• Tourin à l’ail

    Séparez les gousses d’ail, pelez-les et émincez-les. Dans une grande sauteuse, versez le beurre. Faites-y blondir les pétales d’ail sur feu doux. Délayez la farine dans un peu d’eau, versez-la dans la sauteuse et laissez cuire doucement, sans la colorer. Puis versez le #Bouillon de volaille, mélangez bien en évitant les grumeaux, assaisonnez de sel et de piment, et cuisez sur feu moyen pendant 15 min. Séparez les blancs des jaunes d’oeufs. Versez délicatement les blancs dans le bouillon en remuant sans… #Ail, #Potages_et veloutés, #Pain_rassis, #Périgord, Bouillon / #Sans viande, #Bouilli

  • Sandwich au beurre de cacahuète

    Faire griller les tranches de pain de mie.
    Sur l’une, étaler le beurre de cacahuète.
    Sur l’autre, étaler la confiture.
    Assembler les deux en sandwich.
    Déguster !

    #Sandwichs, #Beurre_de cacahuète, #Pain_de mie, #Amérique_du nord / #Végétarien, #Sans viande, #Sans œuf, #Sans lactose

  • Pan con #Tomate

    Incontournable tartine des #Tapas espagnoles ! Épluchez les tomates. Ôtez les pépins et écrasez la chair avec une fourchette. Réservez cette purée. Pelez la gousse d’ail. Faites griller le #Pain dans un four chaud ou un grille-pain. Pendant qu’il est encore chaud, frottez-le avec l’ail. Tartinez de tomates hachées en laissant le jus imprégner le pain qui doit se colorer en rouge. Saupoudrez de sel pour relever le goût et arrosez de quelques goutes d’huile… Tomate, Pain, Tapas, #Péninsule_ibérique / #Végétarien, #Sans œuf, Végétalien (vegan), #Sans lactose, #Sans viande


  • Painkiller: Everything you need to know about new Netflix series

    What is Painkiller about?

    Painkiller will focus on the opioid crisis that has gripped America since the 1990s.

    Speaking about how the series will explore the crisis, show creator Newman said: “A tragedy decades in the making, the opioid crisis has become one of the most devastating public health crises of our time. Unlike other drug epidemics, born from underground manufacturing and covert smuggling, this epidemic began by prescription–dispensed by doctors, approved by government regulators and promoted by a family-owned pharmaceutical giant that made billions while betraying the trust of patients and the public.”

    #Patrick_Radden_Keefe #Opioides #Sackler #Painkiller

  • https://lhistgeobox.blogspot.com/2021/07/le-barrage-de-tignes-et-le-village.html

    Le barrage de Tignes et le village englouti.

    « A l’aide des 2300 barrages que compte le pays, l’hydroélectrique représente la deuxième source de production d’électricité en France. Pour permettre la construction des retenues, il a fallu noyer de nombreuses vallées, dont 44 étaient habitées. Les lacs artificiels crées par les barrages engloutirent alors de nombreux villages et hameaux, principalement dans les Alpes (lacs de Roselend, du Chambon, de Serre-Ponçon, de Sainte-Croix), le Massif Central (lacs de Bort-Les-Orgues, Vassivière, Sarrans, Salagou, Naussac) et le Jura (lac de Vouglans). Le cas le plus emblématique de ces villages engloutis reste sans doute celui du Vieux Tignes, auquel nous consacrons ce billet.  »

    • Trigger Warnings | Centre for Teaching Excellence

      A trigger warning is a statement made prior to sharing potentially disturbing content. That content might include graphic references to topics such as #sexual_abuse, #self-harm, #violence, #eating_disorders, and so on, and can take the form of an #image, #video_clip, #audio_clip, or piece of #text. In an #academic_context, the #instructor delivers these messages in order to allow students to prepare emotionally for the content or to decide to forgo interacting with the content.

      Proponents of trigger warnings contend that certain course content can impact the #wellbeing and #academic_performance of students who have experienced corresponding #traumas in their own lives. Such students might not yet be ready to confront a personal #trauma in an academic context. They choose to #avoid it now so that they can deal with it more effectively at a later date – perhaps after they have set up necessary #resources, #supports, or #counselling. Other students might indeed be ready to #confront a personal trauma in an academic context but will benefit from a #forewarning of certain topics so that they can brace themselves prior to (for example) participating in a #classroom discussion about it. Considered from this perspective, trigger warnings give students increased #autonomy over their learning, and are an affirmation that the instructor #cares about their wellbeing.

      However, not everyone agrees that trigger warnings are #necessary or #helpful. For example, some fear that trigger warnings unnecessarily #insulate students from the often harsh #realities of the world with which academics need to engage. Others are concerned that trigger warnings establish a precedent of making instructors or universities legally #responsible for protecting students from #emotional_trauma. Still others argue that it is impossible to anticipate all the topics that might be potentially triggering for students.

      Trigger warnings do not mean that students can exempt themselves from completing parts of the coursework. Ideally, a student who is genuinely concerned about being #re-traumatized by forthcoming course content would privately inform the instructor of this concern. The instructor would then accommodate the student by proposing #alternative_content or an alternative learning activity, as with an accommodation necessitated by a learning disability or physical disability.

      The decision to preface potentially disturbing content with a trigger warning is ultimately up to the instructor. An instructor who does so might want to include in the course syllabus a preliminary statement (also known as a “#content_note”), such as the following:

      Our classroom provides an open space for the critical and civil exchange of ideas. Some readings and other content in this course will include topics that some students may find offensive and/or traumatizing. I’ll aim to #forewarn students about potentially disturbing content and I ask all students to help to create an #atmosphere of #mutual_respect and #sensitivity.

      Prior to introducing a potentially disturbing topic in class, an instructor might articulate a #verbal_trigger_warning such as the following:

      Next class our discussion will probably touch on the sexual assault that is depicted in the second last chapter of The White Hotel. This content is disturbing, so I encourage you to prepare yourself emotionally beforehand. If you believe that you will find the discussion to be traumatizing, you may choose to not participate in the discussion or to leave the classroom. You will still, however, be responsible for material that you miss, so if you leave the room for a significant time, please arrange to get notes from another student or see me individually.

      A version of the foregoing trigger warning might also preface written materials:

      The following reading includes a discussion of the harsh treatment experienced by First Nations children in residential schools in the 1950s. This content is disturbing, so I encourage everyone to prepare themselves emotionally before proceeding. If you believe that the reading will be traumatizing for you, then you may choose to forgo it. You will still, however, be responsible for material that you miss, so please arrange to get notes from another student or see me individually.

      Trigger warnings, of course, are not the only answer to disturbing content. Instructional #strategies such as the following can also help students approach challenging material:

      – Give your students as much #advance_notice as possible about potentially disturbing content. A day’s notice might not be enough for a student to prepare emotionally, but two weeks might be.

      – Try to “scaffold” a disturbing topic to students. For example, when beginning a history unit on the Holocaust, don’t start with graphic photographs from Auschwitz. Instead, begin by explaining the historical context, then verbally describe the conditions within the concentration camps, and then introduce the photographic record as needed. Whenever possible, allow students to progress through upsetting material at their own pace.

      – Allow students to interact with disturbing material outside of class. A student might feel more vulnerable watching a documentary about sexual assault while in a classroom than in the security of his or her #home.

      – Provide captions when using video materials: some content is easier to watch while reading captions than while listening to the audio.

      – When necessary, provide written descriptions of graphic images as a substitute for the actual visual content.

      – When disturbing content is under discussion, check in with your students from time to time: #ask them how they are doing, whether they need a #break, and so on. Let them know that you are aware that the material in question is emotionally challenging.

      – Advise students to be #sensitive to their classmates’ #vulnerabilities when they are preparing class presentations.

      – Help your students understand the difference between emotional trauma and #intellectual_discomfort: the former is harmful, as is triggering it in the wrong context (such as in a classroom rather than in therapy); the latter is fundamental to a university education – it means our ideas are being challenged as we struggle to resolve cognitive dissonance.


    • Why Trigger Warnings Don’t Work

      Because trauma #survivors’ #memories are so specific, increasingly used “trigger warnings” are largely #ineffective.

      Fair warning labels at the beginning of movie and book reviews alert the reader that continuing may reveal critical plot points that spoil the story. The acronym NSFW alerts those reading emails or social media posts that the material is not suitable for work. The Motion Picture Association of America provides film ratings to advise about content so that moviegoers can make informed entertainment choices for themselves and their children.

      Enter stage right: Trigger warning.

      A trigger warning, most often found on #social_media and internet sites, alerts the reader that potentially upsetting information may follow. The words trigger warning are often followed by a subtitle such as *Trigger warning: This may be triggering to those who have struggled with _________. Fill in the blank. #Domestic_abuse. #Rape. #Body_image. #Needles. #Pregnancy.

      Trigger warnings have become prevalent online since about 2012. Victim advocate Gayle Crabtree reports that they were in use as early as 1996 in chat rooms she moderated. “We used the words ‘trigger warning,’ ‘#tw,’ ‘#TW,’ and ‘trigger’ early on. …This meant the survivor could see the warning and then decide if she or he wanted to scroll down for the message or not.” Eventually, trigger warnings spread to social media sites including #Tumblr, #Twitter, and #Facebook.

      The term seems to have originated from the use of the word “trigger” to indicate something that cues a #physiological_response, the way pollen may trigger an allergy attack. A trigger in a firearm is a lever that activates the sequence of firing a gun, so it is not surprising that the word was commandeered by those working in the field of #psychology to indicate objects and sensations that cause neurological firing in the brain, which in turn cause #feelings and #thoughts to occur.

      Spoiler alerts allow us to enjoy the movie or book as it unfolds without being influenced by knowledge about what comes next. The NSFW label helps employees comply with workplace policies that prohibit viewing sexually explicit or profane material. Motion picture ratings enable viewers to select movies they are most likely to find entertaining. Trigger warnings, on the other hand, are “designed to prevent people who have an extremely strong and damaging emotional response… to certain subjects from encountering them unaware.”

      Say what?

      Say hogwash!

      Discussions about trigger warnings have made headlines in the New Yorker, the Los Angeles Times, the Guardian, the New Republic, and various other online and print publications. Erin Dean writes that a trigger “is not something that offends one, troubles one, or angers one; it is something that causes an extreme involuntary reaction in which the individual re-experiences past trauma.”

      For those individuals, it is probably true that coming across material that reminds them of a traumatic event is going to be disturbing. Dean’s definition refers to involuntary fear and stress responses common in individuals with Post Traumatic Stress Disorder characterized by intrusive memories, thoughts, or dreams; intense distress at cues that remind the individual of the event; and reactivity to situations, people, or objects that symbolize the event. PTSD can result from personal victimization, accidents, incarceration, natural disasters, or any unexpected injury or threat of injury or death. Research suggests that it results from a combination of genetic predisposition, fear conditioning, and neural and physiological responses that incorporate the body systems and immunological responses. Current theories suggest that PTSD represents “the failure to recover from the normal effects of trauma.” In other words, anyone would be adversely affected by trauma, but natural mechanisms for healing take place in the majority of individuals. The prevalence of PTSD ranges from 1.9 percent in Europe to 3.5 percent in the United States.

      The notion that trigger warnings should be generalized to all social media sites, online journals, and discussion boards is erroneous.

      Some discussions have asserted that because between one in four and one in five women have been sexually abused, trigger warnings are necessary to protect vast numbers of victims from being re-traumatized. However, research shows that the majority of trauma-exposed persons do not develop PTSD. This does not mean they aren’t affected by trauma, but that they do not develop clinically significant symptoms, distress, or impairment in daily functioning. The notion that trigger warnings should be generalized to all social media sites, online journals, and discussion boards is erroneous. Now some students are pushing for trigger warnings on college class syllabi and reading lists.

      But what?


      But wait, before people get all riled up, I’d like to say that yes, I have experienced trauma in my life.

      I wore a skirt the first time George hit me. I know this because I remember scrunching my skirt around my waist and balancing in heels while I squatted over a hole in the concrete floor to take a piss. We were in Tijuana. The stench of excrement made my stomach queasy with too much tequila. I wanted to retch.

      We returned to our hotel room. I slid out of my blouse and skirt. He stripped to nothing and lay on the double bed. He was drinking Rompope from the bottle, a kind of Mexican eggnog: strong, sweet, and marketed for its excellent spunk. It’s a thick yellow rum concoction with eggs, sugar, and almond side notes. George wanted to have sex. We bickered and argued as drunks sometimes do. I said something — I know this because I always said something — and he hit me. He grabbed me by the hair and hit me again. “We’re going dancing,” he said.

      “I don’t feel like dancing — “

      “Fine. Stay.”

      The world was tilting at an angle I didn’t recognize. The mathematician Matt Tweed writes that atoms are made up of almost completely empty space. To grasp the vast nothingness, he asks the reader to imagine a cat twirling a bumblebee on the end of a half-mile long string. That’s how much emptiness there is between the nucleus and the electron. There was more space than that between George and me. I remember thinking: I am in a foreign country. I don’t speak Spanish. I have no money. We went dancing.

      Labeling a topic or theme is useless because of the way our brains work. The labels that we give trauma (assault, sexual abuse, rape) are not the primary source of triggers. Memories are, and not just memories, but very specific, insidious, and personally individualized details lodged in our brain at the time of the trauma encoded as memory. Details can include faces, places, sounds, smells, tastes, voices, body positions, time of day, or any other sensate qualities that were present during a traumatic incident.

      If I see a particular shade of yellow or smell a sickly sweet rum drink, I’m reminded of my head being yanked by someone who held a handful of my hair in his fist. A forest green Plymouth Duster (the car we drove) will too. The word assault does not. The words domestic violence don’t either. The specificity of details seared in my mind invokes memory.

      Last year a driver slammed into the back of my car on the freeway. The word tailgate is not a trigger. Nor is the word accident. The flash of another car suddenly encroaching in my rearview mirror is. In my mid-20s, I drove my younger sister (sobbing, wrapped in a bed sheet) to the hospital where two male officers explained they were going to pluck her pubic hair for a rape kit. When I see tweezers in a hospital, I flash back to that awful moment. For my sister, other things may be triggers: the moonlight shining on the edge of a knife. The shadow of a person back lit in a doorway. An Hispanic man’s accent. If we were going to insist on trigger warnings that work, they would need to look something like this:

      Trigger warning: Rompope.

      Trigger warning: a woman wrapped in a bed sheet.

      Trigger warning: the blade of a knife.

      The variability of human #perception and traumatic recall makes it impossible to provide the necessary specificity for trigger warnings to be effective. The nature of specificity is, in part, one reason that treatment for traumatic memories involves safely re-engaging with the images that populate the survivor’s memory of the event. According to Dr. Mark Beuger, an addiction psychiatrist at Deerfield Behavioral Health of Warren (PA), the goal of PTSD treatment is “to allow for processing of the traumatic experience without becoming so emotional that processing is impossible.” By creating a coherent narrative of the past event through telling and retelling the story to a clinician, survivors confront their fears and gain mastery over their thoughts and feelings.

      If a survivor has had adequate clinical support, they could engage online with thoughts or ideas that previously had been avoided.

      According to the National Center for Health, “#Avoidance is a maladaptive #control_strategy… resulting in maintenance of perceived current threat. In line with this, trauma-focused treatments stress the role of avoidance in the maintenance of PTSD. Prolonged exposure to safe but anxiety-provoking trauma-related stimuli is considered a treatment of choice for PTSD.” Avoidance involves distancing oneself from cues, reminders, or situations that remind one of the event that can result in increased #social_withdrawal. Trigger warnings increase social withdrawal, which contributes to feelings of #isolation. If a survivor who suffers from PTSD has had adequate clinical support, they could engage online with thoughts or ideas that previously had been avoided. The individual is in charge of each word he or she reads. At any time, one may close a book or click a screen shut on the computer. What is safer than that? Conversely, trigger warnings perpetuate avoidance. Because the intrusive memories and thoughts are internal, trigger warnings suggest, “Wait! Don’t go here. I need to protect you from yourself.”

      The argument that trigger warnings help to protect those who have suffered trauma is false. Most people who have experienced trauma do not require preemptive protection. Some may argue that it would be kind to avoid causing others distress with upsetting language and images. But is it? Doesn’t it sometimes take facing the horrific images encountered in trauma to effect change in ourselves and in the world?

      A few weeks ago, I came across a video about Boko Haram’s treatment of a kidnapped schoolgirl. The girl was blindfolded. A man was digging a hole in dry soil. It quickly became evident, as he ushered the girl into the hole, that this would not end well. I felt anxious as several men began shoveling soil in around her while she spoke to them in a language I could not understand. I considered clicking away as my unease and horror grew. But I also felt compelled to know what happened to this girl. In the 11-minute video, she is buried up to her neck.

      All the while, she speaks to her captors, who eventually move out of the frame of the scene. Rocks begin pelting the girl’s head. One after the other strikes her as I stared, horrified, until finally, her head lay motionless at an angle that could only imply death. That video (now confirmed to be a stoning in Somalia rather than by Boko Haram) forever changed my level of concern about young girls kidnapped in other countries.

      We are changed by what we #witness. Had the video contained a trigger warning about gruesome death, I would not have watched it. Weeks later, I would have been spared the rush of feelings I felt when a friend posted a photo of her daughter playfully buried by her brothers in the sand. I would have been spared knowing such horrors occur. But would the world be a better place for my not knowing? Knowledge helps us prioritize our responsibilities in the world. Don’t we want engaged, knowledgeable citizens striving for a better world?

      Recently, the idea of trigger warnings has leapt the gulch between social media and academic settings. #Universities are dabbling with #policies that encourage professors to provide trigger warnings for their classes because of #complaints filed by students. Isn’t the syllabus warning enough? Can’t individual students be responsible for researching the class content and reading #materials before they enroll? One of the benefits of broad exposure to literature and art in education is Theory of Mind, the idea that human beings have the capacity to recognize and understand that other people have thoughts and desires that are different from one’s own. Do we want #higher_education to comprise solely literature and ideas that feel safe to everyone? Could we even agree on what that would be?

      Art occurs at the intersection of experience and danger. It can be risky, subversive, and offensive. Literature encompasses ideas both repugnant and redemptive. News about very difficult subjects is worth sharing. As writers, don’t we want our readers to have the space to respond authentically to the story? As human beings, don’t we want others to understand that we can empathize without sharing the same points of view?

      Trigger warnings fail to warn us of the very things that might cause us to remember our trauma. They insulate. They cause isolation. A trigger warning says, “Be careful. This might be too much for you.” It says, “I don’t trust you can handle it.” As a reader, that’s not a message I want to encounter. As a writer, that is not the message I want to convey.

      Trigger warnings?



    • Essay on why a professor is adding a trigger warning to his #syllabus

      Trigger warnings in the classroom have been the subject of tremendous #debate in recent weeks, but it’s striking how little the discussion has contemplated what actual trigger warnings in actual classrooms might plausibly look like.

      The debate began with demands for trigger warnings by student governments with no power to compel them and suggestions by #administrators (made and retracted) that #faculty consider them. From there the ball was picked up mostly by observers outside higher ed who presented various #arguments for and against, and by professors who repudiated the whole idea.

      What we haven’t heard much of so far are the voices of professors who are sympathetic to the idea of such warnings talking about what they might look like and how they might operate.

      As it turns out, I’m one of those professors, and I think that discussion is long overdue. I teach history at Hostos Community College of the City University of New York, and starting this summer I’m going to be including a trigger warning in my syllabus.

      I’d like to say a few things about why.

      An Alternative Point of View

      To start off, I think it’s important to be clear about what trigger warnings are, and what purpose they’re intended to serve. Such warnings are often framed — and not just by critics — as a “you may not want to read this” notice, one that’s directed specifically at survivors of trauma. But their actual #purpose is considerably broader.

      Part of the confusion arises from the word “trigger” itself. Originating in the psychological literature, the #term can be misleading in a #non-clinical context, and indeed many people who favor such warnings prefer to call them “#content_warnings” for that reason. It’s not just trauma survivors who may be distracted or derailed by shocking or troubling material, after all. It’s any of us, and a significant part of the distraction comes not from the material itself but from the context in which it’s presented.

      In the original cut of the 1933 version of the film “King Kong,” there was a scene (depicting an attack by a giant spider) that was so graphic that the director removed it before release. He took it out, it’s said, not because of concerns about excessive violence, but because the intensity of the scene ruined the movie — once you saw the sailors get eaten by the spider, the rest of the film passed by you in a haze.

      A similar concern provides a big part of the impetus for content warnings. These warnings prepare the reader for what’s coming, so their #attention isn’t hijacked when it arrives. Even a pleasant surprise can be #distracting, and if the surprise is unpleasant the distraction will be that much more severe.

      I write quite a bit online, and I hardly ever use content warnings myself. I respect the impulse to provide them, but in my experience a well-written title and lead paragraph can usually do the job more effectively and less obtrusively.

      A classroom environment is different, though, for a few reasons. First, it’s a shared space — for the 75 minutes of the class session and the 15 weeks of the semester, we’re pretty much all #stuck with one another, and that fact imposes #interpersonal_obligations on us that don’t exist between writer and reader. Second, it’s an interactive space — it’s a #conversation, not a monologue, and I have a #responsibility to encourage that conversation as best I can. Finally, it’s an unpredictable space — a lot of my students have never previously encountered some of the material we cover in my classes, or haven’t encountered it in the way it’s taught at the college level, and don’t have any clear sense of what to expect.

      For all these reasons, I’ve concluded that it would be sound #pedagogy for me to give my students notice about some of the #challenging_material we’ll be covering in class — material relating to racial and sexual oppression, for instance, and to ethnic and religious conflict — as well as some information about their rights and responsibilities in responding to it. Starting with the summer semester, as a result, I’ll be discussing these issues during the first class meeting and including a notice about them in the syllabus.

      My current draft of that notice reads as follows:

      Course Content Note

      At times this semester we will be discussing historical events that may be disturbing, even traumatizing, to some students. If you ever feel the need to step outside during one of these discussions, either for a short time or for the rest of the class session, you may always do so without academic penalty. (You will, however, be responsible for any material you miss. If you do leave the room for a significant time, please make arrangements to get notes from another student or see me individually.)

      If you ever wish to discuss your personal reactions to this material, either with the class or with me afterwards, I welcome such discussion as an appropriate part of our coursework.

      That’s it. That’s my content warning. That’s all it is.

      I should say as well that nothing in these two paragraphs represents a change in my teaching practice. I have always assumed that if a student steps out of the classroom they’ve got a good reason, and I don’t keep tabs on them when they do. If a student is made uncomfortable by something that happens in class, I’m always glad when they come talk to me about it — I’ve found we usually both learn something from such exchanges. And of course students are still responsible for mastering all the course material, just as they’ve always been.

      So why the note, if everything in it reflects the rules of my classroom as they’ve always existed? Because, again, it’s my job as a professor to facilitate class discussion.

      A few years ago one of my students came to talk to me after class, distraught. She was a student teacher in a New York City junior high school, working with a social studies teacher. The teacher was white, and almost all of his students were, like my student, black. That week, she said, one of the classes had arrived at the point in the semester given over to the discussion of slavery, and at the start of the class the teacher had gotten up, buried his nose in his notes, and started into the lecture without any introduction. The students were visibly upset by what they were hearing, but the teacher just kept going until the end of the period, at which point he finished the lecture, put down his papers, and sent them on to math class.

      My student was appalled. She liked these kids, and she could see that they were hurting. They were angry, they were confused, and they had been given nothing to do with their #emotions. She asked me for advice, and I had very little to offer, but I left our meeting thinking that it would have been better for the teacher to have skipped that material entirely than to have taught it the way he did.

      History is often ugly. History is often troubling. History is often heartbreaking. As a professor, I have an #obligation to my students to raise those difficult subjects, but I also have an obligation to raise them in a way that provokes a productive reckoning with the material.

      And that reckoning can only take place if my students know that I understand that this material is not merely academic, that they are coming to it as whole people with a wide range of experiences, and that the journey we’re going on #together may at times be #painful.

      It’s not coddling them to acknowledge that. In fact, it’s just the opposite.


  • Soupe à la crème d’ail en miche de #Pain (krémová cesnačka)

    Soupe slovaque populaire à la crème d’ail, servie dans une miche de pain de campagne, pour réchauffer l’âme et le corps. Éplucher et émincer grossièrement l’oignon et l’ail pour les faire revenir dans l’huile sans les faire brunir. Une fois l’odeur libérée, ajouter les pommes de terre coupées en petits morceaux. Verser le bouillon, ajouter les aromates, saler et poivrer. Laisser cuire environ 15 minutes jusqu’à ce que l’ail remonte à la surface. Pendant ce temps, couper le haut des pains pour dégager un… #Ail, Pain, #Veloutés, #Soupes, #Slovaquie / #Sans viande, #Sans œuf, #Végétarien, #Bouilli

  • « Notre pain est politique » | Du poil sous les bras

    A propos de paysannes-boulangères… Où l’on apprend que dans le pain, tout est politique, que les blés Hérisson ou Gentile rosso font de la résistance, et que notre ennemi c’est pas le gluten, c’est l’industrie ! Autour du livre « Notre Pain est politique, les blés paysans face à l’industrie boulangère » (La Dernière lettre/ARDEAR - 2019). Durée : 55 min. Source : Radio Saint Féréol


  • Si vous ne lisez pas le blog de Bret Devereaux, d’abord, vous devriez. C’est un historien de l’Antiquité qui écrit sur des sujets variés comme l’analyse des erreurs stratégiques de Saroumane dans le Seigneur des Anneaux.

    Il vient de terminer la série d’articles « Comment on faisait le fer autrefois », de l’Antiquité au Moyen Âge. Absolument tous les détails, la technique, la chimie, l’économie, les relations de pouvoir, la mondialisation, tout y est, sans jamais oublier les travailleurs qui faisaient tout cela. https://acoup.blog/2020/09/18/collections-iron-how-did-they-make-it-part-i-mining

    Sa série précédente, toute aussi géniale, était « Comment on faisait le pain autrefois ». https://acoup.blog/2020/07/24/collections-bread-how-did-they-make-it-part-i-farmers

    #fer #acier #pain #Histoire #Antiquité

  • https://karlrecords.bandcamp.com/album/execution-ground

    The seminal 1994 double album by the original PAINKILLER line-up BILL LASWELL, JOHN ZORN and MICK HARRIS on vinyl for the first time! Avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres.

    When PAINKILLER started in 1991, their first two albums “Guts Of A Virgin” and “Buried Secrets” (both released on extreme metal label Earache) were heavy attacks blending grindcore and free jazz that brought together the musical backgrounds of the three protagonists: drummer MICK HARRIS had just left grindcore legend NAPALM DEATH, JOHN ZORN explored new extremities with his NAKED CITY project while BILL LASWELL had as a member of roaring free jazz quartet LAST EXIT ( PETER BRÖTZMANN / SONNY SHARROCK / RONALD SHANNON JACKSON) proven that he was not only a visionary producer but also an accomplished bassist. But it is their 1994 double album “Execution Ground” that remains the opus magnum of the brilliant trio: ZORN’s unmistakable shrieking saxophone, HARRIS’ pounding drums and LASWELL’s growling sub-bass lines were given heavy mixing desk treatment, resulting in extended tracks that are no less intense than their early works but display the full range of the musicians’ skills. Soaked with reverb and delay, avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres - even more so in the ambient versions of disc 2.
    Mastered and cut by RASHAD BECKER at D&M Berlin, “Execution Ground” is now available on vinyl for the very first time as 2x 180gr LP incl. a download code and insert in a limited edition of 500 items.

    “While Zorn and Laswell have individually played in many different styles over the years, “Execution Ground” may be their most focused and complete vision ...” Squidco.com

    “ … mandatory even for non-jazz fans.” Maelstromzine.com/ezine
    paru le 23 septembre 2016


  • Notre pain est politique – Revue Z

    Comment cultiver du blé sans dépendre des multinationales ?
    Pourquoi le gluten est-il devenu un problème pour la santé ?
    Les #semences paysannes sont-elles interdites ?
    Qui sont les géants de la boulangerie industrielle ?
    La baguette « tradition » et les pains surgelés sont-ils si différents ?

    Véritable guide nous emmenant de la sélection du #grain jusqu’à la cuisson du #pain, ce livre permet de comprendre l’impasse nutritionnelle, écologique et sociale de l’#industrie_boulangère. Et, à partir des #blés paysans, de découvrir la force collective de celles et ceux qui font autrement.

  • Pains d’épices de légumes secs

    Petits #Pains_d'épices aux haricots et #Lentilles. Préchauffer le #Four à 160°C. Mixer les haricots rouges et les lentilles avec le miel. Il vaut mieux faire cette opération avec les légumes secs chauds. Ajouter la farine, le bicarbonate de soude et les épices. Bien mélanger. Verser dans des petits moules en silicone ou dans un petit moule à cake. Enfourner pour 45 minutes. #Haricot_rouge, Lentilles, Pains d’épices / #Sans_viande, #Sans_œuf, #Sans_lactose, #Végétarien, Four

  • Pain d’épices de Mabon

    Préchauffer le #Four à 180°C/350°F. Porter l’eau à ébullition dans une casserole. Ajouter le miel, le citron, le sucre et les graines d’anis. Remuer jusqu’à ce que le sucre soit complètement dissout puis retirer du feu. Ajouter la farine, la levure, le sel, le poivre, les épices et incorporer au mélange. Battre pour former un pain d’environ 20 cm de long, 12 cm de large et 7-8 cm d’épaisseur. Cuire à four chaud pendant…

    #Anis, #Pains_d'épices, #Farine_de seigle #Mabon / #Végétarien, #Sans_viande, #Sans_lactose, #Sans_œuf, Four

  • #Tero_Loko : travailler la terre pour mieux s’enraciner

    Le projet est aujourd’hui unique en France : permettre à des personnes au statut de réfugié de s’insérer professionnellement à travers l’agriculture avec pour but de redynamiser un petit village rural et créer du #lien_social. Tero Loko a concrètement vu le jour en avril dernier, après 3 ans de travail préparatoire, avec l’arrivée de ses premiers salariés en insertion, originaires du continent africain. Basée à Notre Dame de L’Osier, un village de 500 habitants, dans le sud de l’Isère (entre Grenoble, Valence et Lyon), Tero Loko s’invite comme une réponse aux nombreuses problématiques auxquelles sont exposés les #territoires_ruraux français, peu habitués à accueillir des étrangers encore moins mobilisés sur du #travail_agricole. Le projet de Tero Loko ? #Maraîchage et production de #pain couplés à un projet d’#hébergement et d’#accompagnement_social.
    #Clémentine_Méténier nous invite dans le quotidien des premiers « tero lokiens », mains, bras et têtes de cette petite entreprise agricole.


    A écouter ici : http://www.rfi.fr/emission/20190607-agriculture-benin-jardins-espoir-ferme-urbaine-tero-loko (pour écouter, s’abonner au podcast « itunes » de l’émission)

    #agriculture #intégration_professionnelle #travail #asile #migrations #Notre-Dame-de-l'Osier #Isère
    ping @odilon @karine4 @isskein

  • Fardet, Anthony. (2018). La classification #NOVA des #aliments selon leur degré de #transformation : définition, impacts #santé et applications. Information #Diététique. 4. 31-42.

    J’apprends que le #pain_de_mie, le #café_instantané et les bières et vins #sans_alcool font partie des aliments #ultra_transformés

    L’évidence scientifique montre une association positive entre le degré de transformation des aliments et le risque de développer obésité, diabète de type 2, syndrome métabolique et dyslipidémies, facteurs de risques pour des maladies chroniques plus graves. En outre, plus l’aliment est transformé plus il est hyperglycémiant, moins il est satiétogène et plus son profil nutritionnel est dégradé. C’est dans ce contexte que des chercheurs épidémiologistes brésiliens ont développé la classification internationale NOVA des aliments en fonction de leur degré de transformation, distinguant : 1) les aliments pas/peu transformés, 2) Les ingrédients culinaires type sucre, sel, beurre..., 3) Les aliments transformés, combinant des aliments du groupe 1 avec des ingrédients culinaires, types fromages, pains, charcuterie salée, conserves, fruits au sirop..., et 4) Les aliments ultra-transformés qui sont des formulations industrielles à partir d’ingrédients non communément utilisées dans les préparations culinaires et d’additifs dont le but est d’imiter les qualités sensorielles des aliments du Groupe 1 et des préparations culinaires réalisées à partir de ces aliments, ou de masquer les qualités sensorielles indésirables des produits finaux. Ces chercheurs ont montré qu’un régime équilibré est basé sur des aliments des groupes 1 à 3.


  • Public Invention Project #40: A Wheel for #painting Very Thin Lines

    “Oyarsa”, by Robert L. ReadI probably should not have taken up oil painting; I have always admired #art done with pen-and-ink, which produces very thin, precise lines.It is possible to make thin lines with oil paint, but it is difficult. One must either have a terribly steady hand with a very fine brush, or use a ruling pen, which are themselves tricky and require very thin paint.Following some other artists, I bought a cutting wheel, and used it to make the painting “Oyarsa” above, an attempt to depict the archangel, or genius locii, of Malacandra, from C.S. Lewis’s Space Trilogy. I jammed a wad of cotton against the wheel in the handle, to make the loading of the wheel with paint last a little longer. I put paint in a little tray, and loaded the wheel by rolling it back and forth. I could (...)

    #open-source #public-invention #oil-painting