Professional Documents
Culture Documents
Venice
I … have worked hard to make my readers laugh, but also make them feel
they are involved in a through inquiry into, and a worthwhile explication
of real life.
Leon Battista Alberti, Momus, p.7
It is a widespread knowledge that Monsieur Descartes did not accept as factual what his
information. Nevertheless, when sitting at his breakfast table, being a good Frenchman,
he had to make up his mind about his cook’s gastronomic efforts.ii During his repast,
Monsieur Descartes had to put aside his philosophical thinking to consider the omelet and
the bread he was eating through a sensorial assessment resulting from the savoring of the
meal carefully laid out for him. Monsieur Descartes knew that a good chef prepares food
anticipating the multiple effects caused by the meal and catering to a combination of
different sensory phenomena and evaluations. Listening to the sizzling and cracklings of
fats, paying attention to the fizzing, murmuring, and gurgling of cold and hot liquids and
monitoring the change in color shades during browning, glazing and clarifying, cooks
make decisions conjecturing the final taste and effect of their work. In other words, they
work within a set of non-verbal but all-sensual configurations of procedures that will lead
On a daily basis, sitting at the dining table, Monsieur Descartes was facing a dilemma.
The products of the process of cooking, a process that could be easily recognized as a
rational activity as described in recipes and cookbooks, were always subjected to the
irrational judgments of a mingling of sensory activities taking place before, during, and
after each meal. His solution to this contradiction was the formation of a cloven world:
on the one hand, there is the trustable mental reality of res cogitans and on the other hand
the dreamlike physical reality of res extensa. Res cogitans cannot be eaten, but res
Monsieur Descartes, who indeed was a clever individual, hired and fired his chefs of
embodied in the dish presented on the table rather than on the arid logic of the res
his attention by the cook. He knew the two domains intertwined on a laid table and that
Across the English Channel, in the Oxonian countryside, a few years later, a tolerant
Esquire named John Locke was facing the same daily breakfast problem. Looking at the
reality of his toast and fried egg with pork and beans on the side, this alert reader of
Monsieur Descartes had to unravel the same conundrum regarding the qualities of his
breakfast to decide the parameters that he was going to use to hire or to sack his cook. In
order to solve the problem, Locke had to rely on empirical thinking. Planning not to have
any preconceived idea about his breakfast, Locke worked out his decision on the one
hand by analyzing the ideas that come from experiencing the toast, the egg, and the pork
and beans and on the other hand by looking at the presentation, representation, image,
and perception of the concept or notion of an English breakfast. No innate ideas, as the
one asserting “mother’s fried-eggs were the best,” feint his judgment, but he knew that
through his innate faculty he could perceive, remember, and combine an idea of breakfast
that came from without and through desires, ponderings, and wills. Locke worked out a
sensible objects, or about the internal operations of our minds. The external experience is
the source of most of the ideas that individuals have, and, as it depends entirely upon our
senses, is called sensation. The internal experience is a source of ideas that wholly reside
within the individual and reflective self and it is based on internal sense.
For Locke, the semiosis of a simple idea is the test and standard of reality, whether the
mind contributes to our ideas or removes them further from the reality of things. In
becoming generic and general, knowledge loses the capability of being in touch with
things. However, not all the simple ideas carry with them the same significance for
reality; colors, smells, tastes, sounds, and the like are simple ideas that produce those
sensations in us. Simple ideas of sensations are embodied in Locke’s breakfast eggs by
the qualities of being yellow, white, hot, cold, soft, runny, and so forth; they are the
secondary qualities of bodies. Solidity, extension, figure, motion or rest, and number fall
also in the Lockian category of simple ideas. These ideas are resemblances of what really
exists in the bodies themselves and in the case of eggs using a contemporary terminology
these qualities are the lipids, the carbohydrates, the proteins, and the immunoglobulins
and they stand for the primary qualities of bodies which indeed are the essential qualities
useful for writing the labels of egg-based products and comprehending the
presence and the comprehension of their functions are completely unnecessary to achieve
Foodstuff is not an abstract category, but for Cartesian dieticians and Lockian food
works within a collective memory, charged with meaning and the resulting dishes are
always loaded with cultural weight and social solidity. The Neapolitan Giambattista
Vico, an unusual philosopher of the eighteenth century, was interested in the power of
rhetoric, Vico did not have to face the problem of discovering the parameters for firing or
hiring a cook since he could not afford one. Nevertheless, very likely he faced a similar
dilemma when deciding to buy a pizza from a street vendor. Vico, who had addressed in
one of his rhetorical exercises the dining habits of the Romans, knew that the pizza was a
“Pizza” derives from Latin pinsa a past participle of the verb pinsére that means to crush,
to pound, to flatten. The flattened bread he knew to be excellent given a long tradition of
baking that had brought it to perfection, except that it was covered with a tomato sauce
tomatoes as foodstuff was debated for a long time by botanists and by cooks after they
had been imported from the New World. Such a plant also struck popular imagination
and its genus name Lycopersicon (wolf-peach) was enthused by the folk credence that
upon eating a tomato a person will become a werewolf. However, having observed that
no one was dying nor changing in wolf after eating tomatoes, the Neapolitans, realistic
people used to make their judgments through their senses, in this case, their testing taste
had made tomato a staple of their meals.iv By the end of the 16th century, the Queen of
Naples, Maria Carolina, convinced her husband, King Ferdinand IV to allow the pizza,
the humble fare of the urban poor, to be prepared in the royal kitchens.
An English cultivator wrote in 1596 about tomatoes, "these love apples are eaten abroad,"
and described them as “of rank and stinking savor.” Initially brought to Spain from
South America, tomato was labeled toma(lt) de los Mores (Moors’ tomato). Altered by a
French corruption, due perhaps to suspected aphrodisiac properties, the name becomes
pomme d'amour (love apple) and consequently liebesapfel in the German speaking
countries. In Italian, the linguistic corruption generated the term pomo d’oro (golden
apple), a materic recognition of valuable produce product. In an act expressing his full
dissatisfaction with the absolute certainties of the Cartesian method, Vico enjoyed the
tomato sauce on his pizza, knowing that he could trust the ancient sapience of the
Neapolitan eaters.
Vico's disapproval of the traditional Cartesian system pivots around the point that
Cartesians focus on the studies of mathematics and physical sciences while undermining
the significance of other facets of human knowledge, namely art, law, history, rhetoric,
can be found in the opposition: You say tuh-MAY-toe, I say tuh-MAH-toe. For Vico,
"keen perception and vivid language [were] sources of all freshness in a culture as well as
the guarantee of its future.”v The above mentioned considerations on the history of the
changes in its naming makes “tomato” a “pomodoro,” a perfect candidate for the realm
of Vico’s imaginative universals. Vico draws the imaginative universals from a common
mental language that manifests itself as “vulgar” wisdom (maxims, proverbs, etcetera)
that, through different manifestations across the world, expresses the same underlying
concepts and views. To Vico, these took the form of primal and primary metaphors,
universally recognized and preceding language, that on the one hand caused a
configuration of categorizations and on the other led the mind's ability to objectify and
operate critically.
To reach a decision over the possible toxicity of tomatoes Vico had to consider that
mythos and logos combine in a sensually sentient solution. As he explains in his New
them (homo non intelligendo fit omnia); and perhaps the latter
extends his mind and takes in the things, but when he does not
understand he makes the things out of himself and becomes them by
Vico’s discovery is that the world of senses begins in the periphery of our bodies and
moves to inner and higher levels of perception. From there, in analogical manner, the
senses rule the way we willfully and wittily act in our world is at the basis for a sated
human sapience.
Nowadays, people working in the subject of Artificial Intelligence and “natural stupidity”
are aware of the weird and wonderful contradiction of the cloven Cartesian world. They
substitute the work of engineers, lawyers, and physicians, but it is an impossible task,
plainly, a Sisyphean effort, to develop systems that can replace draftspersons, cooks,
gardeners, and architects. Engineers, lawyers and physician base their profession on a
sequence of logical steps or protocols worked out by deduction and induction whereas
draftspersons, gardeners and architects practice imagination and base their profession on
transcends professional boundaries. The solution is to discover how the findings of the
“ancient” sapience of cooks, gardeners, and architects were achieved. The tensions is
theoretical intelligence that knows materials and procedures only in an abstract and
material and procedures in an ostensive and tangible manner and a third pole recognizes a
sensual intelligence that knows materials and procedures in an imaginative and bodily
manner. The tensions between these three forms of intelligence materialize in sollertia, a
cunningly transformational sapience, and a cardinal virtue, which knows how to take
Sollertia, a clever sense, is the cardinal virtue in both practicing and theorizing of
construction, cooking and puffing, the fundamental virtue for prudent, resourceful, well-
educated and ingenious architects, cooks and alchemists. In the first paragraph of the
first chapter of the first book of his architectural primer, Vitruvius suggests that
is possible only when an architect is expert (peritus) and gifted with a quick and cunning
concluding his treatise, in the last paragraph of the last book, the Roman architect
generates a remarkable promotional line for the profession by declaring that, during wars,
cities can free themselves from enemies by relying on the cunning intelligence of their
potentiality. It is the power of one “who can take in a situation at a glance” and can solve
On the one hand, sollertia is a particular kind of intelligence that is based on a compassed
prudence. On the other hand, sollertia requires a quick mind, able of presaging the
simultaneous seeing of past, future and present. Such prudential multiple nature of
sollertia is essential to any person in producing contrivances that will become significant
tools for those who possesses them. Sollertia’s nature is part of the rhetorical
wily knowledge that dwells between slow formulas and quick metaphors. For instance,
the architectural Orders are defined by Vitruvius using quick metaphoric references to
gendered bodies (virile Doric, matronly Ionic and virginally Corinthian), and by slow
formulas defining the proportions existing between the diameter and the other dimensions
by flashes of intuition. The mythical Greek architect Daedalus, who invented the glue-
paste, the fish-glue (isinglass), the saw, the axe, the drill and the plumb line, was gifted
with sollertia since his inventions expedite the work. As a consequence of these
inventions and other contraptions devised by the function of sollertia architects can spend
more time in constructive thoughts, balanced between slow numerical formulations and
swift metaphorical images, between slow appraisals and flashing visions, and between
The Roman word sollertia is the exact translation of what the Greeks called “metis,” a
form of non-rational "sapience". In the Theogony, Hesiod informs us that Metis is the
daughter of the Titans, Okeanos (Oceanus) and Tethys. She is also the first wife of the
Olympian god Zeus and mother of the goddess Athena. "I am Prudence," were the first
words that Metis spoke to Zeus.vii In The Library, Apollodorus let us know that Zeus slept
with Metis, although she had turned herself into many forms in order to avoid his sexual
attentions. When she was pregnant, it was prophesied that Metis would bear children
more powerful than Zeus himself, for instance one of them was going to be Expediency.viii
In order to forestall this ominous future event, Zeus assimilated Mètis in himself, by
swallowing her when she was in a form of a fly and keeping her within his own belly, “so
that this goddess should think for him, for good and for evil.”ix The sapience of the belly
knowledge, which anticipates, modifies and influences the outcome of events in difficult
handle a changeable and unpredictable situation, and when the know-how (techne) does
not have any grip on a chancy and fluid reality and when practical wisdom, drawn from
social practice (phronesis) does not come up with any solution to a mutable and unsure
event, it is precisely at that moment that a different dimension of intelligence steps in. It
is an intelligence that no rational discourse could teach and no pragmatic set of words can
intervention. This intelligence is even more mutable that the situation it has to cope with,
it is discreet, operative, and conjectural: it is the sollertia or metis of architects cooks, and
alchemists.
To define metis/sollertia in familiar terms, one could say that it is a form of unspoken
knowledge, learned from those events and incidents that make professionals and
their science (episteme) or of the depth of their social involvement and expertise
(phronesis). The flair, the ability and the elegance of such successful professionals and
intelligence that is located beyond the realm of metaphysics, which does not institute a
quest for perfect models, but rather a search for a sensible and sensitive purposeful
transformation of “stuff.”
human. The comprehension of the difference between the desire of imitation and the
magic of transformation is the crucial mean of access to the proper use of lines on paper
for conjuring up building. The positive power of the material mediation by graphic signs
hieroglyphs and ideograms, all of which epitomizes direct, prudent and temperate
transformations, in their essential nature, mirror the nature of the conversion of foodstuff
into prepared food which is performed by cooks, by means of cunning plays of sapience
in their ovens or on their stovetops. The nature of these culinary and architectural
translations is ruled by non-rational sensorial procedures derived from the human orders
of res extensa. The ruling force is that of a sensual craftiness used by architects cooks
pressures, spaces-perception, cultural and psychological times, and so forth are connected
with one another in manifold ways, coupled with emotional dispositions of mind,
The concept of cognition is associated primarily with "rational" forms of mental activity:
cognition, conation and affection. Conation and affection are mental processes
no longer considered to be outside the scope of cognitive science; they are considered
cognitive cluster and the semantics are so entangled—or as Gadda will put it: they are a
the Gordian knot is a simple love knot. To solve this cognitive tangle by just cutting
entangled with their causes, with concomitant causes and with causes of causes. It is
essential to acquire a real operative to observe it and to question it, to inquire on its
nature, without untangle the “gnommero” of the cognitive cluster but through our finite
double-sided coin: we know that there are images on both sides, but we can see only one
at the time. On the one side, imagination is the human faculty that keeps together what
has been collected by different and discrete perceptions. This faculty has the gist of the
Aristotelian koine aesthesis, also known as sensus communis, an internal sum of senses
alchemic products can really make sense. This sensus communis is not our
collation bringing together and coordinating the data perceived by the external senses.
Dishes, buildings, alchemical products are enjoyed always by a sum of perceptions that
allows us to understand the encoded images (visible, aural, tactile, olfactory and
gustatory) as accumulating in layers on the world of experience. Any of these layers may
architectural or alchemic occurrences but the reality the results are a summa of the
totality of the layers. The sensus communis is at the basis of the development of the
Sometimes this sensus communis can fail because of improperly and badly fed senses. A
few years ago, I was climbing together with a group of students the recently restored
Gothic campanile, located at the very edge of the left side of the Sant’Andrea façade in
Mantua. During the climbing, I realized that many of those students had assumed that the
campanile was of recent construction because of the pungent smell of the quick lime
mortar used for re-pointing the bricks. To them, something smelling so strongly new
could not be old although the guise was clearly gothic and the regularity of the brick-
courses had been clearly deformed by the centuries of aging. This peculiar event
demonstrates how the disentangling one perception from the others alters and hampers
The other side of the coin shows imagination as the virtue by which the sensory images
of building we have seen and the flavors of food we have tasted can be transmuted in new
buildings and dishes by recombining the layers of the sensus communis in a new
cosmospoiesis. Imagination can reconstruct something absent, but also can make a re-
elaboration of it; everybody can imagine a man riding a horse as well as a centaur. A
poetic virtue that makes objects and events memorable and by its power I can remember
my grandmother’s roasted chicken. However, this poetic virtue is also the power by
which chef Dunan finding himself with no foodstuff in his battlefield pantry generated a
novel dish. He rustled the nearby chicken coops and snatched tomatoes and garlic from
peasant gardens and after sautéing everything in herbs and olive oil, he refined it with a
splash of cognac. By using the cunning power of imagination chef Dunan could figure
out the recipe of the poulet a la Marengo to help Napoleon Bonaparte to celebrate his
strategic victory of the battle of Marengo during the second Campaign in Italy, on June
14 1800.xi
knowledge of the true principle of architecture was necessary to study the work of the
great chefs of cuisine rather than the work of Pugin and Vitruvius. He pointed out that
the imaginative process by which a hut built to shelter an image is refined into a temple
and a meetinghouse grows into a cathedral is the same, by which “a boiled neck of
mutton can evolve into cotolettes a l’imperiale and a grilled fowl into poulet a la
Marengo.”xii
The double sided nature of imagination operate also within the alchemic modus operandi
in the processes of daily cooking and coined the momentous German word
imaginatio. Imagination is the cunning power of the mind to reproduce the appearances
representations under the concepts of the understanding. That is, imagination is the
could not be realized were it not for the reproduction of images, or representations,
Martin Roland defines imagination as “astrum in homine” (the star in man), a light that
As artisans of images, when working toward their future products, do architects cooks
and alchemists see actually “see” them? The first answer that comes to mind is “no,”
since what is designated is still absent; the second answer is “yes,” since they can relate
to their future careful constructions precious metals and sophisticated dishes through a
long series of intermediary and itersensorial steps. If we were to take preparations, i.e.,
the marks laid on paper, the foodstuff set on a table or the chemicals in the alembics
literally, either by denegation that they really refer to something or by claiming that what
is referred is therefore present, we would miss what makes preparations interesting for
the sensorial culture of a macaronic thinker that operates within material cosmospoiesis.xv
The function of cosmospoiesis is the making of actual and possible worlds wherein others
can find their place and human life may be envisioned in its varied dimensions. In a
cosmospoiesis, deictic images point at remote phenomena and absent features. The
references they force us to transcend the setting in which we are immersed. In their
opacity and transparence, the gestures performed by alchemists cooks and architects on
their tables help us see objects that are intangible, and yet they are completely different
from the one performed when the objects are tangible. By using the language of the
Second Council of Nicea,xvi where the crucial discussion on the role of images took place,
it is possible to say that the majority of architects and probably many chefs and
alchemists have shifted from "iconophilia" to "idolatry.” Iconophilia is not love for
images but the love for the translations that take place among them, i.e., the conversion
morose concentration on the image per se. Thus, the phenomenon of iconoclasm may be
very different conflicts. Because, it is so difficult to resist the temptation inherent in all
images, that is, to freeze-frame them, the iconoclast dream is an unmediated access to
the path of iconophilia, we should, focus even more on the chains of transformations for
which each image is only a provisional condition. In other words, architects should be
iconophile in all domains at once. They should follow James Fergusson’s advice and
study all translations that took place from the images carried by a grilled fowl to the
images carried by a poulet a la Marengo and iconocastily speaking they then should
proceed to destroy the frozen images of the idols nibbled or gobbled down by
architectural gluttons.
published in the Real Estate section of a well-known newspaper: “Appling to the crowds:
Model Homes project perfection right down to the fake food.”xvii In the article, it is
described how these model-homes, after they have been used to promote the selling of
housing, have a special market of their own. They are sold as they have been displayed.
Some individuals buy with all the trimmings included, i.e. all objects paraded in them,
furniture, curtains, pictures on the wall, even the fake food displayed on the dishes set on
the dining table or inside the refrigerator. In buying these houses in their commercial
totality, people buy images not the buildings. These model-homes have become fake
idols that help to hide the dominant condition that, in architecture, the merging of the art
of living well with the arts of building well and eating well is not happening any longer.
The architecture of the houses built in the new suburban divisions does not give per se
becomes the only genuine image available to the perspective buyers and consequently it
is bought not only mentally but physically. The content of these model-homes are then
talismans, complete and completing elements that can give to the future owners, what
many of humorless and memory-less houses cannot give anymore. Lacking the depth of
both emotional and sensual images, these new homes have been embodied artificially and
temporally within a cosmospoiesis via a cosmetic coalescence of sensibility and
i
Baldus 1:5-6, Folengo’s major macaronic work, Baldus (four editions: 1517, 1521,
1534-35, and posthumously in 1552) is a mock-epic poem of giants and farfetched
chivalric adventures including the discovery of the mouth of the Nile and a final descent
into Hell. Baldus is the genre’s acknowledged masterpiece, and it enjoyed a notable
popularity in the 1500s with over a dozen editions and reprints
ii
The telling of this story was suggested by the reading of Manfredo Massironi, L’osteria
dei dadi truccati,
iii
G B Vico On the Sumptuous Dinners of the Romans. Translated by George A. Trone
New Vico studies 20; see also, Donald Phillip Verene, “Vico and Culinary Art: "On the
Sumptuous Dinners of the Romans" and the Science of the First Meals,” New Vico
studies 20
iv
The suspicion of tomatoes being toxic persisted well into the 19th century in both
England and United States.
v
Mooney, Vico Tradition of Rhetoric p105.
vi
Giambattista Vico, New Science 405 1986
vii
Druon, Maurice. The Memoirs of Zeus. New York. Charles Scribner's Sons. 1964 p. 63
viii
"The god Poros (Expediency), is the son of Metis (Sapience)" -Plato Symposium 178
ix
Hesiod. Works and Days and Theogony. Indianapolis. Hackett. 1993, # 886.
x
Ilya Prigogine, From Being to Becoming: Time and Complexity in the Natural Sciences,
(Freeman, San Francisco 1980).
Ilya Prigogine with I. Stengers, The End of Certainty, Time, Chaos and the New Laws of
Nature, The Free Press, New York 1997.
F. Heylighen, Towards a General Framework for Modeling Representation Changes, in:
Proceedings of the 11th International Congress on Cybernetics (Symposium "Styles and
Types of Knowledge Manipulation"), Association Internationale de Cybernétique,
Namur, 1986, p. 29 -34.
V. Hamilton, The Cognitive Structures and Processes of Human Motivation and
Personality, Wiley, London, 1983
xi
André Castelot, l'Histoire à table, "si la cuisine m'était contée..." (Paris: Plon 1972)
xii
Peter Collins, in Changing Ideal in Modern Architecture (London: Faber and Faber,
1965), sets four analogies to discuss the concept of Functionalism, namely the Biological,
Mechanical, Gastronomic and Linguistic. Collins’s biological, mechanical, and linguistic
analogies have been analyzed and used in every possible way for examining architecture.
However, the gastronomical analogy—probably because of an erroneously perceived
inherent lightness—has been mostly forgotten. The Fergusson’s story is told at the
beginning of the Chapter devoted to the Gastronomic Analogy (p.167). Collins’ chapter
has been the brass tacks holding the plan of my tactic for applying macaronic thinking to
architecture. The tracing of the plan began with an article I wrote on the peculiar nature
of architectural imagination, in its educational and professional forms, entitled “Semiotica
ab Edendo,” presented at the 1984 meeting of the Semiotic Society of America, and
published in the Proceedings. Later on, an enlarged version was published in The
Journal of Architectural Education, Fall 1986.
xiii
Aurelius Philipus Theophrastus Bombast von Hohenheim, known as Paracelsus, is an
alchemic cook that founded the discipline of iatro-chemistry, or medical chemistry, see:
Paracelsus, Selected Writings, trans. Norman Guterman, ed. Jolande Jacobi, London:
Routledge and Kegan Paul, 1951, p.165, Paracelsus, The Hermetic and Alchemical
Writings of Paracelsus, ed. Arthur Edward Waite, 2 vols. London: James Elliott, 1894,
v. 2 p.151; I. Betschart: Der Begriff "Imagination" bei Paracelsus. Nova Acta Parac. 6,
1952, pp.52-67.
xiv
Martin Roland, Lexicon alchemiæ sive dictionarium alchemisticum, cum obscuriorum
verborum, et rerum Hermeticarum, tum Theophrast-Paracelsicarum phrasium, planam
explicationem continens, Frankfurt, 1612.
xv
For an ‘encyclopaedic’ understanding of cosmospoiesis, see Giuseppe Mazzotta,
Cosmospoiesis, the Renaissance Experiment, Toronto: University of Toronto Press, 2001.
xvi
Luigi Russo, Vedere l'invisibile. Nicea e lo statuto dell'Immagine, Palermo Aestetica
Edizioni, 19; see also: Daniel J. Sahas, Icon and logos: sources in eighth-century
iconoclasm: an annotated translation of the sixth session of the seventh Ecumenical
Council (Nicea, 787) ... Toronto, University of Toronto Press, 1986.
xvii
An article by Deborah K Dietsch, Washington Post, Thursday June 12 2003 section H,
p. 1 and 5