robertogreco + taste   49

Jacob Sam-La Rose en Instagram: “Decluttering. These are the keepers. I harbour a fantasy of my future kids being fascinated with these in the same way I raided my mother’s…”
"Decluttering. These are the keepers. I harbour a fantasy of my future kids being fascinated with these in the same way I raided my mother’s record collection. Not just for the music itself, but the cover design, the appeal of the tangible object... In a digital world, it’s good to have analog anchors..."

[Commented: "Oh, those spacial, ambient, tactile, smell, taste, and sound memories that come from the places where we are raised. Swoon. I just tracked down a book about whales that was in our house as a child. I’d been referencing it for years without remembering the name (The Whale), but recalling so many details of its contents and the situations I was in while pouring over the book. The confines of small-ish collections encourage repeated reencounters that just don’t come as easily in the near infinite expanse of YouTube, Spotify, etc. Maybe this is why I have been so keen to create my on digital collections, something that I can move around in over and over again?"]

[See also:]
jacobsam-larose  2018  decluttering  memory  space  sound  music  collections  senses  mariekondo  taste  smell  sounds  place  finite  curation  tangible  tactile  analog  digital  books  childhood  memories 
august 2018 by robertogreco
GhostFood on Vimeo
"GhostFood explores eating in a future of and biodiversity loss brought on by climate change. The GhostFood mobile food trailer serves scent-food pairings that are consumed by the public using a wearable device that adapts human physiology to enable taste experiences of unavailable foods.

Created in collaboration with Miriam Songster. Commissioned by the Robert Rauschenberg Foundation for Marfa Dialogues/NY, with additional support provided by Takasago, NextFab Studios and Whole Foods. Marfa Dialogues/NY is a collaboration between the Robert Rauschenberg Foundation, Ballroom Marfa and the Public Concern Foundation. GhostFood was presented by Gallery Aferro in Newark, Rauschenberg Project Space in New York and by SteamWorkPhilly in Philadelphia."
2014  food  miriamsimun  miriamsongster  climatechange  speculativefiction  speculativedesign  physiology  taste  smell  senses  ghostfood  extinction  cod  fish  peanuts  cocoa  flavor  multisensory  flavors 
may 2018 by robertogreco
Wiley: The Eyes of the Skin: Architecture and the Senses, 3rd Edition - Juhani Pallasmaa
"First published in 1996, The Eyes of the Skin has become a classic of architectural theory. It asks the far-reaching question why, when there are five senses, has one single sense – sight – become so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, it is a subject that has become all the more pressing and topical since the first edition’s publication in the mid-1990s. Juhani Pallasmaa argues that the suppression of the other four sensory realms has led to the overall impoverishment of our built environment, often diminishing the emphasis on the spatial experience of a building and architecture’s ability to inspire, engage and be wholly life enhancing.

For every student studying Pallasmaa’s classic text for the first time, The Eyes of the Skin is a revelation. It compellingly provides a totally fresh insight into architectural culture. This third edition meets readers’ desire for a further understanding of the context of Pallasmaa’s thinking by providing a new essay by architectural author and educator Peter MacKeith. This text combines both a biographical portrait of Pallasmaa and an outline of his architectural thinking, its origins and its relationship to the wider context of Nordic and European thought, past and present. The focus of the essay is on the fundamental humanity, insight and sensitivity of Pallasmaa’s approach to architecture, bringing him closer to the reader. This is illustrated by Pallasmaa’s sketches and photographs of his own work. The new edition also provides a foreword by the internationally renowned architect Steven Holl and a revised introduction by Pallasmaa himself."

[via: ]

[two different PDFs at: ]
books  toread  architecture  senses  multisensory  juhanipallasmaa  humans  bodies  stevenholl  sight  smell  sound  taste  texture  touch  humanism  sfsh  design  peterkeith  body 
august 2017 by robertogreco
Bad Taste - YouTube
"You often hear it said that taste is all in the eye of the beholder - and that there is no such thing as 'bad taste'. We think there is - and that bad taste is often down to excess; caused by trauma."
style  taste  badtaste  excess  overcompensation  schooloflife  deprivation  trauma  sentimentality  gaudiness  design  aesthetics  economics  appreciation  desperation  humans  understanding 
july 2016 by robertogreco
Alan dreams of suya | Snakes and Ladders
"I woke up in the middle of the night last night with an inexplicable but overwhelming craving for a food that I haven’t eaten in nearly 25 years. Suya: marinated, highly spiced slices of beef cooked over a wood or charcoal fire and served with sliced onions and, when I had it, anyway, plum tomatoes. (It turns out, comically enough, that the Wikipedia page for suya links to an article I published in 1992.) It’s a Nigerian treat, especially favored by the Hausa people in the north of the country, but I first tasted it in the city of Ilorin in the heart of Yorubaland.

It was early evening, and the suya vendor had set up his cart at the side of a road on which the chief government building of Kwara state stood facing the sharia court building, in a kind of standoff. I don’t know that I’ve ever smelled anything more mouth-watering than the aromas wafting from that cart, and though I haven’t thought about the experience in years, probably, when I woke up last night everything about that evening came back to me with an uncanny clarity — spreading the suya on its bed of newspaper out on the hood of a minivan, eating and talking quietly with my friends as others drifted to and from the cart … how wonderful that was. So many moments in life get lost in the jumble of everyday busyness, it’s a gift when something small and sweet makes a gentle return to memory, to presence."
food  taste  smell  senses  memory  suya  nigeria  2015  alanjacobs 
august 2015 by robertogreco
Expensive wine is for suckers. This video shows why. - Vox
"Therein lies the problem with wine: you have the science of turning a great fruit into a great drink. Then you have what are seemingly objective quality variables like balance and complexity. But layered onto that is a mountain of subjective opinions, people trying to prove their sophistication, and a whole lot of marketing. The nature of wine makes it really hard to tell the difference between expertise, nonsense, and personal preference.

Take wine comments, for example. There's no doubt that people can learn through training how to identify different grapes and regions, and develop the vocabulary to distinguish and describe subtle flavors and aromas. But at the same time, people are always vulnerable to the influence of their expectations. And time and again, researchers have been able to trick even expert wine tasters.

By dyeing a white wine red, researchers at the University of Bordeaux showed how easily visual cues can dominate wine students' sense of smell. When they thought the white wine was a red one, they described it using words commonly applied to red wines (incidentally, those words are typically dark objects like red berries or wood).

Another powerful cue is price. We can't help but associate price with quality, and most of the time it's probably a good assumption that you're paying more for a reason. But does that association hold up for wine? I bought three red wines at different prices to see if my coworkers could tell the difference.

Would they be able to tell which wine was the most expensive? Would they enjoy that wine more than the others? Check out the video above to see our results."

[direct link to video: ]
wine  taste  food  drink  2015  ratings  price  pleasure  money 
may 2015 by robertogreco
Scientists have figured out what makes Indian food so delicious - The Washington Post
"Indian food, with its hodgepodge of ingredients and intoxicating aromas, is coveted around the world. The labor-intensive cuisine and its mix of spices is more often than not a revelation for those who sit down to eat it for the first time. Heavy doses of cardamom, cayenne, tamarind and other flavors can overwhelm an unfamiliar palate. Together, they help form the pillars of what tastes so good to so many people.

But behind the appeal of Indian food — what makes it so novel and so delicious — is also a stranger and subtler truth. In a large new analysis of more than 2,000 popular recipes, data scientists have discovered perhaps the key reason why Indian food tastes so unique: It does something radical with flavors, something very different from what we tend to do in the United States and the rest of Western culture. And it does it at the molecular level.""

"Researchers at the Indian Institute for Technology in Jodhpur crunched data on several thousand recipes from a popular online recipe site called They broke each dish down to its ingredients, and then compared how often and heavily ingredients share flavor compounds.

The answer? Not too often.

Here's an easy way to make sense of what they did, through the lens of a single, theoretical dish. Say you have a dish with 4 different ingredients, like the one below:


Each one of those ingredients has its own list of flavor compounds. And any two of those ingredients' lists might have some overlap. Take the coconut and onion, for instance. We can all agree that these two things are pretty different, but we can also see (in the Venn diagram below) that there's some overlap in their flavor make-up. (Ignore the math symbols.)


You could create the same diagram for all the ingredients with overlapping flavor compounds, as in this diagram. There are six that have overlap. (Again, ignore the math.)


The researchers did this for each of the several thousand recipes, which used a total of 200 ingredients. They examined how much the underlying flavor compounds overlapped in single dishes and discovered something very different from Western cuisines. Indian cuisine tended to mix ingredients whose flavors don't overlap at all.

"We found that average flavor sharing in Indian cuisine was significantly lesser than expected," the researchers wrote.

In other words, the more overlap two ingredients have in flavor, the less likely they are to appear in the same Indian dish.

The unique makeup of Indian cuisine can be seen in some dishes more than others, and it seems to be tied to the use of specific ingredients. Spices usually indicate dishes with flavors that have no chemical common ground.

More specifically, many Indian recipes contain cayenne, the basis of curry powder that is in just about any Indian curry. And when a dish contains cayenne, the researchers found, it's unlikely to have other ingredients that share similar flavors. The same can be said of green bell pepper, coriander and garam masala, which are nearly as ubiquitous in Indian cuisine."
food  indian  india  2015  flavor  taste  cooking 
march 2015 by robertogreco
How Culture Shapes Our Senses -
"FLORENCE, Italy — WE think of our senses as hard-wired gateways to the world. Many years ago the social psychologist Daryl J. Bem described the knowledge we gain from our senses as “zero-order beliefs,” so taken for granted that we do not even notice them as beliefs. The sky is blue. The fan hums. Ice is cold. That’s the nature of reality, and it seems peculiar that different people with their senses intact would experience it subjectively.

Yet they do. In recent years anthropologists have begun to point out that sensory perception is culturally specific. “Sensory perception,” Constance Classen, the author of “The Deepest Sense: A Cultural History of Touch,” says, “is a cultural as well as physical act.” It’s a controversial claim made famous by Marshall McLuhan’s insistence that nonliterate societies were governed by spoken words and sound, while literate societies experienced words visually and so were dominated by sight. Few anthropologists would accept that straightforwardly today. But more and more are willing to argue that sensory perception is as much about the cultural training of attention as it is about biological capacity.

Now they have some quantitative evidence to support the point. Recently, a team of anthropologists and psychologists at the Max Planck Institute for Psycholinguistics and Radboud University, both in Nijmegen, the Netherlands, set out to discover how language and culture affected sensory awareness. Under the leadership of Asifa Majid and Stephen C. Levinson, they made up a kit of systematic stimuli for the traditional five senses: for sight, color chips and geometric forms; for hearing, pitch, amplitude and rhythm variations; for smell, a set of scratch-and-sniff cards; and so forth. They took these kits to over 20 cultural groups around the world. Their results upend some of our basic assumptions.

For example, it’s fairly common, in scientific literature, to find the view that “humans are astonishingly bad at odor identification and naming,” as a recent review of 30 years of experiments concluded. When ordinary people are presented with the smell of ordinary substances (coffee, peanut butter, chocolate), they correctly identify about half of them. That’s why we think of scent as a trigger for personal memory — leading to the recall of something specific, particular, uniquely our own.

It turns out that the subjects of those 30 years of experiments were mostly English-speaking. Indeed, English speakers find it easy to identify the common color in milk and jasmine flowers (“white”) but not the common scent in, say, bat droppings and the leaf of ginger root. When the research team presented what should have been familiar scents to Americans — cinnamon, turpentine, lemon, rose and so forth — they were terrible at naming them. Americans, they wrote, said things like this when presented with the cinnamon scratch-and-sniff card: “I don’t know how to say that, sweet, yeah; I have tasted that gum like Big Red or something tastes like, what do I want to say? I can’t get the word. Jesus it’s like that gum smell like something like Big Red. Can I say that? O.K. Big Red, Big Red gum.”

When the research team visited the Jahai, rain-forest foragers on the Malay Peninsula, they found that the Jahai were succinct and more accurate with the scratch-and-sniff cards. In fact, they were about as good at naming what they smelled as what they saw. They do, in fact, have an abstract term for the shared odor in bat droppings and the leaf of ginger root. Abstract odor terms are common among people on the Malay Peninsula.

The team also found that several communities — speakers of Persian, Turkish and Zapotec — used different metaphors than English and Dutch speakers to describe pitch, or frequency: Sounds were thin or thick rather than high or low. In later work, they demonstrated that the metaphors were powerful enough to disrupt perception. When Dutch speakers heard a tone while being shown a mismatched height bar (e.g., a high tone and a low bar) and were asked to sing the tone, they sang a lower tone. But the perception wasn’t influenced when they were shown a thin or thick bar. When Persian speakers heard a tone and were shown a bar of mismatched thickness, however, they misremembered the tone — but not when they were shown a bar mismatched for height.

The team also found that some of these differences could change over time. They taught the Dutch speakers to think about pitch as thin or thick, and soon these participants, too, found that their memory of a tone was affected by being shown a bar that was too thick or too thin. They found that younger Cantonese speakers had fewer words for tastes and smells than older ones, a shift attributed to rapid socioeconomic development and Western-style schooling.

I wrote this in Florence, Italy, a city famous as a feast for the senses. People say that Florence teaches you to see differently — that as the soft light moves across the ocher buildings, you see colors you never noticed before.

It taught Kevin Systrom, a co-founder of Instagram, to see differently. He attributes his inspiration to a photography class he took in Florence while at a Stanford study-abroad program about a decade ago. His teacher took away his state-of-the-art camera and insisted he use an old plastic one instead, to change the way he saw. He loved those photos, the vintage feel of them, and the way the buildings looked in the light. He set out to recreate that look in the app he built. And that has changed the way many of us now see as well."
senses  taste  smell  olfaction  touch  sight  seeing  noticing  language  languages  culture  darylbem  tmluhrmann  constanceclassen  wcydwt  glvo  slow  marshallmcluhan  anthropology  psychology  perception  sense  asifamajid  stephenlevinson  sound  hearing  tone  pitch  rhythm  color  comparison  schooling  unschooling  deschooling  literacies  literacy  identification  naming  kevinsystrom 
september 2014 by robertogreco
No more guilty pleasures
"More than 400 years ago, Michel de Montaigne, in his essay “On Experience,” wrote, “In my opinion, the most ordinary things, the most common and familiar, if we could see them in their true light, would turn out to be the grandest miracles . . . and the most marvelous examples.”

All it takes to uncover hidden gems is a clear eye, an open mind, and a willingness to search for inspiration in places other people aren’t willing or able to go.

We all love things that other people think are garbage. You have to have the courage to keep loving your garbage, because what makes us unique is the diversity and breadth of our influences, the unique ways in which we mix up the parts of culture others have deemed “high” and the “low.”

When you find things you genuinely enjoy, don’t let anyone else make you feel bad about it. Don’t feel guilty about the pleasure you take in the things you enjoy. Celebrate them.

When you share your taste and your influences, have the guts to own all of it. Don’t give in to the pressure to self-edit too much. Don’t be the lame guys at the record store arguing over who’s the more “authentic” punk rock band. Don’t try to be hip or cool. Being open and honest about what you like is the best way to connect with people who like those things, too."
austinkleon  taste  guiltypleasures  2014  davegrohl  nelsonmolina  micehldemontaigne  highbrow  lowbrow  punk 
february 2014 by robertogreco
Issue # 07 Alexandra Lange to swissmiss - open letters
"Here’s my @DearOpenLetters to @swissmiss, Criticism = Love"

[Text here: ]

"Dear swissmiss:

It may seem strange to be bothered by something published on the internet in 2011. But I am, because that text remains the clearest evocation of an attitude I continue to see on design blogs: that we critics are motivated by hate. This is just plain wrong. Criticism = love.

On October 17 of that year you quoted your studiomate Chris Shiflett under the heading, “Ignore haters”:
I always take more pleasure in liking something than in disliking something. That’s not to say there aren’t some things that deserve to be liked and some things that deserved to be disliked, but I’m never fond of disliking something.
The lesson I’ve learned is to be wary of those who are. The ones who seem to think that being critical is the same as having good taste. Those people almost never have good taste, so their opinions don’t matter.
There’s no particular sophistication required to be a critic. We know this, because children often dislike foods they learn to love as adults.

As a child I disliked the Eames LCW chair in my parents’ bedroom. I took no pleasure in hating it. My feeling separated me from my mother, whose taste I have always admired. Was Eames a flavor I had to become more sophisticated to enjoy? Perhaps. But that dislike, that gap between us in taste, fueled a productive thought process. I had to figure out what was so great about an object so ugly, so bulbous, so unlike the other (normal) chairs in our house. I had to learn about the Eameses, about bentwood, about cleaning up “the slum of legs.” If at the end of that process I still hated the chair, would I have gained less in sophistication? I learned to love the exploration. I love the chair too, even though, due to its age and the innovative industrial means of its manufacture, it is now sculpture rather than furniture.

All my life, criticism has been a gift. Literally. My mom gave me the Eames chair a few years ago. I can wave at it from the desk at which I’m typing.

In high school my mother gave me the collection of Ada Louise Huxtable’s essays, Kicked A Building Lately?, as an example of what writing about architecture could achieve. The reflected skyline on the cover. The pithy comments within, which hardly required illustration. The rhythm of seeing and thinking and writing. It felt fast and it felt just. Can’t you imagine Huxtable as Lois Lane, kicking the steel corners of the nascent Park Avenue School of Architecture? It’s true, she didn’t make the buildings. But, just like Lois, her reporting separated the real Supermen from Bizarro. Her words shaped what came next for New York. She made up names for what was happening to the city and to culture. By naming, she created an arena in which discussion could occur.

My now-husband’s first gift to me was another collection of criticism, Michael Sorkin’s Exquisite Corpse. My education in criticism up to that date had been establishment; this book was made of ruder stuff. It bristles with dislike about some of the very same buildings Ada Louise Huxtable loved, and love for those about which she was lukewarm. The Ford Foundation. The Whitney. My favorite essay in the book is probably the one on the Whitney, an all-too-rare love letter to Marcel Breuer intertwined with a demolition of Michael Graves and his “shitty beaux-arts apparatus.” However quotable, I still wouldn’t call that hating. Sorkin says Graves can’t help it, the apparatus is just his way. It’s on the rest of us to save the Whitney. Sorkin is simply giving us reasons why we should. His conclusion is less important than explaining how to get there.

Your blog is clearly a critical enterprise. The mission of swissmiss seems obviously analogous to Tattly, which you created to clean up the slum of temporary tattoos. You must get hundreds of emails a day with products, apps, videos and posters that you deem unworthy of publication. Every time you don’t publish something, you are being a critic. Yet you don’t share that judgment. That negative determination happens without comment, in the click of the trash button. What I’d like to hear about is what happens in your head between the look and that judgmental click. Why this and not that? What’s wrong with that picture?

To be able to say, simply and directly, what is wrong (or not-yet-right) in design is not a child’s task. I don’t think it is possible to educate about design without talking about the world of wrong, ugly, misguided and oversize. Yes, swissmiss, like Switzerland, might be the exception to that world. But it will never be the rule, and accentuating the positive will only reorganize so much territory. Today’s Lois Lane cannot avoid the aisles of the grocery store, the app store, or Toys R Us. This Internet of Things: can it be without glitch? Skimming the cream off the top will always generate more clicks (anyone can compare our Twitter followings), but there’s more constructive work to be done below, where so many design blogs fear to dive.

You are motivated by a love of design, as am I. Haters are name-callers, body-shamers, trolls. They are destructive. If my fellow critics and I did not love buildings, books, gadgets and food, there would be no reason for us to do what we do. I really don’t get paid enough. But as I move through the world of objects, I have a lot of questions. I can’t ignore what I dislike or don’t understand. Sometimes I describe the way I choose my topics as scratching an itch: if something bothers me each time I see it, the only salve is investigation. Growing up is doing more than complaining (or, as you have said, coming up with a Twitter hashtag). Let’s talk about it—as adults, of course. I would like to save a building or improve a megaproject, but sometimes the critic has to settle for creating a conversation.

Maybe this is just the long way of saying something very simple: Dear Design, I love you. But love isn’t blind."
alexandralange  2014  criticism  caring  taste  learning  howwelearn  cv  love  design  swissmiss  tinarotheisenberg 
february 2014 by robertogreco
MoMA's demolition of AFAM and architectural obsolescence
"In retrospect, Muschamp's effusive wordsmithing borders on hyperbole. Yet in focussing on the cultural context in which the building was born, it captures much of what is missing from current discussion (which tends to be markedly concentrated on functionality and new square footage). If we practice the rules of obsolescence, the death of this signature piece of architecture was designed in at the beginning.

As much as I would want to praise the American Folk Art Museum for pointing a way forward out of that dark time, the structure is no phoenix. From the beginning it was anachronistic. This is its downfall.

Although completed in the new millennium, it is an artefact from the 1990s, or to crib from Portlandia, an artefact from the 1890s. Muschamp's title suggests as much: Fireside Intimacy for Folk Art Museum. "Our builders have largely dedicated themselves to turning back the clock," he writes of Williams and Tsien's obsessive attention to materiality.

The museum is a little too West Coast for midtown - too much like something from the Southern California Institute of Architecture, before computation took command. Its design values everything the current art and real estate markets reject: hominess, idiosyncrasy, craft. By contrast, Diller Scofidio + Renfro's scheme emphasises visibility and publicness. The same could be said for an Apple store.

A message from MoMA director Glenn D. Lowry posted on the museum’s website touts that the new design will "transform the current lobby and ground-floor areas into an expansive public gathering space." Indeed, the much talked-about Art Bay, the 15,500-square-foot, double-height hall in the scheme, walks a fine line between public space and gallery. Fronted with a retractable glass wall and designed for flexibility, the Art Bay is so perfectly attuned to the performance zeitgeist, that it makes Marina Abramović want to twerk.

The Tumblr #FolkMoMA, initiated and curated by Ana María León and Quilian Riano, dragged the fate of AFAM - a pre-internet building - into the age of social media. The hashtag set the stage for a robust dialogue on the subject and a much-needed commons for debate, but failed to save architecture from capital forces.

In weighing in to protest or eulogise the passing of the American Folk Art Museum, perhaps what we mourn is not the building per se, but a lingering sentimental belief that architecture is an exception to the rules of obsolescence. This building strived to represent so many intimacies, but ultimately its finely crafted meaning was deemed disposable.

Fingers may point at the ethics of Diller Scofidio + Renfo's decision to take on the project or wag fingers at MoMA's expansionist vision, but the lesson here cuts deeper into our psyche. Architecture, as written in long form, exceeds our own life spans and operates in a time frame of historical continuity. Architecture writ short reminds us of our own mortality, coloured by mercurial taste."
plannedobsolescence  obsolescence  2014  moma  afam  diller+scofidio  ephemerality  mortality  design  architecture  anamaríaleón  quilianriano  mimizeiger  taste  timing  disposability  visibility  publicness  craft  hominess  idiosyncrasy  herbertmuschamp  dillerscofidio  ephemeral 
january 2014 by robertogreco
Works Cited: Wasting time on the internet: a syllabus
"This is a syllabus in progress, imagined as part writing workshop, part American studies course on aesthetics. Comments and suggestions are welcome.

What I Did For Love: Taste, Evaluation, and Aesthetics in American Culture

“I don’t know art, but I know what I like,” goes the disclaimer. In this writing-intensive part-workshop, part-seminar, we will seek to unpack the relationship between “art” and “what I like” by examining a variety of cultural objects together with accounts of “taste.” What are the uses of an art that nobody likes? Could “annoyance” be an aesthetic principle? What is the role of money in taste? What are the ethics of aesthetics? Under what circumstances is an aesthetic pleasure “guilty”? When should the appreciation of art works be a matter of disinterested judgment, and when a matter of passionate engagement? Does “love” blind? What is the difference between a “fan” and a “critic”? What are the affordances and limits of the “formulaic” and the “generic”?

Four weeks of this course will be devoted to workshopping students’ critical writing, examining the roles of description, praise, blame, analysis, and enthusiasm in writing about culture. Students will also maintain a course blog. For the final assignment, students are encouraged to pitch their writing to an appropriately chosen publication.

Short exercise: choose a cultural object to describe as plainly as possible. About 500 words.

Essay 1: Describe some piece of culture (novel, film, painting, poem, music video, etc.) that you love, and that you also think is good. (These are two different things.) Explain why it is that you love the piece, what it is that makes it good, and how you can tell the difference (and under what circumstances you can’t). Be sure to explain what it is that makes art good in general—you don’t need to advance a fully developed theory of aesthetics, but you do need to unpack your assumptions as much as you can. Have an argument. This should be around 3000 words.

Short exercise: write a piece of fanfiction, about 1000 words, in the setting of your choice.

Short exercise: Make the case that some cultural object is a “remake” of another, earlier one (for example, that Pixar’s Toy Story is a remake of Disney’s Pinocchio). Be honest about the ways in which the claim does not hold up. In addition to noting similarities or lines of influence, you should explain what we gain from understanding the later object as a remake of the earlier one. 500–1,000 words.

Essay 2: Choose a piece of art and viciously pan it. Your critique should be utterly devastating, which is to say that you should be able to persuade your reader that this piece is a blight on humanity, and not merely that you are a mean-spirited person. This will be more effective if you resist choosing an easy target. 2,000–3,000 words.

Essay 3: Review some piece of culture that was recently produced—say, since January 2012. Give your reader a fairly thickly textured sense of what this piece is like, and explain what its successes and failures are. Once again, be sure to unpack what it means for something to “succeed” (in any register). What is the historical, cultural, or aesthetic milieu in which this piece is ideally legible? Make a point. This should be around 3,000 words.

Essay 4: Revise your review for publication in a venue of your choice. It may be print or online. When you submit this assignment to me, you should also submit a copy of the submission guidelines for this venue (to which your revised review should adhere) and a rationale (about 500 words) for choosing this publication. You are encouraged to actually submit the review to the publication you have chosen. (You might be interested in this [ ].)"
nataliacecire  culture  internet  web  reading  2013  johnkeats  robertfrost  petercoviello  aesthetics  beauty  guiltypleasures  thomasnagel  judgement  clementgreenberg  pierrebordieu  thorsteinveblen  barbarahernsteinsmith  tseliot  andrewlloydwebber  thewasteland  taste  class  williambutleryeats  josefalbers  difficulty  mariannemoore  siannengai  leonarddiepeveen  lawrencelevine  rosalindkrauss  popculutre  authenticity  criticism  gender  chinuaahcebe  appropriation  music  williamgibson  cuteness  commodification  marktwain  edgarallanpoe  lililoofbourow  christianbök  walterbenjamin  maryoliver  writing  syllabus  classideas  highbrow  lowbrow  kant  syllabi 
january 2014 by robertogreco
Ibraaz Talks: Trevor Paglen on Aesthetics | Ibraaz
"Ibraaz Talks is a series of specially curated conversations with artists, curators and writers. Participants are invited to respond to a particular issue or keyword that addresses formal and conceptual issues affecting both their personal practices and contemporary visual culture. Initiated at Art Dubai in 2013, this latest series was staged at SALT Beyoğlu during the opening days of the 13th Istanbul Biennial. In this talk, artist Trevor Paglen and Ibraaz Senior Editor Omar Kholeif ask the question: why aesthetics? The discussion considers the notion of aesthetics in the context of a practice that often deals with ideas of anti-aesthetics. The talk takes into account a project Paglen presented during the Istanbul Biennial with Protocinema titled Prototype for a Nonfunctional Satellite (Design 4; Build 3) (2013) – a 4-metre tall model for an orbital spacecraft, which considers how such a functional object might operate in a non-functional context."
ibraaztalks  trevorpaglen  2013  aesthetics  objects  function  art  anti-aesthetics  via:javierarbona  economics  politics  taste  relationships  class  inequality  time  mortality  space  satellites  immortality  elitism 
october 2013 by robertogreco
“It wasn't for me.” - Austin Kleon
"I’ve become fond of the phrase “it wasn’t for me,” when referring to books (music, movies, etc.) that I don’t get into.

I like the phrase because it’s essentially positive: underlying it is the assumption that there is a book, or rather, books, for me, but this one just wasn’t one of them. It also allows me to tell you how I felt about the book without me shutting down the possibility that you might like it, or making you feel stupid if you did like it.

It just wasn’t for me. No big deal.

And “me” changes, so when you say, “It wasn’t for me,” maybe it’s not for the “me” right now—maybe it’s for future Me, or Me lounging in a beach chair in Jamaica, or Me at fourteen.

Responding to art is so much about the right place and right time. You have to feel free to skip things, move on, and (maybe) come back later.

And you have to be okay with saying, “It wasn’t for me.”"
austinkleon  timing  taste  readiness  2013  filtering  kindness  criticism  haters  notforme  it'snotforme  itwasn'tforme 
september 2013 by robertogreco
Your Choice of Spoon Changes the Taste of Your Food | Smart News
"The next time you’re getting ready to eat, think carefully about what utensil you choose to dig into that tasty morsel. Researchers, publishing in the journal Flavour, showed that how we perceive food and even how we taste it, can be affected by the type of cutlery we use.

One of the food stuffs that researchers from the University of Oxford took as a subject was yogurt. And they came up with some  bizarre results. For example: yogurt was perceived to be denser and more expensive when eaten from a light plastic spoon, as opposed to a weighted plastic spoon.  

They also tested the effect of color on yogurt-eaters. White yogurt eaten from a white spoon was deemed sweeter, more expensive and denser than a similar yogurt that was dyed pink. When the subjects ate the pink and white yogurt with black spoons, the effects were reversed.

The researchers didn’t just limit themselves to a single dairy product though. They also tested whether the shape of cutlery would affect the taste of cheese and found that cheese tasted saltier when eaten off a knife as opposed to a spoon, fork or toothpick."
spoons  taste  ncmideas  2013  food  eating  utensils 
june 2013 by robertogreco
Subject, Theory, Practice: An Architecture of Creative Engagement on Vimeo
“Tell me to what you pay attention and I will tell you who you are.” José Ortega y Gasset

A 'manifesto' for the curious architect/designer/artist in search of depth, but in love with plenty, in the saturated world of the 21st Century.

"In a world where grazing is the norm, in which the bitesize is the ideal that conflates ease of consumption with value, where yoghurts are increased in sales price by being reduced in size and packaged like medicines, downed in one gulp; in a world where choice is a democratic obligation that obliterates enjoyment, forced on consumers through the constant tasting, buying and trying of ever more gadgets; a world in which thoughts, concepts -entire lives- are fragmented into the instantaneous nothings of tweets and profile updates; it is in this world, where students of architecture graze Dezeen dot com and ArchDaily, hoovering up images in random succession with no method of differentiation or judgement, where architects -like everyone else- follow the dictum ‘what does not fit on the screen, won’t be seen’, where attentions rarely span longer than a minute, and architectural theory online has found the same formula as Danone’s Actimel (concepts downed in one gulp, delivered in no longer than 300 words!), conflating relevance with ease of consumption; it is in this world of exponentially multiplying inputs that we find ourselves looking at our work and asking ‘what is theory, and what is practice?’, and finding that whilst we yearn for the Modernist certainties of a body of work, of a lifelong ‘project’ in the context of a broader epoch-long ‘shared project’ on the one hand, and the ideas against which these projects can be critically tested on the other; we are actually embedded in an era in which any such oppositions, any such certainties have collapsed, and in which it is our duty –without nostalgia, but with bright eyes and bushy tails untainted by irony- to look for new relationships that can generate meaning, in a substantial manner, over the course of a professional life.

This film is a short section through this process from May 2012."

This montage film is based on a lecture delivered by Madam Studio in May of 2012 at Gent Sint-Lucas Hogeschool Voor Wetenschap & Kunst.

A Madam Studio Production by Adam Nathaniel Furman and Marco Ginex

[via: ]
via:chrisberthelsen  joséortegaygasset  theory  architecture  cv  media  dezeen  archdaily  practice  nostalgia  actimel  marcoginex  2013  tcsnmy  understanding  iteration  darkmatter  certainty  postmodernism  modernism  philosophy  relationships  context  meaningmaking  meaning  lifelongproject  lcproject  openstudioproject  relevance  consumption  canon  streams  internet  filtering  audiencesofone  film  adamnathanielfurman  creativity  bricolage  consumerism  unschooling  deschooling  education  lifelonglearning  curation  curating  blogs  discourse  thinking  soundbites  eyecandy  order  chaos  messiness  ephemerality  ephemeral  grandnarratives  storytelling  hierarchies  hierarchy  authority  rebellion  criticism  frameofdebate  robertventuri  taste  aura  highbrow  lowbrow  waywards  narrative  anarchism  anarchy  feedback  feedbackloops  substance  values  self  thewho  thewhat  authenticity  fiction  discussion  openended  openendedstories  process  open-ended 
march 2013 by robertogreco
Algorithmic Rape Jokes in the Library of Babel | Quiet Babylon
"Jorge Luis Borges’ Library of Babel twisted through the logic of SEO and commerce."

"Part of what tips the algorithmic rape joke t-shirts over from very offensive to shockingly offensive is that they are ostensibly physical products. Intuitions are not yet tuned for spambot clothes sellers."

"Amazon isn’t a store, not really. Not in any sense that we can regularly think about stores. It’s a strange pulsing network of potential goods, global supply chains, and alien associative algorithms with the skin of a store stretched over it, so we don’t lose our minds."
algorithms  amazon  culture  internet  borges  timmaly  2013  jamesbridle  apologies  non-apologies  brianeno  generative  crapjects  georginavoss  rape  peteashton  software  taste  poortaste  deniability  secondlife  solidgoldbomb  t-shirts  keepcalmand  spam  objects  objectspam  quinnnorton  masscustomization  rapidprototyping  shapersubcultures  scale  libraryofbabel  thelibraryofbabel  tshirts 
march 2013 by robertogreco
I'll tell you mine if you'll tell me yours: Bad Taste True Confessions: Observatory: Design Observer
"His short essay struck a chord for me. Not only does he quote the key passage in Daniel Mendelsohn's "A Critic's Manifesto,"  the paragraph that explains how the best criticism works, by explaining the critic's thought process and then leaving it up to you, but I have been meaning to 'fess up in this space for some time.

As my children grow into their own tastes, some quite different from mine, I have started to recall my own early design assertions. I respect my parents the more for supporting my questionable choices. When I declared, at 10, that I was done with Marimekko and wanted instead sheets with blue roses (blue roses!) my mom went with it, going so far as to embroider matching pillowcases with an eyelet ruffle. If you know the adult me or my mother, you know we never ruffle. But she never let on. …

What came after the blue roses is perhaps more embarrassing: I loved Erté. Or really I should say, I love Erté. …"
ruffles  taste  criticism  design  art  romaindetirtoff  erté  marimekko  alexandralange  2012  allentan  guiltypleasures  from delicious
december 2012 by robertogreco
Learning How to Eat Like Julia Child : The New Yorker
Julia learned how to eat. She did not preserve and shelter her plain, perfectly good Pasadena palate by moving to France and then cooking there, then writing books. She let herself taste and smell differently. She took seriously the smells and rhythms around her, and noticed how they changed her perception—and she came to like them.
thinking  food  cooking  juliachild  noticing  taste  smell  observation  presence  hwotolive  howtolisten  howtonotice  children  curiosity  attention  2012  via:litherland  senses  seeing  feeling  tasting  smelling  touching 
august 2012 by robertogreco
russell davies: coming top at culture
"watching the telly and following twitter I thought I recognised something else happening - I thought I saw a generation realising that it was now Top at Culture. 30/40 somethings were suddenly seeing the stuff they liked, that they grew up with, was now the dominant cultural stuff. Their favourite things are now 'officially' mainstream, dominant culture. It's not alternative. It's it.

It made me think of Things Can Only Get Bitter and its hypothesis that a generation turned away from politics and decided, instead, to get good at culture.

It made me think of the global success of house music. It's so good and so overwhelming because it can absorb anything, any musical culture, in a way that rock never could.

It made me realise that the boomers have been gently elbowed aside. The sixties stuff was given a roughly equivalent prominence to Tiger Feet and Macca seemed a grudging concession to the grandparents; like playing some Mrs Mills at the end of a party…"
housemusic  music  politics  attention  taste  uk  generationx  genx  babyboomers  boomers  geektriumphalism  geek  geeks  dannyboyle  frankcotrell-boyce  timberners-lee  london  olympics  2012  culture  dominance  power  generationalpower  generations  adulthood  from delicious
august 2012 by robertogreco
The future will be confusing. Fasten your seat belts. - Do Lectures
"Chris, a designer and computer programmer, asks how computers will change your life, and what happens when technology and genetics collide. The answers are complex and  we may not want to know them. His talk created more debate in the canteen than almost any other."
technology  change  complexity  dolectures  computers  computing  future  chrisheathcote  23&me  taste  supertasters  senses  genetics  science  alfrednorthwhitehead  from delicious
july 2012 by robertogreco
Synesthesia: Can You Taste the Difference Between Sounds? | PRI's The World
"Audio extra: Test yourself, can you taste the sounds?

Oxford University psychologist Charles Spence studies human senses and how they interact. In recent studies, he had people smell wines and sample chocolate, and then match the different aromas and flavors to different musical sounds.

He found that people tend to associate sweet tastes with high-pitched notes and the sounds of a piano. People match bitter flavors with low notes and brass instruments.

Spence wondered if he could put this finding to use. Could he use music to influence what people smell or taste?"
music  flavor  theworld  audio  sounds  smells  smell  taste  jamespetrie  2012  daphnemaurer  charlesspence  senses  synesthesia  from delicious
february 2012 by robertogreco
(SL) DISTIN 15 (This is what happens.)
"Looking, really looking, at art (some might say seeing…feeling) is like this: It is like all the other really amazing things in life…You do it too much & you forget how good it can actually be…you become jaded. You don’t get enough & it is all you can think about—the good & the bad. Then, there is one photo…drawing…performance & you want to know all there is to know about it…It is a little bit like falling in love. It’s best, most exciting, when you don’t know why you like something…the thing you are looking at is something you might usually be inclined to dislike…But, with this, you cannot stop looking, cannot stop thinking. And so, in every other thing that you think about, talk about, read about, talk about, read about, you start to see it in all of those other things, whether or not they, directly, have anything to do with that thing you are suddenly, entirely, falling for…all of those other things have changed. And everything that you thought you knew is no longer the same."
rabbitholes  looking  taste  feeling  artappreciation  interestedness  interest  interests  thinking  howwelearn  evolution  understanding  appreciation  art  love  2011  passion  obsession  wittgenstein  change  yearning  learning  noticing  seeing  saradistin  canon  interested  from delicious
february 2012 by robertogreco
The Dangerous Effects of Reading | Certain Extent
"If the world overwhelms you with its constant production of useless crap which you filter more and more to things that only interest you can I calmly suggest that you just create things that you like & cut out the rest of the world as a middle-man to your happiness?
From where I sit creating things does the following:

Let’s you filter to something you like…Frees you…Makes you happy…Plays to strengths not weaknesses…

I can’t say it better than _why [ ]: "when you don’t create things, you become defined by your tastes rather than ability. your tastes only narrow & exclude people. so create."

If you quiet your mind & allow yourself to stop judging everything you will find that you have more potential for innovation (at work, in the kitchen…with your hobbies…your thoughts) than you thought before. You were using the same brutal quality filter on yourself that you used on viral videos, talk radio, and blog posts. You deserve better."
davidtate  cv  judgemental  stockandflow  reading  quiet  thedarkholeoftheinternet  taste  ability  leisurearts  production  consumption  filters  filtering  happiness  philosophy  self-improvement  creation  creativity  doing  making  glvo  judjemental  judgement  artleisure 
january 2012 by robertogreco
Eating Your Cultural Vegetables -
"For Lyra, just turned 6, this rapid-fire show is bewitching in its complexity — the epitome, she thinks, of sophisticated viewing. She watches “Phineas and Ferb” aspirationally, as a sort of challenge to herself. She’s trying as hard as she can to adopt the knowing, self-aware manner of story-watching that older children already have…<br />
My aspirational viewing is different in its particulars from Lyra’s, but we both embrace unfamiliar viewing experiences even though — or because — we struggle to understand them. We both yearn: Lyra to be 8 years old; me to experience culture at an ever more elevated level."
via:lukeneff  phineasandferb  aspirationalmedia  aspirationalselves  media  culture  sophistication  culturalomnivores  diversity  diversification  culturefatigue  taste  2011  tunnelvision  from delicious
july 2011 by robertogreco
Put This On • Sometimes people ask me about how I created my...
"Sometimes people ask me about how I created my little media empire. This is how.

Ira spent 20 years working at NPR before he started This American Life. Twenty years making mistakes, learning from them, thinking about what he’d do with his own show. When he started This Life, NPR turned him down. After 20 years. Told him to do it on his own. So he went out and won some fucking Peabodys.

The day Ira told me he enjoyed a particular episode of my stupid comedy podcast that I didn’t even know he’d every heard of much less listened to was one of the proudest days of my life. For serious.

And speaking of serious: SERIOUSLY, MAKE YOUR THING."
creativity  work  inspiration  tips  howto  iraglass  jessethorn  putthison  persistence  mistakes  learning  perseverance  hardwork  glvo  lcproject  volume  process  2011  making  doing  justdo  do  taste  potential  practice  deadlines  discipline  self-discipline  thisamericanlife  from delicious
april 2011 by robertogreco
Nokia: Culture will out « Adam Greenfield's Speedbird
"These are precisely the skills you need if you’re interested in dominating a global market in commodity communication devices, as Nokia did for the fourteen years of the Jorma Ollila era. But the company utterly failed to anticipate, understand or organize itself to deal with the critical thing that happened at the cusp of the Ollila-Kalasvuo transition. This was that you could no longer think of mobile phones as communication devices. You had to conceive of them as interface objects through which users would experience content and command functionality that ultimately lived on the network. … the value-engineering mindset that’s so crucial to profitability as a commodity trader is fatal as a purveyor of experiences. … It’s just not particularly wise to allow engineers to make decisions about things like product and service nomenclature, interface typography and the graphic design of icons … there’s nobody with any taste in the decision-making echelons at Nokia"
design  nokia  culture  mobile  business  apple  adamgreenfield  experience  decisionmaking  taste  management  from delicious
february 2011 by robertogreco
Jonah Lehrer's Head Case Column on Thanksgiving Overeating -
"In recent years, neuroscience has begun to solve the mystery of overeating. It turns out to have little to do with our taste buds, or even with our conscious desire for certain foods. Instead, the impulse to overeat depends on the pleasures of the stomach and intestines, which have an uncanny ability to detect the presence of calories. When we reach for that third helping of turkey, we are obeying the wishes of the gut, following a bodily desire that's difficult to resist."
food  eating  jonahlehrer  neuroscience  obesity  health  taste  overeating  from delicious
november 2010 by robertogreco
The Science Behind Why We Love Ice Cream (and Other Things Creamy) -
"A new genetic study shows that people produce strikingly different amounts of amylase, and that the more of the enzyme people have in their mouth the faster they can liquefy starchy foods.

Scientists think this finding could help explain why people experience foods as creamy or slimy, sticky or watery, and that this perception could affect our preference for foods. For the numerous foods that contain starch, including pudding, sauces and even maple syrup, what can feel just right to some people is experienced as too runny or not melting enough for others because they produce different amounts of the enzyme."
food  taste  texture  pickyeaters  psychology  vegetables  icecream  senses  genetics  science  diet  dna 
november 2010 by robertogreco
MAGIC MOLLY - Brain Wilson
"When you’re a kid, the fact that different people like different music is novel. Not the bare fact of it (duh) but the sheer scope of difference. I’d bet that a lot of kids reach the age of eight or so stubbornly believing that some music is objectively good (the Beach Boys) and some music objectively unlikeable (whatever Tipper Gore advocates) and some music aspirationally palatable (whatever older brother likes). Shedding this bewilderment happens whenever you realize that people select music based on all kinds of criteria and not just, say, catchiness. Some people want music that mirrors the contents of their brain; others want music to counteract their thoughts and feelings; some like to find analogues in music, and some (like me) reach for orderly obliteration—songs whose basic structure, audible lyrics and repetition acts like an atom bomb for the mind. So, still the Beach Boys! Or alternately, surf rock.""
mollyyoung  children  kids  preferences  perspective  perception  purpose  differences  taste 
may 2010 by robertogreco
The Curious Cook - Why Cilantro Tastes Like Soap, for Some - [ends with mention of cilantro pesto]
"smell & taste evolved to evoke strong emotions because they were critical to finding food & mates & avoiding poisons & predators. When we taste a food, brain searches its memory to find pattern from past experience that flavor belongs to. Then it uses that pattern to create perception of flavor, including evaluation of its desirability.

If flavor doesn’t fit a familiar food experience, & instead fits into pattern that involves chemical cleaning agents & dirt, or crawly insects, then the brain highlights the mismatch & potential threat to our safety. We react strongly and throw the offending ingredient on the floor where it belongs.

“When your brain detects a potential threat, it narrows your attention. You don’t need to know that a dangerous food has a hint of asparagus & sorrel to it. You just get it away from mouth.”

But he explained that every new experience causes the brain to update & enlarge its set of patterns, & this can lead to a shift in how we perceive a food."
genetics  food  cilantro  recipes  taste  smell  edg  srg  glvo 
april 2010 by robertogreco
Sci-Fi Hi-Fi: Weblog: Ambient Recommendation
"I think the reasons these more casual recommendation and discovery methods work better for me are 3-fold: 1. They allow me to employ my fuzzy, intuitive perception of peoples’ broader personality and taste to determine how likely I am to like the things they like (I thought the person on Brightkite looked cool, so I trusted her taste; I think my friends are cool, so I trust that new stuff I see them playing will be interesting to me). 2. They aren’t explicitly recommendation systems, but rather allow people to implicitly recommend things just by going about their normal business (someone likes a web page so they post it to Delicious to remember it later, the hipsters at Frankies like Gene Clark so they play his music while they work and I hear it incidentally). I think people are more likely to participate in this kind of system than one where they are expected to formally recommend things. 3. They don’t require me to narrow what I’m looking for by overly specific criteria"  design  learning  social  recommendations  brightkite  yelp  flickr  ubicomp  iphone  community  portland  oregon  travel  taste  discovery  serendipity  seach  ambient  inspiration  perception  intuition  interest 
december 2009 by robertogreco
the complications of examining other people's privilege (which maybe you're conferring upon them in the first place) - a grammar
"These two things — the accidental conferral of privilege upon the things that you just happen to privilege, and the endless eye-rolling of educated middle-class kids against other educated middle-class kids as too bourgeois and unresponsive to others — they strike me as going together, really. I wish I could say something more profitable about it than just pointing out a few gaps in the logic, but I suppose that’d run even longer than this post. For the time being, I’d like to be clear that I’m not sure how much I’m disagreeing with anything said here, or really “calling out” Sady or bmichael on anything — just noting, just observing."
class  society  perspective  privilege  taste  music  middleclass 
december 2009 by robertogreco
further to the previous posts, just a thought - a grammar
"musical taste is not just about music, & that this is a good thing. This has always struck me as one of the things that’s interesting about pop music, especially when you think about it in a sort of teenaged sense — the way our tastes & affiliations are informed by, or even trying to express, things about us. Where we fit in. Whose side we’re on. Where we stand on issues of style & culture & the politics of just being a person who likes things. When it comes to adults & music critics, though, this tendency can get out of hand; it can abstract itself & spin off to a level where we are only just barely using the mere pretense of music to air grievances about other things entirely....sometimes it can be way easier to start complaining about how everyone else around is boring & predictably middle-class and blinkered and insular than it is to admit that on some level you are choosing this environment, & that there are reasons you choose it instead of another one."
music  taste  class  politics  via:russelldavies  criticism  posturing  identity  society  teens  human  behavior  style  culture  middleclass  bourgeois 
december 2009 by robertogreco
Study: When Soda Fizzes, Your Tongue Tastes It : NPR
"Every time you crack open a soda and enjoy a bubbly concoction, you can thank your tongue's sour-sensing cells for helping you get the full experience of a carbonated beverage.
taste  carbonation  sour  seltzer  food  drink 
october 2009 by robertogreco
In Kenya, Tea Auction Steeped In Tradition, Gentility : NPR
"Companies blend the teas they buy at auction according to elaborate recipes. Indian teas provide heft, Sri Lankan teas bring flavor, & African teas bring color and strength. But the only way to know that is by tasting manufactured tea in its purest grades — and that means high-volume slurping. Muchura's taste buds are highly refined. In his tasting room is a line of no fewer than 75 cups of different teas in different grades. Muchura, dressed in a white chef's apron over understated blue trousers and a beautifully laundered Oxford shirt, has the look of Old Money, but he's kicking around the biggest spittoon you ever saw. "The concept of tasting is you're breathing it in, so you smell it through the mouth by sucking it in," he says. "Then you swirl it around your mouth and then you spit it out. But that exercise is not very attractive." Aside from the taste, Muchura also takes note of what the tea looks like in a white cup: an orange hue is good, but a greenish one is not."
tea  kenya  taste  markets  economics  demand 
september 2009 by robertogreco
Tea Taste Test
"As scientists, we know that the most effective way to get reliable information is to design a method of systematic measurement. When systematic measurements are combined with interesting comparisons we have a scientific experiment.
science  testing  tea  taste  drinks  experiments 
july 2009 by robertogreco
The Miracle Fruit, a Tease for the Taste Buds -
"At flavor-tripping parties, guests find that miracle fruit makes everything sweet." see also:
food  brain  biology  taste  fruit  science  via:kottke  flavortripping  flavor  todo  classideas  fun  chemistry  plants 
may 2008 by robertogreco
Grape expectations - The Boston Globe
"lesson of experiment is that our experience is end result of elaborate interpretive process, in which brain parses sensations based on expectations. If we think wine is red, or that certain brand is better, we will interpret senses to preserve that beli
psychology  brain  perception  wine  taste  expectation 
february 2008 by robertogreco
This American Life 110: Mapping
[new link: ]

"Five ways of mapping the world. One story about people who make maps the traditional way—by drawing things we can see. And other stories about people who map the world using smell, sound, touch, and taste. The world redrawn by the five senses."
art  artists  cartography  maps  mapping  stories  storytelling  visualization  nyc  brooklyn  observation  audio  geography  deniswood  senses  touch  smell  sight  vision  taste  sound 
november 2007 by robertogreco
Artichoke: A curriculum of smells and tastes
"It makes me wonder about the sensory deprivation of our students when so much of their learning comes from interacting with a screen...It makes me wonder if instead of a curriculum of questions we need a curriculum of smells and tastes."
food  taste  smell  senses  slowfood  children  learning  ict  computers  technology  education  schools  lcproject  comments  participation  artichokeblog  pamhook 
september 2007 by robertogreco
In Praise of Chain Stores
"They aren’t destroying local flavor—they’re providing variety and comfort"
business  taste  capitalism  consumerism  culture  development  fashion  geography  restaurants  shopping  society  style  us  retail  stores  chains 
december 2006 by robertogreco
Why does orange juice taste so bad after brushing your teeth? :: ABC Gold &amp; Tweed Coasts
""It's because of a certain ingredient in toothpaste called sodium laurel sulfate. It actually blocks sweet sensors. All the other taste bud cells in your mouth are firing away nicely, but the receptors which pick up the sweet sensors are not working anym
science  food  taste 
october 2006 by robertogreco
Copy What You Like
"It can be hard to separate the things you like from the things you're impressed with. One trick is to ignore presentation. Whenever I see a painting impressively hung in a museum, I ask myself: how much would I pay for this if I found it at a garage sale
writing  essays  philosophy  thinking  advice  art  literature  taste 
august 2006 by robertogreco

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