What issues might we be thinking about in trying to decide whether to classify cooking as one of the arts? Here are some.
1) Is the person who says of the Chateau Petrus they have just tasted that it is a work of art to be taken literally?
2) Is the experience we have of a Beethoven String Quartet sufficiently different from that we have when eating a great meal so that we should distinguish them as different kinds of experience?
3) Does it make sense to say of someone that they have been moved by a meal?
4) Is it significant for classifying something as an art form that a meal is consumed in the process of appreciation?
5) When I say of Grant Achatz that he is an artist in the kitchen how does this differ from saying he is a genius at the stove?
6) Why do we distinguish between the architect who designed Notre Dame and those who built it by designating the latter as craftsmen and the former as an artist? Is there a class bias exhibited by this distinction?
7) A piece of music can express sadness. A pate cannot. So?
On sites such as Amazon and iTunes, homophily is a selling point: it’s the basis for “collaborative filtering”, whereby you’re recommended books and music on the basis of what others who made the same purchase - people like you - also enjoyed.
The unspoken assumption here is that you know what you like - that satisfying your existing preferences, and maybe expanding them a little around the edges, is the path to fulfillment. But if happiness research has taught us anything, it’s that we’re terrible at predicting what will bring us pleasure. Might we end up happier by exposing ourselves more often to serendipity, or even, specifically, to the people and things we don’t think we’d like?
You don’t need technology to do that, but then again, technology needn’t be the enemy: Facebook could easily offer a list of the People You’re Least Likely To Know; imagine what that could do for cross-cultural understanding. And I love the Unsuggester, a feature of the books site LibraryThing.com: enter a book you’ve recently read, and it’ll provide a list of titles least likely to appear alongside it on other people’s bookshelves. Tell it you’re a fan of Kant’s Critique Of Pure Reason, and it’ll suggest you read Confessions Of A Shopaholic by Sophie Kinsella. And maybe you should.
Sports bring us the human body as a manifestation of nature—not just the elegant forms of athletes, but their animal ability to move through air and water. At the Olympics, these bodies are co-opted by a political culture that wants to be seen as natural, legitimate, stirring, beautiful. Beautiful bodies are just one kind of nature that nations like to claim. After all, this country invented the idea of “national” parks and claims the sublimity of the Grand Canyon (which preceded it by hundreds of millions of years) and all those purple mountains’ majesty as part of its identity. Corporations too like pristine landscapes, particularly for advertisements in which an SUV perches on some remote ledge, or a high-performance car zips along a winding road through landscape splendor. Few car commercials portray gridlock or even traffic—that your car is just a car among cars—let alone the vehicle’s impact on those pristine environments. Of course most of us have become pretty well versed in critiquing advertisements as such—we assume they are coverups if not outright lies. But the Olympics have not been subjected to the same level of critique.