Food

In examining research-based art as a method that uses research for the purpose of making art, Jeroen Lutters uses Peter Greenaway’s film The Cook, The Thief, His Wife & Her Lover (1989) as a case study. Here, we see both the artist as a researcher and art research as research-based art—an artist-researcher who creates an independent artistic composition by using at his own discretion the accepted results of research.

This conversation inquires why the culinary arts—representing the sense of taste in relation to food—have hardly found ground in art education. The optical, the audible, the touchable and moveable have found fertile ground in all kinds of art disciplines, whereas the sense of taste and tasting, historically connected to the aesthetic judgment of artistic objects par excellence, has hardly found refuge for its proper object, i.e., food.

This article reflects on how human beings, food, and fashion are ‘at stake to each other'. In doing so, Bruggeman and Voet highlight the importance of offering more agency to the affective matter of food and fashion.

The kitchen is the visible cultural manifestation of the technology human beings employ to store, prepare and eat food. Those who look at the history of kitchens will see two approaches for kitchen design that have determined the influence of technology on our relationship with storing, preparing and consuming food in the private households: the technological-rational kitchen and the social-ritual kitchen.

While feeding our dressed bodies, we ‘fashion’—give meaning to—our nourished selves every day. We engage with food daily through embodied practices of eating, tasting and cooking. And we engage with fashion through everyday practices of dressing and wearing clothes.

This contribution describes the motivation for ‘Paper Cooking,’ a design workshop that took place during the Food Friction conference. It reflects on its outcomes, with a view to future directions for work by creating ‘Action Recipes,’ a video repository that presents people’s favourite cooking actions. The repository aims to draw attention to unrecognised aspects of embodied knowledge.

This article demonstrates how both food and fashion are closely tied to emotions and to our biosocial beings, offering ‘sweet tastes of aesthetics and sensory pleasure.’ von Busch argues how quick consumption—in these industries of fast and mass production—has paradoxically led to unhealthy addictions (to food and/or social affirmation and self-esteem) and to hunger and emotional starvation. Cooking together or making clothes collectively could, as von Busch suggests, form more intimate and social bonds, as well as healthier relationships with food and fashion.

Through a series of speculative recipes, cooking demos and co-created dishes, EAT TECH KITCHEN (upon first glance) serves up a playful antidote to the alienation of the modern, Digitised Age.

Industrial design has gone through various stages of development since its emergence during the first industrial revolution,[1] and the kitchen as well as the preparation and consumption of food have always been closely linked to its developments. As technologies evolved, the disciplines related to these technologies manifested their impact on designed products.

It is impossible to talk about food in the first half of 2020 without acknowledging the global coronavirus pandemic and the global structural inequalities that it has thrown into sharp relief.

Farid Tabarki interviews Louise Fresco about what fashion can learn from science and food.