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I made this for dinner guests and it was a hit! But I have a question — is there a way that I can bake this instead? Perhaps I can sear each side first and then bake it? This way I can be with my guests entertaining them (while the chicken is baking) instead of in the kitchen (on the stove) and leaving my guests for 20 minutes. I appreciate your help!

I’m so happy to hear that! Thank you so much for sharing your feedback!

Fully Alive says

I made this for dinner tonight – quick, easy, beautiful and YUM-O! I served with Apricot Glazed Carrots which made for a very pretty and colorful plate. THIS will definitely be in our rotation! Thank you for sharing. ps We didn’t have skimmed milk but had light cream, so I used that for the sauce. Probably another gazillion calories, but…smile!

Hi Jen! Preheat your oven to 2o0°C or 400°F. Once you have seared you chicken in your skillet on both sides, transfer them to the oven and continue cooking until cooked right through. I usually go by the thickness of your fillets. Anywhere form 10 minutes to 15 minutes should do it without drying out your chicken too much!

jen says

having a hard time getting chicken cooked all the way! Anyone with oven results?

Julie says

Made this tonight, it was great! Will make again. Fast, easy and delicious. We added mushrooms to the sauce and liked it.

penny dean says

Do I cook spinach first if using fresh ?

Marlene says

Omg so easy and so yummy. Most def will make again

Sydney says

I just made this for dinner tonight, and it was absolutely delicious! I substituted Neufchatel cheese for the cream cheese and did not make the cream sauce. My hubby and I loved it. Because there are only two of us, I cut the recipe in half and had no problems. I served this recipe with roasted whole carrots and leftover homemade mashed potatoes!

Rebecca says

One of the main challenges involved political conflicts. Violence erupted in Sidi Bouzid after eight seats won by the Popular Petition were disqualified in six electoral districts by the Independent High Authority for the Elections (Instance Supérieure Indépendante pour les Elections [ISIE]). The annulment of seats resulted from allegations of the party’s breach of electoral regulations including campaigning during the purdah period (when no campaigning is allowed), foreign financing of the campaign, and having a successful candidate who held office in the former ruling party. Supporters of the Popular Petition Party Medusa Palazzo pumps Black Versace OvvHhpro
to municipal offices, protested outside Ennahda’s headquarters, and hurled rocks at security forces, which led to the imposition of a curfew in the town until the violence was subdued. Although the Popular Petition Party recovered seven of the eight cancelled seats (putting it in third place with 26 seats), 12 of its members resigned and declared themselves independent.

Following the elections and resolution of the seats issue, ideological challenges took over. The constituent assembly’s first attempt to draft a new constitution resulted in vast ideological disagreements. After two years, the coalition government led by Ennahda failed to draft a new constitution. In 2013, the assembly reached a deadlock as Ennahda continued to face opposition over what was described by critics as the Islamist party’s conservative agenda.

To add to this, the country saw a rise in extremism and attacks, including violent protests by Salafists in 2012 over an art exhibition that was deemed offensive to Islam and a film that was criticized as anti-Islamic. Tensions rose when two left-wing opposition leaders, Chokri Belaid and Mohamad Brahmi, were assassinated in February and July 2013, respectively, for which Salafist groups later claimed responsibility. The years 2013, 2014, and 2015 a rise in terror attacks, suicide bombs, and clashes between police and violent extremist groups. Mass protests erupted in the country blaming the Ennahda Party for the rise of extremism and violence.

These factors presented a substantial recipe for instability and mass violence. Tunisia seemed to be on the brink of a crisis akin to that taking place in Egypt, and it faced potential violence like that unfolding in Libya, Syria, and elsewhere. How did Tunisia deal with the political and ideological challenges that overtook the country after the revolution?

The Triumph of the Public Interest

The deadlock, violence, and public opposition forced the Ennahda Party to step down in October 2013 and hand over power to a non-party government. This was an unprecedented move—to favor the larger public interest over partisan political interests.

Witnessing the instability and violence in Egypt following the election of the Muslim Brotherhood and the military coup, Ennahda opted for a compromise. Compared to the events in Egypt, Tunisia dealt with challenges through dialogue and the empowerment of civil society, rather than militarism. The deal was brokered by the National Dialogue Quartet, a consortium of civil society federations and councils including the Tunisian General Labour Union (UGTT), the Tunisian Confederation of Industry, Trade and Handicrafts (UTICA), the Tunisian Human Rights League (LTDH), and the Tunisian Order of Lawyers, which the Nobel Peace Prize in 2015 “for its decisive contribution to the building of a pluralistic democracy in Tunisia in the wake of the Jasmine Revolution of 2011.” The Quartet played a mediating role in facilitating dialogue and bridging the political and religious divides.

A preview of an answer that might be forthcoming

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was publsihed, Darius Kazemi Adam jeans White Paura 83CeSz
: what’s the difference between carpentry and art? , for the record, is my name for the philosophical practice of making things, of which articles and books are but one example. I borrowed and expanded the term from the ordinary sense of woodcraft and adapted from Graham Harman and Alphonso Lingis, who use it to refer to the way things mold one another.

Darius wondered, why distinguish between the different uses of things? Isn’t this just a commission of the intentional fallacy? These are reasonable questions.

As it happens, I have an unpublished and probably unfinished paper that answers this question, and which includes a good measure of carpentry in so doing. But after a back and forth on Twitter on this topic, I figured maybe I should offer a preview of that answer since it’s been almost a year since I wrote the paper and carpentered the illustrations, and I still haven’t done anything with them.

I don’t expect anybody will be satisfied with these answers yet, but I offer them as a preview of more to come:

published March 19, 2013

Comments

Robert Jackson

Hey Ian,

Thanks for posting this up – I’d love to see the paper sometime. I think you’ve approached this question the right way and even if the bullet points are a preview, they sound sufficiently reasonable in my eyes. If anything, its not Carpentry vs. Art, but an extension, inclusion, transformation or adaption between the two.

The problem one finds here in debates about ‘art’ and ‘non-art’ distinctions is the usual rootedness of a institutional validation which explicitly determines value on the basis of acceptance. This Duchampian minefield is something one has to simply deal with of course: yet at the same time OOO and carpentry do intersect with art historical enquiries which defeat / question existing regimes. For example the healthy resurgence of aesthetics in Harman’s allure, when the dominant poststructural tendencies define themselves as esoterically post-aesthetic (perhaps a healthy distinction could be used to underscore the difference between art objects and aesthetics of objects).

So for me, there are two questions linked into one:

1.) I get the variance-use-value of Carpentry: the purpose of practice to ‘do’ things which are not inherently defined as ‘art’. In which case, should art-making locate itself as a theory which can point towards a practice privileged ‘as’ art over other methods? (considering we’re making a distinction here) and:

2.) How would such distinctions apply in the case of interdisciplinary shows like Latour and Weibel’s Making Things Public , where such artistic practices are deliberately curated to be indistinguishable from other methods of enquiry, i.e. science/politics? Is this show ‘Carpentry’ as one defines it, or would it be something else entirely?

dmf

I’ve been suggesting that we work along these lines in terms of manufacturing prototypes (as opposed to archetypes) which has a sense I think of a working model in progress that is open to re-visioning in varying settings and or to various purposes. Keeps things in the realm of experimentation/engineering/design while still functioning in ways akin to Wittgenstein’s perspicuous presentations or so I hope.

Ian Bogost

@Robert:

1) On the one hand, I don’t think I have an opinion on the matter, not a normative one anyway. Or if I do, it’s only as an artist, an identity I’m hardly ever comfortable in. That said, and on the other hand, I think the overwhelming rule of conceptualism is eating art-qua-art alive, such that the only methods left are those that strip away ever more layers of a non-infinite onion.

2) Good question. Proto-carpentry at the very least. But I’m tempted to conclude that the real rhetorical function of that show happened outside the show anyway.

Johnson Howard

So, it sounds like art with a higher purpose that raises its eyes to something transcendant? Like, a lot of art that is produced today is produced without serving any philosophical purpose (the logo for Subway, that billboard you always see, some kid who did 10,000 prints of a lime green monster cause it looked cool, etc.). These serve the purpose of conveying a message to the audience, but are largely void of any *real* input from the creator.

I think specifically of graphic art and such when I say this, but I think that it can be said for any creations. It comes down to whether a creation is created in order to aid in gaining one profit (be it money, fame, women, or a giant bearskin rug), or if it is a real outpouring of the soul into something.

I think of an artist who creates because he enjoys it and pours his life into his work, but does not do it to gain himself profit. It is something that pleases *him*. He does not do it to please others.

I struggle to elucidate this without talking all gooey. Perhaps a limitation of my dialect. But, what I would identify as carpentry is something that causes you to feel something real within yourself. That is to say, it does not produce a novel reaction, but a genuine feeling that emanates from the work.

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Hi Ian|

If anything can be art by fiat, then it should also be possible that anything can be non-art by fiat as well. So: wouldn’t such an explicitly non-art object automatically qualify as an object of philosophy, and therefore as carpentry?

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Howdy Ian,

I was about to email you regarding my current OOO related solo art exhibition in NYC, but then discovered this rather relevant thread. The show features what I’m calling “Nano-Nonobjective-Oriented Ontographs”, â??Qubit-Built Quiltsâ? and â??Scriptable-Scalable-Species-Tool-Beingsâ?. Intended as a form of Future Studies, my initial purpose was to visually connect the praxis, operative ideologies, promises, and hype of 3D printing to the RD and speculations surrounding theoretical molecular manufacturing. That said, the body of work also became significantly influenced by OOO and notably your chapters on carpentry and ontography.

Here’s the gallery link:

Mens ShortsShorts Schott NYC sjT03Gp

Hope you might well find that these efforts somehow contribute to the larger conversation.

Ian Bogost

Shane, thanks for sharing this information about your exhibition. I wish I were in NYC to see it!

Ian Bogost is an author and game designer. He is the Ivan Allen College Distinguished Chair in Media Studies and Professor of Interactive Computing at the Georgia Institute of Technology, Founding Partner at Persuasive Games LLC, and a Contributing Editor at .

A bio, press photos, and CV are available here .

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