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tristanlovesthequeen · 3 years ago

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Something Smart

Tristan Arcelona

Claire Daigle

Minding the Canon HTCA-502-01

11/30/16

Artist as Purveyor of the Contemporary Landscape

The first time I saw a representation of Salvador Dali's “The Persistence of Memory” was in a cartoon on Nickelodeon called “Tiny Toons.” I forget the exact scene but somehow this image stayed with me and has pervaded popular culture since its inception. Dali first came up with the idea during a after a dinner party with his wife, Gala and some artist friends. After dinner the group decided to go to the cinema and Dali decided to hang back. He sat at the head of the table observing a loaf of Camembert cheese and pondering the super soft texture of it. He sat down and began to work at the painting. It was almost complete upon the return of his wife. Upon seeing it she proclaimed that it was a sight impossible to be unseen.

The simplicity of the initial concept of soft cheese was then taken to the next step through Dali's hyper paranoiac conceptualism and then taken even further by art critics, theorists, and historians who believed it had to do with Einstein's theory of relativity. Later on in Dali's career he began to paint about this topic, with the advent of nuclear physics and string theory, molecular structures and DNA mapping. This is an instance of artist creating a brand, and the symbiotic relationship between the supply chain and the demand creating new technologies, hybridized paintings, and advancement in concept. Dali drifted between faith systems his entire life, finding sources of inspiration and exploring them, sharing his findings and experiments through the medium of art. What started as landscape and portraiture evolved into impressionism then cubism and then his most famous surrealist stage. This period explored the concept of dream reality and meaning of dream symbols which directly connected him to the theories of Sigmund Freud. When criticized by fellow surrealists as purely a commercial painter, he denounced surrealism, needing only his wife Gala. He lived a life in the spotlight through wars, moving from Europe to New York and back again. He progressed the ideas explored in surrealism to scientific theorems and in the tail end of his career he became more of a faith based painter.

Sometimes the mythology of a painting's creation is more interesting than the painting itself. It's reputation precedes it and therefore it achieves high levels of fame. One such painting is “Dance at the Moulin de la Galette” by Renoir. The Moulin de la Galette was a popular dance hall/ bar/ restaurant for the impressionists to meet in Montmarte Paris, France during the late 1800's. Pierre Auguste Renoir had a studio nearby. Legend has it that everyday he would carry the canvas with a friend down to the Moulin de la Galette and set up his easel.

Renoir leased a studio at 12 Rue Cortot, in April 1875. It came furnished and had two floors, where he lived with his brother. He made several studies at the Moulin de la Galette. Renoir's civil servant friend Georges Riviere writes how friends helped carry the canvas back and forth “We would carry this canvas every day from the rue cortot to the moulin, because the painting was executed entirely on the spot. This was not without difficulties, when the wind blew and the big canvas threatened to fly away like a kite over the Butte.” (pg. 64)

Renoir used his friends and acquaintances from all walks of life as models. He had a favorite female sitter, whose name was Jeanne and was sixteen who refused the main role in the painting but appears later in life as the main character in “The Swing.” Instead, her sister Estelle models the pink and blue ribbon dress.

Renoir went through a period in his life where he and his fellow impressionist compatriots were penniless. Renoir combated this period in his life by writing letters to friends asking for money, also by staying with fellow artists such as Monet. It seemed the impressionist vision was fading with the salon show actually losing money and his artist group parting ways. His main gallerist Durand-ruel closed his London location and it seemed that all was lost. Famished, Renoir started painting portraits and with a stroke of luck and genius, he was able to make the acquaintance of one of Duret's friends Deudon, who was a wealthy lawyer and owner of a clothing store Old England. Duedon comissioned him to paint a mural in his estate, a portrait of Madame Duedon and five of his finished pieces.

This granted Renoir passage to build upon what he had been pursuing with his portrait studies to create the symphony of motion and light that we know as Bal du Moulin de la Galette. After exhibiting, he was able to land several published reviews as was the style at the time. However, instead of advancing his process and concept, the reviews were mostly negative, 2/6 were favorable.

Most of Renoir's paintings are figurative, all signifying spacial pictoral depth. Some are landscape. Now they seem highly unoriginal, the best part about them being the color and motion of brushstroke. His model choice changed slightly over the years, yet remained mostly young white women, beginning with light red hair and progressing to black. He undeniably had a type, at his worst remained a blank, doll-like expression. Even in the Bal du Moulin de la Galette, his most populated painting, it looks as though the main female model repeats over and over as though she were dancing with her clones. However, he combats this with the dappled shadows from the overhanging branches, the representation of the contemporary styles of the time, and the bright and sunny disposition of all the participants of the scene. One cannot help but feel nostalgic for a period that would not have existed if the Impressionists had not imagined and created it.

Advance time about a hundred years or more and we find Bruce la Bruce's movie Super 8 1/2. This movie is a mockumentary based on a queer fetishistic porn producer's life and work. Things have changed since the 90's, with the advancement of the internet interrupting basically every aspect of our lives. Porn is everywhere. This movie is reminiscent of John Waters' tongue in cheek reality. The stars are not perfect right wing citizens, they are “underground” and rife with problems, and we see how very real they are. The main character takes after Andy Warhol, he has taken to alcoholism and lives in a dingy room with aluminum colored space blankets on the walls. He is always in a state of heartbreak and his relationships with his costars are argumentative and violent.

Googie is an adventurous porn producer who finds her subjects in mysterious ways. She finds a lesbian couple hooking up in a graveyard and casts them as her new stars. A confessional interview shows them talking about their threesomes with strangers and hatred for hetero cis men. They like to “fuck them, and fuck with their minds.” Wednesday and Friday describe going into clubs with a pair of scissors and cutting off straight men's ponytails. They aren't serious strippers, they are quirky and take their sexuality and dancing with a slight humorous bend.

The stars are full of themselves and obsessed with fame. Their egos cause them to blow up in violent outbursts at each other and exploit each other. The difference between Bruce la Bruce's porn and every other run of the mill porn filmed in New York or the valley, is that these stars have been given credit for being avant garde art stars. One such plot is Bruce driving an old Jaguar down a a desolate country road and hitting a hitchhiker. He gets out of the car to check on the man who he has hit and ends up getting a blowjob when he regains consciousness. The movie concludes with the stranger throwing up on the side of the road and Bruce hopping back in the car and driving away.

A movie directed by Googie and starring Wednesday and Friday, the two lesbian “sisters,” pictures them holding a man up with a WWII army beretta, lubing up his rear and shoving the covered pistol in his behind. They finish him off by stripping him bare in the brush, powdering him and equipping him with a diaper.

The movie is a black comedy. Visually it is devoid of colour. Needless to say, it is weighty in its stark portrayal of a scene that is hardly ever represented in the main stream without being over glorified. It is an industry, much like the meat industry, that remains invisible in its process, yet is pervasive throughout history, since the dawn of photography. It has it's parallels in the art scene, with painters and photographers alike representing models who may or may not have participated in porn shoots. The credit goes to the artist usually, with the model being a conduit to his concept, and it is impossible to see how much the subject actually contributed to the process and final image.

Eventually we see Bruce's participation in the industry drowning him in sorrow. He stumbles around the courtyard of an insane asylum in black doc martens, white pants, and a white straight jacket. He has been exploited to no end, what was supposed to save his career, the interviews and collaborations, actually detrimented from it. His friend describes him as losing touch with reality, blurring the line between his movies and his waking life. We see him shellshocked on camera dropping a line of infinite wisdom and rebuking it, attempting to cover his tracks, rephrasing it as if it can be edited out of the space time continuum.

The film is filmed in low-fi black and white with almost no budget. Needless to say, it is an art film. It documents a sub culture that concerns itself with a subversive beauty, that the mainstream is dangerous. It takes hard work no matter what you do, whoever said being a pornstar is easy? We see the image of a young black man on a benchpress, the director condemning him for not being able to get it up, that he has had “Three fluffers already.” That the price of fame might be the price of your mental well being, that the more one departs from mainstream society the more danger one welcomes into their personality. That somehow being beautiful and volatile gives you control over others, it creates a desire in them to do your will. However, it is only tolerable for a short period of time. Misery loves company but it also attracts a certain type of self aware genius. We are only comfortable with our avarice in the midst of a reflection, and when that reflection starts to change we are disgusted and need to move on. We accept that life is hard and must accept the most gruesome of challenges because our ability to tolerate and moderate these events bring us a sense of personal satisfaction, the sense of grit to survive. The fear always lies with our insecurities. When will this life bring me under? How much is too much? In this industry, pain and substance abuse go hand in hand. In theory, the dampening of the limbic system allows us to surpass the constant onslaught of painful memories. What is actually happening is quite the opposite. How one chooses to combat these issues or feelings depends on a personality type or a type of abuse someone has endured in the past, whether it was mental, physical or sexual. Occasionally people attempt to welcome back this type of abuse into their lives, they put themselves in situations that repeat or glorify an abusive situation and it becomes a cycle without rebirth leading to their ultimate destruction and downfall. Given the right willpower, resources, and technique one can break this cycle. Life is not without pitfalls and setbacks, but only if we take them that way. This can lead us further into space or further equip us to deal with life has to offer us.

Ultimately society was not built to do us any favors. The kind of free sexual rebellion that this movie introduces is somewhat refreshing somewhat stale. It shows us that this behavior might not land us in prison, but might lead us to a sort of mental exile where we feel alien to the world. The world has offered us an escape from mainstream only to find that we are caught in another mainstream. Crimes against humanity are rampant wherever we go and it is not until we accept them as part of our culture that we find any release.

Tony smith created the steel sculpture “Die” in 1968 with the intention of representing the “square root” of six. It is literally six by six feet, metaphorically representing death by being six feet deep and a six foot box. It is brooding in its intentionality, also seems to be a means to an end goal of traveling to New York. The NGA describes the piece as “embracing the heroic and humanistic attitudes associated with abstract expressionist art of the 1950's,” however I would describe the movement as one filled mostly with a sense of white male machismo. How could he have not noticed the gigantic black cube in the middle of Jerusalem called the Kaaba which houses the holy book of the Q'uuraan? Millions of people flock to the religious site each year to pay homage to the prophet Muhammad. Arguably, this is an even larger homage to organized religion and the prowess of another man of a separate ethnicity. Both cubes are homages to death, one is immensely popular and other remains a mirror of a small dying culture, we shall presume the reader knows which one is which.

Sometimes art is less conceptual as a metaphor for what is already present in life, and turns into a science project that invigorates the future of materiality, which is what all visual art media is based. Traditional materials are often decided by trends in the economy, sudden turns of fate determine which path is chosen and which materials will become the new norm. What replaced the steam engine with the gasoline powered motorcar and what replaced paper made from trees instead of hemp, was usually a rich investor that decided it was easier to pollute than to create something that is sustainable and equally as useful. What we have now is a bunch of overworked, underpaid employees that are just as polluted in their minds as the environments lakes and rivers.

Iris van Herpen is a designer that falls into a new genre of material futures. Material futures deals with finding a category of unsustainable or overused materiality, whether it be, organs, meat that we eat, or clothes that we wear. She creates new fabrics that are produced using 3d scans and furthermore printed and stitched by hand and machine to create designs reminiscent of HR Giger meets fairy princess, Hufflepuff meets Slitheryn in Harry Potter fan lore. She is conducting science with the touch of a skilled wizard, producing new leather from cow cells and lightweight fabrics lighter than silk. This technology continues to progress around the world. Her theory is not that we should be creating new wearable technologies that are stylistically unsound, meant to connect us to the outside world without bringing anything new to the physical realm. Her textures and textiles connote that we can represent how we feel and what we have experienced through a suit that we wear. 3D printing is becoming more accessible, to the point that people could do it “if they could only find the time.” If Iris van Herpen ever becomes mainstream we might not find the time to leave the house in the morning, staring at our reflections, robing and disrobing again until we can find the right form to describe our ever changing mood.

As it so happens, Iris van Herpen interned for Alexander McQueen, a famous English fashion designer who has died but his name still rings on. Before his death in 2010, he put together a show called VOSS, in which models were to reenact the mentality of being in an inpatient unit. Models shaped like gazelles stumble around in high heels looking posh and sleek with some sort of headdress that looks as though they have strapped pantyhose to their heads. Kate moss fumbles at the walls, which, are double sided mirrors, the audience can see in but none of the models on the runway can see out. The models, while nice to look at, sporting some amazing designs by McQueen, are perhaps not the most interesting part of the show. The climax comes, as the large rectangular rhombus in the center of the room comes crashing open, glass shatter and butterflies spread everywhere, fluttering about in the light. The main character, unclear whether she is the protagonist/ antagonist, reclines nude inside the cube, sporting a gas mask with concord wings a precursor to a character in Mad Max Fury Road.

It just so happens that this model is Michelle Olley, a London based writer and magazine editor who specializes in culture. She was a key figure in queer and fetish culture in the 80's and 90's and has since hopped around from job to job and now works as content manager for Turner Broadcasting's Adult Swim. On her blog, she describes the experience of being involved in the project. The all around stress she was under and the real life torture she felt being kept in the box.

“If it weren’t for yoga I’d be in absolute agony by now. I can’t move much because moving breaks wings; my lower leg is dead after about twenty minutes on the chair. I’ve got at least an hour and a half alone in here, and that’s if the show starts on time, which of course they never, ever do. After about another fifteen minutes my right shoulder, which is leaning on a cushion, starts to ache. I’m clutching onto Stephen’s best scalpel—which I need to slash open the butterfly net that contains 250 live moths and butterflies. I’m holding the net in my other hand trying to keep it still so I don’t disturb them. The radio earpieces are throbbing—they’ve been hurting since they wrapped the bandages round them. It’s not too bad in the mask. I can breathe OK. The temperature is awful, though. They need to keep it cold in there so that the moths will remain still/placid. Cold air is being piped in, as when the lights go on at showtime, it’s going to get really hot. The cold air is giving me goose bumps and making the glue/moth parts all around my body really itchy. My head’s hot, my body’s freezing. Time to test whether they really are listening at all times. I ask Anna to turn off the air con and they agree to give it a rest for ten minutes. I have no idea how long it took to shut it off or low long it was off for, but it wasn’t enough. Before I know it, the pipes are blowing again—sending another flurry of broken wings and antennas off me and I’m shivering. Anna tells me they’re running about twenty minutes late (it was about an hour to the official start by this point). By this stage I have no idea how long I’ve been in there, or how long I have left. Time has ceased to be quantifiable. I’m too focused on not thinking about my discomfort, not getting emotional, saying warm and not thinking about the fact I was busting for a pee. I just wanted desperately to get it over with. Sometime later Anna calls to say it would be another fifteen minutes on top of the twenty (“We’re waiting for Gwyneth, who’s stuck in traffic”). Bring. It. On. Before getting in the box, I’d seen all the names on the chairs through the two-way mirrored glass. Paltrow was at my feet, next to Nick and Charlotte Knight; my backside was right to Isabella Blow, Grace Jones, Sharlene from Texas and Ronnie and Jo Wood. Could they tell I was hatching a radio mic? I’d also spotted Tracy Chapman, Tracey Emin and Jake Chapman’s names on the chairs. My early comment about “doing it for art” was coming true in an unexpected fashion...

No, it’s the art thing again. I want people to know what I just went through wasn’t a breeze and I did it for art. Yes, art. Because I believe it’s worth going through that much palaver if it creates a strong image that conveys an important idea. And I believe that the idea that we are trapped by our “civilized,” socially approved identities is massively important. It causes women so much suffering. Fear of aging, fear of not being thin enough. Fear of not having the right clothes. Fear of our animal natures that we carry in our DNA—fish, bird, lizard, insect, mammal. We’ve never had it more techno, we’ve never needed it more human. We humans living now still cannot turn ourselves into perfect beings, no matter how long we spend at the gym, beauty parlour, shops, etc.”

Sometimes it takes a whole orchestra of behind the scenes folks to get a project realized. Sometimes it is only a handful of people who receive the credit for a massive undertaking such as this. Why is Tracy Chapman still relevant? Because she is involved with the culture. And when all is said and done, however equally distributed the pain and strife of the work that was completed, we still live in a world where Benjamin Franklin is accredited with the discovery of electricity. Perhaps McQueen would have not felt so weighed down by the responsibility of stardom if the attention received for such a project was distributed with more equity. Michelle Olley still learned a valuable lesson in body image from the experience of participating in the project, so it seems that process can be the most important part of creation.

Haruki Murakami writes in his novel Kafka on the Shore, “That’s why I like to listen to Schubert while I’m driving. Like I said, it’s because all the performances are imperfect. A dense, artistic kind of imperfection stimulates your consciousness, keeps you alert. If I listen to some utterly perfect performance of an utterly perfect piece while I’m driving, I might want to close my eyes and die right then and there. But listening to the D major, I can feel the limits of what humans are capable of—that a certain type of perfection can only be realized through a limitless accumulation of the imperfect. And personally, I find that encouraging.”

Contemporary art seems to operate solely upon this concept, that there are continuous builds based upon the notion that everything here is imperfect. Competition is based on this nodule that human kind has something to prove, that there is somehow something better to be strived for. Competition within contemporary art pushes boundaries of what is conceptual, accepted, what element of art history the piece is derived from, and what new materials can be used. Since there is no purpose in striving for perfection, it eliminates the competition within the art world. What is left is abstract free flowing ideas. Competition in the art world, it seems only exists within the art market. Survival of the fittest is based on who has the latest advancement in technology “who has the biggest guns” and who can obtain the largest chunk of the economy. Eventually people try to compensate by dumping the largest amount of money into a particular project, here size of the object, materiality, location, and finish come into play. What is left can be impactful, just because of the immense capabilities of one particular artist.

The Japanese synth composer Yuzo Koshiro, who is famous for his video game scores during the 90's describes this concept when being called the king of FM synthesis. “It’s an honour for me. Though there are a lot of people who use the FM synth well. As I said before, in terms of game music... Trying to use an FM synth with MIDI had so many restrictions. I don’t think people could use the chip to its full potential exactly as they wanted. Since I made my own editor and driver, I could control everything about the chip down to the fine details. So I think that’s why I was able produce that level of sound. I definitely don’t think I’m great at making quality tones though. Being able to control every little thing freely was one of the main reasons I received that kind of praise.” Koshiro was able to fine tune his process by using his own tools, which he developed, using his own ideal of how he saw the future. Still, he believes the final product was not the embodiment of perfection. He finds that the more one plays through a video game with the music that he has composed, the more the melodies grow on us.

“Is it the quiet shore of contemplation that I set aside for myself, as I lay bare, under the cunning, orderly surface of civilizations, the nurturing horror that they attend to pushing aside by purifying, systematizing, and thinking; the horror that they seize on in order to build themselves up and function? I rather conceive it as a work of disappointment, of frustration and hollowing—probably the only counterweight to abjection. While everything else –its archaeology and its exhaustion—is only literature: The sublime point at which the abject collapses in a burst of beauty that overwhelms us—and that cancels our existence” Kristeva.

Kristeva's “Powers of Horror” is a long, drawn out study on the abject. How she was able to complete such a tour de force is beyond us, which is probably why it seems so intelligent. She was able to sustain concentration on the most unbearable subjects, and most art students, given the the task of completing the entire transcript, are unable to do so. If there is one positive concept to be derived from this reading, it is that the abject is necessary in small doses, in order to achieve the opposite. What disrupts and disgusts us can make us believe that there is an opposite. That notion is described in the quote as the sublime.

If we look at the hollowness of space as terrifying, then we see why people decide to huddle together within city walls. We condense only to realize that this too, can be perceived as abject, and in the instance, we decide to disperse. In this way, the feeling of abjection can flip flop, all at once describing the fickle nature of the human personality, and the lightness of being alive.

“Women artists are more inward-looking, more delicate and nuanced in their treatment of their medium, it may be asserted. But which of the women artists cited above is more inward-turning then Redon, more subtle and nuanced in the handling of pigment than Corot? Is Fragonard more or less feminine than Mme. Vigee-Lebrun? Or is it not more a question of the whole Rococo style of eighteenth-century France being "feminine," if judged in terms of a binary scale of "masculinity" versus "femininity"? Certainly, if daintiness, delicacy, and preciousness are to be counted as earmarks of a feminine style, there is nothing fragile about Rosa Bonheur's Horse Fair, nor dainty and introverted about Helen Frankenthaler's giant canvases. If women have turned to scenes of domestic life, or of children. so did Jan Steen, Chardin, and the Impressionists-- Renoir and Monet as well as Morisot and Cassatt. In any case, the mere choice of a certain realm of subject matter, or the restriction to certain subjects, is not to be equated with a style, much less with some sort of quintessentially feminine style.”

Traditionally, throughout history, most of the credit of winning has been given to men. Credit is sometimes equated to fame, such as Alexander McQueen's stylistic designs and art shows, where there are numerous participants. However, what equates fame? How do we quantify how well known something is? If something that lives in our hearts is more important than fame, how is it that we measure? Many ideas presented in the art history canon have been proposed by women first. We see this in the example of Carolee Schneemann's “Meat Joy” and also “Up to and Including Her Limits.” Matthew Barney used the same ideas in his piece “Drawing Restraint” several years later and arguably received more credit. He is also referencing his “personal mythology,” which might include pieces that Schneemann has produced. Meat Joy creates a scene where the body is abjectly presented as a vessel of meat, flesh we consume is also the flesh we destroy, and the theme of abject flesh is now popularized in contemporaries like Jenny Saville. Where once upon a time it was popular to idealize the human form, it is now popular to debunk the myth of a perfect form and present the new ideal as a medley of body types and human characteristics, not ignoring the ever presence of the abundance of flesh, and bodily fluids. In terms of art, the gender of the object is attributed to whomever created it, no matter how rugged or polished the piece may be. The independence of women artists does not suggest that they did not particularly belong to a certain school or class of artists, it just means that they were not recognized for being there. Since the presence of art history is also based upon the presence of critics and historians, the relationships between these individuals and the people they chose to represent is important too. The interpersonal relationships amongst individuals in the art world also influence who receives a review. Ana Mendietta is mostly recognized for her relationship with Carl Andre, as Lucian Freud is mostly recognized because he is grandson to Sigmund Freud. Not to say either is necessarily without talent, which is quite the opposite, however people are recognized mostly from their upbringing and what circles they revolve in.

Which leaves me believing something is missing within the art world and the world at large. We all experience the sense of the void, which is a mirror of the total amount of dark matter in the universe. There is something amiss, and we are not quite sure what it is. The Fifth Element addresses this concept, with the notion that there is a missing element that will save the universe. With designs by Jean Giraud Moebius and Jean Paul Gaultier, this french cult classic is one of the most visually stunning movies to date.

The plot revolves around the main character Korben Dallas and his relationship with the embodiment of the fifth element, Leeloo. She is a fanboy's dream, a young model actress that does not speak English, is the visage of perfection but does not have any visual or cultural preference of her own to speak of, nor any knowledge of who she is or what humans are. Besides this general monotony, she contains an element that is activated by a particular piece of knowledge. What Korben Dallas teaches her, is the concept of love. This is the final unifying element in the universe, the one that clarifies the dream, and brings light to an otherwise dark place. No matter what your belief system is, if you are a human, animal, sentient being, this rings true. What is the essence of life, what is the point of materiality if there is no feeling there?

With my own work, I feel a sense of displacement usually rather than belonging. A jumble of ideas are mashed together usually to bring a solution to some sort of negativity, in order to see the light shine through. Many artists use their art as a way to connect on a broader spectrum, in this way I am no different. I find that personally I connect best at a small scale, one or two people rather than a huge group. Limiting options of who to talk to can create a stronger bond, as if limiting one's palate, in order to know what is truly motivating one's soul.

With what I create, I tend to maximize my reference points. I create a mashup of things I have experienced, usually told in the form of a fable created through symbolism of images derived from 90's pop culture. Perhaps this is me bringing to the forefront the notion of keeping my childhood alive, by subliming memories of contemporary life. Art can be about breaking free of limits, so my process constantly changes to remove myself from an XY axis and a grid, to constantly build and destroy, to remove anger, hate, and turn it into love.

This semester I have learned a few things about the art world and art school in specific. There are a few key tropes that reoccur and navigating them is mostly about the language used to describe them. For example, using the word umwelt for someone's personal bubble; using the term post humanism when someone really means Sci-fi; structuralism for patterns that repeat; anthropocene for the current affect of global warming. Part of the interchangeability of words to describe these things has to do with the malleability of the ideas themselves. As we saw with Salvador Dali's study of string theory, different personal views conjure up different worlds. The study of these worlds leads us on our own personal journeys. We envelop these concepts and let the future unfold, perhaps we use art as the mechanism to advance human kind. I always thought of art as some kind of pseudo-science, now I can say that these things are interchangeable, art can be science, theory, personal reflection, fortune telling, and the economy. The mythology that leads us here today can change time.

Works Cited

Barbara Ehrlich White, Renoir His Life Art and Letters. 1984. Harry N. Abrams, Inc. New York

NGA.gov for tony smith's die

http://www.nytimes.com/2015/04/08/t-magazine/iris-van-herpen-designer-interview.html?_r=0

http://blog.metmuseum.org/alexandermcqueen/michelle-olley-voss-diary/

http://daily.redbullmusicacademy.com/2014/09/yuzo-koshiro-interview

The fifth element

#Tristan Chase Arcelona

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lilclameats · 4 years ago

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apple galette

one thing i live by is that i will never show up to a function without baked goods, regardless of the type of function. college party? cookies and tequila. trying to impress someone? apple galette. a galette is a french term for round, flat, “freeform”, crusty cakes. in simpler terms, a pie/tart hybrid. personally, i love galettes more than pie because the crust should be the star of the show! show up to any function with an apple galette and people will think you’re so polished and cool (or at least i think lol). personally i think they look so rustic and cute and taste sooo good with some french vanilla ice cream. i promise you its actually so easy to make!!

ingredients:

special equipment | a food processor

for the crust: this is actually just a basic pie crust recipe

2 & 1/4 cup of all purpose flour + extra flour for your work surface

2 tsp of salt

1 cup (2 sticks) of butter, cut into small cubes

1 tbsp of apple cider vinegar

3 tbsp of ice cold water

for the filling:

4 medium sized honeycrisp apples

juice of one lemon

1/4 cup of white sugar

2 tbsp of cinnamon

1/4 tsp of nutmeg

2-3 tbsp of flour

for the glaze (optional):

3 tbsp of salted butter

1 tbsp of light brown sugar

additional stuff you need:

1 egg, whisked for an egg wash

cane or turbinado sugar to sprinkle

recipe:

for the crust:

in a food processor, add your butter, flour + salt together

pulse on low, slowly adding your apple cider vinegar and water

this should take around 2 minutes until a cohesive dough is formed

on a floured surface, turn out your dough and roll it in your flour

roughly roll out your dough into a rectangle (size doesnt matter), and cut in half

stack the halves on top of each other, roll out the dough and repeat previous step

wrap your dough and store in the fridge

for the filling:

peel and slice your apples into thin slices (around 1/2 cm thick)

add apples to a large mixing bowl

cut lemon in half + squeeze lemon juice into the mixing bowl

mix with a rubber spatula

add 1 tbsp of cinnamon at a time, mixing the apples before adding another tbsp

add sugar, nutmeg + flour

stir until each apple slice is well coated

for the glaze:

in a small sauce pan on medium heat, melt your butter and stir until butter ~ browns~

once butter is browned IMMEDIATELY remove from heat and pour into a bowl

add brown sugar and mix together

assembly:

preheat oven to 375

on a floured surface, roll out your dough until its around 12-14 inches in diameter. it doesnt have to be a perfect circle !! the shape can be whatever you want. it can even be whatever size you want, just make sure it isnt too thick (anything less than 1/2 cm is in the clear)

to make baby galettes: cut your dough into sixths, and roll out into smaller circles - i go by thickness of dough not size of dough

transfer the dough onto your baking sheet (that is lined with parchment paper!)

stack your apple slices in the center of the round, leaving 2-3 inches (1-1&1/2 inches for small ones) of exposed dough on the outer edge (this will be what we fold over)

once all your apples are beautifully arranged, fold the edges of the dough on top of the apples ?? i dont know how to explain this, you can figure this out from the pic

brush the glaze onto the apple filling

brush egg wash onto the crust

sprinkle cane sugar onto the crust

bake at 375 for 30-40 minutes, until crust is golden brown

cool for 20 minutes, top with ice cream and enjoy :)

#applegalette #apple #pie #galette #crust #st

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vendresavoiture-blog · 6 years ago

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Prix Du Cuivre Au Kilo Tonne

Installée à Fleury-les-Aubrais, FLEURY PIECES AUTO est une entreprise de casse automobile, mettant en vente diverses pièces détachées (neuves et d'occasion). 23 §1er - 3° de l'AR 15.03.68 modifié le 17.03.2003 stipule que « indépendamment des règles concernant les contrôles périodiques, des contrôles non périodiques sont obligatoires : Avant l'immatriculation d'une voiture, d'une voiture mixte, d'un minibus, d'un corbillard ou d'un véhicule au nom d'un autre titulaire ». Je regrette également que la Leaf ne dispose ma voiture a vendre pas d'une galette ou d'une roue de secours en option. Le ministère de l'environnement a présenté à l'automne 2017 un projet de décret relatif à la sortie du statut de déchet des pièces issues du démontage des véhicules ayant fait l'objet d'une préparation en vue de la réutilisation dans un centre de VHU dans le but d'avoir une réutilisation simplifiée des pièces automobiles d'occasion 11 Toutefois, ce décret, qui a fait l'objet d'une consultation publique 12 , n'a pour le moment pas été publié au journal officiel.

Prix du cuivre chez le ferrailleur. Avec l'application Renault Mobility , les clients d'Ikea pourront louer les véhicules dès 7 euros par heure, tarif qui inclut l'assurance et 100 km de déplacement. Salut a tous, je crois y a une erreur dans les prix indiques, 0,053€ par gramme de fer soit 53€ le kiloun disque de fonte de 1 kg Pour ceux que ca interesse, quelques donnees sur le cours des. citroen hybride Autant le mettre simplement à la poubelle ou le donner gratuitement au ferrailleur du coin ou à quelqu'un qui pourrait réutiliser certaines de ses composantes. Au cours de l.annee 2011, permet d. enregistrer ferrailles et des metaux emploierait 20% des effectifs. Après avoir vidé les huiles et retiré toutes les pièces utiles, ces véhicules sont ensuite écrasés afin de recycler le métal.

9 Mars 2011 Prix du cuivre chez le ferrailleur permettant de les reconnaоtre que publiй dйbut novembre dernier. Vous devriez quand même contacter plusieurs ferrailleurs différents afin d'avoir le prix de revente le plus élevé que vous pourrez trouver. Il est nécessaire de ne pas attendre pour faire appel aux services d'un spécialiste dans le rachat de ce type de voiture. Gagner de l'argent en revendant les métaux chez un ferrailleur est une démarche écologique et économique. Votre ferrailleur le reprendra à un prix assez bas car c'est un métal très courant. Les véhicules destinés à la casse seront pris en charge par notre équipe pour être ramener dans un centre VHU agrée afin d'être détruit. Je te souhaite du courage, et je suis sûre que tu vas arriver à vendre la ferraille pour en faire ton métier.

Beaucoup de documents sont obligatoires et quelques démarches à faire lors de l'étape du changement de propietaire d'un voiture, afin de suivre la procédure légale de déclaration de vente et afin d'obtenir sa nouvelle carte grise. Au SPVL, on estime que les voleurs sont capables d.obtenir environ 75% du prix reel du cuivre chez les ferrailleurs. En euros le prix du cuivre au kilo est de 6,24 €, en se basant sur le cours actuel de. Les prix sont regulierement mis a jour, mais, les metaux etant cotes au L.M.E 115 €kg. Ce qu'on peut appeler le plus communément la ferraille (bien qu'il existe des métaux ferreux et non ferreux). Le recours aux professionnels d'une casse est alors obligatoire. Cour du cuivre aout 2012 chez le ferrailleur. Obtenez le prix de ferraille Mйtal au kilo dans Quebec, France.

Après le démantèlement de la voiture, le reste de carrosserie est envoyé chez un ferrailleur qui effectuera un nouveau processus de recyclage. Ferrailleur: vous recherchez des professionnels pres de chez vous vous aide a trouver toutes les coordonnees des professionn els en France. Franchement, 1800 euros parait correct, et ca t'evitera de te prendre la tete, tu peux toujours essayer de negocier le prix avec autour de 2000 euros mais c'est pas dit que ca marche. Broyeur dechiqueteur ferraille; Vente en ligne de bijoux en argent 925 1000. Quand j'écris « pseudos-VHU », j'évoque des véhicules en parfait état et au faible kilométrage qui sont partis à la casse lors des opérations Prime-A-La-Casse alors que des collectionneurs auraient pu leur éviter le massacre et leur donner une seconde vie.

1 Le, l Agence des services frontaliers du Canada (ASFC ) a. Cours Mtaux Actuel Le tableau en-dessous du diagramme compare les prix du cuivre avec le cours US de ces quinze derniers jours. J'ai l'intention de mettre la voiture à la casse pour destruction quoiqu'il arrive. 16 Juin 2014 tonnes de cвbles en cuivre ont йtй dйrobйs en aoыt 2013 chez un ferrailleur dollars, le prix actuel de la tonne sur le marchй revendre ma voiture des mйtaux. Les ferrailleurs reprennent ce métal en moyenne à 1 euro le kilo. Lorsque le propriétaire ou détenteur d'un véhicule cède, vend ou détruit son véhicule, il doit en informer par écrit le Ministère ayant les Transports dans ses attributions dans les 5 jours même si la cession ou la vente n'est que conditionnelle, et joindre à son information écrite les 2 parties du certificat d'immatriculation.

Certes, a 10 centimes le kilo, relativement emcombrant de trimballer des mais il est mille fois plus facile de trouver 100 kilos de fer que 1 kilo de cuivre. Si vous ne comprenez pas qu'ils sontvenus pour la ferraille, vous ne comprenez plus rien. Bonjour, Avec notamment l.augmentation du prix du cuivre notamment, est ce que ca vous 4,10 le kilos en ce moment chez mon ferraileur. Enfin, il rachat voiture te faut du temps, pour trouver les meilleurs endroits où récupérer la ferraille, et pour pouvoir vendre la ferraille, il faut que tu cherche les acheteurs de ferraille, Généralement des grosses sociétés qui récupère À la tonne. Vous ne pouvez la vendre à un particulier que si elle a un CT de moins de 6 mois en cours de validité, ce que vous ne pourrez obtenir avec une voiture non roulante.

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willsmith-123 · 3 years ago

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Healthy and fresh clones

Gorilla Cohere or GG4, which is now called “ Original Cohere” due to the tenacious company’s license of the name, is an sweet indica-dominant crossbred that began in Nevada. GG Strains breeder Joesy Jumbos decided to call this strain “ Gorilla Cohere"because of how sticky the cub’s resin was-while trimming the factory, everything stuck to his galettes and scissors like the important cement. GG4 was created by crossing Chem’s Family with Chocolate Diesel and Sour Dubb. The results are a potent flower with a piney, chocolaty, diesel aroma. It has been reported to make yield relaxation, swoon, and drowsiness, making this a largely popular strain among expert cannabis consumers. This sticky strain has won several awards, including Stylish Hybrid Flower at the 2015 World Cannabis Cup and 2nd place for Stylish Hybrid Flower at the 2016 Colorado Cannabis Cup.

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pdfebookread · 3 years ago

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A brilliantly modern take on Jewish culinary traditions for a new generation of readers, from a bright new star in the culinary world.When you think of Jewish food, a few classics come to mind: chicken soup with matzo balls, challah, maybe a babka if youâ€™re feeling adventurous. But as food writer and nice Jewish boy Jake Cohen demonstrates in this stunning debut cookbook, Jewish food can be so much more.Â Â InÂ Jew-ish, he reinvents the food of his Ashkenazi heritage and draws inspiration from his husbandâ€™s Persian-Iraqi traditions to offer recipes that are modern, fresh, and enticing for a whole new generation of readers. Imagine the components of an everything bagel wrapped into a flaky galette latkes dyed vibrant yellow with saffron for a Persian spin on the potato pancake, best-ever hybrid desserts like Macaroon Brownies and Pumpkin Spice Babka!Â Jew-ishÂ features elevated, yet approachable classics along with innovative creations, such as:Â Jakeâ€™s Perfect ChallahÂ Roasted Tomato BrisketÂ Short Rib CholentÂ Iraqi Beet Kubbeh SoupÂ Cacio e Pepe RugelachÂ Sabich Bagel Sandwiches, andMatzo Tiramisu.Â Jew-ishÂ is a brilliant collection of delicious recipes, but itâ€™s much more than that. As Jake reconciles ancient traditions with our modern times, his recipes become a celebration of a rich and vibrant history, aÂ love story of blending cultures, and an invitation to gather around the table and create new memories with family, friends, and loved ones.Â

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grrooper99 · 4 years ago

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cobalah164 · 4 years ago

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(Read Online) Jew-ish: A Cookbook: Reinvented Recipes from a Modern Mensch BY : Jake Cohen

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serdinamabar · 4 years ago

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(PDF/Books/Kindle) Jew-ish: A Cookbook: Reinvented Recipes from a Modern Mensch BY : Jake Cohen

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ensubstances · 7 years ago

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Chapitre III. Quarante jours sans gluten (21 mars – 1er mai)

Oui on commence pas le 22 mais symboliquement j’aimais bien que mon nouveau chapitre commence le jour calendaire du printemps. Oui, je sais aussi que le printemps ne tombe plus le 21 mars depuis des années et ne retombera plus le 21 mars avant encore plus d’année mais que voulez-vous, c’est comme le beurre sur le pain, quand on est habitué, c’est compliqué de tout changer.

Oh vraiment ?

(Pause théâtrale pour tenir l’auditoire en haleine. Quelques gloussements épars. Une vieille dame tousse. Le silence revient.)

Oui, vraiment.

Qu’est-ce que le gluten ? Meh, c’est une question compliquée qu’on peut résumer en une phrase : il s’agit de la combinaison des protéines et de l’amidon contenus dans une céréales. On appelle ces protéines les glutéines et autres prolamines (et parmi ce groupe, l’alphagliadine, la sécaline, la zénine,…), hordénine, cafirine, panicine, bref ça finit en –ine comme Bécassine, cousine et d’ailleurs, cuisine. Une fois qu’on a énuméré tout cela, il faut aussi faire la distinction entre les différentes sortes de… disons… sensibilités au gluten.

Alors, pour votre plus grand plaisir, faisons un peu de pédagogie.

— La plus connue des sensibilités est l’intolérance, dite aussi maladie cœliaque : cet adjectif désigne ce qui a rapport à la cavité abdominale. En un mot comme en cent, si le malade cœliaque ingère du gluten, il aura du chfrichfri dans le bidou (ou, si vous préférez entrer dans le détail, une réaction immunitaire entraine la production d’anticorps qui détruisent les intestins). Je résume, vous avez compris l’idée. Il y a en France moins d’intolérants sévères au gluten que de schizophrènes (1%), mais ça n’intéresse pas les fabricants de galettes de riz pour lesquels l’organisation des soins psychiatriques est très éloignée de leur préoccupation, à savoir : faire du blé (lol) sur le dos de quelques vieillardes qui ont mal au caca. Mais vous l’aurez compris, ici aussi, je résume. Avec un soupçon de sarcasme.

— Vient ensuite l’allergie, une autre réaction du système immunitaire, mais qui elle est immédiate : rougeurs, œdèmes, la totale. Quand j’étais petit on pensait que j’étais allergique aux bananes en raison d’une réaction cutanée qu’elles semblaient provoquer, et puis en fait, non, ça va. Ai-je cessé d’être allergique ? Etais-je allergique à autre chose sans jamais le savoir ? Bref, une chose est sûre : seul un allergologue pourra y répondre.

N’oubliez pas qu’un allergologue est titulaire d’un diplôme de médecine, alors qu’un naturopathe, par exemple, parle aux cailloux et répond au bruissement des arbres par des infrasons que lui seul entend. (Sarcasme, bis.)

— Il faut sans doute distinguer l’allergie de l’hypersensibilité, qui ne provoque pas l’apparition d’une maladie auto-immune. Concrètement, si vous êtes fatigué après avoir mangé une pizza, ou que vous avez des maux de tête après avoir bu 14 bières, ou que vous ressentez une anxiété, une irritabilité après votre soixante-dix-huitième tartine de houmous, vous pensez sûrement que vous êtes hypersensible. Alors que non. Vous ne savez pas vous modérer et vous cherchez une excuse, c’est différent.

J’ai tendance à considérer l’hypersensibilité au gluten comme une posture : vous n’avez pas de symptômes mais vous avez l’impression d’en avoir ? Oh, ok. Ecoutez, c’est comme les gens qui se disent sensibles aux ondes de

téléphone : tant qu’ils ne dérangent personne, rien ne les empêche de le croire.

Quelles céréales contiennent du gluten ?

Commençons par souligner que l’on cherche les prolamines, apparemment responsable des maux évoqués plus haut. Déjà, le blé et ses cousins, le kamut, le khorasan, le grand épeautre sont les plus riches en prolamines avec 70% d’alphagliadines. Le petit épeautre est un petit cousin et n’en contient que 15 à 30%. Le seigle contient 30 à 50% de sécaline, l’orge 50% d’hordénine. Le sorgho contient 50% de cafirine, le millet 40% de panicine, l’avoine 20 à 30% d’avénine. La triticale, hybride de blé et de seigle, contient des prolamines en quantités variables selon l’espèce cultivée ; d’une façon générale sa farine n’est pas panifiable sauf quand on la combine à de la farine de blé.

Notez que le maïs contient 55% de zénine, une autre prolamine, mais qu’il est en général dit « sans gluten », à l’instar du riz, du teff et du fonio qui contiennent moins de 10% de prolamines. Il en va de même pour le petit épeautre, généralement bien supporté.

Comment se souvenir de toutes ces céréales ?

J’invoque le pouvoir mnémotechnique de l’anagramme !

Gloire à toi, SAKOBET, la déesse primordiale du gluten, celle qui donna la céréale prométhéen à la première civilisation à cuire leurs bouillies pour en faire du pain !

Seigle (et Sorgho)

Avoine

Kamut (et Khorasan)

Orge

Blé

Epeautre (Le petit mais surtout le grand)

Triticale

(Car oui, les Egyptiens sont probablement les premiers à avoir fait du pain. N’insistez pas, c’est comme ça, on en débattra un autre jour.)

Un malade cœliaque vous le dira : il y a du gluten partout, partout, partout et c’est une plaie. Un intolérant au gluten autoproclamé vous le dira aussi : il y en a partout, partout, partout mais ce n’est pas très grave car il n’est pas vraiment intolérant, il a juste lu quelque part (ou on lui a dit) qu’il se sentirait mieux en évitant d’en manger. Ce qui est vrai. Néanmoins, pas de privation inappropriée : si manger des aliments contenant du gluten ne provoque chez vous aucune réaction, vous en priver pourrait, sur une période trop longue, générer une intolérance auto-immune.

Concrètement, un peu de bon sens : ne vous privez pas de gluten, mais ne vous privez pas non plus d’explorer d’autres céréales ou pseudo-céréales !

— Les probabilités que ça rate et que faire pour les anticiper

Il était évident que les écueils principaux allaient être :

- la pâtisserie (la farine est quasiment indispensable dans la pratique)

- la pizza (idem)

- tartiner des choses (sur du pain)

Il était tout aussi évident que cet essai, pour ne pas finir en un tragique échec, devrait s’accompagner non d’un arrête total mais plutôt, d’une diminution graduelle soit de la farine de blé, soit des produits manufacturés contenant du gluten.

— Quelques stratégies

Passez aux farines semi-complètes et complètes. Notez que plus une farine de blé est raffinée, plus elle contient de gluten, donc, plus le type de la farine est élevé, plus elle contiendra plein d’autres éléments nutritionnels qui sont éliminés lors du raffinage. (Il en va de même avec le sucre : plus il est foncé, moins il est raffiné. Nous aurons le loisir d’en reparler.) Ainsi donc, pour toutes les pâtisseries du quotidien (niveau 1, gâteau au yaourt et crêpes), vous ne prenez pas beaucoup de risques à changer votre T.40 contre une T.60, voire un T.80 si le cœur vous en dit !

Modifiez vos recettes habituelles contenant de la farine de blé : en plus, c’est assez simple. D’une façon générale, pour ce qui est cakes et gâteaux, voici ce que vous je recommande :

- remplacez la pesée de farine ordinaire par 2/3 de farine de riz et 1/3 de maïzena. Si vous n’aimez pas la farine de riz, essayez la farine de châtaigne ou les mélanges prêts à l’emploi des épiceries bio (attention, certains contiennent déjà de la poudre à lever, il faudra la retirer de votre recette au moment de faire les pesées).

- plutôt que de mélanger les œufs au sucre (ou au beurre, selon la recette), mélangez les jaunes avec 2/3 du sucre (ou la totalité du beurre) et montez les blancs en neige séparément (en les stabilisant avec le dernier tiers de sucre) pour les incorporer ensuite au mélange.

Essayez donc :

Le carrot cake pour intolérants au gluten

1. Faites tremper 100gr. de raisins secs dans un mélange d’eau bouillante et d’eau de fleur d’oranger.

2. Epluchez 300gr. de carottes, râpez-les finement et pesez-en 250gr.

3. Clarifiez 4 œufs. Au batteur, montez les jaunes avec 120gr. de cassonade jusqu’à les faire doubler, voire tripler de volume.

4. Incorporez les carottes râpées, puis tamisez par-dessus 80gr. de farine de riz complet additionnée de 70gr. de maïzena, 11gr. (un sachet) de levure chimique et 150gr. de poudre de noisettes ou d’amandes. Ajoutez également 80gr. d’huile de pépins de courge (de l’huile de noisette ou une très bonne huile d’olive conviendront aussi). Faites préchauffer votre four à 200°.

5. Montez les blancs en neige ferme. Au besoin, serrez-les avec 1cs. de sucre glace. Incorporez délicatement les blancs au premier mélange. Versez la préparation dans un moule à cake ou un moule à manqué préalablement graissé. Parsemez de quelques zestes d’orange confits détaillés en cubes, de 50gr. de noisettes concassées et des raisins que vous prendrez soin de bien égoutter.

6. Enfournez 10 minutes à 200 puis baissez à 160° et laissez cuire encore 20 minutes. Surveillez la cuisson à cœur en y piquant un couteau dont la lame doit ressortir sèche. Au besoin, prolongez la cuisson d’encore dix minutes en veillant à couvrir d’une feuille d’aluminium si la surface brunit trop vite.

— A partir d’ici, deux options :

Sirop : 7. Pesez le mélange qui a servi à infuser les raisins secs. Ajoutez-y le zeste et le jus d’une orange. Ajoutez la moitié du poids en cassonade et chauffez légèrement pour l’y dissoudre.

8. Lorsque le cake est cuit, badigeonnez-le de ce sirop puis laissez tout à fait refroidir avant de déguster.

ET/OU 7. Mélangez 150gr. de Philadelphia à 50gr. de sucre glace et, une fois le gâteau parfaitement refroidi, étalez le mélange par-dessus.

8. Parsemez de zestes d’orange, de noisettes hachées torréfiées ou de tout ce qu’il vous plaira. Réfrigérez jusqu’au service.

Essayez le pain sans gluten. Assurément, c’est autre chose. Le pain sans gluten est au pain avec gluten ce que la margarine est au beurre : ça y ressemble, en moins bon dans la bouche, et probablement moins bon que prévu pour la santé. Vous n’en mangerez pas juste pour le plaisir du goût, comme c’est parfois le cas d’un très bon pain d’artisan. Néanmoins, quand il s’agit d’y tartiner du beurre ou d’accompagner du fromage, ça peut faire l’affaire. C’est un pis-aller. Ne cherchez pas à comparer. Je suis fermement convaincu que, pour désapprendre à aimer le pain, il faut manger du pain sans gluten.

Essayez d’autres substituts à la farine comme la poudre d’amande, la purée de sésame, et bien d’autres choses tout à fait divertissantes. Ouvrez un livre sur le sujet ou consultez des blogs savamment orientés sur le sujet, et vous verrez que de recettes existent, des plus simples aux plus farfelues.

Testée et approuvée pour vous, voici le

Gâteau au chocolat et quinoa

1. Cuisez 130gr. de quinoa à l’eau bouillante et laissez-le ensuite égoutter et totalement refroidir une fois parfaitement attendri.

2. Mixez-le grossièrement avec le jus d’une orange (soit 80gr. de jus).

3. Fouettez ensemble 4 gros œufs avec 180gr. d’huile neutre, 300gr. de sucre et les grains d’une gousse de vanille. Faites fondre au bain-marie 55gr. de chocolat noir. Ajoutez-le à la préparation.

4. Tamisez par-dessus 80gr. de cacao en poudre et 15gr. de levure. Faites préchauffer votre four à 180°.

5. Graissez un moule à manqué et saupoudrez le fond de sucre glace ou de cacao en poudre. Retirez l’excédent.

6. Versez-y la préparation. Enfournez 30 à 40 minutes, en surveillant la cuisson à la pointe d’un couteau. Laissez tiédir avant de démouler et déguster.

Ça va mieux en le disant. — Cette recette est adaptée d’un désormais classique de la cuisine américaine juive : à Pessah (fête de la libération), la nourriture dite hamets – tout produit à base de blé, d’orge, d’avoine, d’épeautre ou de seigle qui aurait fermenté – est prohibée pour quelque raison métaphorique. Voilà pourquoi on consomme plus que d’ordinaire le matzo (pain non levé), alors confectionné pour l’occasion, ou d’autres préparations qui ne contiennent pas de céréales fermentées. Bref, toutes les occasions sont bonnes pour manger un gâteau au chocolat !

A propos de matzo, je vous donne ici une recette qui vous permettra de finir le paquet si jamais vous aviez eu l’idée d’en acheter et que finalement, bon, vous préférez les cracottes :

Crackers sésame et chocolat

Faites préchauffer votre four à 200°.

1. Saupoudrez sans excès 4 grandes tranches de matzo (pain non levé que vous trouverez au rayon casher de votre supermarché) de sucre glace. Disposez-les sur des plaques de cuisson et faites-les caraméliser en surveillant bien.

2. Dans une grande poêle, faites fondre à feu moyen-fort 200gr. de sucre. Lorsqu’il commence à fondre, mélangez avec délicatesse le sucre fondu et le caramel déjà formé. Une fois obtenu une caramel homogène, baissez à feu moyen et ajoutez 100gr. de beurre et incorporez-le au fouet.

3. Ajoutez ensuite 100gr. de tahini (purée de sésame) mélangé à un peu de crème liquide entière. Fouettez jusqu’à obtenir une consistance homogène. Réservez hors du feu et mélangeant ponctuellement.

4. Lorsque le matzo caramélisé à refroidi, faites couler la sauce au tahini par-dessus de façon artistiquement irrégulière. Laissez durcir.

5. Faites fondre 100gr. de chocolat noir corsé, puis à l’aide d’une cuillère, décorez de chocolat fondu les crackers en stries irrégulières. Tant que le chocolat est chaud, parsemez de halva (pâte de sésame sucrée), d’écorces d’agrumes confites,… de toute ce qui vous tombe sous la main, finalement. Faites en sorte que votre garniture finale colle bien au chocolat.

6. Au moment de déguster, faites sortir les diabétiques de la pièce puis concassez les crackers en gros morceaux. Conservez dans une boîte hermétique à température ambiante.

Varions dans l’allégresse. — Puisque qu’on parlait jusque là de produits sans gluten, notez que cette recette fonctionnera aussi avec des galettes de riz !

Essayez aussi les desserts qui se font naturellement sans gluten, ou alors très très peu : vous ne serez pas surpris d’apprendre que lorsqu’en en pâtisserie une pâte est dite « macaronée », c’est principalement parce qu’elle contient, la plupart du temps, les mêmes ingrédients que le macaron : du blanc d’œuf, de la poudre d’amande et du sucre. Oui, c’est à peu près tout. Ainsi donc si le biscuit Joconde, les financiers et les amaretti contiennent (un peu) de farine de blé (que vous pourrez remplacer par de la farine de riz sans problème), essayez la dacquoise, qui n’en contient pas du tout, et par-dessus laquelle vous pourrez tartiner une crème pâtissière à votre goût (elle est de nos jours épaissie à la maïzena), ou une ganache (crème+chocolat). Si la perspective du devoir acheter de la maïzena ou de farine de riz vous fatigue par avance car vous craignez de ne vous en servir qu’une fois et d’oublier le paquet dans un recoin de votre placard, pensez aussi à la panna cotta, le riz au lait, les crèmes au chocolat… Bref, vous avez encore un peu de marge avant de vous interdire un petit plaisir sucré.

Essayez les pâtes sans gluten. Si vous achetez des pâtes sans gluten d’un fabricant qui à l’habitude de faire des pâtes avec gluten, elles tiendront mieux à la cuisson que celles proposées par l’industriel qui s’est mis à en faire du jour au lendemain « tiens c’est la mode je vais faire pâtes sans gluten ». (J’ai testé plusieurs marques et, au final, les fabricants italiens savent ce qu’ils font mieux que les autres (pâtes de pois chiches, de lentilles, de riz). C’est un fait. C’est comme ça.)

Dans ce cas-là, tout ce qui devrait vous préoccuper, c’est la sauce !

Voici une recette absolument délicieuse qui ira avec n’importe quelles pâtes, mais aussi avec un reste de viande, du riz, des patates…, vous avez saisi l’idée. Ce n’est pas tellement une sauce, c’est plus une garniture riche, qui pourrait presque se manger seule, mais qui se révèle lorsqu’on l’associe à un seul autre ingrédient, oui je parle comme un rédacteur de magazine de cuisine, chut.

Sauce à tout pour pâtes ou restes de légumes

1. Coupez les fleurettes de deux petits choux-fleurs ou un gros. (Gardez le pied pour une soupe ou un gratin ou que sais-je encore.) Mélangez-les à 1cs. d’huile d’olive, une pincée de sel, une pincée de piment, et rôtissez-les à four pas trop chaud (160°) jusqu’à coloration (20 à 30 minutes selon le four).

2. Pendant ce temps, pelez et hachez finement 2 oignons et 1 tête d’ail (sisi, une tête entière). Par ailleurs, hachez finement 2 piments rouges après en avoir ôté les graines, les pédoncules et les parties blanches fibreuses. Faites cuire l’ensemble à feu moyen fort dans une sauteuse avec 2cs. d’huile d’olive.

3. Egouttez et hachez finement 6 anchois. (Si vous n’aimez pas les anchois, un paquet de lardons fumés devrait donner un résultat satisfaisant.) Ajoutez-les dans la sauteuse avec également 60gr. de pignons de pin, 60gr. de raisins secs (des petits raisins, comme ceux de Corinthe ou de Smyrne, vous savez, ceux qui ressemblent à des crottes de souris ; c’est important car ils vont gonfler à la cuisson).

4. Ajoutez un verre de vin rouge et laissez cuire à découvert jusqu’à ce que le liquide ait réduit de moitié. Pour finir ajoutez une grosse conserve de pulpe de tomates (ou de concassée de tomates, ou de tomates pelées au jus qu’il faudra bien mélanger pour qu’elles se fragmentent en petits morceaux). Laissez cuire 20 minutes à feu moyen en mélangeant ponctuellement.

5. Ajoutez les fleurettes de chou-fleur. Rectifiez l’assaisonnement. Vous pourrez ajoutez, au moment de servir, une poignée de parmesan fraichement rapé et/ou un bouquet de persil/de basilic haché.

Sur la photo ci-dessous : du gorgonzola et de la roquette. Les plus observateurs remarqueront que, faute de raisins, j’ai utilisé des cranberries hachées.

— L’exception qui a confirmé la règle : la pizza du dimanche (ou du lundi). Comme on ne travaille en général pas le dimanche et le lundi, la pizza est notre cheat meal, notre nourriture réconfort du weekend. J’écris « on » car je n’ai pas décidé de me passer de farine de blé sans en parler dans ma maisonnée, et la perspective d’une pizza sans gluten (ou pire, une pizza avec une pâte à base de chou-fleur, lol de feu) fut très, très mal accueillie. Pour le plus grand plaisir de mon Aussie (et un peu mon soulagement, j’avoue), la pizza fut donc réinstaurée aussi vite que la perspective de s’en passer fut évoquée. Si le gluten rend la farine plus souple et dense, il fait clairement la même chose pour mon couple. Néanmoins, je dois remarquer qu’en faisant un essai avec 1/6ème de farine complète (200gr. sur 1,2kg. de farine pour un poids total d’environ 2kg. de pâte), j’ai obtenue une pâte aussi bonne qu’avec la T.55 que j’utilise ordinairement.

— Objectif atteint : Hum non. Malgré les progrès soulignés plus haut, je dois bien dire que je ne mange pas de pain quand je n’ai pas de fromage, mais que je ne me suis pas privé. Quant au reste, le fait de cuisiner au quotidien me prémunit de manger des produits manufacturés qui contiennent incidemment du gluten (ou trop de sel ou trop de sucre).

— Les effets : comme toujours lorsqu’il s’agit de réfléchir à ce qu’on peut faire « sans » certains produits, on se met à réfléchir à ce qu’on peut faire « avec » certains autres. Ce n’est jamais inopportun de se creuser la tête.

— On continue ? Je vais continuer d’associer des farines rigolotes entre elles et d’utiliser des farines de blé complètes et semi-complètes. A nouveau, je ne saurais que trop insister sur le fait qu’une intolérance au gluten ne se proclame pas, elle se teste !

#Gluten free #gluten #recette #recipes #recipe #recettes sans gluten #carrot cake #quinoa #pâtisserie sans gluten #pâtes #sauce #matzo #coeliac #allergie #intolérance

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ieatmovies · 7 years ago

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TUSK (2014) Ou “morse” en V.O.. Le “roi des geeks” Kevin Smith n’en est pas à son premier essai, lui qui nous offre régulièrement -et depuis CLERKS (1994)- de bons films: on se souvient du rigolo DOGMA (1999) évidemment, de JAY AND SILENT BOB STRIKE BACK (2001) aussi, voire du décalé ZACK AND MIRI MAKE A PORNO (2008). Avec le temps, Smith s’est forgé, et livre avec TUSK un produit diablement bien réalisé, la science du cadrage et de l’angle de vue stylisé étant mis à profit pour servir son histoire: exit le View Askewniverse pour un long-métrage qualifié comme comédie horrifique, disons-le sans plus attendre, dégoulinante d’un humour à la noirceur aboutie. En effet, TUSK est inspiré d’un des podcasts de Smith, extension sombrement comique provenant d’une étrange petite annonce: le scénario est là donc, basé sur la VRAIE demande d’un naufragé ayant survécu aux côtés d’un morse (!), qui propose à qui veut de revêtir un costume de l’animal deux heures par jour à son domicile, et s’exprimer comme tel. Bien marrant, mais un peu creepy quand même. TUSK démarre donc avec le personnage de Wallace Bryton, podcasteur un peu connard, se rendant au Canada pour interviewer la parodie vivante d’un Star Wars Kid s’étant accidentellement tranché la jambe, en vue d’une diffusion dans son émission: une fois sur place, il découvre que le type s’est suicidé, mettant en déroute ses plans professionnels. TUSK commence vraiment à cet instant, où Wallace va trouver une mystérieuse annonce affichée dans les toilettes d’un bar: profitant de l’opportunité, il contacte Howard Howe, auteur de l’intrigante missive, un vieux monsieur vivant reclus dans un manoir, qui semble posséder nombre d’histoires incroyables propices à répondre à ce que Wallace recherche, c’est-à-dire un scoop. La différence avec la réalité et TUSK, c’est que le long-métrage n’indique aucunement -du moins au début- la thématique du morse, cet aspect devenant très vite l’épicentre du récit: le podcasteur moustachu-au passagé joué par Justin Long, abonné au registre du genre depuis GALAXY QUEST! (2000), JEEPERS CREEPERS (2002) ou l’excellent DRAG ME TO HELL (2009) de Sam Raimi- va apprendre à ses dépens les vraies motivations du vieillard faussement tétraplégique. Désormais piégé et amputé d’une jambe, la pauvre victime subira les conséquences de la fascination dérangeante de Howard Howe envers les morses, depuis cet événement marquant -son naufrage, le sauvetage par la bête, et... désolé on va pas faire du spoil-reveal!- qui a changé sa vie. Pas de panique, TUSK ne joue pas uniquement sur l’habituel combo huis-clos/tortionnaire, malgré qu’il partage comme avec les HOSTEL (2005-2007) ce twist du voyage qui tourne au cauchemar: développant son background avec justesse, Smith excelle, avec des flash-backs N&B en 4:3 du plus bel effet, quand ce n’est pas une confession sentimentale filmée en POV -ne riez pas, les obsédés-. Ces alternatives de cadrage et autres effets sont toujours probants, évoquant pertinemment les émotions des protagonistes, auxquelles sont attribuées des plans on ne peut mieux choisis pour les exprimer: TUSK est talentueux, attisant notre curiosité, et ce n’est pas un hasard si les acteurs Haley Joel Osment -oui oui, le gamin de A.I. (2001)- et Johnny Depp -rarement aussi bon et méconnaissable- sont présents au casting, soutenant une bonne partie du film sur leurs épaules grâce à leurs prestations impeccables, et ce toujours en second rôle: Smith recrute et dirige, point barre, pas de mercantilisme basé sur les têtes d’affiche. Bon , ne tournons pas autour du pot, TUSK est assez unique en son genre, son réalisateur sale gosse jouant avec notre perception: ce “fait divers” humoristique qui change se change en film sérieux, puis prend une tournure 100% horrifique, très réussi, nous choque. Car la peur revêt une de ses plus effroyables formes lorsque l’humour est adapté de façon réaliste et cruelle: TUSK est fait de ce bois, mais il serait pourtant trop simple et réducteur de le reléguer à une pâle copie d’un THE HUMAN CENTIPEDE (2009) -si on remplace le mille-pattes par un morse, et la merde par du sang- et de son fil narratif. Smith nous offre des dialogues hilarants, au cœur d’un drame gory et creepy: ce contraste donne le ton, est-ce qu’on a le droit de rire entre deux scènes de “chirurgie”, en sachant que Wallace va être le sujet d’expérimentation d’un vieux timbré voulant “trouver le morse qui est en chaque être humain”? Pas vraiment, car TUSK va vous retourner lorsque vous découvrirez la transformation: impossible de nier le malaise de cet amas de chairs, résultat d’un esprit malade à la FRANKENSTEIN (1931) des temps modernes, monstruosité hybride ne pouvant s’exprimer qu’en hurlant... Pourtant, on rit, selon le degré des “absurdes grotesqueries” qu’on voit à l’écran: TUSK nous avait prévenu, avec son slogan très juste, “l’homme est le plus dangereux des animaux”. Comédie, enquête, parodie, horreur, slice-of-life, le choix est partout, diversifié et bien fait. Avec sa fin amusante mais fondamentalement dramatique, le conte cruel de Kevin Smith est encore une fois UNIQUE, bel exemple d’une maîtrise totale d’un projet mené à bien, dont on ne ressort pas indemne: une occasion en or de (re)découvrir l’acteur Michael Parks -qui joue Howard Howe-, qui nous a quitté en 2017, et de lui rendre hommage, incarnant sans conteste une des figures les plus emblématiques de “bad guy” du Cinéma. Jusqu’au-boutiste, les fans se régaleront de la galette blu-ray standard, de ses jolis menus animés en passant par le podcast originel et les conventionnels making-of et scènes additionnelles. Un long-métrage de genre moderne, classique instantané et référence indispensable: excellent! CINEMA DE GENRE /20

#tuskmovie #tuskfilm #kevinsmith #justinlong #2018 #critiquedefilm

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movingplantforward-blog · 4 years ago

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Cardamom and Rose Water Spiced Cherry Galette I was asked to make a pie recently and I had leftover dough... this crust has been made with butter but the wash on the outside is Aquafaba! I used a mix of local cherries from our veg box and at the farmer’s market. The lighter ones are a hybrid of a Rainer Cherry (that’s what was told to us) and then the darker ones are a Bing Cherry. I wish I could pass the aroma along on Instagram or Facebook... my goodness it smells great! I am working on a all plant-based version and will post pics of those soon! https://www.instagram.com/p/CBGuxv1poxK/?igshid=1onsdbbcgsngp

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vacationsoup · 5 years ago

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New Post has been published on https://vacationsoup.com/new-in-orlando-in-2020/

What's New in Orlando in 2020

New Attractions In Orlando in 2020

In the ever-expanding world of Orlando attractions, we have so much to look forward to in 2020. New rides, new attractions, new thrills, new shows, new eats.

So much to do and so little time!

Here's a Run Down of What's New in Orlando in 2020

New Attractions in Disney World:

Walt Disney World is currently undergoing its most significant growth period of the last two decades. So much is coming our way in the next few years.

Hollywood Studios

Mickey & Minnie’s Runaway Railway

The first ever Disney ride-through attraction that features Mickey & Minnie Mouse. You'll be right inside a Mickey cartoon taking a fun-filled adventure where “Mouse rules apply”. Anything can happen! Opening: March 4th 2020

Roundup Rodeo BBQ Restaurant

Toy Story Land is getting a brand new rootin’, tootin’ rodeo right in Andy’s backyard!. This immersive restaurant will provide a unique and fun, family friendly dining experience. Andy has created a new rodeo arena using some of his favorite toys, games, and play sets. Opening: 2020 - no date yet

Mickey Shorts Theater

An original short film in the style of the Disney Channel series “Mickey Mouse”. This will also feature a new photo-opportunity. The theater will feature fun Mickey Mouse-themed seating. Open: March 2020

New at Epcot

Epcot is going through a complete transformation and there a TON of stuff going on! Below is what's happening in 2020, but see our guide for a full rundown of all new experiences at Epcot.

Regal Eagle Smokehouse: Craft Drafts & Barbecue

This brand new fast-casual restaurant will be located at The American Adventure pavilion. Diners will find a classic American backyard barbecue offering home-style craft brews. Opening: Very soon!

Beauty & The Beast Sing-Along

Take part in this twist on a tale as old as time. This brand new singalong features narration from Angela Lansbury, who played Mrs. Potts in the original film. Beauty & The Beast Sing-Along will run in rotation with “Impressions de France,” which will receive an upgrade to 4K projection. Opening: January 17th 2020

Awesome Planet

The Land pavilion showcases the Earth’s beauty and diversity in a 10-minute film featuring spectacular imagery and in-theater effects. Opening January 17th 2020

Canada Far and Wide in Circle-Vision 360

New scenes and a new musical score by Canadian composer Andrew Lockington and new narration by award-winning actors Catherine O’Hara and Eugene Levy. Opening: January 17th 2020

Space 220 Restaurant

An out of this world dining experience is coming to Orlando in 2020. Space 220 is a new table-service restaurant at Epcot next to Mission: SPACE.

When you enter the restaurant, you’ll step into a special space elevator that will transport you 220 miles above the earth’s surface to the International Space Station orbiting. The restaurant will offer "spectacular views of space" thanks to screens surrounding the dining area. Opening: February 2020

Remy’s Ratatouille Adventure

Take a super-sized adventure with Chef Remy through Gusteau’s restaurant. This new ride is under construction at the France Pavilion. Opening: Summer 2020

Le Creperie de Paris

This brand new restaurant will feature the cuisine of celebrity chef Jérôme Bocuse, the mastermind behind the pavilion’s Chefs de France brasserie. With a menu inspired by the Brittany region of France, the new location will offer table service dining as well as a quick-service stop for guests craving savory crepes called galettes and sweet crepes. Opening: Summer 2020

Wondrous China

This brand new presentation will take you on a spectacular journey across China, filmed and presented in a completely seamless 360-degree digital format. Opening: June 2020

HarmonioUS

HarmonioUS will debut at Epcot as the largest nighttime spectacular ever created for any Disney park. It will celebrate how the music of Disney inspires people the world over, carrying you away harmoniously on a stream of familiar Disney tunes reinterpreted by a diverse group of artists from around the globe.

“HarmonioUS” will feature massive floating set pieces, custom-built LED panels, choreographed moving fountains, lights, pyrotechnics, lasers and more. Opening: 2020

DuckTales World Showcase Adventure

A new interactive scavenger hunt is coming to World Showcase. Join Scrooge McDuck, Donald, Launchpad, Webby and the nephews in search of priceless treasure. Using the Play Disney Parks mobile app, participants will discover exotic destinations, exciting mysteries, and maybe even experience a few thieves, villains and supernatural guardians of ancient artifacts. Opening: 2020 - No launch date yet

What's New in Orlando in 2020 - Disney Springs

Drawn To Life - New Cirque du Soleil Show

This brand new show follows the story of Julie, a courageous and determined girl who discovers an unexpected gift left by her late father: an unfinished animation piece. Guided by a surprising pencil, she embarks on an inspiring quest sprinkled with her Disney childhood memories. Through this journey, she learns to imagine new possibilities and animate the story of her future. Opening: Previews March 20, 2020. Officially debuts April 17, 2020

City Works Eatery & Pour House

City Works will be the ultimate sports bar. This go-to spot will be a superb game-viewing experience on gigantic HD screens. The gourmet menu offers American cuisines and over 90 local and global varieties of beers on tap. Located in West Side. Opening: Very soon

M&Ms Store

A brand new state-of-the-art M&Ms store will offer an immersive experience that combines the colorful fun that fans of the M&M’S brand enjoy with lasting memories. And all your favorite candies too. The new store will be located in West Side, near the NBA Experience. Opening: No set date - 2020

Beatrix

Beatrix will be your neighborhood restaurant, coffeehouse and grab-and-go market featuring healthy food options including vegetarian, gluten-free, and vegan along with fresh-squeezed juice cocktails.

The restaurant will also offer a bakery and full-service bar with a selection of all-American beer and wine. Located at Disney Springs West Side. Opening: No date set - 2020

Ample Hills Creamery

This is one of the tastiest things new in Orlando in 2020! This Brooklyn-based creamery will be offering the most decadent ice cream desserts this side of the East River. You'll find a menu full of tasty treats such as Ooey Gooey Butter Cake, Peppermint Pattie and Nonna D’s Oatmeal Lace. Can't wait for the opening date? There's already An Ample Hills Creamery at Disney's Boardwalk Resort. Opening: 2020 - No set date

Universal Orlando

The Bourne Stuntacular - Universal Studios

This brand new, cutting-edge live-action stunt show will blur the lines between stage and cinema in a hybrid form of entertainment that has never been seen before. The Bourne Stuntacular will follow the character of Jason Bourne around the globe as sinister characters pursue him.

There will be thrilling chase scenes, punishing fistfights, death-defying leaps and danger at every turn with live performers, high-tech props and an immense LED screen.

Opening: Spring 2020

SeaWorld Orlando

Ice Breaker

An exciting ride is one of our favorite things new in Orlando in 2020. Named after the icy Arctic summits, Ice Breaker will feature four launches, both backwards and forwards, cultivating in a reverse launch into the steepest beyond vertical drop in Florida – a 93 feet tall spike with 100-degree angle. Opening: May 2020

Orca Encounter

SeaWorld has made plenty of changes in recent years. The Orca Encounter replaces One Ocean and showcases the importance of play for Orcas. Visitors will learn all about animal welfare practices at SeaWorld and the importance of conservation to their habitat. Open: January 1st 2020

Busch Gardens Tampa

Iron Gwazi

This coaster is going to break some records. At 206 feet, it will be North America's tallest hybrid coaster, and the world's fastest and steepest hybrid coaster! Throw in a 91 degree drop and speeds of 76mph and you've got a thrill ride on your hands! Estimated Opening - Spring 2020

Aquatica

Riptide Race

Riptide Race will be Florida’s first dueling racer when it launches in 2020. Visitors will be taking on opponents through high-speed tunnels and be competing through 650 feet of slide.

Adventure Island

Solar Vortex

You'll able to spin and splash on America’s first dual-tailspin water slide. This thrilling family ride will send sliders on a swirling journey through two open tailspin features. Plus there will be high-banking rotations and rapid descents.

Icon Park

Already home to the tallest wheel on the east coast and the tallest swing ride in the world, Icon Park Orlando on International Drive is set to break two new world records with attractions that will be new in Orlando in 2020.

The creators of Orlando Slingshot are brining two new thrill attractions to Icon Park in 2020.

Orlando Slingshot

Towering 300 feet, Orlando Slingshot will be the world's tallest slingshot attraction. Riders will be catapulted 450 feet into the air - nearly fifty stories high! The Orlando Slingshot will feature innovative dual-loading, allowing guests to be loading while another is experiencing the attraction Opening: Spring 2020

Orlando Gyro Drop Tower

At a height of 400 feet, the Orlando Gyro Drop Tower will be the world's tallest free-standing drop tower. After an intense gyrating climb around the tower to reach the top, riders will freefall 350 feet back to Earth, traveling up to 75 miles per hour. Opening: Spring 2020

Snowcat Ridge Alpine Village

Snowcat Ridge will be the first-of-it's-kind in Florida. Set to open in November 2020, Snowcat Ridge features a giant snow slope,10,000 square foot snow dome and an alpine village. With REAL snow! See full info: Snowcat Ridge.

The multi-lane 60 foot tall, 400 foot long snow tubing hill will offer a magic carpet lift to transport riders to the top. Then zoom down on single snow tubes, in tandem or on family-size 6 seaters.

A 10,000 square foot giant snow dome will feature real snow to build snowmen and a smaller hill for the little ones. The Alpine Village will feature snacks and drink locations, plus there will be a magical light show on the slopes and in the dome, once the Florida sun sets. Opening: November 2020

That wraps up what's new in Orlando in 2020, If you are planning a vacation, we'd love to welcome you to one of our vacation homes!

#New Attractions #New in 2020

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