As already stated, both in appearance and in a previous post, my studies and my work dealing with the kitchen.
The cook is a beautiful work but at the same time among the hard and arduous because of the hours, days, and the commitment required. Moreover, not all are stars cusine, temples of culinary research and innovation, indeed, in 99% of cases the kitchen is a small room with only artificial light, air saturated with greasy tools and flawed and full of old and obsolete now. These factors, from the standpoint of the worker's fundamental to a good standard work, contribute decisively to make a tough profession and not very satisfying.
In contrast instead of the best restaurants in the issues that arise for other workers, for example, did you know that almost all the exercises hanno alti o altissimi livelli di cucina lavorano con una "partita" -in cucina l'equipè è definita partita- di 3/4 chef fondamentali assunti a tempo indeterminato e con un numero uguale, spesso maggiore, di comis -in francese garzone- che sono ufficialmente in stage. Stage, per questo genere di aziende molto note e con ottima fama nel panorama HoReCa -hotel, restaurant & cafè-, significa periodo di lavoro all'interno dell'ambiente di cucina in cui il tirocinante, giovane ed inesperto, va per imparare il mestiere e carpire lo stile proprio di quel determinato ristorante e di quel determinato chef. Da un punto di vista più disilluso -o semplicemente con dieci anni d'esperienza lavorativa alle spalle- stage significa periodo di praticantato in which the high-class restaurant has another person who helps in the kitchen, fresh forces that are usually assigned to the basic work-often coincide with the most ungrateful, and that the company pays for this [...].
Notwithstanding the foregoing, however, the cook is a beautiful work, full of satisfaction. Cooks
we are born. The unique characteristics that must be innate in the person who wants to practice this profession must be the "sense of taste"-later publicherò a specific post on this topic because key issue in a broader discussion on the kitchen and the creative talent. The gap between a person who possesses these characteristics is represented by a cook simply the desire to do and the chance to take the right way to do it.
Being able to cook good traditional dishes, as well as deliver a new recipe with a lovely marriage of flavors is very easy when you have a good foundation of knowledge-understood as consciousness of cooking techniques and ingredients-and mix it with the expertise an alchemist.
Today this craft is also very fashionable ... a person who worked for years in this area recently, talking about he said: "You're lucky now to pick up the tissues should no longer be a footballer, but a cook."
Even if you do not see it in those terms, certainly it must be admitted that in recent years, the kitchen, that is haute cuisine, one that can be described as culinary art, has acquired great reputation, thanks to that magic box that is the bread of contemporary national culture, tv. By state television channels on satellite transmissions are wasted, magazines, reality television format, and any kind of theme. Chef larger or smaller who become stars of the show. New anchorman that the back-office programs become matatori, perfect "beasts" from front-office. In contrast many stars of show business and fashion rather play at the chefs or restaurateurs, opening exercises throughout the boot and only later discovering that handle this type of activity is not playing Monopoly.
As just said calls for a consequent reflection: the evolution of food-as-end and the kitchen-as-half have been in human history, until in the modern world has established a connection between natural and healthy cuisine and art, gastronomy and aesthetics, between good and beautiful. This theme
stimulates interest and many profound meanings, which are not confined solely to assessment in terms of aesthetic and cooking techniques, but are keys to understanding the economic, historical, anthropological, scientific, philosophical, and even laws. The dichotomy
/ kitchen art arouses strong interest in two subjects meet ontologically opposed. The first is aimed
to meet one of the primary needs of man, the hunger-see the pyramid of needs Maslow's (1954) - needs concrete par excellence, since ancient times, however, including the importance attributed by 'man. Inquiring about the term "food"-from gastros, abdomen or stomach, and nomos, rule or law: the rule or law of the stomach and is not really a modern invention. It appears in Dipnosofisti University, the great scholar of Naukratis lived between the second and third century AD The long work was inspired by Plato's Symposium explicitly, is rich, among other things, references to food in food habits of the period greek and Roman. Already in this context meaning to the term "rule of the belly" is to assume, by extension, the meaning of "good food", "pleasure of the table" until the capacity or "art" to appreciate good food and good drinks. Gastronomy then contains a dietary pattern, the ability to process food and dishes in a certain way and to appreciate them as such. E 'then taken many centuries later, in 1801, when it appears in the title of a little poem La gastronomie ou l' hommeides champs à table, poème didactique en quatre chants. The author raises and revitalizes the term, probably on wake of the French translation of 'work from the University, took place from the end of the seventeenth century in Paris, is a poet, "child", Joseph Bercohoux. The raid on the modern scene of "gastronomy" will correspond to a certain point of view, the emergence of that "thing" - a "practice"? a "discipline"? an "activity"? - which, by the early nineteenth century, will be called just "food." This "food philosophy", focusing on hedonic values, was born in Paris but is not an exclusively French phenomenon: Berchoux's poem is translated in English, Italian, German and English from the first half of the nineteenth century.
art instead is an artifact. Superstructure designed to satisfy the intellect in its search for beauty, then on a purely abstract, subjective and released from the essential.
"Through art we express our conception of what nature is not.
Art is a lie that makes us realize the truth. " (P. Picasso, 1932)
However, this opposition must look beyond the bottom layer: in fact due to the immediate connection, at least at the level of common sense , aesthetics with the image, the aesthetics of food could be understood as something that has to do exclusively with the eye: even more specifically, with ornament and decoration, with the visual enjoyment of the dishes. But in the case of the gastronomic field the notion that indeed there is more often associated is that of quality. "Quality Kitchen" is a synthetic, paradoxically, very complex, which covers, referring seamlessly and without any a priori hierarchy, the matters relating to the raw material as those relating to handling, technical, savoir faire, to identity, but above all to taste.
For the aesthetics of the objects e delle esperienze alimentari, l’estetica del gusto rimanda evidentemente non ad uno solo, ma ad almeno due sensi: come insegna la fisiologia, quello che si dice comunemente “gusto” richiede il lavoro congiunto dei recettori della mucosa olfattiva e di quelli delle papille gustative. Il gusto è odore + sapore: le sostanze volatili degli alimenti, responsabili degli odori, colpiscono la mucosa per via diretta se inspiriamo col naso prima di ingerire o bere un cibo o una bevanda (ad esempio un vino); per via indiretta se esse –come si fa di solito, quando non si degusta- introdotte subitamente in bocca, grazie all’ossigenazione provocata dall’aria che entra nel cavo orale, colpiscono la mucosa per via retronasale.
Il problema dell’estetico, poi, trova nel gusto un campo fertile di sviluppo, pur non riducendovisi -dato che può esservi “piacere del cibo” sia nel cucinare che nel coltivare. E’ chiaro, infatti, che il riconoscimento, la scoperta o anche la costituzione di qualità sensibili peculiari che definiscono l’oggetto alimentare porta con sé, parallelamente, la conquista di un piacere che è al tempo stesso tanto materiale, fisico, quanto colto, mediato: come aveva compreso Hume, ponendo in analogia l’ambito della degustazione del vino con quello della critica d’arte, piacere è godere di sfumature e differenze sempre più sottili e impercettibili ad un occhio, ad un palato, a nose, in short, a taste is not polite. The difference between an authoritative and expert taster and drinker is given by a mere training, education and experience to the recognition of an ever smaller, not by physiology or from natural talent (P. Bourdieu, 1988). But aesthetics is not just the taste of the aspects of sensory pleasure of tasting and so-called "educated", true to its program taking into account-if not above-aspects of mediocrity, ordinariness of the experience of food, it will consider taste as layered concept, as a constellation of different elements. The wine, for example, can be enjoyed that is as refreshing as psychotropic intoxicating, or as an expression of aromatic nuances and senses: the wine is tasted alone, drinking. In all these cases, therefore, one has to do with aesthetic taste, which must conduct detailed analysis and detailed case to produce a phenomenology of the object and its experience. All this assuming that the aesthetics of food is an aesthetic difference, from this point of view, the taste of food is a grammar of perception enjoyed by the difference-or, conversely, the difference in rejection. Similarly, an aesthetic sensibility of taste should be too bad against the broadly understood: For example, know that wine is wine made with a technique that makes extensive use of synthetic chemicals, should constitute an element of negative value, which is what happens when you perform operations such as wine tasting.
E 'natural, then, at this point, ask questions: to what extent you can try a more pleasure-or, if you will, a greater beauty, a work of art and weaving all the threads of the complexity of the contexts of the complex from which it develops? What relationship exists between quality and pleasure? What and how to claim itself the physiology in its immediacy not only with respect to nutrition, but at the same pleasure, the pleasure in itself? It can therefore be concluded as an aesthetics of taste should also include user-friendly aspects of food consumption: how, when and where the "eating together" that-like the cook, to cook-is one of the other indices with which it is shown the distinction between brute animality and humanity. Elements that implement and complete this aspect is not just the fact that the banquet is a place of social cohesion and identity, but also a place to socialize and to bargain in order to close deals and sign agreements, because the grammar of taste appears less subject to rules stringent than those applied to other fields of nature and politics (G. Di Luca, 2006). Consider, also, to what happens when you perform operations such as tasting-which are therefore "representations" in the sense of the arts-is an attempt to extract and abstract an object from its usual context. Sipping drink, focusing on the object and its sensible qualities rarefy also means the material and temporal dimension of the wine, his "substance", and try to work on taste and smell as if they had seen and heard, removing them due to the constitutive fugacity to memory exercises that tend to photograph, to secure the same taste perception. Moreover, the sensory separation is already an abstraction to the meaning and use of the senses in the experience Daily: Who is close to a food usually captures the overall size of the first, which involves all the senses briefly, and possibly only after producing an analysis.
"I've tasted peaches and apricots to enjoy much more than before, since I heard that they began to cultivate China in the early Han dynasty, and that the Chinese taken hostage by the great King Kanishka introduced in India , from where it spread to Persia, reaching the Roman Empire in the first century of our era. All this made me such sweet fruits! " Bertrand Russell.
There was talk of politics, aesthetics and ethics of food. But mention the pleasure of eating means to go beyond tali categorie: “Mangiare con il massimo piacere –un piacere, s’intende, che non nasce dall’ignoranza- è forse l’esempio più profondo del nostro legame col mondo” (W. Berry, 2006).
Non può, tale materia, rimanere campo di studi per una ristretta ed elitaria selezione di iniziati. Il grande Leonardo rifletteva sul fatto che l’”uomo medio” guarda senza vedere, mangia senza gustare e tocca senza percepire, ecc… Nella contemporaneità è notevolmente evidenziato il dualismo tra chi riesce a “fruire” di tali opere e chi invece mangia per la sola funzionalità del nutrirsi, forse addirittura in questo testo se ne scoprirà consequent radicalization. The contrast between food and nutrition. Nutrition, livelihoods, "food for hungry" unpretentious quality refers today to the uncontested domain of large multinational monopolies which process raw materials without any care under the guise of nutritional needs, gastronomy as a field of the pleasures of food of "food as an art form", which in turn refers to the raw materials of exceptional quality for the few and wealthy connoisseurs. This dichotomy bride dual economy, in turn, agriculture and factory farming, mass, low-cost producers from rich to poor consumers, and agriculture and livestock quality superiore, da parte di piccoli e spesso sconosciuti produttori per benestanti gourmet.
“Se la fame e la sete sono gli istinti primitivi nell’uomo – nella bestia, l’associare tali impulsi a valori estetici è un servire la causa della cultura ben più efficacemente che le noiose e oziose dissertazioni morali e filosofiche”
G. D’Annunzio, documento manoscritto conservato al Vittoriale.
bibliografia e sitorafia - http://eugeenblog.blogspot.com/2010/06/bibliografia-e-sitografia.html
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