Innovating Chips

The enormous amount of energy, analysis, and investment that goes into such a mundane experience. What I find interesting is the role of the chef – that there is, behind all the artifice, an ideal image, a “real” referent: the ultimate buffalo wing or loaded potato skin. That there is some archetypal “gold standard” established/constructed at all.

Makes me wonder, did Baudrillard write anything about food and simulation / simulacra?

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Tania Bruguera – Tatlin’s Whisper #5

“This is the fifth piece of the series Tatlin’s Whisper which examines the relationship between apathy and anaesthetization of the images in the mass media. This series intends to activate images, well-known because of having been repeatedly seen in the press, but are here decontextualized from the original event that gave way to the news and staged as realistically as possible in an art institution. The most important element in this series is the participation of spectators who may determine the course the piece will take. The idea is that next time spectators face a piece of news using similar images to those they experienced, they may feel an individual empathy with that distant event towards which they will normally have an attitude of emotional disconnection or informative saturation.”

Read more on Tania Bruguera’s website.

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Pynchon’s Blue Shadow

From the NY Review of Books, a review of Inherent Vice vis-a-vis the film adaptation, written by Geoffrey O’Brien. Never finished Gravity’s Rainbow, but inspired to give it another go. Or at least add this to my Netflix queue.

 

From the start—framing its opening exchanges in close-ups as if in the middle of a scene—the film has an intimate, off-kilter tone that manages to coexist with all the extravagant comedy and visual grotesquerie. It is not a question of shifting moods but of the bizarre fusion of seemingly contradictory moods into some not quite identifiable state of mind, a condition quite compatible with the wrenching extremes of attitude and comportment that might be commonly encountered in California in 1970. Anderson was in fact born that year, but he channels its atmosphere—its sense that everything has just been freshly reinvented and is already starting to fall apart—with the same mediumistic certitude he brought to other eras in Boogie Nights and There Will Be Blood and The Master. Inherent Vice takes its place in what is emerging as an inner history of California and by extension of America.