From the category archives:

Arts

Orwell on food technology and modernity

by Chris Bertram on July 25, 2003

I posted a pointed to to a moderately pro-GM report the other day. But in the comments section I got pretty revolted by the suggestion that one day we might synthesize all our food. As I said there, I want my potatoes from the earth and my apples from a tree. I don’t think there’s anything especially “green” about feeling this and I’m somewhat embarassed, as someone who is supposed to live by good arguments, by how hard I find it to get beyond the raw data of feeling, intuition and emotion when I try to think about what is of value.

The best I can do, is, I think to notice how much of that is of value in human life has to do with an engagement with the natural world and a recognition of the uniqueness and (sorry about this word) the ‘otherness’ of the world beyond the human. I’m not just thinking about raw untamed nature here (Lear on the heath) but also about the way in which an artist has to work with the natural properties of pigments, a gardener has to work with plants and their distinctive characteristics, and a cook has to work with ingredients. Architects too have to work with materials, with stone, wood and so on.

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How do they do that!

by Chris Bertram on July 23, 2003

I took the day off today for a trip to London (free lift from a mate who is a sales rep). The main thing I wanted to do was to go to the National Gallery. I’d been bowled over by a Bellini triptych I’d seen in the church of S. Maria Gloriosa dei Frari in Venice recently and planned to look through the Bellinis in the Sainsbury Wing with the aid of the little MP3-player guide they loan you these days. Very useful, except when the number displayed next to the painting fails to correspond with the commentary (the gallery’s only Giotto linked to a commentary on Duccio). Anyway, my attention was drawn to something I’d never noticed before: a number of paintings, originally painted on wood panels, had been transferred at some time in their history to canvas, and in one case to a “synthetic panel”. Probably this is just everyday stuff for art conservators, but it struck me that it was amazing that a whole painting could be lifted off the surface on which it was originally painted and transferred to a new one. How?