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Quote by Douglas McMaster

“Nature is never the same twice; this inconsistency requires adaptability. There are limitless problems in the world. If we think like a machine we only find ourselves with the same problems. The problems are there because we haven't adapted a solution; the only way to find a solution is to think outside the machine. This thinking is necessary to a natural food system. There are no two vegetables that are the same, no two days of cooking that are the same, no two humans that are the same. Industrial systems give us the same ingredients every day, through all the seasons. When you put square shapes in square spaces, you don't understand the circle. Your thinking becomes linear and you can't adapt. When you adapt, your mind is able to make connections and find solutions to the unpredictable nature of real food.”

Quote by Douglas McMaster

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Douglas McMaster

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“My favorite idea to come out of the world of cultured meat is the 'pig in the backyard.' I say 'favorite' not because this scenario seems likely to materialize but because it speaks most directly to my own imagination. In a city, a neighborhood contains a yard, and in that yard there is a pig, and that pig is relatively happy. It receives visitors every day, including local children who bring it odds and ends to eat from their family kitchens. These children may have played with the pig when it was small. Each week a small and harmless biopsy of cells is taken from the pig and turned into cultured pork, perhaps hundreds of pounds of it. This becomes the community's meat. The pig lives out a natural porcine span, and I assume it enjoys the company of other pigs from time to time. This fantasy comes to us from Dutch bioethicists, and it is based on a very real project in which Dutch neighbourhoods raised pigs and then debated the question of their eventual slaughter. The fact that the pig lives in a city is important, for the city is the ancient topos of utopian thought. The 'pig in the backyard' might also be described as the recurrence of an image from late medieval Europe that has been recorded in literature and art history. This is the pig in the land of Cockaigne, the 'Big Rock Candy Mountain' of its time, was a fantasy for starving peasants across Europe. It was filled with foods of a magnificence that only the starving can imagine. In some depictions, you reached this land by eating through a wall of porridge, on the other side of which all manner of things to eat and drink came up from the ground and flowed in streams. Pigs walked around with forks sticking out of backs that were already roasted and sliced. Cockaigne is an image of appetites fullfilled, and cultured meat is Cockaigne's cornucopian echo. The great difference is that Cockaigne was an inversion of the experience of the peasants who imagined it: a land where sloth became a virtue rather than a vice, food and sex were easily had, and no one ever had to work. In Cockaigne, delicious birds would fly into our mouths, already cooked. Animals would want to be eaten. By gratifying the body's appetites rather than rewarding the performance of moral virtue, Cockaigne inverted heaven. The 'pig in the backyard' does not fully eliminate pigs, with their cleverness and their shit, from the getting of pork. It combines intimacy, community, and an encounter with two kinds of difference: the familiar but largely forgotten difference carried by the gaze between human animal and nonhuman animal, and the weirder difference of an animal's body extended by tissue culture techniques. Because that is literally what culturing animal cells does, extending the body both in time and space, creating a novel form of relation between an original, still living animal and its flesh that becomes meat. The 'pig in the backyard' tries to please both hippies and techno-utopians at once, and this is part of this vision of rus in urbe. But this doubled encounter with difference also promises (that word again!) to work on the moral imagination. The materials for this work are, first, the intact living body of another being, which appears to have something like a telos of its own beyond providing for our sustenance; and second, a new set of possibilities for what meat can become in the twenty-first century. The 'pig in the backyard' is only a scenario. Its outcomes are uncertain. It is not obvious that the neighbourhood will want to eat flesh, even the extended and 'harmless' flesh, of a being they know well, but the history of slaughter and carnivory on farms suggests that they very well might. The 'pig in the backyard' is an experiment in ethical futures. The pig points her snout at us and asks what kind of persons we might become.”

FoodFuturePigBackyardCockaigne
Book:Meat Planet: Artificial Flesh and the Future of Food (California Studies in Food and Culture)
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“On Sunday afternoons after church, we’d go for drives out in the country. My mom would find places with beautiful views for us to sit and have a picnic. There was none of the fanfare of a picnic basket or plates or anything like that, only baloney and brown bread and margarine sandwiches wrapped up in butcher paper. To this day, baloney and brown bread and margarine will instantly take me back. You can come with all the Michelin stars in the world, just give me baloney and brown bread and margarine, and I’m in heaven.”

Food
Book:Born a Crime: Stories from a South African Childhood
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“And just in case you didn't know this little tidbit about social interaction, let me fill you in on something: Do not ever comment on how or what or when a woman is eating anything. Don't do it. Because you know what might happen? You might trigger an obsession with food that the woman had managed to stifle for over twenty years - an obsession that throttled her ability to function throughout high school and college - all because you couldn't resist monitoring her refried beans. Good job. Well done. Five stars. Ten points for you.”

WomenFoodEating Disorders
Book:The Valedictorian of Being Dead: The True Story of Dying Ten Times to Live
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