When I try to master a subject or a skill, I often find that learning a complementary body of knowledge or task, enhances my understanding of the original subject. This form of cross-training, akin to my earlier experiences with developing my core expertises, proved valuable in the late spring of 2023 when I decided to explore the world of Basque cuisine.
Having just completed my Bronze Certification in Japanese Cooking, I contemplated my next steps. My options included: work full-time, for two years, in a respected Japanese restaurant in order to earn my Silver Certification; travel to Japan, and take an intensive summer or year-long cooking course; or see if cross-training in a different type of cuisine could expose me to new information and skills that would somehow improve my ability to cook Washoku.
But what type of food?
My family and I have travelled to and vacationed in Spain a handful of times, not only to Madrid, but to Catalonia, Majorca, and the Basque region too. There we’ve visited Bilbao and San Sebastian where we spent a week one Christmas. We have also visited Biarritz, just over the border in France.
And although I had some basic familiarity with Spanish cuisine, the intricacies of Basque cooking was a completely new experience for me. The reason? Despite several family members being adept at preparing delicious Spanish dishes, Basque cuisine remained uncharted territory.
In a nutshell venturing into Basque cooking and cuisine was probably my best next step in my culinary journey. The food and cuisine is highly regarded. There is a strong appreciation for high quality and natural ingredients, it’s embedded in long standing culinary traditions, unique flavors and techniques, it employs a considerable amount of creativity, it’s well documented pintxos culture is attractive, and it boasts numerous Michelin-starred restaurants.
So, all in all learning about Basque cuisine and how to cook selected dishes, just like my path to learning how to master how to cook Washoku, kind of made intuitive sense to me as my next step, even if it was temporary.
How did I go about doing this?
My approach to learning Comida Vasca, mirrored my initial haphazard foray into Japanese cooking. But if I was to summarize the steps, they would be as follows.
First, I bought a couple of appropriate Basque recipe books, selectively reading these works, and experimenting with the recipes inside.
Second, I complimented this activity, and attempted to expand my repertoire of dishes and techniques that I could master by searching the web for written and video recipes.
Third, I set up an Instagram account (@adventuresinbasquecooking) to document and share my Basque culinary endeavors.
Fourth, spending six weeks in the Basque region, especially Bilbao, provided an immersive experience, further catalyzing my culinary exploration.
Fifth, a developing friendship exposed me to local cuisine (like a sardine cookout), and to the amazing hospitality of people who welcomed us even though we were practically strangers to them.
Finally, despite my limited proficiency in Spanish, I enrolled in and completed some cooking classes at The Basque Culinary Institute in San Sebastian.
Stepping up my game
Over the past six months I have read deeper about Basque cuisine, eaten and prepared different typical Basque dishes.
While in the Basque region I ate/drank at numerous Basque restaurants, and pintxo bars.
In those contexts, I tried to deconstruct the ingredients, amounts, and sequencing of the dishes we ate. I also asked waiters, support staff and chefs about the component parts and steps that were used to prepare selective dishes. Over time I got better at discerning different flavors that were central to the cuisine.
I visited the markets where I could buy fresh produce, fish (lots of different types), seafood, pork, and meat with which to prepare the in dishes. Again, I had conversations with the people who cut, assembled, and sold this food (e.g., bonito del nor, bacalao a la vizcaína (Basque-style cod), chuleta (grilled pork), txuleta (steak), etc. ) about how they would prepare and serve these unique dishes.
Though this process I was able to discover many of the central features of Comida Vasca.
While still at the early stages of my Basque culinary journey, I view it not as a pivot but as a form of cross-training, allowing me to draw comparisons between Basque and Japanese cooking techniques.
Not only does this culinary exploration align with my broader philosophy and approach to enhancing expertise through exploring and understanding diverse and complementary knowledge domains, it’s also interesting, exciting and fun.
https://jeffreyianross.com/wp-content/uploads/IMG_1879-rotated.jpg640480Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2023-11-18 16:35:322024-09-15 12:10:37My Comida Vasca Adventure
One of the most significant challenges that creative individuals and teams face involves the decisions they make about their projects. These choices include, but are not limited to, what projects to pursue, whom to work with, which methodologies and techniques to use, how to execute these projects, and where and how to present them to a wider audience.
Each of these decisions, whether conscious or unconscious, involves a series of cost-benefit calculations.
That being said, it’s easy to fall into the trap of going for what seems like the “low-hanging fruit.”
In the academic world, this often translates into working on tasks like developing teaching resources, and researching and writing conference papers, opinion pieces, letters to the editor, encyclopedia entries, book reviews, and chapters in edited scholarly books.
At first glance, these types of projects can seem rewarding. They may provide temporary personal satisfaction, including a sense of accomplishment, and with most of them the joy of finally seeing your ideas and work in print. Moreover, when anyone asks you what you are working on, at the very least you probably won’t look or sound dumbfounded.
And, in the early stages of an academic career, these material items can serve as essential building blocks for establishing a scholarly publishing track record.
Undoubtedly, many scholars, especially those early in their careers, invest substantial resources on topics and with projects that don’t necessarily help them achieve their goals of securing an academic position, earning tenure and promotion. Engaging in this kind of work is sometimes akin to indulging in comfort food—it feels good, but you know it’s not it’s not good for you.
However, as academics progress in their careers, especially if they are working in highly ranked institutions of higher learning, these types of projects may not significantly advance scholars careers. Why? In most academic circles, (short of the views expressed by adherents to Scholarship Reconsidered), these products are not as valued as articles published in high-status peer-reviewed journals.
Spending one’s resources on low hanging fruit can lead to frustration, missed opportunities, and, in some cases, even depression or job stagnation or loss. Thus, in academic research, it’s essential to go through a conscious decision-making process that makes sense to you. Yes, you can publish in venues where the bar to admission is not that high, but it’s also wise to consider your predicted return on investment and “Who is the audience for your research?”
Just like the student or colleague who tells you, “But I really worked hard on this paper,” you too might spend countless hours on a project, even getting the work published in a highly ranked journal, but if your target audience doesn’t truly care, it may not yield the desired meaningful (scholarly) impact.
Conducting scholarly research is all about making cost-benefit calculations. There are undoubtedly better and worse subjects to write about, methodologies to employ, and venues where your work might appear in print.
In conclusion, making informed choices in academic research involves more than just picking low-hanging fruit. It’s about evaluating the real value and potential impact of your work, considering your intended audience and long-term goals, and making decisions that align with the academic journey you want.
Photo credit:
Photographer: Donyanedomam
Title: Group of Rhesus macaques eating bananas stock photo
https://jeffreyianross.com/wp-content/uploads/iStock-518257198-scaled.jpg17072560Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2023-11-12 15:43:122023-11-12 15:43:12Some low hanging fruit is just rotten
Graffiti and street art have been a constant presence in the long-standing conflict between Israel and the Palestinian people, both inside Israel and the Occupied Territories (i.e., West Bank, East Jerusalem, and Golan Heights) and Gaza.
Not only have Israelis and Palestinians living in the Occupied Territories and Gaza engaged graffiti and street art (e.g., Know Hope, El Mac and Retna), but well-known outsiders like Banksy, Blue and Swoon have produced iconic and powerful images and messages on various surfaces, including border walls that separate Israel from the West Bank and elsewhere.
That being said, graffiti and street art connected to the conflict has never been confined to the war zone. We have seen all manner of this form of political communication in urban public spaces in major cities worldwide.
This brings us to the current conflict. On Sunday October 7, 2023 Hamas forces kidnapped almost 200 people (mostly Israelis) and killed another 1,400.
Almost immediately, Nitzan Mintz, (a visual poet) and Dede Bandaid (a visual artist), Israelis temporarily living in the United States (with the assistance of graphic designers Tal Huber and Shira Gershoni), quickly created posters/flyers featuring the images of the kidnapped individuals. These were rapidly disseminated worldwide. A veritable army of sympathizers downloaded this content from the web and started affixing these posters in public places in large cities. In many ways, these posters of the kidnapped Israelis, served as a compelling form of agitprop, likely to evoke strong reactions from a wider audience.
In many respects, this activity has historical precedents. For example, starting in the 1980s, American street artist Robbie Conal, regularly produced posters with unflattering hand drawn images resembling caricatures of dictators, corrupt politicians, and tyrants, accompanied by disparaging text. Numerous volunteers quickly affixed these posters to utility poles, building walls, street signs, etc. throughout the United States and around the world.
But the postering of kidnapped Israeli citizens took an immediate turn when Israeli Defense Forces started bombing of Gaza, leading to significant property destruction, injuries, and civilian casualties. While the painting of swastikas on lots of surfaces, including Jewish cemetery tombstones and properties owned by Jewish individuals have been marked with Stars of David appeared to increase, the posters depicting the kidnapped Israelis were no longer tolerated.
Despite the fact that most street art is low-level vandalism and an act of property crime, we are now seeing the posters of the kidnapped Israelis torn down not by public works departments, or ghost buffers, but by individuals who are unhappy with the Israeli response to Hamas.
What lessons can be learned from this case study? In short, it highlights the potential risks and complexities associated with street art as a form of activism. It also underscores the idea that even when street artists have good intentions and aim to raise awareness and provoke moral outrage through their work, there is no guarantee that the public’s reactions will align with their objectives. Ultimately there is an inherent unpredictability of public perception and the limitations of an artist’s control over their message. While graffiti and street art can be a powerful medium for social commentary, it comes with inherent uncertainties and challenges.
In sum, even a well-orchestrated effort to create and disseminate street art designed to raise awareness, garner sympathy, and moral outrage can backfire. Experienced graffiti writers and street artists know too well that once they have completed their work, reactions to it are beyond their control.
Photo Credit
Photographer: Oren Rozen
Title: Posters in front of the Kirya, calling for the return of Israeli hostages taken to Gaza
https://jeffreyianross.com/wp-content/uploads/Screen-Shot-2023-11-04-at-9.47.45-AM.png7151074Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2023-11-04 17:17:232024-09-22 12:19:37When street art provokes moral outrage?
My Comida Vasca Adventure
/by Jeffrey Ian RossWhen I try to master a subject or a skill, I often find that learning a complementary body of knowledge or task, enhances my understanding of the original subject. This form of cross-training, akin to my earlier experiences with developing my core expertises, proved valuable in the late spring of 2023 when I decided to explore the world of Basque cuisine.
Why Basque cooking?
Similar to my introduction to Japanese cooking (Washoku), I felt a push pull dynamic.
Having just completed my Bronze Certification in Japanese Cooking, I contemplated my next steps. My options included: work full-time, for two years, in a respected Japanese restaurant in order to earn my Silver Certification; travel to Japan, and take an intensive summer or year-long cooking course; or see if cross-training in a different type of cuisine could expose me to new information and skills that would somehow improve my ability to cook Washoku.
But what type of food?
My family and I have travelled to and vacationed in Spain a handful of times, not only to Madrid, but to Catalonia, Majorca, and the Basque region too. There we’ve visited Bilbao and San Sebastian where we spent a week one Christmas. We have also visited Biarritz, just over the border in France.
And although I had some basic familiarity with Spanish cuisine, the intricacies of Basque cooking was a completely new experience for me. The reason? Despite several family members being adept at preparing delicious Spanish dishes, Basque cuisine remained uncharted territory.
In a nutshell venturing into Basque cooking and cuisine was probably my best next step in my culinary journey. The food and cuisine is highly regarded. There is a strong appreciation for high quality and natural ingredients, it’s embedded in long standing culinary traditions, unique flavors and techniques, it employs a considerable amount of creativity, it’s well documented pintxos culture is attractive, and it boasts numerous Michelin-starred restaurants.
So, all in all learning about Basque cuisine and how to cook selected dishes, just like my path to learning how to master how to cook Washoku, kind of made intuitive sense to me as my next step, even if it was temporary.
How did I go about doing this?
My approach to learning Comida Vasca, mirrored my initial haphazard foray into Japanese cooking. But if I was to summarize the steps, they would be as follows.
First, I bought a couple of appropriate Basque recipe books, selectively reading these works, and experimenting with the recipes inside.
Second, I complimented this activity, and attempted to expand my repertoire of dishes and techniques that I could master by searching the web for written and video recipes.
Third, I set up an Instagram account (@adventuresinbasquecooking) to document and share my Basque culinary endeavors.
Fourth, spending six weeks in the Basque region, especially Bilbao, provided an immersive experience, further catalyzing my culinary exploration.
Fifth, a developing friendship exposed me to local cuisine (like a sardine cookout), and to the amazing hospitality of people who welcomed us even though we were practically strangers to them.
Finally, despite my limited proficiency in Spanish, I enrolled in and completed some cooking classes at The Basque Culinary Institute in San Sebastian.
Stepping up my game
Over the past six months I have read deeper about Basque cuisine, eaten and prepared different typical Basque dishes.
While in the Basque region I ate/drank at numerous Basque restaurants, and pintxo bars.
In those contexts, I tried to deconstruct the ingredients, amounts, and sequencing of the dishes we ate. I also asked waiters, support staff and chefs about the component parts and steps that were used to prepare selective dishes. Over time I got better at discerning different flavors that were central to the cuisine.
I visited the markets where I could buy fresh produce, fish (lots of different types), seafood, pork, and meat with which to prepare the in dishes. Again, I had conversations with the people who cut, assembled, and sold this food (e.g., bonito del nor, bacalao a la vizcaína (Basque-style cod), chuleta (grilled pork), txuleta (steak), etc. ) about how they would prepare and serve these unique dishes.
Though this process I was able to discover many of the central features of Comida Vasca.
While still at the early stages of my Basque culinary journey, I view it not as a pivot but as a form of cross-training, allowing me to draw comparisons between Basque and Japanese cooking techniques.
Not only does this culinary exploration align with my broader philosophy and approach to enhancing expertise through exploring and understanding diverse and complementary knowledge domains, it’s also interesting, exciting and fun.
Some low hanging fruit is just rotten
/by Jeffrey Ian RossOne of the most significant challenges that creative individuals and teams face involves the decisions they make about their projects. These choices include, but are not limited to, what projects to pursue, whom to work with, which methodologies and techniques to use, how to execute these projects, and where and how to present them to a wider audience.
Each of these decisions, whether conscious or unconscious, involves a series of cost-benefit calculations.
That being said, it’s easy to fall into the trap of going for what seems like the “low-hanging fruit.”
In the academic world, this often translates into working on tasks like developing teaching resources, and researching and writing conference papers, opinion pieces, letters to the editor, encyclopedia entries, book reviews, and chapters in edited scholarly books.
At first glance, these types of projects can seem rewarding. They may provide temporary personal satisfaction, including a sense of accomplishment, and with most of them the joy of finally seeing your ideas and work in print. Moreover, when anyone asks you what you are working on, at the very least you probably won’t look or sound dumbfounded.
And, in the early stages of an academic career, these material items can serve as essential building blocks for establishing a scholarly publishing track record.
Undoubtedly, many scholars, especially those early in their careers, invest substantial resources on topics and with projects that don’t necessarily help them achieve their goals of securing an academic position, earning tenure and promotion. Engaging in this kind of work is sometimes akin to indulging in comfort food—it feels good, but you know it’s not it’s not good for you.
That being said, some colleges and universities, adopting the “something is better than nothing” approach, give the production of these types of publications and resources equal weight in tenure, promotion, and merit decisions.
However, as academics progress in their careers, especially if they are working in highly ranked institutions of higher learning, these types of projects may not significantly advance scholars careers. Why? In most academic circles, (short of the views expressed by adherents to Scholarship Reconsidered), these products are not as valued as articles published in high-status peer-reviewed journals.
Spending one’s resources on low hanging fruit can lead to frustration, missed opportunities, and, in some cases, even depression or job stagnation or loss. Thus, in academic research, it’s essential to go through a conscious decision-making process that makes sense to you. Yes, you can publish in venues where the bar to admission is not that high, but it’s also wise to consider your predicted return on investment and “Who is the audience for your research?”
Just like the student or colleague who tells you, “But I really worked hard on this paper,” you too might spend countless hours on a project, even getting the work published in a highly ranked journal, but if your target audience doesn’t truly care, it may not yield the desired meaningful (scholarly) impact.
Conducting scholarly research is all about making cost-benefit calculations. There are undoubtedly better and worse subjects to write about, methodologies to employ, and venues where your work might appear in print.
In conclusion, making informed choices in academic research involves more than just picking low-hanging fruit. It’s about evaluating the real value and potential impact of your work, considering your intended audience and long-term goals, and making decisions that align with the academic journey you want.
Photo credit:
Photographer: Donyanedomam
Title: Group of Rhesus macaques eating bananas stock photo
When street art provokes moral outrage?
/by Jeffrey Ian RossGraffiti and street art have been a constant presence in the long-standing conflict between Israel and the Palestinian people, both inside Israel and the Occupied Territories (i.e., West Bank, East Jerusalem, and Golan Heights) and Gaza.
Not only have Israelis and Palestinians living in the Occupied Territories and Gaza engaged graffiti and street art (e.g., Know Hope, El Mac and Retna), but well-known outsiders like Banksy, Blue and Swoon have produced iconic and powerful images and messages on various surfaces, including border walls that separate Israel from the West Bank and elsewhere.
That being said, graffiti and street art connected to the conflict has never been confined to the war zone. We have seen all manner of this form of political communication in urban public spaces in major cities worldwide.
This brings us to the current conflict. On Sunday October 7, 2023 Hamas forces kidnapped almost 200 people (mostly Israelis) and killed another 1,400.
Almost immediately, Nitzan Mintz, (a visual poet) and Dede Bandaid (a visual artist), Israelis temporarily living in the United States (with the assistance of graphic designers Tal Huber and Shira Gershoni), quickly created posters/flyers featuring the images of the kidnapped individuals. These were rapidly disseminated worldwide. A veritable army of sympathizers downloaded this content from the web and started affixing these posters in public places in large cities. In many ways, these posters of the kidnapped Israelis, served as a compelling form of agitprop, likely to evoke strong reactions from a wider audience.
In many respects, this activity has historical precedents. For example, starting in the 1980s, American street artist Robbie Conal, regularly produced posters with unflattering hand drawn images resembling caricatures of dictators, corrupt politicians, and tyrants, accompanied by disparaging text. Numerous volunteers quickly affixed these posters to utility poles, building walls, street signs, etc. throughout the United States and around the world.
But the postering of kidnapped Israeli citizens took an immediate turn when Israeli Defense Forces started bombing of Gaza, leading to significant property destruction, injuries, and civilian casualties. While the painting of swastikas on lots of surfaces, including Jewish cemetery tombstones and properties owned by Jewish individuals have been marked with Stars of David appeared to increase, the posters depicting the kidnapped Israelis were no longer tolerated.
Despite the fact that most street art is low-level vandalism and an act of property crime, we are now seeing the posters of the kidnapped Israelis torn down not by public works departments, or ghost buffers, but by individuals who are unhappy with the Israeli response to Hamas.
What lessons can be learned from this case study? In short, it highlights the potential risks and complexities associated with street art as a form of activism. It also underscores the idea that even when street artists have good intentions and aim to raise awareness and provoke moral outrage through their work, there is no guarantee that the public’s reactions will align with their objectives. Ultimately there is an inherent unpredictability of public perception and the limitations of an artist’s control over their message. While graffiti and street art can be a powerful medium for social commentary, it comes with inherent uncertainties and challenges.
In sum, even a well-orchestrated effort to create and disseminate street art designed to raise awareness, garner sympathy, and moral outrage can backfire. Experienced graffiti writers and street artists know too well that once they have completed their work, reactions to it are beyond their control.
Photo Credit
Photographer: Oren Rozen
Title: Posters in front of the Kirya, calling for the return of Israeli hostages taken to Gaza