A Sensory Education
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Celebrity Chefs As Brand and Their Cookbooks As Marketing
Celebrity Chefs as brand and their cookbooks as marketing communications This paper discusses how consumers understand and interpret celebrity chefs as brands and utilise the cookbooks as marketing communications of the benefits and values of the brand. It explores the literature around the concept of celebrity, identifying it as something which is consciously created with commercial intent to such an extent that to suggest celebrities become brands is not hyperbole (Turner, 2004). It discusses the celebrity chef: how they are created and their identity as marketing objects (Byrne et al, 2003). It discusses common constructions of the meaning of cookbooks as historical and cultural artefacts and as merchandise sold on the strength of their associated celebrity’s brand values (Brownlee & Hewer, 2007). The paper then discusses its findings against two research objectives: first to explore the meaning of celebrity chefs for consumers and second to suggest a mechanism of how this meaning is created. Using narrative analysis of qualitative interviews this paper suggests, that consumers understand and consume the celebrity chef brand in a more active and engaged way than traditional consumer goods brands can achieve. It also suggests, as a development from tradition views of cookbooks, that those written by the celebrity chef brands are acting as marketing communications for their brand values. Defining Celebrity Celebrity is much written about by social theorists (Marshall, 1997; Monaco, 1978) and as such there are many taxonomies of celebrity which Turner (2004) and discusses at some length in his work Most interesting for this work is the concept of the Star (Monaco, 1978), fame is achieved when their public persona eclipses their professional profile in the ways of Elizabeth Hurley or Paris Hilton. -
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Lane, S. and Fisher, S. (2015) 'The influence of celebrity chefs on a student population’, British Food Journal, 117 (2), pp. 614-628. Official URL: http://dx.doi.org/10.1108/BFJ-09-2013-0253 ResearchSPAce http://researchspace.bathspa.ac.uk/ This pre-published version is made available in accordance with publisher policies. Please cite only the published version using the reference above. Your access and use of this document is based on your acceptance of the ResearchSPAce Metadata and Data Policies, as well as applicable law:- https://researchspace.bathspa.ac.uk/policies.html Unless you accept the terms of these Policies in full, you do not have permission to download this document. This cover sheet may not be removed from the document. Please scroll down to view the document. The Influence of Celebrity Chefs on a Student Population 1. Introduction Celebrity is much written about by social theorists (McNamara, 2009; Ferri, 2010; Lawler, 2010) and as such there are many taxonomies of celebrity, which Turner (2010) discusses at length. The concept that celebrity is a ‘cultural formation that has a social function’ (Turner, 2010:11), and the contemporary significance of celebrity itself remains a key topic for debate (Couldry and Markham, 2007). Celebrities are considered as role models for millions of people, especially younger citizens (Couldry and Markham, 2007), who are the focus of this study. Pringle (2004:3) suggests that ‘celebrity sells’, and outlines the extent to which society becomes influenced by these figures due to their prevalence in everyday life. Becoming well-known public figures, where they have adversaries as well as fans (Henderson, 2011) celebrities have attracted significant literature, which is split on their benefit and detriment to society (Couldry and Markham, 2007). -
Posterior Parietal Cortex Represents Sensory History and Mediates Its Effects on Behavior Athena Akrami1,2,3, Charles D
bioRxiv preprint doi: https://doi.org/10.1101/182246; this version posted January 4, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. Posterior parietal cortex represents sensory history and mediates its effects on behavior Athena Akrami1,2,3, Charles D. Kopec1,2, Mathew E. Diamond4, Carlos Brody1,2,3 1. Princeton Neuroscience Institute, Princeton University, Princeton, NJ 08544, USA. 2. Department of Molecular Biology, Princeton University, Princeton, NJ 08544, USA. 3. Howard Hughes Medical Institute. 4. Tactile Perception and Learning Laboratory, International School for Advanced Studies (SISSA), 34136 Trieste, Italy Many models of cognition and of neural computations posit seconds, here auditory pink noise stimuli, ‘sa’ and ‘sb’; rats were the use and estimation of prior stimulus statistics1–4: it has rewarded for correctly reporting which of the two was louder 16 long been known that working memory and perception are (Fig. 1a). Following ref. , the set of [sa, sb] pairs used across strongly impacted by previous sensory experience, even trials in a session was chosen so that neither stimulus alone when that sensory history is irrelevant for the current task contained sufficient information to solve the task (Fig. 1b). As at hand. Nevertheless, the neural mechanisms and brain with any magnitude discrimination task, the smaller the regions necessary for computing and using such priors are difference between stimuli, the harder the task (Fig. 1c). -
The Expanding Field of Sensory Studies (V.1.0) July 2013
The Expanding Field of Sensory Studies (version 1.0 – July 2013) David Howes, Centre for Sensory Studies, Concordia University, Montreal The sensorium is a fascinating focus for cultural studies Walter J. Ong, “The Shifting Sensorium” (1991) In sensory studies, the senses are treated as both object of study and means of inquiry. Sensory studies stands for a cultural approach to the study of the senses and a sensory approach to the study of culture. It challenges the monopoly that the discipline of psychology has long exercised over the study of the senses and sense perception by highlighting the sociality of sensation. History and anthropology are the foundational disciplines of this field. Sensory studies encompasses many other disciplines besides these two, however, as scholars from across the humanities and social sciences have, over the past few decades, successively “come to their senses” and turned their attention on the sensorium. The Senses and Society journal, which launched in 2006, is one manifestation of this convergence. The Sensory Studies website, which went live in 2010, is another (see www.sensorystudies.org), This essay is dedicated to tracing the history of the sensory turn in contemporary scholarship, and pointing to some directions for future research. It starts with an overview of the emergence and development of the history and anthropology of the senses. It goes on (in Part II) to examine how the senses have come to figure as a subject of study and means of inquiry in a range of other disciplines, including, for example, geography, sociology, linguistics, aesthetics and communication studies. In Part III, the focus shifts to how the field of sensory studies can otherwise be conceptualized as made up of visual culture, auditory culture (or sound studies), smell culture, taste culture and the culture of touch. -
I Love to Eat by James Still in Performance: April 15 - June 27, 2021
Commonweal Theatre Company presents I Love To Eat by James Still In performance: April 15 - June 27, 2021 products and markets. Beard nurtured a genera- tion of American chefs and cookbook authors who have changed the way we eat. James Andrew Beard was born on May 5, 1903, in Portland, Oregon, to Elizabeth and John Beard. His mother, an independent English woman passionate about food, ran a boarding house. His father worked at Portland’s Customs House. The family spent summers at the beach at Gearhart, Oregon, fishing, gathering shellfish and wild berries, and cooking meals with whatever was caught. He studied briefly at Reed College in Portland in 1923, but was expelled. Reed claimed it was due to poor scholastic performance, but Beard maintained it was due to his homosexuality. Beard then went on the road with a theatrical troupe. He lived abroad for several years study- ing voice and theater but returned to the United States for good in 1927. Although he kept trying to break into the theater and movies, by 1935 he needed to supplement what was a very non-lucra- Biography tive career and began a catering business. With From the website of the James Beard Founda- the opening of a small food shop called Hors tion: jamesbeard.org/about d’Oeuvre, Inc., in 1937, Beard finally realized that his future lay in the world of food and cooking. nointed the “Dean of American cookery” by In 1940, Beard penned what was then the first Athe New York Times in 1954, James Beard major cookbook devoted exclusively to cock- laid the groundwork for the food revolution that tail food, Hors d’Oeuvre & Canapés. -
Post-Feminism and Cooking
Feeling Like a Domestic Goddess: Post-Feminism and Cooking 1 Nigella Lawson has become one of the UK‟s bestselling cookery writers. A food writer for British Vogue, Lawson has published four bestselling cookery books, How to Eat, How to be a Domestic Goddess, Nigella Bites, and Forever Summer, the latter two based on the Channel 4 primetime cookery shows of the same names. She has also been a columnist for the UK Sunday newspaper The Observer (where she was frequently interpreted as representing a „feminist‟ voice), writes a beauty column for The Times and, perhaps not insignificantly for what follows, is a former member of the editorial board of Critical Quarterly. She has also gained an iconic status in the UK, becoming known simply by her first name like the UK‟s Delia (Smith) and the US Martha (Stewart). Press commentary about Nigella Lawson has extended far beyond her food writing to reflect on her heritage (she is daughter of former Tory MP, Nigel Lawson), the tragedies in her life (she lost her mother, sister and, most recently, her husband to cancer) and her love life (a well-publicized relationship with millionaire art collector, Charles Saatchi). However, most commentary betrays a fascination with her „beauty‟ (in a British survey, she was voted the 3rd most beautiful woman in the world) and with the „Nigella lifestyle‟ and what it representsi. The publication of Domestic Goddess in the UK in 2000 served to highlight the distance between feminism and cooking, at least within „the popular‟. The book provoked a huge debate in the press about the relationship between feminism, femininity and baking with Lawson being variously positioned as the pre-feminist housewife, as an anti-feminist Stepford wife, as the saviour of downshifting middle class career women, and as both the negative and positive product of post-feminism. -
The Social Construction of the Soundscape of the Castilian Cities (15Th and 16Th Centuries)
acoustics Article The Social Construction of the Soundscape of the Castilian Cities (15th and 16th Centuries) Gisela Coronado Schwindt Departamento de Historia, Facultad de Humanidades, Universidad Nacional de Mar del Plata, Mar del Plata 7600, Argentina; [email protected] Abstract: This paper seeks to develop some conceptual elements that articulated the social construc- tion of the soundscape of the urban spaces of the kingdom of Castile (15th–16th centuries). We focus our attention on the revision of the normative spheres that structured the subjective universe of the Castilian inhabitants, in order to notice and spot the different sound representations that intervened in the spatial and social configuration of the cities, their possible conflicts, and levels of acoustic tolerance. This proposal is part of the so-called “sensorial turn” in the Social Sciences, defined by David Howes as a cultural approach to the study of the senses as well as a sensorial approach to the study of culture. The research is carried out through the analysis of the sensory marks present in a documentary corpus made up of normative documents (municipal ordinances, books of agreement, chapter acts, diocesan synods, and royal dispositions) and judicial documents (General Archive of Simancas) combining methods of discourse analysis and the history of the senses. In the article, we argue and remark that the sound dimension operated as a device that acted in the shaping of the identity of places, since it contributed to define and delimit their use. This was reflected in the importance given by the authorities to the normative regulation of the community, which included a textual dimension in which the historical soundscape was imprinted, revealing the multiple social interactions that integrated it. -
Review of 'Sensing the Past: Seeing, Hearing, Smelling, Tasting and Touching in History'
Jones-Katz, G. [2011]. Review of ‘Sensing the Past: Seeing, Hearing, Smelling, Tasting and Touching in History.’ by Mark M. Smith. The Social Epistemology Review and Reply Collective. Online. Available. http://social- epistemology.com/ Smith, Mark M. Sensing the Past: Seeing, Hearing, Smelling, Tasting, and Touching in History. Berkeley: University of California Press, 2007. 123 pp. On How (Not) to Turn the Senses into Food for Thought; or, When Context is King Gregory Jones-Katz There is yet another ‘turn’ in US History departments: sensory history. Touted by historians in The American Historical Review, with prospective scholarship to ‘examine hitherto ignored phenomena,’ thereby ‘opening unexplored territories of the past,’ the history of the senses has a promising future.1 Mark Smith, Professor of History at the University of South Carolina and president of The Historical Society, has been a prominent contributor to the field for almost a decade. Smith makes his case for sensory history in Sensing the Past: Seeing, Hearing, Smelling, Tasting, and Touching in History, published a few years before the current interest. In Sensing, Smith traces the importance of the senses for chief cultural developments from antiquity to the pre-Enlightenment era, focusing on how the senses informed the modern emergence of ‘social classes, race and gender conventions, industrialization, urbanization, colonialism, imperialism, nationalism, [and] ideas concerning selfhood and the “other”’ (1). This review essay concentrates on and challenges Smith’s views of how the historian should produce, assess, and validate histories of the senses. Rather than offer a new understanding of how to write sensory history, Smith’s approach is disappointedly status quo. -
Tactile Contexts: Toward a Feeling Musicology
Tactile Contexts: Towards Reconstructing a Feeling Musicology Danika Paskvan The Juilliard School March 2016; revised May 2016 … we may encounter a past horizon in one of three ways: 1. Read or see an original work and realize that it was written from a different outlook than ours. 2. Read a critical reconstruction by a predecessor. 3. Start to reconstruct one’s own version of past context. -Reconstructing Contexts, Robert D. Hume, 72 This paper is an archae-historical exploration of music, affect, and the sensing body. It addresses what I see to be a critical lack in both historical musicology and historical performance-practice oriented scholarship: a contextual reconstruction of 17th-century Western European understand- ings of touch and tactility—specifically through musical touch between musicians and their in- struments, through the prevalence of the metaphorical use of “touch words” in 17th-century mu- sic theory, and through the tactility of affect, the critical moment of embodied impact between music and the passions. Thus, with this project, I am building my understanding of the sense of tactility in early modern era as it pertained to music-making, music-teaching, and music-experi- encing, with the ultimate goal of creating a detailed, deeply empathetic, and accurate reconstruc- tion of the experiencing body of the 17th-century musician. My text will resonate with quota- tions from Robert D. Hume’s incredibly enlightening Reconstructing Contexts, a text whose aca- demic programme has become a rallying cry for me and which greatly -
The Really Quite Good British Cookbook
Q COOKERY THE REALLY QUITE GOOD BRITISH COOKBOOK What do you cook for the people you love? Asked this question, 100 of Britain’s food heroes have shared their most beloved recipes to make this extraordinary cookbook. Nigella Lawson divulges how to bake her Chocolate Guinness Cake and Rick Stein fries up Shrimp & Dill Fritters with Ouzo. Yotam Ottolenghi would serve Pea & Mint Croquettes, and for Jamie Oliver, his unrivalled Happy Fish Pie. These are just a few of the incredible recipes provided by the best and brightest on the British food scene, including names such as Raymond Blanc, Gordon Ramsay, Delia Smith, James Martin, Nigel Slater, Thomasina Miers, Mark Hix, Marco Pierre White, Jason Atherton, Claudia Roden and more. Compiled by award-winning food editor and author William Sitwell, The Really Quite Good British Cookbook is keenly anticipated and a stunning object in its own right. Ultimately it is a celebration of the breadth, creativity and richness of Britain’s unique food culture. SALES POINTS: Pub date March 2017 Price R575 • Edited by William Sitwell, an award-winning editor, broadcaster, writer Isbn 978-1-928209-67-6 and food critic. Hardback with ribbon marker • With 150 recipes, this definitive survey of Great British food and 200mm x 260mm, 428 pages cooking is the book that every foodie will want in their collection. 100 contributors, 150 recipes • Stunning cover design by the legend that is Sir Peter Blake. 215 original images • The dishes in this book will inspire even the most jaded of hosts. • A portion of royalties from the sale of this book are going to support the vital reallyquitegoodbritishcookbook.com work of The Trussell Trust, which runs food banks across Britain. -
Download Book of Abstracts
AIC LISBOA 2018 colour & human comfort AIC Interim Meeting I 25-29 September 2018 I Lisbon, Portugal I www. aic 2018.0rg AIC LISBOA 2018 colour & human comfort Abstracts of the International Colour Association (AIC) Conference 2018 Lisbon, PORTUGAL 25 – 29 September 2018 Sponsored by Associação Portuguesa da Cor (APC) Published by International Colour Association (AIC) associação portuguesa da cor This publication includes Abstracts of the keynote, oral and poster papers presented in the International Colour Association (AIC) Conference 2018. The theme of the conference was Colour and Human Comfort. The conference, organised by the Associação Portuguesa da Cor (APC), was held in Lisbon, Portugal on 25-29 September 2018. More information in: www.aic2018.org. GRAPHIC DESIGN Cover and Layout - Luisa Costa and Cristina Pinheiro Edition - Margarida Gamito Assistent in Edition - Joana Sousa and Miguel Sanches © 2018 International Colour Association (AIC) International Colour Association Incorporated PO Box 764 Newtown NSW 2042 Australia www.aic-colour.org All rights reserved. DISCLAIMER Matters of copyright for all images and text associated with the papers within the Proceedings of the International Colour Association (AIC) 2018 and Book of Abstracts are the responsibility of the authors. The AIC does not accept responsibility for any liabilities arising from the publica- tion of any of the submissions. COPYRIGHT Reproduction of this document or parts thereof by any means whatsoever is prohibited without the written permission of the International -
Disturbing Objects
Disturbing Objects Disturbing Objects : Making, Eating and Watching Food in Popular Culture and Performance Practice. Jenny Lawson (University of Leeds) I like baking cakes. I have been baking cakes for a long time. I try to take a cake with me wherever I go. My cakes have travelled to Lancaster, Manchester, Bracknell, Leeds, Sheffield, Surrey, Norwich, Gothenburg and Ulverston. I am going to bake you a cake and I am going to give it to you in a moment. A Journey through Food I love food; making it, eating it and now I also love watching it. My performance practice investigates food in contemporary culture, and this article is an attempt to journey through food, cooking objects and my practice, both contextualising and creatively documenting my engagements with cakes, kitchens and the dinner table. In this paper, my documentary elements are – as above – in italics. Cooking materials and foodstuffs play an essential role in everyday food practices and contribute to the formation of identities, relationships and socially and culturally accepted behaviour. My interest lies with the relationship between women and food. If we look at the influences of popular culture in the current climate, for instance the rise in food and lifestyle television programming and celebrity cooks (of which there are considerably more male than female), these popular food performances can be seen as indicative of contemporary attitudes governing food and female domestic practice. I am proposing that there is a space for performance practice to address the ramifications of popular cultural food performances to explore our relationship with food and its materiality in contemporary culture.