If White could have been here today, he wouldn’t have been here.
Glenn Gould, “Variatio 20” from Bach: The Goldberg Variations [1955]
Silver Jews, “I’m Getting Back Into Getting Back Into You,” from Tanglewood Numbers [2005]
I’d melt a bunch of interesting fats, like foie gras and cheeses and pork belly fat, and make a block using sodium citrate. Slice it like American cheese. Then I’d liquid nitro freeze meat and Paco-tize it to grind it. Pat loosely together, sous vide for 10 minutes, dip in liquid nitro, drop in the deep fryer, put on a bun, and top with the “cheese.” … Actually now that I think about it I wouldn’t use a bun, I’d take a bunch of eggs and butter and use maltodextrin to make a powder out of it and toss that with some breadcrumbs and bed that under the meat to create a quote, bun.
Shit my boyfriend says while watching the Top Chef Modernist Cuisine challenge. And in case you missed it, that’s a burger. (via noraleah)
Hahahaha. Yeah. Exactly. If he were on Top Chef, the show would devote 5 minutes of explanation to every 30 seconds he spent talking.
3. Are you a balanced person with many interests and diversions?
11. Have you examined the echoes of childhood and first learning, which may have once given you the solutions? Are any of these expectancies still operating on your choices?
15. Do you think you owe your teachers anything, or Picasso or Matisse or Brancusi or Mondrian or Kandinsky?
16. Do you think you work should be aggressive? Do you think this an attribute? Can it be developed?
18. Do you think that your own time and now is the greatest in the history of art, or do you excuse your own lack of full devotion with the half belief that some other time would have been better for you to make art?
20. In the secret dreams of attainment have you faced each dream for its value on your own basis, or do you harbor inherited inspirations of the bourgeoisie or those of false history or those of critics?
32. Are you saddled with nature propaganda?
35. Are you afraid to work from your own experience without leaning on the crutches of subject and the rational?
36. Or do you think that you are unworthy or that your life has not been dramatic enough or your understanding not classic enough, or do you think that art comes from Mount Parnassus or France or from an elite level beyond you?
The good writer says no more than he thinks. And much depends on that. For speech is not simply the expression but also the making real of thought. In the same way that running is not just the expression of desire to reach a goal, but also the realization of that goal. But the kind of realization, where it is precisely adapted to the goal, or whether it loosely and wantonly wastes itself on the desire – depends on the training of the person who is running. The more he has himself in hand and avoids superfluous, exaggerated, and uncoordinated movements, the more self-sufficient his position will be and the more economical use of his body. The bad writer has many ideas which he lets run riot, just like the bad, untrained runner with his slack, overenthusiastic body action. And for that very reason, he can never say soberly just what he thinks. The talent of the good writer is to make use of his style to supply his thought with a spectacle of the kind provided by a well-trained body. He never says more than he has thought. Hence, his writing redounds not to his benefit, but solely to the benefit of what he says.
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