I realised this evening that writing about food and writing about art are very different things. Perhaps, to state the obvious, they are.

A friend Kitty and I just returned from being treated to a five-course meal at the Ubiquitous Chip, to celebrate the westend establishment’s 40th anniversary. For the series of events The Chip have invited artist Alasdair Gray, alongside Carol Wright, Neil Butler and Debs Norton, to develop a series of 3D animations to occupy the menu over the course of the evening. I’m probably a purist but I had always thought good food was ’3D’ enough for my liking…. but I’m no AA Gill.

On that basis I�ll leave the really wonderful food aside, (it was in fact fantastic, especially the Seafood Trinity and the oatmeal ice cream� I even broke my feeble vegetarianism to try the very rich shin of beef) and focus on the atmosphere and experience that the visuals created. Having been provided with a set of specs, we were guided through the various courses by a series of animations; wire-frame versions of salmon, cows and onions, accompanied by a looping drone of a soundtrack, I presume not created by Gray unless David Hockney has suddenly introduced him to a CAD programme. It�s quite a bizarre sensation be swallowed into the mouth of a large salmon just as its presented to you on a plate. As each course is brought to the table a new passage of animation explores the ingredients, it�s just that I�d rather have concentrated on what I was eating, not least actually see it.

The only definite contribution by Gray to the evening is a huge double sized projection on a back wall. The beautiful rolling scenes of a peculiar landscape of forest and seascapes look more like the illustration of Tove Jansson than the distinctive bold lines of his usual work, one thing that does remain constant is the luscious and vibrant colour within the works. You didn�t really need the 3D glasses to view this; the real shame was the work not being the main attraction for the night.

Admittedly there�s something quite staid about our traditional dining experience, but I�m not sure some ambient music and illustrative visuals can really alter that experience in such a great way� perhaps food should stay on the plate and if you want to see Gray�s work in true 3D then just wait a couple of months until it�s on show as part of British Art Show 7 at GOMA.

Earlier this week it was announced that the new owners of Soho Film Lab, Deluxe, were to immediately cease printing 16mm film within its lab.

I’ve only ever had one, personal, direct dealing with the Len at the lab, but have worked with numerous artists who regularly rely on his technical skill and support to produce their work. Like with many contemporary practices these artists require the assistance of highly skilled professionals to achieve their aims, however more so than most, filmmaking is intrinsically linked to these needs and�specialisms. For the sole remaining professional printing lab in the UK to close presents a real threat to the strength of artist filmmaking in Scotland and the UK.

Here’s a great article by Tacita Dean�http://gu.com/p/2na8e

PLEASE email�d.leister@virgin.net to add your name to the letters of support

I�ve been reading a lot recently about Glasgow, its inhabitants and its arts �scene�, due mostly to working on the forthcoming exhibition, Direct serious action is therefore necessary and re-reading the release of Social Landscape, both of which are so explicitly tied to the city and its position in the world. It�s made me consider a lot of the reasons I love the city, as well as the negative aspects which we are all aware of, though seem to grow thick-skinned to.

I moved to Glasgow seven years ago almost to the month; it�s not really that long ago, but perhaps its just enough time to take stock of what the place means as a �functioning� cultural capital and whether it really is home or not. A close friend once described a scenario where Glasgow�s role seemed to make sense, it went along the lines of; whilst there was much wrong or lacking with the place, there were the people and, most importantly, the energy to give a potential realisation to that which was absent. This might seem idealistic, but it could be suggested that most of the art here is built on the same idealism, or at least vain hope. But it does raise the question, why is there a lack?

This, undoubtedly, is a question that will cause yet more frustration; my point is though it�s a question that isn�t asked often enough, cue responses. There�s a fragility that surrounds much of our activity in the city, where to question the place as a whole is one that threatens to pull it all apart from the inside. Within a historically working-class, socialist leaning city, the visual arts have always been attuned to defending and justifying its importance. To me it appears quite a precarious position, immediately striking upon any accusation of the cities� failures rather than assimilating and adapting as might be necessary. This perhaps best demonstrated by the old west-coast/east-coast rivalry.

The apparent desire to shield Glasgow from these levelings seems counter-intuitive to so much of the DIY mentality of the community, as though if to whisper your negativities would be to shatter the hopes of everyone. Of course there�s a scale of perception, for some making contemporary visual art important within Glasgow, nevermind Scotland, is the name of the game, others are content with more or less. I�d hope ultimately that the thing that matters was how life really is here, that we have the space we needed, the balance of the things we have as a community and the things we strive for, I suppose it keeps things interesting and keeps us taking the necessary actions.