parallax, 2013, vol. 19, no. 1, 1–2 amuse gueule Lindsay Kelley and Lynn Turner [ . . . ] nourishing indigestion, a necessary physiological state for eating well together.1 - Donna Haraway, When Species Meet Gracing the cover of our issue of parallax is an installation view of Evacuate by Kate MccGwire, as installed in the kitchen of the Mansion house at Tatton Park in 2010. In service to the rest of the house, kitchens like this one would have prepared their sacrificial repasts. Here, spewing from the orifices of a vast cast iron stove, the discarded feathers of the fowl that would have been prepared in stately kitchens such as this over the last three centuries re-emerge. Feathers from mallards, geese, peacocks, pheasants, teal, woodcocks, woodpigeons, quail, grouse, French partridges, turkeys and chickens flow around the stove, flooding the kitchen with the memory of thousands of meals. Immaculately reassembled by MccGwire, the feathers compose a different form as they return from the belly of this stove. Newly serpentine, these coils flex their muscular presence. Should we be afraid? Evacuate the building? Recoil from the by-products of the carnivorous appetite endemic to the virile figure of the subject, now assuming centre stage? In this issue of parallax we join with MccGwire’s heavy feathered eruption in redescribing the limits of food and eating, and confronting boundaries between food and filth, self and other. At the time of writing escalating food costs – especially as linked to climate change – provoke daily crises, demonstrating the urgency of a wholesale rethinking of the matter of what, how and who we eat. The essays in bon appe´tit engage different strategies and target different aspects of this erstwhile basic need. Our kitchen stocks familiar and unfamiliar ingredients: ‘disembodied livestock’, cookies and candy, bioluminescent rabbits, insects, bovine udders, jellyfish, jam, peas, the gut bacteria that make digestion possible. These ingredients provoke investigations of the overlapping politics, ethics and poetics of what we – who we? – do when we eat. In the epigraph above, Donna Haraway eats a healthy bite of Jacques Derrida, taking his philosophical and psychoanalytical discussion of ‘eating well’ and bringing it to a potluck table crowded with figures that matter. Our table opens up the alimentary and its nourishing, disgusting and beastly capacities. With Derrida, the essays in this issue ask after what ‘feeds the limit, generates it, raises it parallax ISSN 1353-4645 print/ISSN 1460-700X online q 2012 Taylor & Francis http://www.tandfonline.com http://dx.doi.org/10.1080/13534645.2013.752060 parallax 1 and complicates it’.2 With Haraway, these same essays ask after ‘the discipline of love and rage’, and how such a practice might taste.3 Bon appétit! Notes 1 Donna Haraway, When Species Meet (Minneapolis: Minnesota University Press, 2008) p.300. 2 Jacques Derrida, The Animal That I Therefore Am, ed. Marie-Louise Mallet, trans. David Willis (New York: Fordham University Press, 2008), p.29. 3 Donna Haraway, ‘Introduction: A Kinship of Feminist Figurations’, in The Haraway Reader (New York: Routledge, 2004), p.3. Lindsay Kelley is an artist and writer researching bioart, fringe foods, and uncommon modes of food preparation and ingestion. She is currently completing her book manuscript, The Bioart Kitchen. Lindsay holds a MFA in Digital Art & New Media and a Ph.D in the History of Consciousness, both from the University of California Santa Cruz. She works at the Public Library of Science on the PLOS ONE editorial team. Lynn Turner is Lecturer in Visual Cultures, Goldsmiths, University of London. She has published on deconstruction and animals, feminism, film, voice and science fiction in journals such as Humanimalia, Mosaic: a journal for the interdisciplinary study of literature, Camera Obscura, and Derrida Today. She is completing a book called MachineEvents: Autobiographies of the Performative, and is the editor of a volume called The Animal Question in Deconstruction (Edinburgh University Press, 2013). Introduction 2 

bon appétit parallax 66 parallax: bon appétit 19:1 2013 guest editors: Lindsay Kelley & Lynn Turner Contents Lindsay Kelley & Lynn Turner Introduction 1. Lynn Turner Dorothy Cross 2. Stephen Loo &Undine Sellbach Upside-Down Ethics 3. Michael Marder 4. Eszter Timár 5. Éamonn Dunne & Michael O’Rourke Hors d’Oeuvre: some footnotes on the Spurs of Eating (with) Insects: Insect Gastronomies and Should we eat peas? Eating Autonomy Jam 6. Amelie Hastie Senseless Eating 7. Jacob Metcalf Meet Shmeat: Food System Ethics, Biotechnology, and Re-Worldling Technoscience 8. Allison Carruth Food Culturing: the Lab, the Gallery and the Future of Food 9. Oron Catts & Ionat Zurr Disembodied Livestock: the Promise of a SemiLiving Utopia 10. Lindsay Kelley & Eva Hayward Carnal Light: Following the White Rabbit BOOK REVIEWS 1. Wood Roberdeau Gastronomic Worldviews of Transubstantiation: Antidiets of the Avant-garde: From Futurist Cooking to Eat Art, Cecilia Novero 2. Amy Tigner Dish up these Greens: A Mess of Greens: Southern Gender and Southern Food, Elizabeth Sanders Delwic Engelhardt 3. Pooja Rangan Alimentary Tracts: Appetites, Aversions, and the Postcolonial, Parama Roy