Analyze

INGREDIENTS

2 cups flour

3⁄4 cup water

1 tablespoon shortening

1⁄2 teaspoon salt

DIRECTIONS

1. Preheat oven to 400 degrees F.

2. Mix all ingredients together.

3. Turn onto a floured board and knead for five minutes.

4. Let dough rest for 10 minutes.

5. Roll out half of the dough to 1/4 inch thick.

6. Use the rim of a cup or bowl cut out 12 circles, each about 3" across.

7. Use a fork to prick the center of the circle a few times.

8. Arrange on 2 baking sheets and bake for 15 minutes.

9. Turn oven off and leave crackers in oven until completely cool.

In the context of panel 37, “Sensory methods for planetary survival,” I will offer a “tiny workshop” focused on Saloon Pilot Crackers, a form of hardtack manufactured in Honolulu by Diamond Bakery. This tasting is part of a multi-year arts-led project called Tasting History: Biscuits, Culture, and National Identity, takes taste as a research method for uncovering how ancient military rations cut across socioeconomic divides to become staples of mainstream diets. Diamond Bakery’s recipe uses lard to soften hardtack, also known as ship’s biscuits, army biscuits, cabin bread, kanpan, sea bread, and a host of other names. Hidegoro Murai, Kikutaro Hiruya and Natsu Muramoto founded Diamond Bakery in 1921. Several pilot cracker manufacturers have ceased production in recent years, including Nabisco’s Crown Pilot and Hilo Macaroni Factory’s pilot cracker. Diamond Bakery’s crackers are special, a little bit rare even. Hardtack arrived in Hawai’i with whaling and missionary ships. Saloon Pilot crackers carry material relations of multispecies environmental injustices experienced in these contexts. Crackers are also delicious and beloved, widely consumed, and adapted to cuisines around the world. Pilot Crackers are a site of everyday pleasures—for example, eating the crackers with guava jelly and condensed milk, or, as the author of the above recipe recounts, a childhood memory: “My parents would break the plain cracker up into a cup of coffee and milk and have it for breakfast.” Pilot Crackers are land and sea, whale and harpoon, they are more and more difficult to find and eat. They form digestive networks, following what Parama Roy describes as “the logic of permeability rather than of inviolability that often marks the workings of an alimentary order” (20). Writing about poi, Hi’ilei Julia Hobart describes the difference between tasting and thinking with the mouth and tasting and thinking with the stomach, finding that when eaters “think with their mouths, not their stomachs, …they consume a food rather than enact a genealogical connection” (143). Hobart’s distinction between consuming a food through the mouth versus enacting a genealogical connection through the stomach could model the how environmental justice might taste. Hardtack, often positioned as a bland and unremarkable substrate for other foods, has the capacity to juxtapose cultural practices of food and eating with genealogies and histories of injustice that can be tasted, felt, and digested.

References

Hobart, Hiʻilei Julia. “A ‘Queer-Looking Compound’: Race, Abjection, and the Politics of Hawaiian Poi.” Global Food History 3:2 (2017).

Roy, Parama. Alimentary Tracts: Appetites, Aversions, and the Postcolonial. Durham, NC: Duke, 2010.

Recipe by J-Ha7037: https://www.food.com/recipe/saloon-hard-track-pilot-crackers-351299

Source:

Kelley, Lindsay. 2023. "Taste Workshop: Daimond Bakery, Honolulu, Hawai'i." In 4S Paraconference X EiJ: Building a Global Record, curated by Misria Shaik Ali, Kim Fortun, Phillip Baum and Prerna Srigyan. Annual Meeting of the Society of Social Studies of Science. Honolulu, Hawai'i, Nov 8-11.

Given the vastness of Formosa Plastics' influence, there are many ways to tell its story to the world. As environmental justice activists and researchers, how do we describe a company and its negative impact when there is so much to say? Limited by time, word count, and the audience's attention span, we must decide what goes unsaid. As a result, we could write countless answers to the same question, "What is Formosa Plastics?"

In this published academic case study, I introduce Formosa Plastics through a local lens--specifically, through the eyes of a grandmother-turned-activist in the small town of Welcome, Louisiana. Her family's history with social justice activism, as well as the area's connection to centuries of slavery, make the environmental racism of Formosa Plastics' Sunshine Project especially salient. Although Formosa Plastics is a global force, telling its story on the microscale is an equally important perspective. After all, in Sharon Lavigne's eyes, her small town is her world. How many of these little worlds have Formosa Plastics destroyed as they wreak havoc across international borders?

I think the field campus was a great success and showed how it differs from or compliments traditional formats (conferences, workshops, lectures...). The schedule was deliberately intense, but I am glad we could keep up a good pace throughout the three days. However, I agree that shared time to reflect on what we saw and heard each would have been helpful. A lot of this happened in the cars and at the two accommodations, but more collective time would be great for a future campus. On our way back, we discussed several ways to structure such discussions, for example by picking up one of the twelve analytic questions or making an inventory of (types of) people we encountered in the field. I am also interested in what people with experience in doing ethnography thought about showing up at sites in a group vs. being the lone fieldworker, and how that shifted the way you asked questions or interacted with the sites.

In that regard, I found it particularly helpful to meet participants in advance during the Zoom calls and learn about their skills/interests.  The group interview with Tony West was also a great way to prepare not only for the first day but to get a sense of St. Louis as a place. We should definitely think about similar modes to prepare for New Orleans. Also, since I was involved with setting up the final exhibition a GCADD, I am looking forward to discussing more what the exhibit at 4S could look like and what those of you with a background in the arts think about it.

I am working on a digital collection for the quotidian anthropocene theme "civic infrastructure". I am especially interested in free software, open data, digital maps, and other related forms of participation that are either a direct response to the anthropocene or help to render it visible in different ways.

http://disaster-sts-network.org/users/tim-schutz

I will develop a digital presentation of Philadelphia quotidian anthropence and on the theme of climate change adaptation. I will be using this analytic, "Profiling a Climate Policy", which I've created to assess urban adaptation plans. I'll provide more details by next Wednesday April 3rd.

http://disaster-sts-network.org/users/alison-kenner

http://disaster-sts-network.org/user

For me personally, I think the campus was a valuable exercise in learning to think on my feet. Also, if one of the goals of the field campus was to “generate more data than the investigator is aware of at the time of collection,” as Marilyn Strathern has said of ethnography, I’d call it an assured success. The schedule, subject matter, and activities were notably intense, and certainly didn’t leave much room (or energy) for rigorous analysis in situ. So it seems to me that the ultimate value of the field campus is still in the process of production, as we all continue to process, discuss, and relate the significance of our experiences and interactions to our own research sites and areas of expertise over the course of the following months.

Perhaps this was simply a matter of being fresh energized, but I think Day 1 was the most productive and enjoyable. I also think this had to do with the way it was structured; e.g. beginning with Tony's primer, folllowed by the tours, and finally the panel discussion, the day just built up nicely. It also gave us an approachable sampling of the ways a coherent set of anthropocenic sites and practices had been differentially uncovered, recovered, or (more or less figuratively) covered up by diverse stakeholders. And we were given time to critically (if also (mostly) cordially) engage each set of stakeholders as a group, bringing in our own unique insights, questions, and interests.

I really enjoyed the first day’s higher degree of shared attention and designated time for Q&A and discussion. That’s not to say I think every event should be a group tour. Self-guided exploration is useful too, and I realize that part of the idea of splitting up was to facilitate smaller collaborations on diverse group projects. Still, perhaps setting aside a few sessions for group-wide Q&A with stakeholders each day would create that small bit of noise and contingency that helps generate creativity.

I will continue to build a digital collection on the quotidian anthropocene in Austin, Texas and will be contributing to a set of digital resources for exploring energy transition across sites.