#pour l'art

[vertigo1871]

Henri Ottevaere (1870-1944), Le Jardin d'Eden, 1901. Tryptich

[empirearchives]

Citizen Cooks in the Age of Napoleon

Excerpt about the role of cooks in France after the abolition of culinary guilds, and how they navigated a world which demanded for them to find new ways to stay relevant and prosperous. From Defining Culinary Authority: The Transformation of Cooking in France, 1650-1830 by Jennifer J. Davis:

French cooks sought new sites upon which to rebuild the authority of culinary labor. Throughout the early nineteenth century cooks increasingly adopted scientific terms to demonstrate their reliability and profound knowledge of the culinary arts. Such language communicated the author's education and distinction, just as an appeal to an elite patron had done in the 1660s and referral to a cook's professional expertise had done in the 1760s. The rhetoric and institutions of scientific knowledge also provided a means of distinguishing men's work from women's in the post-revolutionary era. During the early nineteenth century, cooks' claims to scientifically valuable savoir-faire rested on three crucial points of culinary innovation: food preservation, the improved production of bouillon, and gelatin extraction.

As these processes left the realm of traditional knowledge and became sites of scientific inquiry by tradespeople and amateurs alike, cooks sought to maintain authority in this arena by including scientific terms and theories in cookbooks, advertisements, and government petitions.

Two factors encouraged cooks' claims to scientific knowledge during this era. First, when Napoleon Bonaparte took the reins of government as first consul in 1799 and established himself as emperor in 1804, he raised medical doctors and academic scientists, Idéologues, to positions of political prominence. From these posts, the Idéologues subsidized experiments and inventions deemed useful to the nation and encouraged the popularization of science in the public sphere through state sponsorship of exhibitions and print forums. The Idéologues particularly supported research related to food preparation and preservation that might benefit France's armies and navies, with obvious benefits for professional cooks. Many cooks presented their particular techniques to the government during this time, seeking both financial recompense and public acclaim. Second, a voluntary association closely allied with the Idéologues' vision, the Société d'encouragement pour l'industrie nationale (Society for the Encouragement of National Industry), provided a forum in which formally trained scientists, politicians, merchants, artisans, and curious educated men might unite to address questions that inhibited French science and industry.

Together, these men sought to develop a more coherent program for industrial advancement than any one group could achieve independently. The society explicitly sought to join scientific knowledge to artisanal practical expertise, recognizing that each group had strengths that would benefit industrial development. This association invested heavily in three diffuse projects that eventually infused the most basic culinary processes with scientific awareness: new methods of food preservation to benefit the nation's armies and navies, new methods of stock preparation to sustain the nation's poor, and new methods of extracting gelatin from bones to improve hospital and military diets at little added expense.

[thebellekeys]

it's like, yes, i do read a lot of books that are inherently about social and political issues. books that respond to the questions that identity politics raise. didactic books that make a point about #diversity and #representation. this is important. but i don't want that to be mistaken for the idea that "all books have to be moral or didactic". i believe novels are primarily meant to, as ottessa moshfegh puts it, "expand consciousness" and teach us as individuals about the best and worst of ourselves. critical readings of novels will of course consider the social and political context and ramifications of a work and its ultimate reception by readers. but to limit a work to only its potential real life implications is in itself a sign of a lack of media literacy. it's not some "superior critical reading skills" bro. some novels are simply meant to reveal, not to teach or to respond, and that's not in the least a critical shortcoming.

[chicago-geniza]

Umberto Eco is normally pretty subtle and leaves his text open to an array of polysemic interpretations but every so often he gets On One about fascism and then the text stops being translucent to meaning and starts hitting you in the head with one of those enormous fun fair hammers

[pigeonneaux]

Coucou <3 J'ai retrouvé un vieux post https://www.tumblr.com/pigeonneaux/690743941062180864?source=share et je y'a moyen que tu me link le rendu final si il exsite ?

J'ai jamais publié le final parce qu'en fait j'avais prévu de le projeter sur une grande feuille et de le faire au posca, je l'ai fait presque en entier et filmé le process (et probablement perdu une partie des videos en cassant mon téléphone) et j'ai eu des soucis entre temps et j'l'ai jamais fini (puis jme suis mise a voir les problèmes dans la pose et ça m'a saoulé, mais je l'ai toujours roulé et presque pas déchiré quelque part, faut que jle termine) sinon voilà l'encrage au numérique :

Y fait presque la taille d'une porte enfait

[imortellekim]

[thalassous]

traduction enfer

[ idée @thesewers . mal ]

[miabrown007]

yeah, sorry, just gonna push that penumbra agenda until we find a common denominator

[hydetheghost]

" I slowly start falling to dust. " - - - hmhmhm going through the pages of your math book isn't only scary, it is also a nightmare. So many examples, so many questions. Each of them unsolved, waiting to be calculated. arghh get out of my head! get out of my life! begone already! the never-ending math drama is starting all over again and the only way out of it is with distraction like art and music. ah yes. - and then? ...?

... ... ??

[mishkakagehishka]

Listen. It's fine if you don't want a deeper message in art. That's what l'art pour l'art is all about. But it's not any more accessible than like. What the symbolists did. But read poetry beyond the poetry's equivalent of fast fashion, made just to be posted on social media. There's a difference between a poet who writes from their soul and a person who writes for easy money that comes with going viral, and a poet who just loves writing aesthetic poetry will put infinitely deeper things to paper than like. How do I say this. A person for whom you can tell they tried to seem deep because it sells, but essentially said nothing new or, worse yet, their point came off entirely lukewarm.

[marxistjughead]

****** is driving me INSANE when we talked about the play in class she was like oh yeah that was useless she says she quit the film industry because it was too harmful but what's the point of making something like this when people are dying what does it do to help. you don't get it you don't get it so spectacularly it's not even funny anymore

[happy-mokka]

If I look at it long enough, it will suck me into the void...

Dolby 1998 | Dan Christensen

[filmszeresz]

FILMSZERÉSZ TOP 100 TÉVÉSOROZAT - 72. Vastyúk is talál szeget

Monty Pythonék is lesznek a listán (elárulom, hogy a Top 10-ben), úgyhogy a L’art pour l’art-nak is itt a helye. Formabontó volt a tévésorozatuk, még úgy is, hogy az angol vonal már jóval előttük szétfeszítette a tévés kereteket. És ez a csapat mindig is egyedibb volt a Holló színháznál. Sőt, ez volt a titkuk: hogy a poénjaik háromnegyedét csak nálunk lehetett és lehet igazán érteni. És nem csak azért, mert saját szkeccsekből dolgoztak (és dolgoznak - hiszen most is aktív a társulat, más felállásban). Odavolt értük az ország; tinikoromban a szilveszteri házibulit is az új epizódhoz időzítettük. (Egyenetlen időközönként gyártottak friss részeket, de voltak évek, amikor több műsort is készített - készíthetett - a csapat.)

Jó a show ritmusa, öntörvényűek és szemtelenek a betétek, a főszám, vagyis az alaposan és szándékoltan groteszkre rajzolt Besenyő család - sokszor az egész részen átívelő - mindennapjai számos félnaponta idézett örökbecsű beszólással ajándékozták meg a magyarokat. A dalokról és a versekről már nem is beszélve. (Úristen, volt olyan időszak, amikor milliós nézettséget lehetett csinálni a tévében abszurd VERSEKKEL, ízlelgessük ezt még egy kicsit szerintem…)

A diavetítéses Winnetou-sorozat és Pandacsöki Boborján rekordjai verhetetlenek; Besenyő Pista bácsi annak a szerethető bunkónak a tükörképe, aki egyszerre gondolja magát kolbászfoltos Paulo Coelhónak és bajszos-műbőrkabátos Hofi Gézának. Evettke és Tompika bátran vállalta a nyilvánvalót, hogy igenis egy gyerek is lehet iszonyú idegesítő; a nagypapa igazi rocksztár és vén kujon - de a többieknek se kell átcsöngetni a szomszédba pár deka viccesre karikírozott gyarlóságért.

És még a széria vége felé is tudtak klasszikusokat írni és forgatni: például a Pörölycápák SC–Kovács Jenőné focimérkőzés közvetítése szerintem fantasztikus.

Mutatom a csodás főcímet 1993-ból.

[guillaumebottazzi]

L'histoire d'un livre pour enfants

[noneorother]

I bought Aziraphale's Bible so you don't have to.

Am I insane? Yes. Was it worth it? Maybe. In most* of both season 1 and season 2 of GO, there's a very specific Bible on a bookstand next to Aziraphale's desk. It's a vintage illustrated plate book by Harold Copping, known as the Harold Copping Bible, published by the religious tract society in London in 1910. It features some of the most well known Old Testament stories, summarized and annotated by the Bishop of Durham at the time, and illustrated by Copping, who was freshly returned from a sojourn in the middle east. Ironically, It was meant as a lay-person's version of a comic book, short, exciting by use of exotic illustrations, and easy to read.

But my (expensive) gain is now your gain! As I've collected here every visible page in both seasons for your reading and viewing pleasure.

Season 1: All episodes Adam & Eve Genesis iii (1:3) / HCB page 10

Season 2: Episode 1 Joseph known to his brethren Genesis xlv (1:45) / HCB Page 28

S2E1 14:21, S2E1 17:41, S2E1 39:45

Season 2: Episode 2 Jacob's vow Genesis xxviii (1:28) / HCB Page 22

S2E2 5:49

Season 2: Episode 2 Joseph known to his brethren Genesis xlv (1:45) / HCB Page 28

S2E2 13:38 (see S2E1 above)

Season 2: Episode 2 The Brazen Serpent Numbers xxi (4:21) / HCB page 36

S2E2 16:12, 43:40

Season 2: Episode 2* Bible on the desk, Magazine on the stand Annuel L'art Pour Tous, Cover (1861-1880 most likely)

S2E2 22:10

The French L'art pour tous industrial design periodical will have to be a story for another post. For now, just enjoy this 1880 edition copperplate of cherubs discovering a microscope...

Season 2: Episode 2 Imaginary page from HCB, Job KJV Job (18:1) / HCB N/A

S2E2 22:29, S2E2 40:05 Obviously, the plate illustrations and text look different here than in the real bible, because they were created for the show. But there are a few more particularities here. For one, this layout with the thin grid around the text, as well as the paragraph symbol next to the first title, indicate that this would have been a printer's proof copy, not a finished book. It shows you the layout grid and can be annotated for changes. Second, there seems to be a war going on between fonts. Where the "chapter" of Job begins, we get a font and a style similar to the original bible, which gets rudely interrupted by a dropped capital (from the real book) and a Gothic-style font/verse numbers like in the original King James version of the printed Bible.

Season 2: Episode 3 The Brazen Serpent NUMBERS xxi (4:21) / HCB page 36

S2E3 1:18 (see episode 2)

Season 2: Episode 5 By the Rivers of Babylon Pslam cxxxvii (19:137) / HCB page 52

S2E5 21:20

Season 2: Episode 6 Bible missing, L'art pour Tous on the stand Annuel L'art Pour Tous, Cover (1861-1880 most likely)

S2E6 10:21, 17:21, 18:15, 34:28 (see episode 2)

Season 2: Episode 6 Closed HCB, L'art pour Tous on the stand behind HCB page 0

S2E6 37:58, 44:20, 48:08