Blackberry Gluten-free Scones

I don't usually post about food since others do that much better than I ever could, but these gluten-free blackberry scones are (well, were...) worth a few words...

I used to make everything from scratch (strange phrase) -- no mixes, no ready-to-eat, no processed foodstuffs (except Kraft macaroni & cheese), no shortcuts... But between being gluten sensitive, working full-time, and trying to develop my artistic practice I've sort of let go of the food purism.

I have a plethora of alternative flours but gluten-free baking seems to be very hit-and-miss for me -- probably because I don't really have time to do the experimentation that I need to do to figure out how much of which kind of flour and whether to add xantham gum or guar gum or whatever... so I bought Bob's Red Mill gluten-free baking mix (think organic, healthy Bisquick). The scones turned out perfectly...

2 1/2 cups Bob's Red Mill Gluten-free baking mix
add 1/2 cup of organic raw sugar, cut in 1/2 cup of organic butter
add 1 cup of vanilla almond milk (was out of the plain variety) stir until all is moist
gently fold in 1 1/2 cups of organic frozen blackberries
press out onto a baking stone, score into 8 scones, sprinkle with more sugar if you want
bake at 375 until browned and flaky
eat while they are so hot you can barely stand it

It's been a gradual relaxation of a set of unspoken food rules I had for myself. I realized I had fallen from food grace when, late one recent supperless evening I found myself standing in front of the frozen food section of Target (egad) eyeballing the frozen veggies (not so bad), and the frozen pre-cooked chicken strips (argh!) and frozen ready-to-heat-and-eat brown rice (bizarre and shameful)... I caved -- mostly because I was starving and it was almost 9pm and I couldn't face going home and either cooking a full meal, or eating a peanut butter sandwich. Got home, dumped it all in the wok with some broth, some shopped garlic and ginger and a bunch of tamari sauce... food in 20 minutes, not delicious, but edible...

When I was a make-it-from-scratch purist I was a stay-at-home mom with 5 - 9 kids in the house and food was my main creative outlet. I made 2-4 loaves of bread every day, baked a dessert twice a week, raised and processed my own meat (lamb and chicken and the occasional deer), gardened and preserved the veggies, made my own jams and jellies and butters...

I guess I could still be a purist if all I wanted to do was work and do foods. But now my life is about more than that, and until someone wants to move into the empty bedrooms and take this task on... well, some convenience foods once in a while won't kill us.

Thinking again about appropriation

I feel sort of guilty that I haven't been posting lately - I haven't been doing much writing at all other than for work or some of the websites I've been working on. This is a practice run at doing some writing that is more thoughtful than most of what I've been writing lately - the thoughtful part is at the end, the rest is setting the scene...

The latest website to be finished (if a website is EVER finished) is Beelandia.com, Abelisto's website. There's at least three more websites in the works, mostly waiting on people to decide if they like them or not... only one of them is a paying job though.

I hennaed my hair last week (or actually, Abelisto did) using body-art quality henna. I mixed it up using lemon juice instead of water, per the instructions that came with it. It was much, much easier to wash out than the other henna. It did stain my forehead and ears a bit, but that faded in a couple days. Next time I'll have to be more careful about cleaning it off my skin.

The henna turned my hair a bit carroty-orange at first. The instructions said not to panic, but instead to give it a few days and see how it darkened. Wow. Now it is a really rich auburn. The gray hairs, which usually are quite coppery with henna I've previously used, are very mellow and not at all what I expected after I first washed out this henna. All-in-all a vast improvement.

I'm thinking about doing henna tattoos. I've had them done on my hands before - at arts & crafts festivals. I like the way they look, and the graceful way they fade out (I love my permanent tattoo too - just so you know).

Here's the thing... I love the look of the traditional henna tattoos, but I don't want to do traditional ones on people. Or I should say, I don't want to do the traditional ones unless it is part of the person's heritage/culture.

I cannot help but think of it as an appropriation, the exoticization of a culture that has always made me a bit uneasy.  Okay, here's the issue, when I think about the idea of inspiration and the artist’s practice it seems to me that there can be sort of a reverse colonization that often happens – a backdraft of appropriation of styles and artforms, which often ends up getting rolled up into the outsider's identity – a disrespectful fascination with a culture that leads to exoticizing the “other,” trivializing and reducing individuals within those cultures to caricatures (google "Native American Princess art images" and you'll see what I mean... how many of those paintings, sculptures, drawings were done by white housewife artists? Harsh, I know, but I cannot help it).

We assume we are welcome within groups just because we like them, because we want to be like them, wear clothes like them, talk like them or eat their food...

How often is respect for the material or nonmaterial objects of a culture – often manifested as a lust to own them – mistaken by those lusting for the object as a respect for the creators of the objects? Our engineered identities are made up from so many influences, so many “I love that!” feelings, that for the most part, it seems to me that authenticity may be a chimera.

It's not exactly rational, I know. It's not like henna tattoos are part of my own culture. However, there is some historical evidence that some sort of tattooing was part of a great many ancient and not-so-ancient cultures - including most if not all of the European mishmash that I descend from. And I do think that the desire to embellish our bodies in some way is a part of every culture. 

So what it comes down to is that I'd love to do the henna tattoos with designs of my own making.

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Matters of Concern

One of the online discussions I participate in has sort of ground to a halt over the perceived direction of our country. To me it seems that the discussion is focused on the financial crisis, fear of unemployment, fear of socialism, and other right-leaning fears.

This morning I posted the following (we'll see what comes from it - maybe there are some less-conservative lurkers on the discussion board)...

I agree that the direction that our country (and our world) is going is a concern. I am not so concerned about the political direction, although the general unwillingness to consider coming to any worthwhile compromise is very discouraging. The disoriented polarity in our government is debilitating and will reduce us to a third-rate country eventually.

I am concerned that people are not trained to think critically, to weigh the worth of the information they receive. Instead they equate loudness, or repetition, as indicators of veracity.

I am concerned that we no longer have anything that could be considered a civil society. The callous, in-your-face screaming disdainful model of communication prevalent in public and private discourse can in no way be called conversation. Without conversation, nothing is humanly possible.

I am concerned that there are no credible news/journalism organizations now - only info-media entertainews. Without responsible, disciplined, respected public-minded news sources (rather than the corporate, news-for-profit sources we are now saddled with) democracy is not possible. If the populace isn't informed (as opposed to entertained) their decisions at the voting booth are meaningless.

I am concerned that people jump at the chance to trade their liberty and rights for security - and a false security at that. Why would any thinking person be willing to give up their freedom for laws and regulations that aren't going to do much to really provide safety and security?

I am concerned about the world's willingness to use violence, rather than diplomacy, to settle disputes.

Other thoughts, anyone?

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Ten Lessons the Arts Teach

From The Arts and the Creation of Mind, by Elliot Eisner

1. The arts teach children to make good judgments about qualitative relationships. Unlike much of the curriculum in which correct answers and rules prevail, in the arts, it is judgment rather than rules that prevail.
   
   
2. The arts teach children that problems can have more than one solution and that questions can have more than one answer.
   
   
3. The arts celebrate multiple perspectives. One of their large lessons is that there are many ways to see and interpret the world.
   
   
4. The arts teach children that in complex forms of problem solving purposes are seldom fixed, but change with circumstance and opportunity. Learning in the arts requires the ability and a willingness to surrender to the unanticipated possibilities of the work as it unfolds.
   
   
5. The arts make vivid the fact that neither words in their literal form nor numbers exhaust what we can know. The limits of our language do not define the limits of our cognition.
   
   
6. The arts teach students that small differences can have large effects. The arts traffic in subtleties.
   
   
7. The arts teach students to think through and within a material. All art forms employ some means through which images become real.
   
   
8. The arts help children learn to say what cannot be said. When children are invited to disclose what a work of art helps them feel, they must reach into their poetic capacities to find the words that will do the job.
   
   
9. The arts enable us to have experience we can have from no other source and through such experience to discover the range and variety of what we are capable of feeling.
   
   
10. The arts' position in the school curriculum symbolizes to the young what adults believe is important.

SOURCE: Eisner, E. (2002). The Arts and the Creation of Mind, In Chapter 4, What the Arts Teach and How It Shows. (pp. 70-92). Yale University Press. Available from NAEA Publications. NAEA grants reprint permission for this excerpt from Ten Lessons with proper acknowledgment of its source and NAEA.

Tom Dispatch

I've added Tom Dispatch to my blogroll. It's a political statement I'm making by doing so.

I encourage people to read it, but I'll warn you ahead of time that it's not for the faint of heart. It can be scary, discouraging, infuriating, frustrating and more.

It is one of the most important things I read.

It's really hard to do it though.

Identity As A Construct - Part III: Las Vegas

Identity As A Construct - Part II-b: Fashion & Identity
Identity As A Construct - Part II: Fashion & Identity
Identity As A Construct - Part I

I sometimes like to just sit and watch people as they move about in time and space.

It’s more interesting to go to a larger city, sit in some unobtrusive place and watch people parading past me. Las Vegas is wonderful for people watching. It seems that a great majority of people in Vegas feel free to express facets of their identity in their clothing choices. Some of them become walking caricatures of packaged identities.

In Vegas you expect to see scantily clad women, show girls, street girls, and girls who want to look like show girls or street girls. You expect to see tourists from the boondocks ogling the sights and visitors from other countries snapping photographs. You might, depending on the television you watch, expect to see “high rollers” or movie stars. Vegas always gives you both more and less than you expect.

The first person that caught my eye, and the one I remember best from that first trip to Vegas nearly ten years ago, was a man who was perhaps in his mid-thirties. He had the slight pot belly of a heavy beer drinker, but he hadn’t gone too far yet towards the beer gut that makes men look like extremely malnourished pregnant women (skinny arms and legs, big belly). He’d been out in the sun enough that he was starting to have that tanned leather look to his skin. On his head was a well-worn black cowboy hat. It had a wide snakeskin hat band that held a small fluff of brightly colored feathers on one side of the hat. He wore a sleeveless men’s undershirt – the same sort of shirts that I now see printed and decorated and sold for women’s shirts – stretched tightly across his slightly bulging belly. His was a dingy white, not pink, mint green, or tan, and not decorated with lace or sequins or printed with this band or that band’s name. His pants were tight, peg-legged, black jeans, fairly new, but not so clean, tucked into fancy cowboy boots. The boots were also black, or mostly black. They had engraved silver toe caps (probably not real silver – silver would be too soft to serve as toe caps) to guard against scuffs and scrapes. The upper sections of the boots were immaculately polished – spit-shined I would say - and tall, hugging his thin legs snugly, coming nearly to the knees, decorated with turquoise and red leather, sporting a large oval turquoise cabochon set in silver near the top on the front of the boots.

It was very hard not to stare openly – something nearly as dangerous in Vegas as in any other big city. He was standing in a convenience store feeding coins to the ubiquitous slot machines, just killing time, or perhaps, hoping to hit the jackpot and change his fate.

One has to wonder, if he hit it big, would his wardrobe change along with his identity?

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Identity As A Construct -Part II: Garment & Identity

Identity As A Construct - Part I

In her article, “Three Dresses, Tailored to the Times,” (published in Material Matters: The Art and Culture of Contemporary Textiles) Renee Baert describes the link between clothing and identity as part of our repertoire of cultural signifiers, part of our cultural wardrobe that we take out when we want to express a specific identity - “Clothing is a remarkably versatile and exact instrument of cultural expression. Formalized through dress codes that may extend as far as legislative decree – or that may be radically overturned by the more mobile decrees of fashion or by sub-cultural challenges to a culture’s given mores – clothing constitutes a part of the social fabric at both its most general and most personal levels.”

The exploration of garment as an expression of identity is a study fraught with cliché. Fashion is such a manufactured thing. How does one decide if it is a product of a profit-driven capitalist society, or if it is an effort to relieve boredom and monotony? These are questions that Fred Davis asks in Fashion, Culture, and Identity. Davis claims that fashion is a little of both – a profit-driven enterprise and a way that people satisfy an urge for things new and different – and that it often becomes the voice for expressing the shared experiences and conditions that help form our identities.

I read some fashion news - not as much as when I was doing my graduate studies, but enough to know that it is an incredibly strange and perhaps vicious world. Last November I was in Las Vegas for a week or so. My daughter has television (with TIVO) and I experienced a short fixation with Project Runway. It is a good thing that I do not have a television - I would probably watch Project Runway and the Discovery and History channels and lose lots of time and maybe my creative edge (if I have one...). Anyway, I think in another life I would have liked to be a garment designer. Maybe. It does not, after all, fit into a sustainable living lifestyle.

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