Posts tagged cultural worlds

From a searchable collection of over 15,000 proverbs about women from cultures around the world. Many of them sexist far beyond the point of gender differentiation, but I suppose that's the point. It's fascinating to enter different metaphors and see the range of proverbs that pop up: these are the first few results from the hundreds of proverbs about women and soup.

cultural worlds, folklore, proverbs, women

Nate:

The clever cooking pot! It loses meat and keeps the soup [said the husband: his wife ate the meat while cooking; ironically blaming a thing for the misdeeds of a person]. / Oromo, Ethiopia

A child who remains in his mother’s house believes her soup the best. / Efik, Nigeria

A good wife and a strengthening cabbage soup, you should not want more. / Russian

A hen’s soup and a girl’s laugh bode no good. / German

A woman who follows the fashion will never boil a good soup. / English, Jamaica

An old hen makes a good soup. / Spanish, Central America and the Caribbean

Asking [a neighbour] for salt does not yet make soup. [You have to depend on your own efforts.] / Krio, Sierra Leone

Beauty will not season your soup. / Polish

If you can’t control your moustache, don’t eat lentil soup. [If saddled with a jealous wife, to lead a peaceful married life, in her presence play no game that involves a sportive dame.] / Burmese

This is from a magazine interview that came out in the publicity wake of David Foster Wallace's 1996 ur-novel Infinite Jest. Though I'd heard in recent years that DFW was a churchgoer, and read (in the aftermath of his 2008 suicide) that the Apostle Paul was among his favorite writers, those revelations come as a bit of a surprise (followed by a nod of recognition). It adds hope to his tragic aspect, but is, of course, also rather sobering.

america, church, cultural worlds, literature

Nate:

He’ll blend in even more after he starts attending church. Brought up an atheist, he has twice failed to pass through the Rite of Christian Initiation for Adults, the first step toward becoming a Catholic. The last time, he made the mistake of referring to “the cult of personality surrounding Jesus.” That didn’t go over big with the priest, who correctly suspected Wallace might have a bit too much skepticism to make a fully obedient Catholic. “I’m a typical American,” says Wallace. “Half of me is dying to give myself away, and the other half is continually rebelling.”

Recently he found a Mennonite house of worship, which he finds sympathetic even if the hymns are impossible to sing. “The more I believe in something, and the more I take something other than me seriously, the less bored I am, the less self-hating. I get less scared. When I was going through that hard time a few years ago, I was scared all the time.” It’s not a trip he ever plans to take again.

New York City, this article says, is the most linguistically diverse city in the world. In a few cases it's easier to find speakers of endangered languages there than in the languages' home regions.

cultural worlds, diversity, languages, new york

Nate:

At a Roman Catholic Church in the Morrisania section of the Bronx, Mass is said once a month in Garifuna, an Arawakan language that originated with descendants of African slaves shipwrecked near St. Vincent in the Caribbean and later exiled to Central America. Today, Garifuna is virtually as common in the Bronx and in Brooklyn as in Honduras and Belize.

Nobody knows which cultural artifacts will wind up enduring, but by endeavoring to observe, collect and save what nobody else is preserving, I think we can both offer a richer gift for posterity and arrive at greater, celebratory insight into the stuff around us here and now.

archaeology, collecting, cultural worlds, future, kevin kelly

Nate:

I’ve done some research on time capsules to learn what people decide to send forward to the future inside them. I was present for the opening of one time capsule buried at the San Francisco airport, and boy was that disappointing. What I learned is that stuff we think is important will not be in the future, and stuff we don’t think is important now, will be. The most common reaction to opening a time capsule is “why did they save that? Why didn’t they include x, y, or Z, which no one saved?”

My theory is that we tend to collect or save things we are conscious of as having value, and we ignore the material subconscious. We are not even aware that we are throwing these everyday items away because we are not even aware they exist in the first place. We simply don’t see them. Yet it is these invisible, “subconscious” artifacts that will tell the best stories about this time later on.

This is where the archeologists do their research: in the garbage pits. Here they can explore the subconscious of the lost culture.

So if you are going to collect something that you want to be significant in the future, collect things that everyone ignores now. Stuff that is too insignificant to save, that no one in their right mind would save. These “subconcious” things are the ones that will be the most valuable in the future.

I suppose this finding would fall into the "interesting but unsurprising" category, but I'm nevertheless overjoyed that historians of art, food, and culture do this kind of stuff.

art, cultural worlds, food and drink, painting

Nate:

Wansink teamed up with his brother Craig Wansink, a religious studies professor at Virginia Wesleyan College, to look at how portion sizes have changed over time by examining the food depicted in 52 of the most famous paintings of the scene from the Last Supper.

“As the most famously depicted dinner of all time, the Last Supper is ideally suited for review,” Craig Wansink said.

From the 52 paintings, which date between 1000 and 2000 A.D., the sizes of loaves of bread, main dishes and plates were calculated with the aid of a computer program that could scan the items and rotate them in a way that allowed them to be measured. To account for different proportions in paintings, the sizes of the food were compared to the sizes of the human heads in the paintings.

The researchers’ analysis showed that portion sizes of main courses (usually eel, lamb and pork) depicted in the paintings grew by 69 percent over time, while plate size grew by 66 percent and bread size grew by 23 percent.

From an essay on the culture and history of dirt-eating, often undertaken by pregnant women (presumably craving specific needed minerals), but until recently surprisingly widespread. "In the 1970s, fifty percent of Black women admitted to eating clay, about four times the frequency among white women ..." I like the idea outlined below, of sniffing the soil and then tasting produce grown in it.

agriculture, cultural worlds, dirt, food and drink, taste

Nate:

People living in San Francisco can find a soil tasting in a nearby art gallery; the rest of us can e-participate through a website (tasteofplace.info) run by performance artist and “agricultural activist” Laura Parker. Parker strives to answer the question “how does soil touch our lives and affect our food; and why does it matter?” To stimulate public dialogue, Parker fills wine goblets with various soils and adds a few teaspoons of water to release the aromas and flavors. The soils aren’t ingested, but participants place their noses deep into the wine bowls, inhaling the newly released molecules to the backs of their tongues, where taste receptors lie. The website even provides “Tasting Notes,” such as the soil of “Apple Farm-Indian Camp Ground, ‘Arrowhead Reserve,’” which has a “texture like ground espresso between your fingertips with a rich, chocolate color. The nose is both flinty and grassy with finesse and subtlety.” After the soil tasting, participants dine on food grown in the various soils and identify the qualities of the dirt in the food to strengthen the connection between what we eat and where it’s grown.

I'm not sure this a helpful model for charity per se, but it does feel a bit like a prophetic act. I wonder if our dollar-distributor would have fared much better near the same spot 20 or 50 or 100 years ago. An economist would likely note that what our prophet found out was that most people priced the amount of effort and risk involved in figuring out what was really going on, making a promise to a stranger, and then either carrying it out or reneging on it, at something more than a buck.

art, cultural worlds, economics, money, prophesy

Nate:

About the same time that Ibnale was handing out umbrellas, Brett Lockspeiser took $100 worth of dollar bills to the 16th Street Mission BART Station and held up a sign.

“I will give you $1 for you to give to someone else,” the sign said. Throughout the evening rush, Lockspeiser stood in the station, trying to give away dollar bills.

“Everyone though I was trying to scam them,” he said. “They wanted to know what I was up to. I told them they just had to promise to give the $1 to someone else.”

After three hours, Lockspeiser had managed to give away only $52. One passer-by did not take the $1 but, suspecting that Lockspeiser was down and out, handed him a pair of socks.

Chopping is also excessively cinematic in that it mimics the very techniques of film production and editing, the precise chopping of continuous reality into 24 images per second, the mini-guillotines used to trim and edit film stock, the terminology of cuts and splices.

cultural worlds, food and drink, movies

Nate:

One of the delights of watching food-centric films is to see the main characters demonstrate their culinary skills. The breaking of an egg, the flipping of an omelet, the chopping of an onion (or a carrot or a piece of celery) become impressive feats when performed with dexterity and brio. The food writer Michael Pollan has noted that television cooking shows have come to resemble athletic events, showcasing the spectacular, often competitive talents of their chefs. In narrative film, however, the spectacle of cooking is always more than spectacle; it is also a dynamic means of representing character. Chopping, in particular, in being both precise and violent, is an exceptionally cinematic activity, capable of expressing repressed emotions of rage, bitterness, and passion. It is no wonder that most every film in which food plays a role invariably has a chopping scene.

Our shelves of cookbooks are fascinating not so much as a body of knowledge, but as a body of ignorance: they contain what we don't know (or no longer know) about food, but our ignorance and aspirations take on very specific, trend-sensitive forms, a bit like—come to think of it—a good bundt pan waiting for batter.

books, cultural worlds, food and drink, ignorance, knowledge

Nate:

“Tell me what you eat: I will tell you what you are,” Brillat-Savarin challenged his readers in 1825, and his wisdom if not his brio was already old hat. Human meals serve those mixtures of raw and cooked that make up anthropological codes. Nearly every prescription or preference blends irrational faith and scientific requirements, as Marvin Harris shows in his fascinating Good to Eat: look long enough at a seemingly arbitrary food rule (cloven hooves, sacred cows) and one can probably discover a self-preserving logic behind it, but look hard enough at an apparently sensible directive (a glass of milk, a handful of supplements) and one will like as not detect a prejudice posing as sense. Omnivorous and hungry, body and spirit, we sit down at a table spread with necessary choice; we cannot eat to live, that is, without in some measure living to eat. As Laurie Colwin once put it, then, cookery books will always “hit you where you live.” What seems distinctive and disquieting now, what seems to have increased in the two centuries since Brillat-Savarin shot a turkey in Hartford or even in the two decades since Colwin roasted a chicken in her New York apartment, is the number of volumes hitting us combined with the force of their impact. A nation with a lot of food books is a nation without much sense of food, as The Economist recently pointed out.