Interview: Sandor Ellix Katz on The Art of Fermentation
"When we look at where the word culture comes from – the Latin word for cultivation – and really it’s our notion of what we could be cultivating that has grown and expanded over time. It’s only since the emergence of microbiology that we’ve thought about culturing cells or communities of micro-organisms, but yes I definitely think that fermented or cultured foods as a group are more than incidental culinary novelties – they’re not cupcakes – and they are in certain ways at the core of many expressions of culture, many cultural identities, many cultural practices."
"The witch’s proposition doesn’t ask for the conversion of those to whom it is addressed. When witches address others, they do nothing other, all told, than relay, echo the question that transformed them themselves - existential catalysis. They tell us their recipes and ask us: ‘And you, where do you draw your capacity to hold up and to act from? How do you succeed in creating the protection that the poisoned milieu in which we all live necessitates? What protects you from the vulnerability that our common enemy hasn’t stopped profiting from? What do you do? What have you learned?’"
Isabelle Stengers and Philippe Pignarre, Capitalist Sorcery: Breaking the Spell (via loneberry)
Donna Haraway on the Cosmopolitics of Isabelle Stengers
"The sense of cosmopolitics I draw from is Isabelle Stengers’s. She invoked Deleuze’s idiot, the one who knew how to slow things down, to stop the rush to consensus or to a new dogmatism or to denunciation, in order to open up the chance of a common world. Stengers insists we cannot denouce the world in the name of an ideal world. Idiots know that. For Stengers, the cosmos is the possible unknown constructed by multiple, diverse entities. Full of the promise of articulations that diverse beings might eventually make, the cosmos is the opposite of a place of transcendent peace. Stengers’s cosmopolitical proposal , in the spirit of feminist communitarian anarchism and the idiom of Whitehead’s philosophy, is that decisions must take place somehow in the presence of those who will bear the consequences. Making that "somehow" concrete is the work of practicing artful combinations. Stengers is a chemist by training and artful combinations are her metier. To get "in the presence of" demands work, speculative invention and ontological risks. No one knows how to do that in advance of coming together in composition."
Donna Haraway, from ” When Species Meet”
"More watching than touching and as much mourning as loving, Love Dog is about love but because of that it is about everything…The changes brought about by internet and digital technologies are not often directly discussed in Love Dog but their role in its making is foregrounded by Tupitsyn’s sophisticated use of the digital form. It is there, implicit. Time and memory, the power of media nostalgia, the way in which time affects media, what is remembered and what is lost, these concerns hover in every post. Tupitsyn does not attempt to mimic academic writing here and perhaps due to the live, diaristic qualities of the text, ideas and conclusions are not arrived at linearly as they might be in a text planned to progress rhetorically from beginning to middle to end, but emerge associatively through repetition and bricolage. In the face of (interfaced with?) the multi-media imageries of her everyday existence, past and present Tupitsyn uses feminism and queer theory’s radical love like teenagers use selfies and memes, collages of quotes and references and musings to enable the continued imagining of themselves, others and their relations, she makes sense of her self, of ‘X’ and of their relations and she opens them out from the personal to the political."
moth gif made from holograms found online http://www.jrholocollection.com/