Obesity continues to be a global issue. In recent years, researchers have started to question the role of our novel yet ubiquitous use of digital media in the development of obesity. With the recent COVID-19 outbreak affecting almost all aspects of society, many people have moved their social eating activities into the digital space, making the question as relevant as ever. The bombardment of appetizing food images and photography – colloquially referred to as “food porn” – has (...) become a significant aspect of the digital food experience. This review presents an overview of whether and how the viewing, creating, and online sharing of digital food photography can influence consumer eating behavior. Moreover, this review provides an outlook of future research opportunities, both to close the gaps in our scientific understanding of the physiological and psychological interaction between digital food photography and actual eating behavior, and, from a practical viewpoint, to optimize our digital food media habits to support an obesity-preventive lifestyle. We do not want to rest on the idea that food imagery’s current prevalence is a core negative influence per se. Instead, we offer the view that active participation in food photography, in conjunction with a selective use of food-related digital media, might contribute to healthy body weight management and enhanced meal pleasure. (shrink)

Enticing food photography which stimulates its viewers’ cravings, often given a dismissive label “food porn,” is one of the most popular contents in contemporary digital media. In this paper, I argue that the label disguises different ways in which a viewer can engage with it. In particular, food porn enables us to engage in cross-modal gustatory imaginings of a specific kind and an image’s capacity to afford such imaginings can contribute to its artistic merit.

High quality images sell products. Here's how you do it. From cereal boxes to billboards to photos on Amazon, product photos have a strong impact on viewers. Now you can master the secrets of effective product photography with this essential guide. Author J. Dennis Thomas guides you through the basics, from selecting the right equipment and practicing different lighting techniques to controlling exposure, using backgrounds and props, and much more. Whether it's jewelry, food, fashion, or other products, learn (...) how to photograph for effective selling, while building the skills and tools you need for a career. Explains how to produce quality photos for product or commercial photography, including fashion, food, jewelry, technology, and more The author is a professional photographer whose work has been published in major U.S. magazines including Rolling Stone, Elle, W Magazine, and US Weekly Covers choosing the right equipment, practicing different lighting techniques, controlling exposure, using backgrounds and props, and more Gives new and even experienced photographers the tools they need to build careers in product photography Take photographs that impress, intrigue, dazzle, and sell with The Art and Style of Product Photography. (shrink)

The EU's Farm to Fork strategy (European Commission European Commission. 2020. Farm to Fork strategy. https://food.ec.europa.eu/horizontal-topics/farm-fork-strategy_en. Accessed 31 August 2023.) highlights the need for a resilient food system capable of providing affordable food to citizens in all circumstances. Behind the provision of affordable food for EU citizens there is the effort of many migrant and seasonal food workers (MSFWs). In Almería, Spain, the area with the biggest concentration of greenhouses in the world, MSFWs face vulnerability (...) in the form of physical and institutional invisibility despite performing the essential task of providing affordable food for the EU’s food system. This paper aims to move on from structuralist concerns and place MSFWs’ lived experiences at the center, including the (in)formal nature of their food practices, to understand how the people that feed Europe feed themselves. A combination of social practice theories and diverse economies is used to explore MFSWs’ daily food routines. These theories are used as lenses that inform the data collection process, performed through semi-structured interviews, photography, and observations. The findings of the study reflect a dynamic portfolio of (in)formal practices that evolve based on the length of stay in the county. These practices demonstrate how the EU food system resilience relies on the diverse economies of migrant settlements. We conclude that informality is a reality in the EU food system, and that shedding light on previously hidden food practices and their structures can help us envision food security interventions that are inclusive for all actors involved. (shrink)

In Cameroon, a monumental “statue of liberty” is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the (...) contributors engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl’s photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans’ Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising “morality” plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly “African” aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

In Cameroon, a monumental "statue of liberty" is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the (...) contributors engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl's photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans' Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising "morality" plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly "African" aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

This chapter contains sections titled: Must We Shoot to Kill? Hunting in the Real World The Mastery of the Spectator and the Humility of the Hunter What Photography Cannot Capture Notes.

Foreword -- Introduction -- Fashion & entertainment -- Food -- Research -- Mercy -- Notes from the field -- Resources.

The drama of life rarely unfolds in majestic settings. Instead, nondescript spaces are more often the stage upon which one's life is lived. What Christine Welch sees as these sometimes modest, sometimes sterile, sometimes pretentious rooms are often dismissed or overlooked by their occupants, even when transformative encounters and events occur within their walls. Commonplace, a powerful new work of photography, provokes greater appreciation for these common spaces of everyday American life, as it captures their quiet power and subtle (...) beauty in evocative images. Whether she photographs the food-stained living room of a fraternity house, the dimly lit booth in a local café, or the cool sleekness of a corporate boardroom, Welch captures the poignancy of common spaces and the meaning they hold in our contemporary society. The unpopulated images in her book are blank canvases on to which readers can project the particulars of their own experiences. Commonplace helps us redefine and rediscover those spaces too common for preservationists to save, yet too vital to the emotional fabric of American life to pass over. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The BuddhaTerry C. MuckWhen I think of the Buddha, the subject of my scholarly study, the picture my mind produces is soft and blurred at the edges—out of focus but not in a way that makes it difficult to see or understand. It is more in the way a photography studio uses background and light to project the subject forward. The Buddha, in my mind’s eye, seems friendly, (...) accessible. This Buddha, my Buddha, manages to combine great warmth and great mystery.By contrast, when I think of Jesus, the object of my faith, I see clearly a well-defined personality. There is no portraiture here. It is more like a candid snapshot taken by a very good camera with plenty of natural light; a great photograph, a picture that produces a clear image, in my mind at least, of a person I know and understand. It is a picture of someone walking around Palestine doing great deeds, a father to my Buddha brother—and to me.I love both the Buddha and Jesus. I have loved Jesus since early Sunday school days in Huntington, Indiana, at the Bible Baptist Church on Lake Street. I have loved the Buddha since I first began reading about him in graduate school at Northwestern University and listening to Walpola Rahula lecture about him in classes there. Both the Buddha and Jesus were great men, doing divine things that have changed the world for billions after them. The differences my mind produces are in the realm of qualities. I love them both, but I see them differently.Why the differences? I suppose one reason is that they are different. Gautama Buddha lived in sixth-century B.C.E. India where he was the son of a king, chose a life of religious itinerancy, and died of food poisoning at eighty years of age. Jesus lived in Palestine in the first century C.E. where he was the son of a carpenter, chose a life of religious itinerancy, and was crucified by the Roman authorities after being convicted on a charge of political subversion.They both chose a life of religious itinerancy, to be sure. But the meaning of each of those traveling lives has been the subject of great debate, both within and without their respective religious traditions. Disagreements abound. In fact, in one of those [End Page 105] odd quirks of human cantankerousness, the deeper one gets into each of the traditions, Buddhism and Christianity, the more diverse and passionate are the views about the Buddha and the Christ.The diversity of views deep within each tradition can be stunning to the average Buddhist and Christian on the street, who tend to have a rather homogenized view of each other—kind of a standard life story that could be easily summarized in the pages and pictures of a comic book. But deep within the traditions, Buddhists argue about Buddha nature, Buddha veneration, and the role the Buddha plays in human liberation. Christians argue about Jesus’ divine and human status, his uniqueness, and the role he plays in human salvation. One good thing about all this disagreement: it makes my musings about the Buddha and Jesus pale in comparison.Still, I would like to understand better. Why do I see the Buddha and Jesus differently?Socialization and HistorySurely the most important reason can be summarized in one word: socialization. I was raised to love Jesus, to believe in him. Here’s how I was raised to see Jesus: Jesus is God’s son, born to a woman named Mary and a man named Joseph. God sent Jesus to help human beings lost in a morass of bad deeds, psychological confusion, and social injustices. This melange of evil is so pervasive among human beings that solutions can only come from someone outside the system, willing to enter into the system and guide others out, both by what he says and by what he does—how he lives his life.What Jesus said, what Jesus did, and who Jesus was—all are unique. Others of us can try to live like Jesus—indeed, we should. But none of us, not one, can... (shrink)

Digital images taken by mobile phones are the most frequent class of images created today. Due to their omnipresence and the many ways they are encountered, they require a specific focus in research. However, to date, there is no systematic compilation of the various factors that may determine our evaluations of such images, and thus no explanation of how users select and identify relatively “better” or “worse” photos. Here, we propose a theoretical taxonomy of factors influencing the aesthetic appeal of (...) mobile phone photographs. Beyond addressing relatively basic/universal image characteristics, perhaps more related to fast perceptual processing of an image, we also consider factors involved in the slower re-appraisal or deepened aesthetic appreciation of an image. We span this taxonomy across specific types of picture genres commonly taken—portraits of other people, selfies, scenes and food. We also discuss the variety of goals, uses, and contextual aspects of users of mobile phone photography. As a working hypothesis, we propose that two main decisions are often made with mobile phone photographs: Users assess images at a first glance—by swiping through a stack of images—focusing on visual aspects that might be decisive to classify them from “low quality” to “acceptable” to, in rare cases, “an exceptionally beautiful picture.” Users make more deliberate decisions regarding one’s “favorite” picture or the desire to preserve or share a picture with others, which are presumably tied to aspects such as content, framing, but also culture or personality, which have largely been overlooked in empirical research on perception of photographs. In sum, the present review provides an overview of current focal areas and gaps in research and offers a working foundation for upcoming research on the perception of mobile phone photographs as well as future developments in the fields of image recording and sharing technology. (shrink)

Detroit is frequently viewed as a city where hope has been lost, government is totally dysfunctional, and the infrastructure is beyond repair. For far too many people around the world, the Motor City is perceived as a city whose greatness is in distant memory. Detroit Resurgent, while not ignoring the problems facing the city, explores Detroit in a new way that reveals a culturally rich, very alive, and undeniably present side of the city. Through photographic portraits, interviews, essays, and poetry, (...) it demonstrates the vitality and humanity of Detroit’s people, providing a powerful counternarrative to the vision of Detroit as a Rust Belt wasteland. Giving voice to people with hopes for a brighter future and aspirations to create a new city out of the old required recording their own words and engaging a portrait photographer grounded in humanism whose approach is based upon the traditions of social documentary photography. Detroit Resurgent explores the city through the voices of those working in a multitude of ways to reshape it into a twenty-first-century urban space, through the auto industry, urban agriculture and food production, entrepreneurial action and small business, visual and performing arts, activism, and visionary leadership. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Spirometer, Whale, Slave:Breathing Emergencies, c. 1850John Durham Peters (bio)Breath dramatically starts with a slap at birth and ceases with death and yet we typically ignore it until it is under duress. Unlike marine mammals such as whales and dolphins who can never fully automate breathing—they sleep one brain hemisphere at a time so as to keep conscious watch, like yogis, over their respiration—we humans are mostly somnambulists with regard (...) to breath. Unlike our briny cousins, we won't drown if we neglect our breath. Our relatively accommodating habitat at the fold of lithosphere and atmosphere enables a Lethe of oblivion, though many elements of our world are hostile to breath: water, fire, earth, extremes of height, heat, or cold. Nothing could be more fundamental for aerobic terrestrial creatures than breathing. So its routine cloaking in impercipience must somehow be functional and require a great deal of nervous expenditure. (It always takes a lot of work to make an infrastructure invisible.)Breathing is a good test case for the notion, common to many variants of critical theory, that nature for humans is always second nature: what would it mean to find culture, history, and politics in something that is so relentlessly universal and given? The intensity of the urge for drink, food, sex, or sleep pales compared to that of taking a breath withheld or expelling a breath too long held. Here, it seems, desire and need converge. Breathing morphs into awareness, art and artifice when threat, absence or curiosity rouse it from its slumber—when we swim, have a coughing fit, sing, or challenge someone to a breath-holding contest. Under the earth in a mine, high in the air on a mountain or airplane, ill with a respiratory disease, or in other extreme situations, we need techniques and technologies to breathe. Like everything supposedly natural, we can't leave breathing in peace. We mold breath in techniques of speech, song, and prayer and in technologies of diving, medicine, and air travel. A full accounting of such would form a full encyclopedia of human ingenuity.1 [End Page 85]With typical flamboyance, Peter Sloterdijk declared that the atmosphere first ceased to be taken for granted, i.e., became technical, a matter of art, on 22 April 1915, with the German deployment of poison gas in World War I. On a world-historical scale, he takes this weaponization of the environment as an "air-quake" that launched modern air-conditioning in its most literal sense of climatization (as French and German has it) and not just interior cooling (Sloterdijk 89-110 passim). We need a history of comparative breathing emergencies! Every era, like every life, has its encounters with the precarity of breathing, even if not as conveniently dated or climate-change prognostic as 22 April 1915. The urban concentration of human population starting a few thousand years ago, for instance, made people co-breathers (con-spirators) in new ways and thus more prone to the contagious respiratory illnesses that have long ravaged our species.I want to look at one such moment—one marked by a deadly global respiratory illness, new instruments for producing data, worries about radical alterations to the atmosphere, comparative interest in nonhuman forms of life, and the politicization of breathing. 1850, like 2020, was a moment when breath awoke from its autonomic quiet. The nineteenth century was the great age of tuberculosis, the tragic and romantic lung disease. It was a time of fog, smoke, and mud, of climate-changing volcanic eruptions and a year without a summer, and of a mysterious, brooding "storm-cloud" that John Ruskin complained of so bitterly. Medical instruments, the whaling industry, and struggles for the abolition of slavery all brought the lungs into the foreground.SpirometerThe nineteenth century was also the great age of instrumentation. Light and sound were only the two most famous dynamic processes to yield to new graphic methods of inscription such as photography and phonography. The spirometer was one of many devices designed to render visual data of physiological functions, such as the myograph, the flame manometer, sphygmomanometer, and the kymograph. Many of them are still in use. The invention... (shrink)

Why has the ring of the telephone become a beep? What ever happened to the bumpers and fenders of cars? Why do food commercials never mention hunger?In this encyclopedia of low-brow aesthetics, Daniel Harris concentrates on the nuances of non-art, the uses of the useless, the politics of product design and advertising. We learn how advertisers exaggerate our sensual responses to eating, how close-up nature photography exaggerates the accessibility of the natural world, and how the mutated physiology of (...) dolls invites our pity and affection.In studying its aesthetics, we find consumerism instills disappointment rather than gratification, convincing us that our lives are deficient and wanting. If we are what we buy, then we must buy in order to be. (shrink)

Animals and Science Fiction is the first edited collection to be published focusing on the intersection of animal studies and science fiction studies. It offers a broad range of theoretical approaches and primary source texts—including novels, short stories, poetry, film and TV, photography, erotica, video games, and urban planning documents—that explore the ways works of science fiction can transform how we see and interact with nonhuman others. With an eye toward more just multispecies futures, it argues that speculative imaginaries (...) can be pivotal in changing attitudes toward and understandings of nonhuman animals in our world today. Chapters appeal to those interested in biopolitics, posthumanism, new materialism, ecocriticism and the environmental humanities, ocean humanities, postcolonial studies, critical race studies, Indigenous studies, global sf studies, film studies, and food studies. Taken together, the collection works to showcase a diverse and growing field of scholarly inquiry into animals and science fiction. (shrink)

In The Ethics of Food, Gregory E. Pence brings together a collection of voices who share the view that the ethics of genetically modified food is among the most pressing societal questions of our time. This comprehensive collection addresses a broad range of subjects, including the meaning of food, moral analyses of vegetarianism and starvation, the safety and environmental risks of genetically modified food, issues of global food politics and the food industry, and the (...) relationships among food, evolution, and human history. (shrink)

You have the camera, or intend to. You have the desire. Now, you have personalized instruction from PC Magazine "The play of light and color on the human imagination." That's how Daniel and Sally Wiener Grotta define photography. They'll lead you through choosing a digital camera and using all its amazing features, but photography is more than technology. These renowned experts liberally share their knowledge of lighting, settings, focus, file formats, communicating with pictures, and more. Read a little, (...) then go shoot some pictures, study them, and read some more. See what you and that camera can do -- together. Go one-on-one with the pros Choose a camera that fits your needs Understand resolution, compression, pixels, and file formats Use shutter speed, lighting, and depth of field Learn about white balance and color adjustment Organize your shots on the camera Shoot photos for company publications or online auctions Pick up tips for getting great photos Get your pictures out of the camera, easily Edit, print, and e-mail photos. (shrink)

This article asks how the application of digital technologies is changing the organization of the agri-food system in the context of the third food regime. The academic debate on digitalization and food largely focuses on the input and farm level. Yet, based on the analysis of 280 digital services and products, we show that digital technologies are now being used along the entire food commodity chain. We argue that digital technologies in the third food regime (...) serve on the one hand as a continuation of established information and communication technologies, thus deepening certain features of the existing food regime such as the retail sector’s control over global commodity chains. On the other hand, digital technologies also introduce new forms of control and value extraction based on the use of data and pave the way for large tech companies to take over market shares in the agri-food sector. Finally, we find that multinational agri-food companies are starting to take on the business models of leading digital tech companies, for instance by developing digital platforms throughout the agri-food system. We argue that this shows that the broader economic restructuring of neoliberal capitalism towards digital capitalism is also making its way into the agri-food system. (shrink)

In this paper, we critically interrogate the benefits of an interdisciplinary and theoretically diverse dialogue between ‘local food’ and ‘alternative food networks’ and outline how this dialogue might be enriched by a closer engagement with discourses of food sovereignty and the politics of scale. In arguing for a shift towards a greater emphasis on food sovereignty, we contend that contemporary discourses of food security are inadequate for the ongoing task of ensuring a just and sustainable (...) economy of food. Further, rather than treating the local and the global as ontologically given categories around which to contest the politics of food, it is our contention that recognising the socio-spatial aspects of the politics of scale has the potential to reinvigorate discourses of food security, food sovereignty and AFNs. Understanding scale as both fixed to a degree as well as contingent and dynamic has implications for an understanding of the role of food systems, for how the rescaled state privileges certain food systems and the possibilities for resistance through ‘jumping scale’ and food utopias. All of these aspects are significant if we are to fully comprehend and contest the challenges of envisioning and enacting real utopias of food sovereignty. (shrink)

Ethical consumerism is the thesis that we should let our values determine our consumer purchases. We should purchase items that accord with our values and refrain from buying those that do not. The end goal, for ethical consumerism, is to transform the market through consumer demand. The arm of this movement associated with food choice embraces the slogan “Vote with Your Fork!” As in the more general movement, the idea is that we should let our values dictate our choices. (...) In this paper, I offer a critique of the Vote with Your Fork campaign (hereafter VWYF) that focuses on the agency of individuals. For VWYF to be effective, minimally, individuals must act _intentionally_ when making food choices. In the ideal case, individuals adopt and endorse the values implicit in VWYF and exhibit _autonomous agency_ when they purchase and consume food. The problem, though, is that a number of things can go wrong along the way. I argue that very few of us are in the position to exhibit autonomous agency with respect to our food choices. Because of this, VWYF could very well undermine its own goals. (shrink)

Recent years have seen widespread calls to transform food systems to address complex demands such as feeding a growing global population while reducing environmental impacts. But what is a food system and how can we most effectively work to change it? “Food System” can be found describing more limited dietary regimens as well as sector-specific supply chains going back to the 1930s, but its use to describe very large, dynamic, coupled socio-ecological systems gained traction in academic and (...) civil society publications in the 1990s and this use of the term has increased dramatically in recent years. When the influential food system actors from non-governmental organizations, foundations, consultancies, and the UN that this research focuses on talk about food systems, they seem to be talking about the same thing. Yet the interpretive flexibility of the concept obfuscates that people may have very different framings that may be deeply incompatible. Drawing from interviews, participant observation, and document analysis, this paper examines what food systems thinking does in terms of setting the stage for how we enact the food system and efforts to intervene in it. It reveals that rather than leading to more expansive understanding, the unexamined use of the concept food system might actually serve to sharpen divides. (shrink)

Philosophical aesthetics emerges out of eighteenth-century discussions of taste that paid scant attention to the experience of tasting and ingesting food. Sarah Worth diagnoses this historical oversight and offers an unexpected remedy. She argues that we should start our analysis of aesthetic taste over again, this time beginning with the pleasures of the tongue and mouth, and work out from there to consider the kinds of experience, knowledge, and appreciation that belong to eating and savoring. As she argues, our (...) ability to make gustatory discriminations and to determine what tastes good and why is not as different from our aesthetic judgments as philosophers and other aesthetic theorists might have led us to believe. In this engaging and readable book, Worth persuasively argues that food and its many tastes deserve serious philosophical consideration.Worth explores a number of puzzles that arise when we try to make sense of the concept of taste. She disentangles the metaphorical sense of taste understood as a reasoned judgment expressing aesthetic preferences from the literal sense of taste which involves our sensory experiences when food is in our mouths. She discusses good and bad taste, food and pleasure, authentic and inauthentic food, “food porn”—those impossibly glamourized images of food that we find in advertising and magazines and cookbooks and social media—and the role of recipes in the practice of cooking. She places our everyday experiences of food in the context of wider relationships and activities including cultivation, harvesting, processing, shipping, and purchasing, as well as the preparation and cooking meals for family and friends. The book is punctuated by many of the usual philosophical suspects (Plato and Aristotle, Hume and Kant, Bullough and Sibley) as well as critical and feminist theorists, food sociologists, and a number of famous chefs including Fannie Farmer, Julie Child, and Nigella Lawson. If Worth endorses a particular metaphilosophy of food, it would be that of the Slow Food movement, which is the subject of Chapter Three. (shrink)

Local food is often defended on environmental grounds. However, environmental defenses of local food are flawed, and all environmental defenses are limited as they at most establish that local food is instrumentally valuable. These deficiencies motivate a different approach. By drawing on the aesthetics of engagement, a theory of environmental aesthetics, I argue that local food has an overlooked intrinsic value; it can allow people to become engaged with—and thereby aesthetically appreciate—the environment. My argument charts a (...) comparatively neglected area of aesthetics: the aesthetics of taste and smell and, more specifically, the role that these senses play in the aesthetic appreciation of the environment. (shrink)

Achieving food system sustainability is one of the more pressing challenges of this century. Over the last decades, experts from diverse disciplines and intellectual traditions have worked to document the critical threats to food system sustainability and to define an appropriate agenda for action. Nevertheless, these efforts have tended to focus selectively on only a few components of the food system or have tended to be framed in particular discourses. Depending on the point of departure, what aspects (...) of the food system are considered threatened, and what must be sustained, can differ greatly between perspectives. In this article, we draw from systems-thinking and social-ecological systems concepts to focus on the underlying process-related attributes that could support a more sustainable food system. We then examine the support for specific system attributes in six different knowledge domains addressing sustainable agriculture and food. From this review, we identify five system attributes—diversity, modularity, transparency, innovation and congruence—that are repeatedly featured in the different knowledge domains as critical aspects of food system sustainability. We argue that in the face of considerable complexity and high uncertainty, these attributes can serve as a guide to conceptualizing food system choices adaptively and iteratively. (shrink)

virgilee's smile brightens the gloaming, some sunlight penetrates the low-lying clouds, but a persistent mist hides merchants from one another. She sweeps her arm around this eerie scene and conjures up the attraction of the Market. So many people learned about business here, their kids are now in business all over the City. You're free here; everybody is doing their own thing at their own pace. Folks working here want to be successful. At work you go by the other guys' (...) rules, you're free here for a few hours, like being out in the woods, you can come in the middle of the week and it's private here and people don't notice you, it's therapeutic like being in an oasis. You meet so many people it really is the melting... (shrink)

A largely qualitative body of literature has contributed to understanding the contradictory dimensions of community gardening as a social justice tool. Building on this literature through a city-wide, quantitative intervention, this paper focuses on community gardening as a facilitator of ecological gentrification in St. Louis, Missouri. Combining the analytical lenses of spatial justice, urban political ecology, and the rent gap theory of gentrification, I deploy spatial regression analysis to show that community gardening was positively associated with gentrification in St. Louis (...) between the years 2000 and 2010, as measured by the growth of high socioeconomic status residents in each neighborhood. This result suggests that a sociospatial dialectic exists in which the implementation of a community garden, a change in the use of urban space, leads to unintended social outcomes. Contextualizing this finding within the broader literature, I conclude that the potential of community gardening as an instrument for spatial justice is contingent on institutional support against larger-scale processes, like gentrification, that lead to spatially unjust outcomes. (shrink)

At a time when agri-food biotechnologies are receiving a surge of investment, innovation, and public interest in the United States, it is common to hear both supporters and critics call for open and inclusive dialogue on the topic. Social scientists have a potentially important role to play in these discursive engagements, but the legacy of the intractable genetically modified (GM) food debate calls for some reflection regarding the best ways to shape the norms of that conversation. This commentary (...) argues that agri-food scholars interested in promoting a more constructive agri-food biotechnology discussion could do so by blending key insights, as well as guarding against key shortcomings, from the fields of science communication and science and technology studies (STS). Science communication’s collaborative and translational approach to the public understanding of science has proven pragmatically valuable to scientists in academia, government, and private industry, but it has too often remained wedded to deficit model approaches and struggled to explore deeper questions of public values and corporate power. STS’s critical approach has highlighted the need for multi-stakeholder power-sharing and the integration of diverse knowledge systems into public engagement, but it has done little to grapple with the prevalence of misinformation in movements against GM foods and other agri-food biotechnologies. Ultimately, a better agri-food biotechnology conversation will require a strong foundation in scientific literacy as well as conceptual grounding in the social studies of science. The paper concludes by describing how, with attention to the structure, content, and style of public engagement in the agri-food biotechnology debates, social scientists can play a productive conversational role across a variety of academic, institutional, community-level, and mediated contexts. (shrink)

Alinder provides calibrated readings of the photographs from this period, including works by Dorothea Lange, Ansel Adams, Manzanar camp inmate Toyo Miyatake (who constructed his own camera to document the complicated realities of camp life) ...

Focuses on techniques that help you successfully capture sports and live action photographs, such as freezing action or adding motion blur Covers getting the right gear, setting your camera for the shot, capturing the shot, editing the ...

When is it wrong to buy something? Is it wrong whenever the product was produced unethically? What if your purchase doesn’t make adifference to whether the unethical practice continues? What about purchasing and eating animal products specifically? And however answer all those questions, how should we engage with people who act wrongly as consumers? In this essay, Mark Budolfson provides some tools for thinking more clearly about these questions, arguing that we need to be careful to separate our assessment of (...) how things are produced from our assessment of consumers. (shrink)

Governments and other food system actors from the private sector, civil society, research and education institutions are being called upon to work together to enhance the sustainability, resilience and inclusiveness of food systems. The analysis presented in this study provides an insight into the process and direction of food system transformation, and the key capabilities required. It portrays the interplay of different internal and external dynamics combined with the capacity of food system actors to connect, forge (...) alliances and commit to specific actions that has enabled countries to move towards a more sustainable food system. (shrink)

Adolescence is an important developmental period marked by a transition from primarily parental-controlled eating to self-directed and peer-influenced eating. During this period, adolescents gain autonomy over their individual food choices and eating behavior in general. While parent-feeding practices have been shown to influence eating behaviors in children, little is known about how these relationships track across adolescent development as autonomy expands. The purpose of this qualitative study was to identify factors that impact food decisions and eating autonomy among (...) adolescents. Using the food choice process model as a guide, four focus groups were conducted with 34 adolescents. Focus group discussion was semi-structured, asking teens about influences on their food choices across different food environments, their involvement with food purchasing and preparation, and perceived control over food their choices. Focus group transcripts were analyzed using deductive and inductive code creation and thematic analysis. This study found six leading influences on adolescents' food choices and identified additional factors with prominence within specific environmental contexts. This study distinguished a broader spectrum of factors influencing adolescent food choice that extend beyond “convenience” and “taste” which have previously been identified as significant contributors. The degree of control that teens reported differed by eating location, occasion, and social context. Finally, adolescents demonstrated various levels of engagement in behaviors related to their eating autonomy. Identifying the emergent themes related to adolescent autonomy was the first step toward the goal of developing a scale to evaluate adolescent eating autonomy. (shrink)