Oh, my wagashi

I wrote the "Source" column for the March, 2009 issue of Saveur about a Japanese pastry shop in New York City that my Dad frequents.

Read the piece at Saveur.com→

On Food and Cooking

I'm sitting in on the Harold McGee lecture series at the French Culinary Institute. Today included eggs 15 ways (including a fool-proof Hollandaise - hallelujah! ), a reluctant dondurma, and flattened champagne, but the bottom line was learning how to learn how to think about cooking in a new light. (It's hard to shake off preconceived notions - some of the biggest breakthroughs in cooking seem to have happened entirely by accident.) Tomorrow we get into technique - the why of how best to cook things - while Sunday will touch on new food technologies.

Update: things worth keeping:

• IEEE interview with Harold McGee

Give 'Em Helvetica

For want of a fresh thought this evening, a link to a piece in Pop Matters that went up in August. A little meditation on typeface, ugliness, and individuality. By me.

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What do American Airlines, American Apparel, The Office, Target, and the Environmental Protection Agency have in common? The unassuming typeface Helvetica, which turned 50 last year. Designed by Max Miedinger with Eduard Hoffmann in Switzerland (Helvetica means Swiss in Latin), the font became the predominant typeface for the rest of the 20th century, as Gary Hustwit’s 2007 documentary Helvetica thoroughly demonstrated.

The Museum of Modern Art also celebrated the font’s anniversary with a show, “50 Years of Helvetica”. Exhibiting the font alongside furniture and forks in the museum made the point that the typeface is a well-designed tool, like the objects nearby: a cluster of pill-shaped lamps, a lime-green helicopter. Yet because a typeface is a vehicle for language and, by extension, for thought, Helvetica begged for more scrutiny than the adjacent upholstered puzzle-chair, which merely offered a surface upon which to recline. As part of the exhibit, a dozen posters showcasing the font were hung, all from 1957 to 1967, all slowly turning an archival yellow, giving them a distant, reliquary feel. But even with the patina, it was hard not to feel the pull of the typeface. The steep slopes, generous curves, and balance of negative-to-positive space transmitted a steady calm, like so much blonde wood and brushed steel....

Read the rest here