#foodscaping

[macroglossus]

You're the only person ever to have played the PS2 ratatouille as well that was my favorite game as a child

YES it was so good. we must unite in appreciation for quality media

[giuseppeboiardi]

Maccheroni, what alse.

[kratobb]

Thirsty thirsty for Thai food #thaifood #streetfood #foodie #foodscape #foodporn #yum #breakfast (at Bangkok, Thailand) https://www.instagram.com/p/ClCw6nVvMCg/?igshid=NGJjMDIxMWI=

[sheltiechicago]

“Foodscapes”

“FOODSCAPES is an aerial component of my Feed the Planet project, which aims to comprehensively explore the global food supply and address the increasing challenge of feeding the growing human population, projected to reach 9.7 billion by 2050, without further encroaching on natural lands. Gaining a deeper understanding of food production and its environmental impacts is crucial for making informed decisions. To accomplish this, I utilize professional drones to capture elevated perspectives, as they offer the most effective means of showcasing the immense scale required to sustain the entire human population.”

by George Steinmetz.

2023 Drone Photo Awards

[rafagomo]

La comida es un medio para hablar de espacios e infraestructuras

Photo: Pedro Pegenaute [Originalmente publicado en Bauwelt 11.2023] Bajo el título FOODSCAPES, el pabellón español presenta un examen del contexto agroarquitectónico y analiza los pasos necesarios para poner comida en el plato. Entrevista a Eduardo Castillo-Vinuesa, quien co-comisarió el pabellón con Manuel Ocaña. ¿En qué consiste FOODSCAPES — estáis cultivando hortalizas en el pabellón de…

[dlyarchitecture]

[edgargonzalez]

FoodScapes [Pabellon de españa Bienal de Venecia 2023]

El Pabellón de España en la 18ª Exposición Internacional de Arquitectura – La Biennale di Venezia presenta FOODSCAPES, una exposición comisariada por Eduardo Castillo-Vinuesa y Manuel Ocaña. El proyecto explora cuestiones globales relacionadas con la forma en que producimos, distribuimos y consumimos alimentos. La exposición incluye un proyecto audiovisual de cinco películas, un archivo de…

[gerardbillet]

Les Choses : Une histoire de la nature morte : Hubert Duprat : Volos (hache néolithique), Cairn de Gavrinis : Haches (3500 av. J. C.), Italie, Pompei , Squelette avec deux cruches a vin , Italie, Faenza, Chauffe-main en forme de livre, Joachim Beuckelaer : Marche aux poissons, Erro : Foodscape, Henri Matisse : Nature morte d’apres «  la Desserte » de Davidsz de Heem, Marines Van Reymerswalk : le collecteur l’impôts, Esther Ferrer : Europortrait, Juan Sanchez Coton : Fenêtre, fruits et legumes. #louvre #louvremuseum #leschoses #unehistoiredelanaturemorte #herbertduprat #volos #hachenéolithique #cairndegavrinis #haches #italie #pompei #squeletteavecdeuxcruches #faenza #chauffemain #livrefermé #joachimbeuckelaer #marcheauxpoissons #erro #foodscape #henrimatisse #naturemorte #ladesserte #davidszdeheem #reymerswael #lecollecteurdimpots #estherferrer #europortrait #juansanchezcotan #fenetres #fruitsetlegumes (à Louvre Museum Paris France) https://www.instagram.com/p/CmMp53ZruVz/?igshid=NGJjMDIxMWI=

[transmutationisms]

whats wrong with obesogenic environment theory? what's the alternative?

[gothhabiba]

The Golden Arches, internationally recognised symbols of American corporate might and cultural diffusion, became in March 2002 the target of young Egyptians frustrated with what they perceived to be America's complicity in the onslaught of Israel's Prime Minister, Ariel Sharon, against the Palestinian Authority. McDonald's was not the only foreign establishment to suffer broken windows; photographs circulated on the web also included images of a similarly vandalised KFC restaurant in Cairo. Still, none can deny the special place held by McDonald's in the global fast-foodscape. In Egypt, the targeting of the Arches is particularly interesting, as it follows on the heels of a controversy that cut to the very heart of intersections between indigenous and imported mass culture, and popular, if somewhat disreputable, music was at the epicentre of the commotion.

A year earlier, the fast-food giant found itself compelled to scrap a remarkable advertising campaign designed to promote a new, indigenous product. [...] [E]fforts to market an Egyptian national dish became enmeshed directly with Middle East diplomacy—and its breakdown—through an ill-fated effort to link an 'authentic Egyptian' product to an 'authentic Egyptian' pop singer. The very attraction of that singer from a marketing standpoint lay in his recent recording of a potent political anthem which had quickly become a smash hit in Egypt's informal popular music sector.

In the spring of 2001, at the height of his career, veteran shbi singer Shaaban Abd al-Rahim suddenly discovered that his television advertisement for the new McFalafel had been cancelled, reportedly following complaints from the New York-based American Jewish Congress over the corporation's use of the singer to promote its product. This cancellation was a response to Shaaban's recent blockbuster hit, 'I hate Israel' (Ana bakrah Isra'il [أنا بكره إسرائيل]), a pulsating rap number that had made him, after some twenty years of steady work at the lower end of the wedding circuit, a figure of national renown, the anointed 'interpreter of the pulse of the Egyptian and Arab street' (Abd al-Hadi 2001, p. 39). Even more incongruously it had made him a figure to be courted, albeit not always with great appetite, by the cultural and artistic intelligentsia that had heretofore scorned him.

The story of Shaaban Abd al-llahim, his smash hit, and the McDonald's fiasco raises a variety of questions about the relationship between popular 'folk' music and official culture in Egypt. It points to the thriving popularity of a quasi-legitimate 'cassette culture' (Manuel 1993) in a broadcast market that is still rigidly controlled by state authorities and, perhaps even more, to potent political expression at the edge of sanctioned propriety (Gordon 2001). In addition, it points to the changing world of corporate sponsorship in an ever more globalised national economy, and the changing relation of art/artist and song/singer to the fast moving world of advertising. The contest over sponsorship of this particular product—McFalafel—points to the persistent power of national symbology, especially culinary and musical tropes, even if the former has, in this case, been constructed by the extra-territorial multi-national fast-food chain, and the latter co-opted to promote the product. Finally, the very deliberate turn to a singer like Shaaban Abd al-Rahim for product sponsorship, especially for a commercial to be broadcast on state-run television, underscores weakening boundaries between what is 'classically' approved and what is still considered to be 'vulgar' or 'low-class' music, however popular it may be among wide sectors of the population.

—Joel Gordan, "Singing the Pulse of the Egyptian-Arab Street: Shaaban Abd Al-Rahim and the Geo-PopPolitics of Fast Food." Popular Music 22.01 (2003), pp. 73-88.

[venusinsilk]

Reading a book about these American food writers in France in the 70s and most of them are kind of bitchy and take themselves super seriously and a couple of them are frenemies.... they have passive aggressive debates about wine and food and try to feel superior to one another, insufferable behavior bug the discussion around food and the changing American foodscape is interesting

[infantisimo]

†††††

[docholligay]

The Food of a Younger Land: The WPA's Portrait of Food in Pre-World War II America

I am a big fan, anyhow, of Kurlansky's work, I think he manages to thread the needle of being easily readable 'pop history' for people who aren't into academic reading, without drawing insane and ahistorical conclusions that rival a part-skim mozzarella for the stretch. I recommend pretty much any of his books that I have read, and he is probably my favorite food historian currently working. I don't know that I can recommend in this on the strength of Kurlansky's work, and it might be fair to say that even if you loved Kurlansky's other stuff, this might not be for you. Instead of a through-line about one item of food, it is actually a rescuing of an old WPA project that was nearly lost time, that examined foodways in America before WWII, which dramatically changed the American foodscape forever. These foods were highly regionalized, specific, and much contested between regions less than 100 miles apart. It's an America we wouldn't even recognize. That he got admittance to these old records, went through them, and edited them into a collection that provides this kind of illumination for food nerds is so exciting for me. He's put together an idea of what the foodscape might have been like before all the changes to American food, while acknowledging the troubled and scattered nature of the project. Loved this book as a food history nerd, but might not be for everyone.

[todrobbins]

FOODSCAPES trailer from FOODSCAPES on Vimeo.

[ncisladaily]

@every_day_action - Last week our Co-Founders Hillary Cohen and Sam Luu attended @lagoodfood's Foodscapes event bringing awareness to food insecurity across Los Angeles. 👏🏼