg" data-mid="212269706" border="0" src="https://freight.cargo.site/w/1000/i/83eab760e44964760883a5fb085e751d894113710fafdc80bc6b6e4ab2312b36/Dorfsman-FormsofReciprocity-5.jpg" /> Color signifies an ingredient, so when a white symbol is placed over a color, that symbol gets attributed to the ingredient the color is associated with. Recipes are intended to be read from top to bottom, left to right. The horizontal axis represents the space the cooking took place in, while the vertical axis represents the relative time it felt like gestures took to perform. “In the case of geometry, each step is justified in a way that makes no further discussion or analysis of any kind appropriate, at least not within the confines of the subject matter as laid down by the axioms and postulates. In the case of cooking, on the other hand, the whole matter is very much more open-ended. There is not an intellectual regimentation of the subject. We do not have clearcut reasons to justify each step, and there would be a large amount of variation as well as debate about the proper formulation of each procedure. The variation here is not the kind to be found in Euclid. There are different ways of making the same construction, but here there are actually procedures that produce different results to obtain the same goal...” Patrick Suppes, Probabilistic Metaphysics <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/01120a79a3943d398ace704bdc0fa488c3323f727526b674a2b1571ef28d216f/Code-Updated-07.png" data-mid="114027177" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/01120a79a3943d398ace704bdc0fa488c3323f727526b674a2b1571ef28d216f/Code-Updated-07.png" /> “We employ the term ritual to refer to ‘rule-governed activity of a symbolic character which draws the attention of its participants to objects of thought and feeling which they hold to be of special significance.” Paul Connerton, How Societies Remember <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b81907d542a86ac2037d946fa7cb07ee2d08c9438e04055251f42c55fe900448/Dorfsman-FormsofReciprocity-6.jpg" data-mid="212269711" border="0" src="https://freight.cargo.site/w/1000/i/b81907d542a86ac2037d946fa7cb07ee2d08c9438e04055251f42c55fe900448/Dorfsman-FormsofReciprocity-6.jpg" /> Each long, scroll-like recipe is preserved in its own cylindrical vessel. Together, the containers comprise a cookbook, one in which the order of the scrambled egg recipes can itself be scrambled.&nbsp; “...habits have power because they are so intimately a part of ourselves.”&nbsp;Paul Connerton, How Societies Remember “A tendency turned into a habit, and somewhere along the way a system came to be... This is the way all natural languages are born—organically, spontaneously.” Arika Okrent, In the Land of Invented Languages&nbsp; <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/dd13733299ca17f1acb9a02c478f0534afce29190f70353fbf98419ea2d8ce9c/Code-Updated-08.png" data-mid="114027178" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/dd13733299ca17f1acb9a02c478f0534afce29190f70353fbf98419ea2d8ce9c/Code-Updated-08.png" /> “Habit is a knowledge and a remembering in the hands and in the body; and in the cultivation of habit it is our body which ‘understands.’” Paul Connerton, How Societies Remember “Allowing more informal ways of knowledge... can shift the focus of graphic design to a more social function of visual communication and production...” Ruben Peter, Caps Lock “...the phenomenon of habit should prompt us to revise our notion of ‘understand’ and our notion of the body.”&nbsp;Paul Connerton, How Societies Remember <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/f88eea855263fc5b2bc1723362a5e20bc3b843cd02e95e81c09632fc495a258c/Code-Updated-09.png" data-mid="114027180" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/f88eea855263fc5b2bc1723362a5e20bc3b843cd02e95e81c09632fc495a258c/Code-Updated-09.png" /> “The only habit worth ‘designing for’ is the habit of questioning one's habitual ways of seeing.”&nbsp;Jenny Odell,&nbsp;How to Do Nothing A recipe reflects the values the cook has, and therefore intrinsically carries the power to impart those values onto the next cook who uses it. Forms of Reciprocity is how I refer to my series of recipes, as they are designs have been shaped by the recognition of the reciprocal relationship between a cook and a recipe. <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/4d8c34e7bd923984c8adea9cecb266760aaaa00c2cd4dec15126ae8dbf162707/Dorfsman-FormsofReciprocity-2.jpg" data-mid="212269673" border="0" src="https://freight.cargo.site/w/1000/i/4d8c34e7bd923984c8adea9cecb266760aaaa00c2cd4dec15126ae8dbf162707/Dorfsman-FormsofReciprocity-2.jpg" /> “...the body goes beyond language...”&nbsp;Mårten Spångberg, Movement Research:&nbsp;Introduction “Patterns of body use become ingrained through our interactions with objects.” Paul Connerton, How Societies Remember “To eat is a behavior that develops beyond its own ends, replacing, summing up, and signalizing other behaviors, and it is precisely for these reasons that it is a sign.” Roland Barthes, Toward a Psychosociology of Contemporary Food Consumption <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/4869bd655342345589d532c5d561a53ca7e18c693e14a33585bd91d9a4e140d7/Code-Updated-12.png" data-mid="114027183" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/4869bd655342345589d532c5d561a53ca7e18c693e14a33585bd91d9a4e140d7/Code-Updated-12.png" /> “...the pictured gesture that meant one thing to one person means something entirely different to a neighbor and the image itself cannot mediate between its multiple interpretations.” Frances Butler, Eating the Image: The Graphic Designer and the Starving Audience “How might a renewed attention to these processes signal a shift in how we think about creativity?” The world is a flask “We leave the grammatical realm of action verbs and declarative statements, and we move into the grammar of what Jane calls ‘middle voice verbs’. And these ‘middle voice verbs’ give us access, actually, to a realm of the shared, the impersonal, but not the indifferent. And then, quote ‘Thus affording voice to vibrant materials whose first language is not words.’ … We are in conversation all the time, as Vibrant Matter argued, with many different entities that are speaking but speaking in languages that don’t use words. So, what will be the translation of these other languages? And one answer to that question is in this book: poetry.” Jack Halberstam on Jane Bennett’s Vibrant Matter (Wild Things: A Conversation with Jack Halberstam and Jane Bennett) <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/a4e77ce8567f94fd111fad5780fdc610ec67aff67c2f6bad9e0a2dad91e77c57/Code-Updated-10.png" data-mid="114027181" border="0" data-scale="4" data-no-zoom="true" data-icon-mode src="https://freight.cargo.site/w/76/i/a4e77ce8567f94fd111fad5780fdc610ec67aff67c2f6bad9e0a2dad91e77c57/Code-Updated-10.png" /> “I think it is interesting when writing permits to operate with language beyond the grammar and logics of habitual communication and the constraints of one single genre, although this of course is not a goal in itself comma but rather a means to form and examine a thought or idea comma via different languages full stop Not adhering to merely one specific linguistic system could be understood as a political statement comma as opposed to the suggested homolinguistic construct that is negligent of the heterolinguistic reality full stop” Cia Rinne, Wasting My Grammar <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/15c8549f71ff640a8f250eb504b2aa834b79d7758536fac38111a17a61be77a8/Dorfsman-FormsofReciprocity-9.jpg" data-mid="212269737" border="0" src="https://freight.cargo.site/w/1000/i/15c8549f71ff640a8f250eb504b2aa834b79d7758536fac38111a17a61be77a8/Dorfsman-FormsofReciprocity-9.jpg" /> The exhibition, which took place in Amsterdam inside Post-Office on Wednesday, April 17th, was the opening of the cookbook. Visitors were invited to be immersed in the open book, to be surrounded by the recipes. I provided everyone with a key of the symbols so they were able to translate the recipes. <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1421b65781acba75fea3e2ebf8a8454d54cf1da16457761711312665331c0eed/Dorfsman-FormsofReciprocity-7.jpg" data-mid="212269731" border="0" src="https://freight.cargo.site/w/1000/i/1421b65781acba75fea3e2ebf8a8454d54cf1da16457761711312665331c0eed/Dorfsman-FormsofReciprocity-7.jpg" /> “If a visual message is going to get across to people of different languages and backgrounds it is essential that the message does not lend itself to wrong interpretations.” Bruno Munari, Design as Art &nbsp; “The languages we speak were not created according to any plan or design... They just happened. They arose.” Arika Okrent, In the Land of Invented Languages <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/1f549a5c118e4bc2bd710e10961c54cdb7c4fda539a800cb4a31cbdf04fcb342/Code-Updated-06.png" data-mid="114027176" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/1f549a5c118e4bc2bd710e10961c54cdb7c4fda539a800cb4a31cbdf04fcb342/Code-Updated-06.png" /> “Sugar and wine, these two superabundant substances are also institutions. And these institutions necessarily imply a set of images, dreams, tastes, choices, and values.” Roland Barthes, Toward a Psychosociology of Contemporary Food Consumption “...genuine human experiences are forever unique...” Jaron Lanier, You Are Not a Gadget By creating these recipes, I show my respect for the very existence, quality and source of each fresh egg, bit of cheese, sliver of onion, knob of butter, pinch of salt and sprinkle of black pepper. I also exhibit my appreciation for having had the time, tools, capability and craving to nourish myself with these elements transformed in this way. The practice of making these recipes let me be present in the act of caring for myself. I find these deeper levels of awareness allow the food to be all the more satisfying. <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/1314ba4c88e00c8ffce58ffbc96a7829af6a7ee5da6751d8db954408966127af/Dorfsman-FormsofReciprocity-8.jpg" data-mid="212269716" border="0" src="https://freight.cargo.site/w/1000/i/1314ba4c88e00c8ffce58ffbc96a7829af6a7ee5da6751d8db954408966127af/Dorfsman-FormsofReciprocity-8.jpg" /> “...these dishes take their time, not the cook’s time.” Judy Rodgers, The Zuni Cafe Cookbook “Generally, in recipes there is an absence of temporal markers... Instead, we find that the sequence is relayed by the ordering of elements...”&nbsp;Colleen Cotter, Claiming a Piece of the Pie: How the Language of Recipes Defines Community <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/67b81ac9a6804be6cfcd809c0def2e40ead31305d8f68cf448334d899b97f080/Code-Updated-05.png" data-mid="114027175" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/67b81ac9a6804be6cfcd809c0def2e40ead31305d8f68cf448334d899b97f080/Code-Updated-05.png" /> “There is so much that recipes miss. The satisfaction of peeling a ripe, thick-skinned tomato, for instance.” Thom Eagle, First, Catch “...a recipe is only the congealed record of a once fluid and spontaneous act. It is this spontaneity that the good cook must recover. To attempt to reproduce any dish, time after time, through plodding duplication of a recipe's every step, is futile and tedious.”&nbsp;Marcella Hazan, More Classic Italian Cooking “...the commands speaks to you, and you only. There is no other figure...” Elena Braida, The Carrier Bag of Recipes <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/98ce08ac5d63f2b19d42766114b5b4e101c15b04951699888f5537e7608f2168/Code-Updated-11.png" data-mid="114027182" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/98ce08ac5d63f2b19d42766114b5b4e101c15b04951699888f5537e7608f2168/Code-Updated-11.png" /> “...it would be condescending to offer more explanation.”&nbsp;Colleen Cotter, Claiming a Piece of the Pie: How the Language of Recipes Defines Community With these recipes, I am not proposing a template for others to adopt. Rather, I prompt fellow eaters to take a moment to acknowledge the specialness of what you ingest, of what ultimately creates you. I invite other inquisitors to question what we choose to document and remember, before that subsequently gets passed along and taught to others. I welcome cooks who share recipes to realize their role in affecting how others cook and think about food. Lastly, I ask, in what other ways can recipes be written? <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/44827bf4cb01861bb8e34c965eb31c5f43df0317b75d58f3b344916e19c5160c/Dorfsman-FormsofReciprocity-12.jpg" data-mid="212274995" border="0" src="https://freight.cargo.site/w/1000/i/44827bf4cb01861bb8e34c965eb31c5f43df0317b75d58f3b344916e19c5160c/Dorfsman-FormsofReciprocity-12.jpg" /> “Good design can help tame the complexity, not by making things less complex—for the complexity is required—but by managing the complexity.” Donald Norman, Living with Complexity, Chapter 1 “...food is a non-human actant involved in human and non-human collectives. Food as an object continues to translate you, and you continue to translate food, even after swallowing; appearance and taste are only a subset of a food's manifestation.” John Cochran, Object Oriented Cookery <img width="76" height="76" width_o="76" height_o="76" data-src="https://freight.cargo.site/t/original/i/c8267b5ae600c95d710756ca9bfec32f01c704af37d23e6b883cae50d49626ba/Code-Updated-13.png" data-mid="114027184" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/76/i/c8267b5ae600c95d710756ca9bfec32f01c704af37d23e6b883cae50d49626ba/Code-Updated-13.png" /> “An apple apples even after it enters into a set of exo-relations through which objects translate each other.” John Cochran, Object Oriented Cookery “If you hope for technology to be designed to serve people, you must have at least a rough idea of what a person is and is not.” Jaron Lanier,&nbsp;You Are Not a Gadget It is what a recipe includes or not that influences where a cook’s attention can go, as well as how the cook cherishes what they make.&nbsp; <img width="1930" height="3218" width_o="1930" height_o="3218" data-src="https://freight.cargo.site/t/original/i/fcc339bb5b17e43c5a9cbe34b7704b50ebe4fe5fe8f96e586c42774452b48d95/7M3C9385-2.jpg" data-mid="123284469" border="0" src="https://freight.cargo.site/w/1000/i/fcc339bb5b17e43c5a9cbe34b7704b50ebe4fe5fe8f96e586c42774452b48d95/7M3C9385-2.jpg" /> <img width="1296" height="2160" width_o="1296" height_o="2160" data-src="https://freight.cargo.site/t/original/i/3f05453bd9e782f7e47ff9a7bd3f1d53a4127eb5900fb39d73c5dc180ccf52db/7M3C9100.jpg" data-mid="127758087" border="0" src="https://freight.cargo.site/w/1000/i/3f05453bd9e782f7e47ff9a7bd3f1d53a4127eb5900fb39d73c5dc180ccf52db/7M3C9100.jpg" /> Attachments I keep my camera close to the kitchen. I often pause to observe the ingredients I’m working with. This ongoing practice demands my close attention and only strengthens the awareness I have for my gestures in the kitchen. I’m normally most captivated by the interaction of light with the surface and texture of the food item.&nbsp; <img width="2000" height="1300" width_o="2000" height_o="1300" data-src="https://freight.cargo.site/t/original/i/47ef2f7fba9350d65c485f6d0818bd2a2656f37f8ce0ad57c75bb616c17ec205/Squash.jpg" data-mid="111254791" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/47ef2f7fba9350d65c485f6d0818bd2a2656f37f8ce0ad57c75bb616c17ec205/Squash.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/33d193821d9fd8c0114323bc5e9a8bc4ab1a49334ab7f4962de549a3eebcd8b0/Orange-Mushroom.jpg" data-mid="111254527" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/33d193821d9fd8c0114323bc5e9a8bc4ab1a49334ab7f4962de549a3eebcd8b0/Orange-Mushroom.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/cd443235bfe0d10e8e67e497dba12964b02eb96700037d3535e278839bc3320b/Pickled-Rhubarb.jpg" data-mid="114005306" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/cd443235bfe0d10e8e67e497dba12964b02eb96700037d3535e278839bc3320b/Pickled-Rhubarb.jpg" /> <img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/cb4f4e69252ff025eacfe3fbb8caaaa16be76f08dc30133c183d61295c4e3a85/Banana.png" data-mid="113530578" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/cb4f4e69252ff025eacfe3fbb8caaaa16be76f08dc30133c183d61295c4e3a85/Banana.png" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e227493886728e5099c99adcc7a25fd2ab6adcb2cd5790113878767fbc52990c/White-Mushrooms.jpg" data-mid="111254627" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/e227493886728e5099c99adcc7a25fd2ab6adcb2cd5790113878767fbc52990c/White-Mushrooms.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e6f092be17e33309d449521d0bf88ebcd7442d39cf5e457644d484d097dedb47/Cheese.jpg" data-mid="111254644" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/e6f092be17e33309d449521d0bf88ebcd7442d39cf5e457644d484d097dedb47/Cheese.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c37b6d6672423ea9e87cacbc5c20d224028514cff680a54c2c4da5d0bfcd72e5/Cornbread.jpg" data-mid="111254645" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/c37b6d6672423ea9e87cacbc5c20d224028514cff680a54c2c4da5d0bfcd72e5/Cornbread.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b83d0a67d8fae409e9fa571ea47f121801b93a9ca1aecd64c1442ca9de50013d/Chicken-Stock.jpg" data-mid="111254576" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/b83d0a67d8fae409e9fa571ea47f121801b93a9ca1aecd64c1442ca9de50013d/Chicken-Stock.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c47aace1ce32c7564c073a10592325779f383289d7e17960365ab2ef4d5806a9/Fish-Skin.jpg" data-mid="111254722" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/c47aace1ce32c7564c073a10592325779f383289d7e17960365ab2ef4d5806a9/Fish-Skin.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c31f50f76726057ca3072831830f5e4a6b4ad2aed5fddbe812df19504845d13b/7M3C9517.jpg" data-mid="125199210" border="0" src="https://freight.cargo.site/w/1000/i/c31f50f76726057ca3072831830f5e4a6b4ad2aed5fddbe812df19504845d13b/7M3C9517.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8aa97762dd5007a31c44ace445c0aa8faaae8e8fa3e17af5900b742a29d9e12c/7M3C9927-2.jpg" data-mid="125199375" border="0" src="https://freight.cargo.site/w/1000/i/8aa97762dd5007a31c44ace445c0aa8faaae8e8fa3e17af5900b742a29d9e12c/7M3C9927-2.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3acfa6fd3aea739a0360149eb833707e901fee60b4386ede83c3790b27d55a29/Blueberry-Tahini.jpg" data-mid="114005317" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/3acfa6fd3aea739a0360149eb833707e901fee60b4386ede83c3790b27d55a29/Blueberry-Tahini.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6dd85f8cc1c56fa0a3059374ffe645cd82041f2e0eb46d9c40c98801711e7c81/Nutmeg.jpg" data-mid="111254567" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/6dd85f8cc1c56fa0a3059374ffe645cd82041f2e0eb46d9c40c98801711e7c81/Nutmeg.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/12a2131fed44602ac574abd5e2526796e53136f64fbb8fe22c618f184ed3dfad/Blackberry.jpg" data-mid="111255376" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/12a2131fed44602ac574abd5e2526796e53136f64fbb8fe22c618f184ed3dfad/Blackberry.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ab8f58dfba1838736655350be712ff0fbb630278b1753bb97891b59b4f3cc5aa/Blackberries.jpg" data-mid="111255387" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/ab8f58dfba1838736655350be712ff0fbb630278b1753bb97891b59b4f3cc5aa/Blackberries.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/fc3c6ee1d4afd81e35325dc84e5db581d5ba310a246dc20c2f5971f093a43936/Semifreddo-2.jpg" data-mid="114027084" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/fc3c6ee1d4afd81e35325dc84e5db581d5ba310a246dc20c2f5971f093a43936/Semifreddo-2.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/de2af49b36c494c5dae037091501a6a8481535d46f1ac6c108357696cb853748/Pesto.jpg" data-mid="114005304" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/de2af49b36c494c5dae037091501a6a8481535d46f1ac6c108357696cb853748/Pesto.jpg" /> <img width="1300" height="2000" width_o="1300" height_o="2000" data-src="https://freight.cargo.site/t/original/i/313ce071bfc844ed9f744f965891ac4ea6470bab2151869f63e068ddf008490c/Radishes.jpg" data-mid="111255392" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/313ce071bfc844ed9f744f965891ac4ea6470bab2151869f63e068ddf008490c/Radishes.jpg" /> <img width="2000" height="1300" width_o="2000" height_o="1300" data-src="https://freight.cargo.site/t/original/i/2644d30b6813e00eaa75a54724792f63cddae72eedf8b44012361ba0b8b8b5c8/Fennel.jpg" data-mid="111254957" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/2644d30b6813e00eaa75a54724792f63cddae72eedf8b44012361ba0b8b8b5c8/Fennel.jpg" /> “A recipe’s satisfaction could lie upon the words it fails to mention, the words that a recreator must be prompted to search for on their own.” A Stream of Consciousness on Recipes from the Mouth of a River “...a celebration of a process, rather than a product.” Keeping Scores Dissections I have written a few short essays on matters of design and/or food. It is through this kind of writing that I explore a more specific idea that entices me within the overlap of the disciplines. Each italicized title links to a downloadable .pdf.&nbsp; “Your body’s participation writes the true recipe within you.” Walk Me Through the Recipe “Since when has the goal of seduction been to happen as quickly as possible?” Produce, Seduce “Hunger, as persistent and repetitive as it is, always presents an opportunity to reckon with an identity.” Repeat After, With and Before Me “...our lives can begin to feel longer, which has been the doomed, undisputed goal all along.” A Quick Read on Savoring Time “How many cookbooks question God’s gender?” The Dorothy Iannone Digest &nbsp; <img width="3840" height="5760" width_o="3840" height_o="5760" data-src="https://freight.cargo.site/t/original/i/d3c7587ad2690d4446e898a5b8c59df6eef1f0919e7134a05c6b9e5d638d28d8/7M3C9662-2.jpg" data-mid="114097168" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/d3c7587ad2690d4446e898a5b8c59df6eef1f0919e7134a05c6b9e5d638d28d8/7M3C9662-2.jpg" /> <img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/147b36319b8e806445f0ad58d3282eef4273f7396758b8e95db8b7e8f6c9eb29/7M3C1383.jpg" data-mid="114097082" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/147b36319b8e806445f0ad58d3282eef4273f7396758b8e95db8b7e8f6c9eb29/7M3C1383.jpg" /> <img width="3840" height="5760" width_o="3840" height_o="5760" data-src="https://freight.cargo.site/t/original/i/667d652fadceb8f4d9b157154cf98483ff3ecebda58954eb129be9a577543ae0/7M3C0545-3.jpg" data-mid="114097257" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/667d652fadceb8f4d9b157154cf98483ff3ecebda58954eb129be9a577543ae0/7M3C0545-3.jpg" /> Rhythms In 2020, I self-published a cookbook. P’s Cookbook contains 46 meals made and written down by my mom, also known as P, from January 29, 2000 and July 2, 2016. On April 16, 2020, I started recording meals I’d make with a playful discourse. This ongoing practice has lately become less frequent, as I ironically find myself cooking much less while I formally study food. Salami sautéed with slivers of a red onion until caramelized, chopped Castelvetrano olives, dark red cherries, yellow plums and peaches, halved hazelnuts, shaved parm, a lemon-mustard-red wine vinegar dressing Friday, July 3, 2021 Hey, sorry I was absent, I’ve been in class. What did I miss? Perhaps you could fill me in over lunch? I made us a salad. It’s a savory fruit salad, primarily composed of a mix of stone fruits or things that have pits inside or at least look like they would or should. I haven’t made something like this in that way for a while. And I already know that I’ll long for this salad the moment that peach season is over. To long for something, to deeply miss something, can empty you and leave you with a bottomless hunger. But to feel an absence is to realize that you had previously recognized a presence. When you acknowledge what’s missing, you can think about what else could be there, what else can now fill that space. This time, I put yellow plums instead of blushing apricots, Parmigiano instead of Castelmagno. To make a longing feel short, you must gain an awareness of what something is not and what it could be. This is your next assignment. Don’t miss the deadline. Meatballs with a pistachio butter sauce, next to half a head of roasted green cauliflower Sunday, March 14, 2021 I often mix up “persevere” with “preserve” as if some characters quickly traded places, while an “e” proved to be shy after all. I think, as I shuffle towards the sink on my way to the stove, about this—these subtle and key movements of letters, and of feet. My feet finally settle once the meal is set in place. The meat’s exterior has browned, the cauliflower’s inside has turned tender, and the butter’s warmth has enriched the ground nuts. Those flavors are held captive in my mouth together. Words would allow for their escape, yet the right ones are not are not on the tip of my tongue. Maybe because they exist somewhere only accessible via a step out towards the unfamiliar. One way or another, I will stay persistent in search of these words, for the sake of preservation.&nbsp; King trumpet mushrooms halved and bathed belly down in buttery miso broth, over creamy pulled chicken, with lemony, bright pink red cabbage dusted with roasted then pulverized cremini mushrooms Friday, February 12, 2021It began with the necessity to use the overabundance of mushrooms, which went on to prompt a craving for chicken. Instead of using the mushrooms in a sauce for the chicken, I thought. touse the chicken in the sauce for the mushrooms. It ended happily after braising the mushrooms and pulling apart the chicken. I wish I could recount a better story, one with more imagination but mine has been lacking and limited. Thinking far beyond next month has proven arduous for many weeks. But more concerningly, drawing upon the tales I should know from years ago generates a blank page. These ingredients fill me up on this day, but I am still left empty of anecdotes, unable to perform my greater role as a storyteller. &nbsp; Cod baked in Savoy cabbage leaves over shredded Brussels sprouts Thursday, February 11, 2021 This meal, and the many previous, did not start with a cheese plate or end with dessert, but rather a savory and sweet thank you. The repetitiveness is not bothersome, nor does it lessen the ritual’s resonance. The reverse happens. Gratitude in one instance creates an awareness of where else it should be. Like the codfish tucked into the veiny, green layer of Brassica, those spots may be hidden but they’re there—actually everywhere. The real bother is when they’re found just to be ignored.&nbsp; Chicken hearts and kidney bean casserole, salad of raw and roasted beets and carrot with goat cheese, olives and a dressing mostly of balsamic vinegar and orange juice Wednesday, February 10, 2021 It has just occurred to me that I forgot to add the beet greens. They simply did not cross my mind while I sliced their roots and halved the chicken hearts. Not even all the trouble I went through to scrub the dirt off each individual leaf—it was really on there—could remind me. In retrospect, I’m not sure how they would’ve fit in. Added into the mix of raw and roasted beet slices just to throw off those two types of crunch? Mistaken for the leftover Swiss chard stems I softened before stirring in the kidney beans, just to increase the dish’s density? Yet the dish somehow still lacked their presence. Here the beet greens now lay at the bottom of the fridge. Not to be forgotten, but one day remembered.&nbsp; Radicchio salad made unlike before, next to crispy ground lamb over mashed kidney beans Tuesday, February 9, 2021 Ground lamb mixed with lots of cumin and za’atar and black pepper and placed in a wide pan with hot, melted pork lard, a softened, sliced yellow onion, six minced garlic cloves, and thin circles of a purple carrot. That was scooped over a kidney bean purée. A silky, dusty rose colored purée in which all that matters is the flavoring added to the water the beans boil in after their overnight soaking. I normally add olive oil, onions, smashed garlic cloves, bay leaves, salt and, this time, za’atar. And I probably added too much of each (that is not a regret). The remaining empty space on the plate will be occupied by a salad of mint leaves, chopped pistachios, a dressing of kwark and an egg yolk mixed into leaves of radicchio di Chioggia. Quiz me about food favorites and I will not hesitate to recite the name of that chicory. I’ve loved radicchios for a long time and eat them frequently. By no means do those two facts prove that I know them in full. Only recently did I become aware of how they are uprooted from the soil and transferred to water then withheld from sunlight to finalize their color and form. No wonder they’re so bitter, they had a cold and dark upbringing. Radicchios are wrapped up in more complexities than I could ever grasp. And as a result, they will always remain a stranger to me in many ways. But my infinite love for them will get me closer to the core of what makes them who they are.&nbsp; Pan fried headless Mackerel with roasted Brussels sprouts and kale in a fish sauce glaze over a herby yogurt with sliced and quartered cucumbers Friday, February 5, 2021 Sometimes I don’t think of the kitchen as a kitchen but simply a space guiding my movements. Pulling me in different directions, at varying speeds. I gave up my pursuit of dance many years ago, but acts of cooking have since come to replace it. I go on my tiptoes with hands up above to reach the salad spinner. soI can wash the kale before dousing it in olive oil and adding it to the pan of half-roasted Brussel sprouts. I plea to peek through the oven, holding onto the door’s handle like a ballet barre, to gauge how much water the leafy greens need to release. I shuffle from left to right, from stove to sink, flipping the fish while stirring the sauce. I know my limits but with each move I stretch further, all the while trying to not hurt myself. Often when making a move, I forget how important it is to know where my head is at. In a dance class, you get used to watching your own behavior in a mirror. You lock your gaze in one direction but eventually realize you must let it go in order to really pull off the move. You have to trust that your body knows what to do. And only then, will you hit your mark.&nbsp; Safflower semifreddo with orange shortbread which, if you close your eyes, serendipitously resembles Milk Bar’s cereal milk soft serve with corn flakes Thursday, February 4, 2021 It could’ve been pink peppercorn instead of safflower, lemon instead of orange. But over time, desires reveal themselves. And in time, decisions must be made to create memories which amount to lives. Tonight, we celebrate all the decisions made in a life of fifty-two years thus far. We do so by taking delight in simultaneously melting a frozen cube—of heavy cream steeped with safflower, whipped and then folded into heated then cooled egg yolks whisked with sugar—and thereby letting the memory of this day soak in the mouths of our warm-blooded, zestful bodies.&nbsp; Roasted chicken legs in sesame oil, orange zest, ginger, lots of Aleppo pepper with cold spinach almost like how Grand Sichuan does it and cucumber slices in cool milk Tuesday, February 2, 2021 There is a man. He is tender and likes to ponder. He’s repetitive as if he’s rerunning a script in his head. He’s stuck—stuck on doing things his own way, stuck in another era, stuck on a feeling he can’t shake. He likes a good story and embellishes his recounted life to be one. He is too generous to everyone except himself. He’s not picky, yet he has his tendencies. and he has an irreplaceable way of making you and everyone at the table laugh. Then there is a woman. She knows what she wants and is prone to impatience. She thinks about the effect before initiating the cause. She is determined to get to the bottom of things and her determination distracts her to her detriment—either because of its overwhelming abundance or her own recognition that she’s not abiding by it closely enough. She can seem chaotic but is evermore present, seeing and hearing more than you’d think. Despite having spent many years with both this man and woman, only in the past year have I been able to understand them as previously described, and then some. It’s a strange thing to reacquaint yourself with those who raised you after growing up on your own for a little while. Just the thought of that may not go down easy for most. For me, it turned out to be an essential act, like keeping the stems on. the wild spinach leaves before blanching and cooling and tossing them with grated ginger and rice vinegar. Cold spinach next to cold cucumbers and hot chicken. It has been alongside meals like this one that I’ve come to individually know my dad and my mom in ways I wouldn’t have been able to recognize as a child or witness from far away. I’ve lost count of how many Tuesdays it’s now been that I’ve cooked dinner for either one of them. Besides wanting to experiment in the kitchen any opportunity I got, cooking dinner for my dad and then my mom turned into a way for me to return their care, to have them really see me as an adult and to be even more proud to call these two people my parents.&nbsp; Rib eye steak with a salad of radicchio, endive, purple carrots and yellow carrots Monday, February 1, 2021 This bite won’t sit right in my stomach unless I hear you say it. My hunger for the words goes deeper than the dish, the bowl full of complementary colors. My satisfaction is parallel to yours. It’s not the sweet dessert I’m already craving, but just this spoken phrase. And the longer you hold your tongue, the longer you leave me holding my breath.&nbsp; Chicken thighs in coconut milk, curry, lime, and ginger, alongside a salad with cilantro, scallions, sesame seeds, roasted almonds, a warm dressing to take the edge off the stiff leaves of raw green cabbage Saturday, January 30, 2021 Take your places, the show begins in a few minutes. No names on place cards needed after all these weeks of practice. We have our rhythm down. I start curled up on the floor, others on the couch. Our backs, leaning on rounded furniture, arched over each of our own bowls. Comfort is in the curves. It’s in the warm, smooth sauce from the chicken gliding into the cabbage. It is in the smile after the first taste. Our gazes, tempted by the entertainment displayed on the rectangle, extended upwards when our arms rest. The routine finishes after about an hour or so. We call this piece, TV Dinner.&nbsp; Pan fried sea bass, red currant compote, whole roasted cauliflowers smeared in a tahini and cardamom rub Wednesday, January 27, 2021 Four mouths to feed. Two hands. One cook. What are you making? You’ll see. Truth is, I don’t want you to see it—me—in progress. Please sit over there, while I stand in the kitchen. I must notice how thin the skin of this onion is that I slice. I must listen for the sizzling behind the closed oven door which could commence at any moment. I must feel how much resistance there is when I stir tahini with olive oil, hot sauce, lemon juice, grated garlic, cardamom, salt and pepper. I must inhale the nutty and fishy aromas to salivate for the red currant compote I wouldn’t have thought of if I had been under your gaze. One cook. Two cauliflowers. Four fish. Fish drowned in butter then lemon juice. A quarter of a cauliflower toppled over, just missing the puddle of warm, soft, gooey red currants in more butter, lemon zest and black pepper running off the fish. Alright, dinner is ready, you may enter! You say thank you, I say sorry. For keeping you away from something I love. For shielding you from something so beautiful. For blocking your curiosity. I want you to see it, but you can’t—my process has become too introspective. I no longer know how to let other cooks in. Perhaps that’s why I keep trying out new kitchens.&nbsp; Chicken meatballs in beet tomato sauce over red cabbage that turned as dark as squid ink noodles Monday, January 25, 2021 The sauce—olive oil, butter, a diced yellow onion, garlic, canned tomatoes, a beet and something else—is seething. Blend it in a second, for thirty. Just to put it at ease while the cabbage—red, with red onions and a shaved orange carrot—is desaturating. I guess now is a good time to spice up the meat? Salt. Black pepper. A couple of garlic cloves, as many as I feel like peeling, grated. Smoked paprika. Masala. The zest of a large orange. Two anchovy filets from a jar. Anchovies, don’t get me started. Don’t dare me to fathom life without them, without their ability to school any dish. Why would you tease me? No meal would ever be the same. Each would miss that thing, whether they know it or not. Don’t make me go there. There’s never a good time to go there. At least let me eat first?&nbsp; Lightly pickled Hollandse Nieuwe diced and thrown together with thin circles of cucumber, shaved fennel, fried scallions, whole leaves of parsley and mint, dill, chopped pistachios, all smeared in yogurt, minced anchovies, lemon juice and under half of a broiled little gem head of lettuce Saturday, January 23, 2021 How are you? On the verge of tears at every sunrise. Barely staying afloat. Circling but at least moving. Seeing hope on the horizon. Deeply hungry for the unknowable. Ask me again later, now’s not a good time. I’m absorbed in thoughts of herring—what to do with this cherished fish? A question which gives rise to a flood of answers, all genuine and plausible. Raw then pickled? Fried then dressed? Roasted then torn? It can feel suffocating to be under the pressure of time while going through all the options that surface. Choose one. I want to serve all of them! But can’t. I can’t overwhelm receivers by sending all these ideas to the table. I can’t let it all out. I’ll protect the other responses and thereby my composure. I’ll let the herring rest in salt for a few hours then transfer them to a cooled down, spiced vinegar before dicing them and casting them into greens. How are you? Fine.&nbsp; Poppy seed crusted salmon with sautéed shreds of Savoy cabbage mixed with an herby yogurt dressing and chopped roasted almonds Friday, January 22, 2021 I wish some would survive my tongue longer than the idea of them orbits my head. Cumin and chocolate have been aging up there for months. I check up on them regularly, to see if they’re still getting along. They are. Poppy seeds on salmon? Oilseeds to return the lost layer of oily skin? A newer exploration, but prospects are quite promising. Even when I don’t care to know, my mind lands me back on these unions. Stop that already! I’m no longer captivated by that idea! I want it out of my system. This circular thought misguides my attention. To break the cycle, their forces must ultimately join so they can then fade away.&nbsp; Roasted red snapper, latkes of celeriac and parsnip, Romesco sauce Thursday, January 21, 2021 This meal was excellent, but I wouldn’t try to reproduce it in the same way again. We sat in dim lighting around a low table, a setting which demands an abnormal posture for eating. Before our bodies could further its decay, the fish was deboned then served as an ungracious pile of flesh over a stiff stack of carbohydrates—two root vegetables that were shredded and then bound together by protein and fat. My stance on this meal constantly shifted during its conception and consumption. But my final analysis is: the balanced flavors were impeccable, yet unsavory in disposition. I didn’t know that’d be the exact result when buying the fish at the market or while it was roasting in the oven. I’m removed enough from the meal’s beginning, middle and end to now assess it as a whole.&nbsp; A handful of crispy chickpeas with two handfuls of mint, parsley and scallions all dressed in creamy avocado and topped off with toasted sesame seeds Monday, January 18, 2021 Two avocados mashed into oblivion with kwark, white wine vinegar, olive oil, salt, za’atar, pepper, worcestershire sauce, lime juice and zest. Chickpeas soaked and boiled a few days ago, today refried with slivers of scallions in duck liver fat. Leaves of fresh mint and parsley and sesame seeds placed on top. I’ll make this again tomorrow. It won’t be very nearly perfect—“that’s a rotten thing to say!” Nor should it be. If it were perfect, then it wouldn’t be allowed to change. It would become the stereotype which everything else gets compared to. It would discourage negative perspectives in an effort to converge them all. How dangerous it is to be perfect! And they say cooking is dangerous. Well, if cooking were a trade in perfection, I’d rather be rotten.&nbsp; Green fish curry over roasted rings of kabocha squash Thursday, January 14, 2021 I remember it vividly. Diced yellow onions. Sliced green peppers. Big scoop of curry powder. Salt. Grated ginger. Four big bunches of spinach, boiled and chopped. Chicken stock. Cream. Cod. I remember it fondly, too. It had just the right amount of heat to be cooled down by the touch of cream. Each taste not as savored as the next. But, I know the last bite was awful. Maybe because it needed more salt, while the spice level left me frustratingly thirsty. More often than I’d like, that last bite is stored best in my memory. See, I write these recipes down but my memory keeps updating them for me. It is there that they fade as better if they were good, or loiter for longer if they were bad. Water may rinse out the bad taste in my mouth, but it won’t erode its memory.&nbsp; Quartered red beets roasted then tossed with some balsamic vinegar, the juice of a quarter of an orange, big pinch of salt and olive oil, served over shredded smoked mackerel stirred with sour cream, lemon juice, lemon zest, black pepper, worcestershire sauce Saturday, January 9, 2021 She’s having the beets and smoked mackerel. But haven’t you had enough of what she’s having? You know, copying doesn’t always feel well-mannered. If it must, then the original would be better off as anonymous to you and your memory. “I’ll have what she’s having.” An uttered phrase which perpetuates an implied etiquette that should be discarded with the fish bones. I for one am tired of cliched flatteries disguised as displays of admiration, of indecisiveness cured by imitation. To make a choice is to know what you want from what’s presented to you. What good does it do you to choose what someone else chose? Or to drool over what is not on the menu tonight but could be tomorrow? That all being said, I highly recommend the beets and smoked mackerel this evening. It’s an inspired pairing, one stuck in my head probably since I saw “Smoked Beets” under appetizers on the same menu where “Mackerel” was under mains. I think you’ll take quite a liking to it, like she did.&nbsp; Beef sausage patties with sage and garlic, slow cooked Swiss chard and red onions, soft scrambled eggs with loots of ground black pepper, a bottle of hot sauce on the table, cheese sage scones, softened butter on the side, butternut squash pancakes and tea or coffee Saturday, December 26, 2020 We gather here today, after all those nonconsecutive hours of thought about the contents of this table, to share a mere few minutes of ingestion. Let’s eat. Say, if we add in the exhales of words in between the inhale of eggs plus some prolonged moments of silence, well then those minutes could turn back into hours! The hours of our very own one-time only, PG-rated, live-action entertainment. Sorry, our subtitler is occupied at the moment, which puts you back at the kids table for this scene. Play with your fork while you puzzle together words. Be sure to miss the point of the story. If you must speak, do not do so with your mouth full. Try to divide your attention equally between what goes in and out of mouths. One-hundred and twenty minutes later, wonder how different your meal might have tasted, had a different set of words been pronounced.&nbsp; Slow cooked chicken scooped into leaves of butter leaf lettuce, topped with a limey crème fraîche, mint, cilantro, scallions, carrots, cucumbers and radishes Monday, December 21, 2020 On Thursday, buy lettuce, crème fraîche, tomato paste. Probably more onions and garlic, if you see it. The chicken on Saturday, I think it was. And just an hour before serving on this Monday, can you get the limes if they have them? Limes I would’ve remembered on Thursday had I known this is what tonight would bring. Sort of like knowing at this point that the last word of this entry will be ‘tomorrow’. If this were a Thursday from many weeks ago, limes would’ve been at the top of my list. Gosh, to think there would’ve been a list! But that’s not how things go anymore, I cannot tell you how they will go. Tomorrow I will tell you about tomorrow.&nbsp; Semi-smashed garlicky chickpeas under cilantro, mint, scallions, cucumbers and sesame seeds with a tahini, lime sauce Sunday, December 20, 2020 This again. Again, not because I remember it tasting good. Again, because I know you liked it so much. When did I serve it last? I don’t know. What was that expression on your face after one bite? You know. Soak the beans overnight and boil them for an hour, again. Pick cilantro and mint leaves off their stems, again. Serve tahini in a dressing, again. Toast sesame seeds, again. Slice circles off of a cucumber, again. Grab two plates out of the cupboard, again. And again. I’ll make this again. Not because it was that good. Again, because each time I’m making it better for you as if you’re here with me again.&nbsp; Chicken-celery-celeriac pot pie with sides of shalloty green beans and a green salad with just anchovies and a lemony dressing Friday, December 18, 2020 Would you believe me if I said that the meat from twelve chicken legs, half of a bulbous celery root, four of its bright green stalks, lots of fresh sage leaves, salt, black pepper, many cloves of dried garlic, some white wine and a bit of milk could all fit into a 10-inch wide, 1-inch high pot? You are going to have to believe me because now it’s all hiding under a not-so-pale crust. A delicate layer of flour, salt, butter, water and sage that will briefly protect complex, symbiotic innards. Which are composed of what exactly? Normally, I would’ve tried to conceal that from many, as I knew the moment the surface was pierced, all capacity to wonder would be spoiled. But after all, you’re hungry and, admittedly, so am I. In the absence of bread, let us crack this crust.&nbsp; A thick soup of cauliflower, white beans and a leek served with crispy leeks on top&nbsp; Monday, December 14, 2020 Roast the cauliflower at some temperature between 150°C and 200°C. Soften a chopped leek in butter over the dimmest flame your smallest burner can sustain. Simmer the stock to warm it thoroughly. By multitasking like this, you grant yourself some time to leave the kitchen. Don’t stand by the oven and try to witness the cauliflower turn brown. Because if you do, it won’t. Don’t stir the leeks continuously, never giving them the chance to rest. Because if you do, they won’t. Don’t stare at the stock anticipating a bubble to break through to the surface. Look away, it will do you some good. I guess you could go back to your computer and phone while all those tasks carry on in the background. Refresh your feed, while you get hungrier. Later you’ll return to heat olive oil in a small pan over really high heat. Only then will you not be able to take your eyes off the leeks so that they don’t burn. Right now, do you know where your attention is? How long has it been there? Has that been too long? The cauliflower has been in the oven for over an hour, I think it’s done. Shove the crispy florets over the yellow onions, leeks, leftover white beans, stock made this morning and a dash of heavy cream. Let the pot’s contents cool before transferring them to a blender and then reheat them before relocating them into a bowl. While you direct your gaze towards the movement on yet another screen, intake spoonful after spoonful. You can go back for seconds if you’re still hungry or stop when you’re full, but know that eventually, you will have had enough.&nbsp; Chicken thighs, halved shallots, quartered garlic cloves braised together in red wine with a salad of sautéed chicken hearts, roasted slivers of purple carrots, crispy red onions and torn cale tossed with pomegranate seeds and warm vinegar Sunday, December 13, 2020 Isn’t it instinctual at this point? Start at the fish vendor, take a left for the chicken, then a bit further for beef, and end your route at the vegetables. Buy a bouquet of kale. The whole thing will not fit in your fridge, but it will last for multiple meals. Some of it will sit on your plate tonight next to the chicken, the thighs of two birds and the hearts of many. Hearts, the cheapest kind of fuel. During the drive home, wonder why you never bought them before. After putting the manual vehicle in reverse to park, wonder how it is that you made it this far without understanding the gears of this car you steer. Turn the key and open the fridge door. Before you automatically pour the oil into the pan, break your habits of thought. Ignite the gas on your stove and realize that you can know how to do something without really knowing what it is you’re doing.&nbsp; Split pea soup, again. But better this time.&nbsp; Monday, December 7, 2020 Defy the queue and go back to the previous song. In a pot with a volume greater than five liters, fry up the bacon. Try not to let it stick to the base of the pot. How many times have you heard this? Clearly not enough. But it’s stopping you from hearing that the heat under the pan is up too high. Turn that down a little bit. Remove the bacon before shuffling in the diced yellow onion and two shallots. Carefully cut a carrot. Pause! This time there will be leeks, two of them. Thinly slice them before giving them a spin. Then drop the green loops into the pan, covering one allium with another. Get back on track. You can take it from here. You know it well. Listen long enough and you’ll hear that lyric in a new way. Carry on chopping with your right. Stock then hock and sausage after carrot before celery. Herbs, peas and so on. Let the pot simmer until the peas have broken apart. Remove the meats and mix the rest in a blender. This version is next level. Did the song end? Start it again. You’ll get sick of it eventually but right now, you can’t fathom such a thought. Repeat again next week.&nbsp; Raw herring rolled around pickled white asparagus, cod poached in crushed tomatoes, garlic, saffron and bay leaves served over puréd roasted celeriac, next to roasted cauliflower Saturday, November 28, 2020 I’ve caught a stomach bug that’s eating me from the inside out. I can feel it but you can’t see it. I don’t know how to get rid of it. It must’ve come from the herring, the raw herring that I sliced in half and rolled around a quarter of a stalk of pickled white asparagus and some diced white onion. Words can be painful but they suffer in describing pain. How do I say, it’s emptying my hunger, stealing my satisfaction. I guess I could’ve gotten it from the belly cut of codfish that we poached in a simple red sauce. But who am I kidding! I’ve had this for weeks. Even though I desperately want it gone, I’m getting used to living with this bug. The worst symptom is this gut feeling that I’ll eventually be swallowed up entirely. Like my plate this evening. &nbsp; Split pea soup Thursday, November 26, 2020 Here we sit inside, cold as if we were out, wishing we were hot instead. Wouldn’t it be nice to have a fireplace? To see our heat source? To sit in front of heat that doesn’t come from a metal radiator controlled by a wall-mounted touchscreen in the other room? Did you brown the surface of the ham hock over the flame yet? A while ago, I read that focus means fire place in Latin. Today, I re-remembered that after overhearing a verbalized wish for a fireplace. Tonight for dinner, in place of a fire, a pot of blended green peas, with chunks of the pork knuckle and crispy bacon, split in two. One half to warm you from the inside out, the other to warm you from the outside in. That’s the only way to feel at home. Home, focus on that. Onion tart with anchovies, pork sausages, steamed cauliflower with roasted cauliflower and red peppers, lemony prawns Saturday, November 21, 2020 There’s a table set right outside the kitchen window. A table, just for four. Even flowers, and soon cauliflower, adorn its surface. I imagine myself distracting the dog walkers or summoning the bicyclists to take a seat, bewildering them with the lack of my mother’s tongue. I imagine turning out a single dinner service for these guests, all strangers to each other. I’d pass plates through the window, right onto the table, giving them something to talk about. A warm tart filled with an onion, egg and cream filling. A bowl of cauliflower steamed in luscious, fatty stock with bay leaves, of course. A plate piled with sautéed prawns, whose whiskers mimic the very threads of saffron that lay over their tails. The diners would discuss payment for the nourishment, but surely their money has no home at mine. I don’t know what I’d take in return. Perhaps their enjoyment is enough for me. But in reality, I just watch them pass by. I assume they’re not hungry or that they won’t like what I’ve made or that they won’t even hear my invitation. So for now, the window stays closed and the table unoccupied. Yet this one window and that single table seem to be the only outlet and only platform I have—or want—these days.&nbsp; Ribeye steak, braised Belgian endive with melted parm, butter leaf lettuce tossed with a fish sauce shallot dressing Friday, November 20, 2020 Honey, what are we making for dinner? Oh, how sweet of you to ask. Well, we will turn on the oven, wash the lettuce, salt the steak. Half the endive, slice the shallot, set the table. Heat the pan, grate the cheese, stir the dressing. Let’s set the timer to 12 hours. Here, eat your breakfast while it’s hot and drink your orange juice while it’s cold. Aren’t you glad I’ve spoiled the end of the day for you so you can be at ease until evening? Have a good day.&nbsp; Parasztos bablaves füstölt tarjával (Laszlo’s salty black eyed pea soup with smoked pork neck) Thursday, November 19, 2020 Pass the—water, please. Here’s some sour cream. Did you stir it in? That should do the trick. But can you really undo what’s been done? A whole potato sure thinks so. Throw it right into the pot, like a sponge into a sink. A sugar to soak up all the excess salt. A starch that can stomach what we will not. There is no gadget that could do this better than a potato. The only tool is the knowledge of such a process, which was passed down to me by my aunt like the water I now chug.&nbsp; Cheese fondue Tuesday, November 17, 2020 I only dance in the kitchen. Song playing to the rhythm of sliced sourdough sizzling in duck fat. Feet tapping to the melody of the white wine boiling. What’s that I hear? Another pair coming down the hall? I should dim the decibels. Grab the nutmeg and kirsch, while you’re at it. I slide on over to the left so I can stir to the right. Not thick enough yet, but smells divine. I lunge back to third position to catch, first my breath and second, the view out the kitchen window. Heavens, this view might as well be the frame of a camera watching me. I thought I was working behind the scenes here! Let me do my dance in peace and I’ll give you that golden piece of bread. Otherwise, I’ll trip and fall and dinner will stink, like your feet.&nbsp; Roasted duck legs, paprika bacon and yellow onions served with red beet tartare and a salad of radicchio, pomegranate seeds, shaved parm, sliced black radish, sliced pale chioggia beets and quickly pickled shallots Monday, November 16, 2020 Duck legs in the oven. Now for the beets on the stove. The back burner keeps lighting while I’m trying to turn on the front one. I remind it I’ll use it later. Please just let me preheat the pot so I can boil my beets. The burner insists on proving its abilities. I don’t need it right this minute. Perhaps two meals from now. This back burner is relentless, can’t you see? Is it just me? It won’t let itself be temporarily forgotten. It can’t see that I’m busy with not it. Please, the beets! I’m trying to get them going, otherwise they won’t be done when the legs come out of the oven all crispy and juicy and hot and tender. Not soft enough that they’re falling off the bone, but tough enough that you need some elbow grease to go with that duck fat. Leftover duck fat that we’ll save for heating over the back burner tomorrow. Just not today. Please.&nbsp; Roasted whole sea bass stuffed with lemon, thyme and kruidenboter, over red peppers and yellow onions on toast Wednesday, November 11, 2020 Rinse and dry the gutted fish. Oil and salt the shiny flesh. Do you know where the fish came from, which water molecules the sun rays punctured to reflect against its scaley skin? What’s the worst that could happen—they answer, I never eat fish again and I’m left floundering for a new idea for lunch. There are people in line behind me. Their parking meter may only have 4 more minutes on it but I need a second to just wonder. Is there a good reason why no one else is asking? Are we all thinking it but not speaking up? Wouldn’t you like to know, too? Will it hurt to ask? Hurt as much as a metal hook in our mouths as punishment for speaking the very words? Maybe the worst that could happen is they just tell me a story—the one they think I want to hear so I can go home and still smile at my aunt across the table. My aunt whose son, with three years on me, I had to tell a few days ago: no, pickles were not always pickles. Roast the fish in a hot oven until the flesh is fully opaque, unlike how you want the fishmonger to be.&nbsp; Butternut squash thyme chips, shiitake and cremini bourguignon over celeriac puree, a warm cabbage and white bean salad with pistachios on top Thursday, November 5, 2020 And the meal concludes. Much faster than anticipated, since the amount of words that exited mouths was overwhelmingly outnumbered by the quantity of bites that entered them. Stomachs are full, yet the guests’ hands still hold their utensils. Their thumbs caress the curves. Maybe because the tongue is now bored. Or maybe because the diner is unfamiliar with the feeling of that fork from someone else’s kitchen drawer. Perhaps the more comfortable we are with the tools we use, the more comfortable we are in the spaces we use them. And by hesitating to loosen their grip of a utensil, the diner longs to feel at home in this house. Could a remedy to this longing be a pocket knife-fork-spoon? A set of traveling utensils which serves as the constant between all meals. Can I bring anything for dinner besides my own utensils? The pocket knife-fork-spoon is to be worn by a wanderer. If I get really comfortable with this tool, maybe I’ll be comfortable anywhere. It’s an ode to eating wherever one is, knowing hunger will show up at some point. I have this mouth to feed. I expect to eat on the go, in any situation. I come prepared to take care of myself, to satisfy my needs. On this journey, I carry (in my pocket) change. There isn’t any money in that pocket, but there’s a knife-fork-spoon. Pan-fried steak on top of gingery braised shreds of Brussel sprouts with toasted (almost burnt) sesame seeds Thursday, October 29, 2020 Marinate four small, lean steaks in fish sauce, soy sauce, Worcestershire sauce, grated ginger and sliced garlic. Let them bathe in the fridge. Return to the kitchen after an hour goes by. Take the leftover raw red onion, on the shelf above the steak, out of the fridge. Slice to then dice. The onion will deconstruct itself layer by layer, just from the impact of hitting the cutting board. The top layer that fell first looks like that grater in Arizona. The one whose wall slopes so steep, creating an empty bowl of Earth’s crumbs. A glance down into the dented crust inspires. While a glance up at the vast expanse surrounding it erodes any sense of direction. Frozen from the pressure of having no constraints. Turn down the heat! You’ll burn the butter. Add the diced red onion. Lay the groundwork for the Brussels sprouts. Add scallions. Followed by the garlic. What else do I have? What if I tossed in some juiced ginger with the chicken stock? Which of the nuts or seeds on the shelf next to the fridge should I toast and toss on top? What if I froze some thinly sliced cucumber and pickled red onion and then mixed them into the warm Brussels sprouts right before serving, so that one bite let the tongue feel both hot and cold? These ideas rarely land in my head when I stare at the shelves in the grocery store. Rather, it is the shelves at home that unearth them. Spicy black bean kofta in gingery tomato sauce, pearl couscous with yogurt, cucumber, cilantro, lime, roasted almonds, and pan-fried zucchini with red wine vinegar and minced mint Tuesday, October 27, 2020 Choose something from the menu. Curious, as always, to try something new. But what if it’s not on the menu tomorrow? Only when I hear myself say my choice out loud do I become skeptical of its inevitable delivery. I chose the new special. It sounds good but is it really what I want? Shouldn’t my palate be familiar to me by now, after all the things I’ve tried so far? Don’t I know what I crave? Is it too late to change my order? Will it be done the way I want? What about my reliable, regular order? What about that instead of this? Theirs instead of mine? There instead of here? Just wait. It could turn out to be one of the best things you’ve ever tasted. Maybe I’ll start making it myself at home. Maybe I’m impressed with the plating, but the flavors prevent me from entirely erasing the plate. Maybe the first bite won’t be as good as I had hoped, but after a few more bites, I’ve come to really like it. Or maybe I’ll eat the dish despite my ambivalence because I’m hungry now and food is in front of me, but I won’t order the dish again. But how would I know without having ordered it in the first place?&nbsp; Green lettuce with smoked salmon, capers, pickled shallots, toasted sliced almonds and a lemon yogurt dressing at Terminal 4 Gate B22 Tuesday, October 20, 2020 The last supper. The last bite. The last hug. The last look. The last stop. The last time. The last goodbye. Why is it that these lasts feel as if they are or should be more monumental than firsts, seconds or thirds? A last is a reminder to dwell on the fourths, fifths and sixths. A last shall not be automatically deemed most memorable, don’t forget that. A last can in no way represent how each of the others or the sum of them all felt or will keep. A last is really no different but an acknowledgment of new kinds of firsts. Firsts do always imply lasts though so I guess this means, until the next last. How many lasts make a life? What if some last longer than others? Do I long for lasts? If I may just get in the first word—hallo.&nbsp; Roasted ball carrots with smoky yogurt, radicchio salad with almonds, pickled shallots and anchovies, and cannelloni bean and ham prosciutto, bacon stew for a freezing night Saturday, October 17, 2020 Clear out the pantry. Soak the beans. And the freezer. Defrost the ham. Now the fridge. Wash the carrots. Pickle the shallots. Sauté the diced yellow onions. Yellow? My head blocks the light when I stand in front of the stove. Put more trust in one sense over another. Use hands to tear the radicchio (purple, I know). Use nose to know the onions are browning. Use a spoon to test the smoky yogurt sauce. Use ears to—sorry, what was that? Oh, fair point. Since eating will take place in low light, why can’t the cooking? That way there will be little surprise as to how guests will perceive the bowl in front of them. Set the table. Add a few more candles. Make the bouquets. Rinse the glasses. Probably didn’t have to be in and out of the kitchen all day. But didn’t want to leave. Don’t want to leave, even when the candles are blown out and the lights are completely off.&nbsp; Ginger ricotta cake with whipped cream and ground cherry compote&nbsp; Thursday, October 15, 2020 Dinner is in the hands of another tonight. Potato leek coconut soup and something else, I forget what else. I’ll bring dessert! An apply galette? Hand pies? A crumble perhaps? But I’m distracted by the potential combination of fresh ginger and ground cherries—both hiding in the fridge. I guess the ground cherries, also called Cape gooseberries or Physalis, were already hiding from the world in their papery husk. Maybe they have the right idea. Poached ground cherries? Raw on top of something crunchy? Or something gooey? Chewy? Wait—the stalks of the fresh ginger root deceived me! Multiple stalks and you think separate entities below. But no. The root has grown as if the tan nodes didn’t have the proper space to grow and consequently grew into each other. Ginger shortbread? Ginger whipped cream? All could turn into something but my cravings are pulling me towards cake. haven’t had that in a while. A soft, light cake. Is anyone’s birthday coming up soon? Scroll through saved cake recipes instead of my calendar. Ricotta cake. Without the rosemary, with ginger instead. An acidic compote of ground cherries with maybe too much lemon juice on top to wake up the cake’s pillowy texture. Been sleeping in many different places over the past few months, but have still been able to cook in all of them after adjusting to a different set of tools. Even when you don’t have a cake pan nor a scale or measuring cups, you can make a cake in a cast iron skillet and equate one cup of flour to forty-eight teaspoons and still show up with a dessert for after the soup and chicken, it was chicken.&nbsp; Bluefin tuna seared in sesame oil served with shredded red cabbage sautéed in pork lard with bacon, black olives, salmon skin, sliced Chioggia beets and a quickly pickled sliced red onion all tossed with a tahini dressing Sunday, September 27, 2020 Fresh fish from the morning market. The inner flesh of a bluefin so intimately red. Further saturate its red with a red head of cabbage. More red with Chioggia beets. More red with bacon. Even more red with red onion pickled in red wine vinegar. And did you know the juice of a lemon poured over the warm cabbage in the hot pan will brighten the whole thing? Sometimes optics dictate flavors. Refine the color palette for your palate. The eyes are over the tongue, after all! Perhaps I’m delusional, perhaps I’m too hungry. But the eyes eat first so I guess they’ll feast first tonight.&nbsp; Duck legs with onions and red carrots braised in orange wine, sliced eggplant in peanut sauce, sautéed kale with scallions and a miso dressing Saturday, September 26, 2020 When cooking commences long before consumption, you grant yourself, as the cook, the freedom to leave the kitchen more frequently than normal. Once the duck legs brown in the fat that they themselves poured into the pan, remove them from the pan so that the onions and carrots can soften in that same fat. Add wine and chicken stock. Return the duck legs to the pan so all but the crispy skin is submerged in the warm braising liquid. Lay the pan on a rack in a 400˚F oven. It will rest there for about 2 hours. From the chair in the other room in which you now rest, the aroma whose origin is quite distant and now concealed proves to be a prime confirmation of expectations. Enough salt? Too much wine? Browned, not burnt? Tempt your tongue with a sniff. Gauge the flavor profile with your breath. Keep a nose on your dinner while you read. Try to distract your mind but each inhale shall remind you of the anticipated meal. Soon the dish will be right under your nose and you will say thanks for having stepped foot out of the kitchen. Chicken thighs marinated in sesame oil, fish sauce, fermented garlic-ginger paste and soy sauce then roasted with slices of two yellow peaches, thinly sliced cucumbers soaked in peach juice and freshly grated ginger, napa cabbage sautéed with onions, garlic, ginger and scallions then dressed with tahini, white wine vinegar and sesame oil&nbsp; Thursday, September 24, 2020 Flavors file memories in our minds in a way that grants them survival past their initial pungency. Which explains why I’m still thinking about the meal we ate two nights ago. That Thursday night dinner revolved around peaches, clearly proving my unwillingness to accept the new season two days after it commenced. Starting with two peaches, too bruised to puncture with teeth, and the sweetest leftover juice from boiling down many pounds of peaches for compote. I once saw a recipe for lamb with peaches, which had also been filed away in my mind. Without lamb on hand, I figured I’d pair the fruit with chicken. Fearful of not being able to combine this dish well with potential others, I remembered a dessert I had made about two weeks ago: a peach, tahini, sesame seed crumble. Peaches and sesame—a combination that should not just be limited for post-dinner consumption, I thought. So I used peaches with the chicken and cucumbers. This allowed a floral essence, not obviously a sugary one, to be infused into both ingredients. And I used sesame in the form of oil and paste with the chicken and cabbage, respectively. Grounding both ingredients with a rich nuttiness. Warm chicken on warm cabbage with cool cucumbers, balanced in temperature but more importantly, flavor. Still trying to understand the organizing methods in which these flavors are categorized and stored in my mind but in the meantime, I’ll complicate the system with more entries.&nbsp; Black sea bass in fresh tomato sauce, peppers stuffed with black rice, sautéed Tuscan kale Sunday, September 20, 2020 First things first, cook the rice. I’ve found my preferred method is to let the grain sit in water and gradually come to a boil, then simmer. While that happens, melt butter and pork lard in a large pan. Dice an onion and scrape those chunks into the pan now covered with melted, hot fat. The onions should soften and lose opacity. The rice water should be at a rolling boil soon. Once it is, turn down the heat significantly and let simmer for a while. But make sure to undercook it a bit as the rice will later receive a separate exposure to heat. Lay the fish fillets out on a plate. Drizzle oil and sprinkle salt over the flesh. Set aside. Gather six equally sized peppers. Chop off their tops, getting rid of the stem. Scoop out the seeds and sculpt six pepper cups. Once the rice has reached its perfectly undercooked consistency—with a slight bite to it—strain it and dump it all into the large pan of onions. Stir to coat the rice in the hot fat and excreted onion juices. Chop up some black olives and feta. Add to the pan. Before scooping the rice mixture into the pepper cups, throw in some freshly minced parsley, the rest of that bunch that was lingering in the bottom of the refrigerator. Stuff the peppers so they’re filled to the brim with rice—like your dad’s stomach when he’s distracted from his portions by his words. Put the peppers on a baking sheet. While those are in a 325˚F oven, prepare the quick tomato sauce for the fish. Heat olive oil in a pan to soften a diced cipollini onion, three minced garlic cloves, black pepper, paprika, salt and, finally, two large, over ripe heirloom tomatoes—one yellow and one red. While that’s all heating up together, cut the leaves of a bunch of kale vertically so that you are left with long strips of greens. Set up another pan to soften some more onions. Onions that are, this time around, sliced and long, not diced. Have you noticed yet that every element of this meal contains onions? While those soften, crisp up the skin side of the sea bass in some olive oil in another pan. One over high heat. Do not brown both sides of the fish, just the skin side. Once the tomato sauce has thickened a bit thanks to some of the tomato juice evaporating so that if you were to place your nose over the pan, the whole thing would reek of the grandma of your dreams, you are ready to add the half-cooked fish to it. Place the bass in with the skin side up, to keep it crispy and let the other side absorb the sauce. You’ll let the fish bathe while the kale is briefly sautéed enough so that is color intensifies and the leaves become more limp. Take the peppers out of the oven once everything else is done and serve. This meal “cross-pollinates” elements from one of the dishes to the next. The tomato sauce is connected to the peppers with paprika. A teaspoon or so of tomato paste was thrown into the kale and cooked down with anchovy juice to connect to the tomato sauce and fish. Could’ve used regular white rice but chose black rice to correlate with the skin of the black sea bass.&nbsp; For one—a bowl of hot stock with kale, aioli and raw egg all thrown in once the liquid is removed from heat and right before dipping a spoon in. Grated parm on top at the last second. For the other—spaghetti squash and kale gratin and roasted beets and red onions tossed with lentils and borlotti beans Thursday, September 17, 2020 Bring the week to a close tonight by mixing previous dinners since Monday night. Make sure each ingredient gets a chance to exit the fridge while it’s still in its prime. Do not let anything spoil from absent mindedness. Those short ribs from September 14th’s dinner? Those leftover bones that the dog I don’t have yet would drool a puddle over? Drown them and chicken thigh bones from last night, plus leek tops and fennel prawns, in water. Add salt, whole black peppercorns, turmeric, fennel seeds, a raw yellow onion and too many raw garlic cloves. Simmer until there is a stock to stock up on. Or a stock to turn into a quick soup. Or a stock to mix with milk and egg and glue together a gratin. Or all of the above. Broke tradition by cooking a different meal for myself than the one I share a table with. Forgive me for craving something less. Perhaps I can make it up by cleaning the fridge before it’s restocked again. &nbsp; Short ribs, red carrots, yellow onions and sage braised in red wine on top of spaghetti squash sautéed with grated parm, grated lemon zest, freshly ground black pepper and a bit of a whisked egg, served next to a mix of shaved raw red carrots, roasted red carrots, roasted dragon tongue beans and roasted shiso leaves tossed with a red wine vinegar dressing and shaved parm&nbsp; Monday, September 14, 2020 Short ribs in the oven by 15:30ish. The dish takes shelter for four hours, meaning dinner should be served around 19:30ish. Now that the weather has moved us inside, dinner was served at the long table. A table fit for a king and queen who don’t speak to each other, let alone know what name to call each other when requesting the salt. Then again, to talk over food is to distract the tongue from the flavors that bloom on its buds. There are many other things to talk about: where to sell old books, how to rearrange furniture, and what we’ll do on Friday. Just keep in mind, that if the conversation doesn’t mention the food itself, you will most likely forget it four hours later. Choose your words, and your red wines, wisely.&nbsp; A bowl of chowder, loaded with clams, smoked pheasant sausage, bacon, corn, pepper and potato, which could’ve been a few degrees hotter Monday, August 31, 2020 Lay 24 clams in half a quart of chicken stock, a cup of water, four small bay leaves and thyme sprigs. However many sprigs were left from the box. Bring to a boil and then down to a simmer. While waiting for the heat to unlock the clams, stack and dice slabs of bacon. Cook the bacon until almost crispy. Cut up the vegetables—ironically the meat of this dish. Sift out the hot shrunken bacon bits, leaving the fat in the pan. Clams should have revealed themselves by now. Remove them in their shells from the pot. Let cool before severing the clams from their armor. Leave the remaining chicken stock, now with clam juice, in the pot. To the bacon fat, add cubes of what were six whole, small potatoes with pink skins. Then a single minced yellow pepper that slightly blushed with jealousy. Quickly throw in some salt and a pinch or two of paprika. Now may or may not be a good time to scoop in a tablespoon of butter. After that, the kernels of corn from two ears. Warm this mix up together long enough so that each ingredient has time to rub off on each other a bit. Transfer it all into the stock pot and turn the heat to low. Pour in a splash of rosé that was subpar alone in a glass but may now be striking combined with ocean essence. Shove the bacon back in, now reunited with its earlier excretion. Chop the clams before placing them back in, too. And a last minute addition inspired by a timely glance into the refrigerator—some chunks of smoked sausage. Once the color of the liquid in the. pothas become more vibrant, dilute it with two cups of cream. Stir and cover. Let the soup continue to sit over the heat for a couple more minutes. Finish the dishes. Grab bowls and spoons to set the table. With one dish towel wrapped around both handles, carry over the pot and a ladle. Bend knees to sit just as the phone rings.&nbsp; Butterflied, boneless pork chops pan-fried in bacon fat served over frisé tossed with warm caramelized onions, a sliced Gingergold apple, slivers of crunchy bacon, and a dressing of minced shallot, capers, three anchovy fillets, olive oil, white wine vinegar, Worcestershire sauce, honey and mustard Sunday, August 30, 2020 Salt the chops and lay to rest. Once laundry is in and out of the dryer, slice the half of the onion remaining in the fridge. Over low heat, melt some previously accumulated duck fat—from a duck breast dinner last week or so ago. Glaze the base of the pan with the translucent enabler before sliding in the thick-ish slices of onion. While those strands stew, deconstruct the bird’s nest that is the head of frisée. Transplate pieces into a salad spinner to let sit under cold running water. Attempt to cut all five slices of bacon before the sound of the salad spinner overflowing beckons one back to the sink. Scrape bacon into a separate pan over low heat. In anticipation of cooking the pork chops, puzzle a third pan onto the stove’s surface area. Move the onions around a bit in the first pan. Cover them. Once the bacon starts to ooze, merely transfer most of that liquid into the designated pork chop pan. Pace back to the sink and begin the cycles of spinning the frisée leaves dry. Before making the dressing, butterfly the chops to make them half as thick. Turn the heat under their pan on and up. Onions should be about done. Bacon too. Add these warm toppings onto the now briskly torn frisée leaves. Brown the chops in high heat for about three minutes on the first side and one minute on the other. They browned faster than expected, leaving me little time to slice the small apple picked just this morning at Rose Hill Farm. That was only earlier today? Been a long day, I guess. The apple in the salad will pair with the cier to be drunk alongside it. A bowl filled with the softened, warm-ish greens taking cover under a chop. Putting these familiar ingredients together in new ways made the day feel even longer.&nbsp; Sliced chicken thighs braised with white wine, pork bone broth, meyer lemon juice, mustard and cognac on a purée of pinto and cannellini beans, roasted circles of yellow zucchini and chioggia beets, lemony arugula and pea shoot salad Wednesday, August 19, 2020 A mix of pintos and cannellinis boiled with bay leaves, water, salt and oil since lunch. Too preoccupied to have given them a bath overnight. Too preoccupied to write these the past few nights. Browning a huge chicken thigh in olive oil and butter while I try to remember what happened on Sunday. Who called me then? Why did I go there? When did I do that? Hold on, let me put slices of yellow zucchini and chioggia beets tossed with sumac, salt and olive oil in the 350˚F oven. The days can easily blend into one, yet I remember my meals to break them back apart. Sunday was a warm corn soup with roasted garlic shrimp. A summery soup to warm up from a bike ride in the rain. Monday was a yellow tomato galette—dough I made over the weekend which turned out to be possibly my best galette crust to date—with a huge, mostly purple salad. Purple because of the “red” romaine leaves and shiso. Shiso the next day, too. Whatever remained of the bundle got shredded and tossed with moist rice and oyster mushrooms for Tuesday. Slices of duck breast, that had marinated in soy sauce and fermented garlic, and a side of pea shoots and cucumbers drenched in regrettably too much avocado dressing. Pea shoots tonight too, with arugula. Roasted almonds and pickled shallots, too. Oh and for dessert, a corn semifreddo with a thyme shortbread crust that has been in the works since last Friday and will continue to be eaten until this Saturday. Let’s see what Thursday gets remembered for.&nbsp; Braised Belgian endives and duck breast with warm, soft blueberries on a parsnip purée Thursday, August 6, 2020 This was a meal meant for an earlier time. A jet lagged meal, shall we call it. The duck initially entered the freezer many weeks ago. Many nights since have proved adequate for it to reemerge and for the meal to manifest, but I kept the duck waiting. I had the control to not delay the gratification from the expected result, yet I did. Now staring at an empty plate, I can’t help but wonder if I would’ve enjoyed the meal more had I made it when the idea first came to me. Remind me why I make myself wait? &nbsp; Sorry, no appetite tonight Tuesday, August 4, 2020 We cooked together for a good, long while. Prior, each of us had only really occupied the kitchen alone. Our partnership was a delight, sweeter than a scoop of buttermilk strawberry ice cream. It made sense like adding a drizzle of tahini over that pink, icy sphere. Your palette aligned with mine. We were full of coincidental cravings. You cooked most dishes like I did. Except this one. I intended to follow one method, while you insisted on a more familiar one. It’s not a dish I make for others often, simply because my method is notoriously different. I’ve become accustomed to being criticized for it and seeing others who are even more outspoken about it being even more brutalized. In the grand scheme of things, I haven’t been cooking for all that long yet I still believe that this method is best because too many other chefs’ versions turn out inedible. No one talks about that though because the restaurant critics are never around for those disasters. How could you think I wasn’t prepared for your reaction to my unpopular preference? What I wasn’t prepared for was for you to just walk out of the kitchen—our kitchen. You were too disgusted by my method, unwilling to work with me unless I changed my ways. You deemed me and everything else I brought to the table as unpalatable. I didn’t think my version of this dish would make you discredit the rest of my repertoire. You even questioned how I see my responsibility of working in a kitchen. You’re no longer willing to taste any of my meals. Not even the ones you never want to forget. We avoided making this meal up until now because it’s not one many can stomach and the other ones tasted too good. Yet I knew that the more things we cooked together, the sooner we’d make this. I look forward to one day going to your restaurant. Until then, I can only hope that while we each continue to cook, we go beyond the methods and recipes of chefs and cookbooks with household names or acclaimed awards for guidance and inspiration.&nbsp; https://sophiadorfsman.info/Appendix Wed, 17 Nov 2021 12:22:57 +0000 Sophia Dorfsman https://sophiadorfsman.info/Appendix Appendix I am bad at remembering names. In an effort to get better at doing so, I have compiled a list of each person who’s work has influenced me and this research of mine. Diane Ackerman Writer John Adams Contemporary Composer John Luther Adams Contemporary Composer Thomas Adès Contemporary Composer Timo Andres Contemporary Composer Paulo de Assis Writer on scores Johann Sebastian Bach Composer Lesley Barber Contemporary Composer Irmgard Bartenieff introduced Laban’s system to the U.S. Roland Barthes Writer Ludwig van Beethoven Composer David Behrman Writer on scores Leonard Bernstein Contemporary Composer Nadia Boulanger Conductor Pierre Boulez Conductor Johannes Brahms Composer Benjamin Britten Composer Earle Brown Writer on scores Carter Burwell Contemporary Composer Frances Butler Writer John Cage Contemporary Composer Cornelius Cardew Writer on scores Stuart Chase Writer on scores Frédéric Chopin Composer John Cochran Writer Kathleen Coessens Writer on scores Colleen Cotter Writer Jeremy Cox Writer on scores Gillian Crowther Writer Colin Davis Conductor Claude Debussy Composer John Dewey Writer Gustavo Dudamel Conductor Stuart Paul Duncan Writer on scores Bob Dylan Writer on scores Thom Eagle Writer John Evarts Writer on scores Brian Ferneyhough Writer on scores M.F.K. Fisher Writer János Fügedi Writer on choreology Philip Glass Contemporary Composer James Gleick Writer Percy Aldridge Grainger Composer Maria Grandy Former DNB board chair who was also the first ballet mistress to learn Labanotation Seth Godin Writer Ann Hutchinson Guest Dance Harry Halbreich Writer on scores Fernau Hall Writer on choreology George Frideric Handel Composer Joseph Haydn Composer Lisa Heldke Writer Dan Herbison-Evans Writer on choreology Hanya Holm Choreographer Nicola Humble Writer Tim Ingold Writer Herbert von Karajan Conductor Alicia Kennedy Writer Robin Wall Kimmerer Writer Carlos Kleiber Conductor Rudolph Laban Hungarian dancer and theorist Jaron Lanier Writer Harald Lemke Writer György Ligeti Contemporary Composer Eugene Loring Choreographer of the first ballet to be recorded in the U.S. using Laban’s notation system Mei-Chen Lu Writer on choreology Lorin Maazel Conductor Stephen Malinowski Conductor John Martin Dance critic for the New York Times Zubin Mehta Conductor Meredith Monk Contemporary Composer Wolfgang Amadeus Mozart Composer Anaïs Nin Writer Donald Norman Writer on scores Richard Olney Writer Eugene Ormandy Conductor Irma Otte-Betz introduced Laban’s system to the U.S. Seiji Ozawa Conductor Nicola Perullo Writer Janey Price Dance Péter Rajka Hungarian choreographer Simon Rattle Conductor Steve Reich Composer Nikolai Rimsky-Korsakov Composer Paul Roberts Writer on scores Helen Priest Rogers Dance Supriya Roychoudhury Writer Kaija Saariaho Writer on scores Ryuichi Sakamoto Contemporary Composer Robert Schumann Composer Dmitri Shostakovich Composer Howard Skempton Writer on scores Vertamae Smart-Grosvenor Writer Wadada Leo Smith Writer on scores Georg Solti Conductor Richard Strauss Composer Igor Stravinsky Composer Leopold Stokowski Conductor Patrick Suppes Writer George Szell Conductor Janet Theophano Writer Arturo Toscanini Conductor Muriel Topaz Writer of the Elementary Labanotation: A Study Guide Bob Valgenti Writer Lucy Venable The president of the Dance Notation Bureau for sometime and eventually associated with Ohio State University for the education and research in the dance department. Antonio Vivaldi Composer Richard Wagner Composer John L. Waters Writer on scores Ralph Vaughan Williams Composer John Woolrich Writer on scores https://sophiadorfsman.info/affordances-1 Tue, 08 Mar 2022 21:47:14 +0000 Sophia Dorfsman https://sophiadorfsman.info/affordances-1 https://sophiadorfsman.info/cookbook-in-use Mon, 25 Jan 2021 14:23:32 +0000 Sophia Dorfsman https://sophiadorfsman.info/cookbook-in-use https://sophiadorfsman.info/time-to-feel-1 Sat, 02 May 2020 11:44:07 +0000 Sophia Dorfsman https://sophiadorfsman.info/time-to-feel-1 <img width="308" height="124" width_o="308" height_o="124" data-src="https://freight.cargo.site/t/original/i/971ad4dbc70c74240e25fa848f1f00cb77a65166f166c7daa2590e3dccea47f3/arrow.png" data-mid="69492890" border="0" data-scale="2" data-icon-mode src="https://freight.cargo.site/w/308/i/971ad4dbc70c74240e25fa848f1f00cb77a65166f166c7daa2590e3dccea47f3/arrow.png" /> Project 1/6: Time to Feel &nbsp; On May 3rd, 2019, I spent two hours using my right hand to write a 1,032-word essay on my left hand about how to feel time, rather than tell time. Request a copy of the essay. <img width="1294" height="2000" width_o="1294" height_o="2000" data-src="https://freight.cargo.site/t/original/i/67981e5a1df7bc4d5b835af654d578ee15b1e65c049521bed8e954c69e178c2e/Poster-Book5.png" data-mid="70935173" border="0" src="https://freight.cargo.site/w/1000/i/67981e5a1df7bc4d5b835af654d578ee15b1e65c049521bed8e954c69e178c2e/Poster-Book5.png" /> <img width="1294" height="2000" width_o="1294" height_o="2000" data-src="https://freight.cargo.site/t/original/i/99dd6f4801208d8c5571b67e1751f0e38e7344881641d9430f7b0f41510ef915/Poster-Book6.png" data-mid="70935177" border="0" src="https://freight.cargo.site/w/1000/i/99dd6f4801208d8c5571b67e1751f0e38e7344881641d9430f7b0f41510ef915/Poster-Book6.png" /> <img width="1294" height="2000" width_o="1294" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d4c8ba8ca8e2f1d23a7f6cf2eeeafb0acb1aff45f86f8801bf997ea5b3f86330/Poster-Book4.png" data-mid="70935164" border="0" src="https://freight.cargo.site/w/1000/i/d4c8ba8ca8e2f1d23a7f6cf2eeeafb0acb1aff45f86f8801bf997ea5b3f86330/Poster-Book4.png" /> <img width="1294" height="2000" width_o="1294" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7a7effcca4babf0c338b41963f644448363fd7b3bb400b3e1eeeb1b1236d3685/Poster-Book2.png" data-mid="70935163" border="0" src="https://freight.cargo.site/w/1000/i/7a7effcca4babf0c338b41963f644448363fd7b3bb400b3e1eeeb1b1236d3685/Poster-Book2.png" /> <img width="1294" height="2000" width_o="1294" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c34fd8879b69d2e434d42f39313eb8dbc11cb3beab7a5338922ff1f65cd490de/Poster-Book.png" data-mid="70935162" border="0" src="https://freight.cargo.site/w/1000/i/c34fd8879b69d2e434d42f39313eb8dbc11cb3beab7a5338922ff1f65cd490de/Poster-Book.png" /> https://sophiadorfsman.info/glacial-pace-1 Sat, 02 May 2020 12:26:10 +0000 Sophia Dorfsman https://sophiadorfsman.info/glacial-pace-1 <img width="2000" height="1631" 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