I blogged about carbonated strawberries some while ago. Those were made using dry ice which unfortunately is not always easy to get hold of. Last week however I bought a iSi Gourmet Whipper - one of those Ferran Adria uses to make foams/espumas. I plan to experiment with that as well, but the first thing I decided to prepare was carbonated fruit. In fact this is a safe way (the only?) to make carbonated fruit at home using a pressurized container.

The instruction booklet which comes with the iSi Gourmet Whipper only mentions cream chargers (filled with N₂O, dinitrogen oxide), whereas soda chargers (filled with CO₂, carbon dioxide) are not mentioned (I guess the opposite is true for the iSi Siphons?). This is quite amazing actually! Luckily however the cream and soda chargers are exactly the same size and both hold 8 g of gas. So it should be possible to make carbonated fruit with any of the iSi whippers (cream, easy, gourmet, dessert, thermo) or siphons available.

Here’s how you proceed:

1. Fill you iSi whipper (or siphon) with fruit, preferably fruit which has a cut, wet surface to allow the carbon dioxide to dissolve in the water/juice.
2. Screw on top securly
3. Charge with one soda charger (two if you have the 1 L whipper)
4. Leave in fridge over night
5. Release pressure with valve (Important!)
6. Unscrew top and serve immediately!
7. Enjoy!

This is what carbonated grapes look like. As you see, I decided to cut the grapes in to halves.


Notice how they sizzle!

A quick recap of the chemistry: cold water dissolves more CO₂ than tempered water, that’s why we leave it in the fridge. Also, remember that it takes some time for the carbon dioxide to dissolve in water, therefore it’s better not to be in a hurry. A quick calculation of the pressures gives the following: Both gases have molecular weights of 44 g/mol, so 8 g of gas corresponds to 0.1818 moles or 4.1 L at 25 °C and 1 atm pressure. The volume of the chargers is 0.01 L which gives an initial pressure in the chargers of impressive 445 atm! With an approximate volume of 0.7 L this gives a pressure (in an empty whipper) of nearly 6 atm - the same as in a bottle of champagne. However once you add water, the equilibriums will change and the pressure in the head space will drop. Anyone who remembers how to calculate the head space pressure at equilibrium if the container is filled with 0.5 L of water and cooled to 4 °C?

I’ve done some googling and there is also some mention of making carbonated fruit with an iSi whipper over at Ideas in food.

(The word play in the title works better for those with a mother tongue where iSi would be pronounced just like “easy”!)

About.com has a nice guide on how to color eggs, and the list of colors is quite impressive (click for instructions):

Lavender
Small Quantity of Purple Grape Juice
Violet Blossoms plus 2 tsp Lemon Juice

Violet Blue
Violet Blossoms
Small Quantity of Red Onions Skins (boiled)

Blue
Canned Blueberries
Red Cabbage Leaves (boiled)
Purple Grape Juice

Green
Spinach Leaves (boiled)
Liquid Chlorophyll

Greenish Yellow
Yellow Delicious Apple Peels (boiled)

Yellow
Orange or Lemon Peels (boiled)
Carrot Tops (boiled)
Celery Seed (boiled)
Ground Cumin (boiled)
Ground Turmeric (boiled)

Brown
Strong Coffee
Instant Coffee
Black Walnut Shells (boiled)

Orange
Yellow Onion Skins (boiled)

Pink
Beets
Cranberries or Juice
Raspberries
Red Grape Juice
Juice from Pickled Beets

Red
Lots of Red Onions Skins (boiled)

More information about the chemistry behind can be found in the article “Chemistry in the dyeing of eggs” (Journal of Chemical Education, 1987, 291). The article discusses anionic dyes with sulfonate groups. These bond to the cuticle (protein) covering the egg shell forming salt linkages as shown (illustrated using FD&C yellow no. 6):

By lowering the pH (for example by adding vinegar), more amino groups in the proteins covering the egg shell are protonated and thus available for formation of the salt linkages with the anionic dyes.

Here’s some pictures and a video of my first experiments with sodium alginate and spherification. I used sodium alginate from the Texturas series and calcium chloride from a drug store. Needless to say, I’m very fascinated by the texture and the whole process. I have blogged about the chemistry behind previously.

Materials used:
2.0 g sodium alginate
200 g water (with low calcium content!)
50 g blueberry syrup

2.5 g calcium chloride
500 g water

Procedure:
2 g sodium alginate and 200 g water were mixed vigourously in blender. The mixture was then left to stand for some hours to get rid of the air bubbles. 50 g blueberry syrup was then added to the sodium alginate solution. A calcium chloride bath was prepared by dissolving 2.5 g calcium chloride in 500 g water. The sodium alginate/blueberry mixture was dripped into the calcium chloride bath using a plastic syringe with a steel cannula. After 1-3 min the pearls were removed and rinsed with water.

More detailed procedure with pictures and video:
I had to obtain a scale with a 0.1 g accuracy to weigh out 2.0 g of sodium alginate (my first experiments using a normal kitchen scale failed). The model I got cost about $100 and is inteded for school laboratories. Amazon provides several scales with this accuracy.

I used a blender to dissolve sodium alginate in water. This incorporates a lot of air in the mixture which we don’t want. It could possibly be avoided by using an immersion blender/mixer. However, I just left the alginate solution on the bench and after 3-4 hours the air bubbles had all escaped from the solution.

Plastic syringes and cannulas can be obtained from your local drug store or pharmacist. I found it was easier to produce evenly sized drops with a sharp cannula (CAREFULL!) than with just the plastic tip of the syringe. This of course depends on the viscosity of the solution. By thickening (with xanthan for instance) you can produce larger drops.

After 1-3 min the spheres were removed from the calcium chloride solution and rinsed with clean water. I dried the spheres carefully using a kitchen towel or paper.

Definitely looks like caviar when presented on a spoon like this!

Larger spheres were made by filling a small measuring spoon with the alginate mixture (I used a syringe for this so the outsides of the spoon would not be covered with alginate solution) and carefully emptied it into the calcium chloride bath. It takes some trial and error to achieve good results.

The spheres are suprisingly robust and can be handled without rupturing.

If cut with a knife, the spheres rupture and the liquid contents flows out.

The small spheres didn’t taste much, so I could have added more blueberry syrup. The large spheres however had a nice taste. The surprise element when they rupture in your mouth is very nice!

Erich Berghammer, also known as Odo7 [homepage, myspace] is an aroma jockey or AJ for short. He blows scents over his audience with huge fans and has stocked up a pantry with exotic spices, roots, leafs, oils, extracts and herbs. The smells are vaporized using hot water. This video from Roskilde gives you an idea of the set up (but no smells unfortunately).

From what I can see from his webpage Odo7 has been AJ’ing at clubs, parties, concerts, fashion shows, movie theaters and product presentations. But why hasn’t Odo7 been invited to a restaurant yet? Considering the fact that taste (as used in everyday terms) is 20% taste and 80% smell I could imagine some very interesting eating experiences with an AJ present. Think of it as a way of adding aroma to your food!

I wonder what smells you would use with the different dishes? Perhaps recreate the smell of sea for the starters (seafood). Then the smell of pine, moss and wood for the main dish (wild boar, elk or reindeer) and finish up with orange blossom for the dessert (strawberries).

The two last pairings are based on something I recall from the last International workshop on molecular gastronomy in Erice in 2004. Hervé This mentioned that strawberries combined with orange blossom extract, lemon and sugar are reminiscent of wild strawberries! At the same meeting Jack Lang suggested that branches of pine or juniper be placed around the rim of a large serving plate in front of each person. To speed up aroma extraction and vaporization one would pour hot water over the branches and then serve the food (dark meat/wild game) on a smaller plate placed between the branches. This brings us right back to the flavour pairing principle discussed earlier. But now - instead of combining two foods - we can combine a food ingredient or a dish with the appropriate aromas.

Perhaps at a restaurant experience in the not to distant future you could expect not only a waiter and a sommelier to come to your table, but also an aroma jockey!

I should also mention that the idea of using essential oils in cooking explored in great detail in the book “Aroma: The Magic of Essential Oils in Foods and Fragrance”. I justed received a copy and haven’t had much time to look at it. The fact that recipes for food and bath foam can be found on the same page might be disturbing for some, but I like the whole concept - simply because it takes the science of taste, eh.. aroma, seriously!

(Photo by vintage_patrisha at flickr.com)

4. Learn how to control the texture of food

Taste and flavour normally get more attention when food is discussed, but the texture of food is equally important and our tongue is very sensitive, not only to taste and temperature, but also to the texture of food. The texture of food determines it’s mouthfeel and it is related to many physical properties of the food. Wikipedia lists the following aspects of mouthfeel (click to see the full description of each aspect) which can be useful when analyzing food:

Adhesiveness, Bounce/Springiness, Chewiness, Coarseness, Cohesiveness, Denseness, Dryness, Fracturability, Graininess, Gumminess, Hardness, Heaviness, Moisture absorption, Moisture release, Mouthcoating, Roughness, Slipperiness, Smoothness, Uniformity, Uniformity of chew, Uniformity of bite, Viscosity, Wetness

I will barely scratch the surface of how texture can be controlled by highlighting a couple of topics and point you to further resources. Hopefully it will spark your interest and give some new ideas for you to play with in the kitchen. Those interested in a comprehensive review of food texture are referred to the CRC handbooks on food texture (volume 1: semi-solid foods, volume 2: solid foods).

What determines the texture of food?
Put very simple, it’s the relative amounts of air, liquid and solids that determines the texture of food. This is complicated by the fact that liquids have different viscosities. Furthermore the air, liquid and solid ratio is not necessarily constant. A liquid can solidify or evaporate, solids can melt or dissolve, and air bubbles can escape during cooking or storage. An elegant but quite abstract way of describing the complicated mixtures of air, liquids and solids found in food, is to use the CDS formalism (CDS = complex disperse systems), introduced by Hervé This.

(Photo by Subspace at flickr.com)

How can texture be controlled and changed?
Texture can be controlled by temperature, pH, air/liquid/solid ratio, osmosis, hydrocolloids and emulsifiers - to mention a few. Here’s some examples:

(Photo by Trinity at flickr.com)

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Check out my previous blogpost for an overview of the tips for practical molecular gastronomy. The collection of books (favorite, molecular gastronomy, aroma/taste, reference/technique, food chemistry) and links (webresources, people/chefs/blogs, institutions, articles, audio/video) at khymos.org might also be of interest.

Although I recommend the use of a thermometer, sometimes it’s convenient to know how you can also manage without. If you mix water at two different (but known) temperatures, you can easily calculate the temperature after mixing. Just multiply the temperature of each part with the relative amount. For example, if you have 3 dL at 100 °C and 7 dL at 10 °C (which happens to be the approximate temperature of my tap water), this gives (3 dL x 100 °C + 7 dL x 10 °C) / 10 dL = 37 °C which is just perfect for dissolving fresh yeast when making bread.

You can also do it the other way around. Let’s say you have boiling water and you know that your tap water is approximately 10 °C. If you want water at approximately 37 °C, you can do as follows:

Start by writing what you have to the left (100 °C and 10 °C) and what you want in the middle (37 °C). Subtract: (100-37) = 63 and (37-10) = 27. And voilá - you need 27 parts water at 100 °C and 63 parts at 10 °C (and 27:63 simplifies to 3:7 which is what we found above). Now of course if you really wanted water at 37 °C, you would simply put your finger in to see if it’s at body temperature…

Are there any practical applications of this? Yes - a simple, but elegant way to prepare fish would be to drop a fish of known weight and temperature (fridge @ 4 °C or freezer @ -18 °C) into water that has been brought to boil. Cover pot and turn off heat. The amount of water would be calculated based on the desired temperature of the fish. We are assuming here that there is no heat loss to the surroundings, which of course isn’t quite true. How fast pot of water will cool depends on how much water you use and on the pot. This can be corrected for, and luckily someone has already done it. More on this in my post on how to cook fish in cooling water.

We can apply the temperature calculation from above to figure out roughly what the temperature will with this cooking method. 800 g of fish from the fridge (4 °C) and 2,4 L of boiling water gives a temperature of (0,8 x 4 °C + 2,4 x 100 °C) / 3,2 = 76 °C. The cooling curves for a pot with 2,5 L of water suggest a temperature loss of 15-20 °C in 30 min which would bring us down to 55-60 °C which - considering that no thermometer is used - is quite good.

I have previously written about how you can cook a perfect steak with a simple DIY sous vide technique. Of course low temperature cooking applies equally well to fish with the only difference that the temperature can be turned down even lower.

A slightly different approach for cooking fish was presented by Haqvin Gyllensköld in the Swedish book “Koka, steka, blanda” from 1977, which I became aware of through Östen Dahlgren’s book “Laga mat - hur man gör och varför”. In stead of keeping the fish at a constant temperature (which requires quite some attention unless you have a thermostated waterbath), in this method, as the hot water cools, the temperature of the fish increases until they’re at the same temperature.

This is how you do it:

1. Weigh the fish
2. Boil the triple amount of water
3. Add some salt to the water (15 g / L)
4. Put the fish in the water and remove the pot from the stove
5. Check the graph below for how long the fish should be left in the cooling water
6. Serve!

Need help on fish names in different languages? Yeah, me too!

Cookware made from cast iron has a reputation for keeping food warm for a long time. Is that really true? Best way to find out is by an experiment. I decided to compare a cast iron pot with one of stainless steel. These are the pots I used:

For the first experiment I filled them each with 2,5 L of water, put the lids on and brought both to the boil and let them boil for a minute so the pot itself would be warm throughout. Then both were placed on cork plates and left to cool. The temperature probe was carefully inserted under the lid in order to reduce the heat loss, and removed once the temperature had stabilized. For the second experiment 5 L of water were used. The measured temperatures are shown in the graph.

Contrary to what I had expected, the stainless steel pot keeps water warmer! After approximately 1,5 hours there is a 10 °C difference between the two. As expected, when using 5 L of water, it stays warm longer. Physical data for the two pots are given in the following table:

The heat capacity of the cast iron pot is more than double that of the stainless steel pot. But this is negligible compared to the heat capacity of water: 10.5 kJ/K (2,5 L) and 20,9 kJ/K (5,0 L). Also, there is only a small difference in their surface area which cannot explain the large difference in temperature loss observed.

This leaves me with two eplanations:

My guess is that the difference in emissivity is more important (but please correct me if I’m wrong). With an infrared thermometer, one should therefore be able to measure a difference between pots of cast iron and polished stainless steel (even though they’re at the same temperature!) due to the difference in emissivity. Any one who can do the experiment and report back?

Conclusion: There are many good reasons to use cast iron, but keeping food warm is not one of them!

Get a basic understanding of heat transfer, heat capacity and heat conductance.

Since a lot of cooking involves temperature manipulations, it’s a good idea to get a basic understandning of how heat is transferred and how well it is stored in different materials. “Heat” in this context does not imply high temperature since it also applies to the understanding of freezing/thawing.

Closeup of ceramic stove top

Heat transfer

Conduction: flow of heat through an object or between two objects in contact. Metals are typically good conducters whereas air is a poor heat conductor.

Convection: heat transfer occurs because particles are moved from a warm region to a colder one. One can say that convection is a combination of conduction and mixing. For example, convection occurs when heating water since its density varies with temperature - warm water is lighter than cold water and will float. This video illustrates convection currents in water as a crystal of potassium permanganate dissolves (this salt is not edible).

Radiation: in the kitchen we encounter two types of heat transfer by radiation corresponding to two different parts of the electromagnetic spectrum. The heat we feel from hot burning charcoal, a stove top or the sun are all a result of infrared radiation. The other type is microwave radiation. Heat transfer by radiation does not require a material for the heat to pass through (as a consequence, a blowing wind will not have any significant effect when grilling). Microwaves easily penetrate plastic, glass and wood, but not metal. Infrared radiation is blocked by opaque materials.

Heat capacity and heat conductance

Heat capacity: the heat requried to raise the temperature of the material. Water has a very high heat capacity, metals (shown in red) generally a low heat capacity.

Heat conductance: how well heat flows through the material. Some metals (shown in red in the graph) are excellent heat conductors (silver, copper, aluminum), others less so (iron and stainless steel). All other materials (shown in blue) are generellay poor heat conductors.

The heat capacity (or to be precise, the specific heat capacity - which means heat capacity per weight unit) and the heat conductance of materials encountered in the kitchen are plotted in the the graph below:

(for the technically interested, the plot units are Wm^-1K^-1 for the heat conductance and Jg^-1K^-1 for the specific heat capacity)

For a more extensive treatment of heat transfer, heat capacity and heat conductance (+ more on cooking methods and materials) in a gastronomical setting, I recommend the Gourmet Engineering Lecture Notes for a very interesting course given at Tufts University in Medford, MA, USA. Cooking for Engineers also has a nice post on heat transfer and browning of foods and one on common materials of cookware (with comprehensive comparisons of different materials used).

Examples related to food preparation and handling

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Check out my previous blogpost for an overview of the tips for practical molecular gastronomy. The collection of books (favorite, molecular gastronomy, aroma/taste, reference/technique, food chemistry) and links (webresources, people/chefs/blogs, institutions, articles, audio/video) at khymos.org might also be of interest.

Dominique & Cindy Duby, chocolatiers based in Canada, have put together two “scientific chocolate tasting kits” (one, two). Some of the science behind is explained in their “tasting notes” (copy the text into a wordprocessor to read it). For a review of the first kit, check out Rob and Rachel’s blogpost over at Hungry in Hogtown.

The kits illustrate the use of various hydrocolloids to produce foams, gels, dispersions, emulsions and pearls. The principle of flavor pairing is illustrated and binary taste interactions are explored. They also include experiments to explore crunchy vs. soft textures. Each kit comes with four different experiments and enough ingredients to make 8 servings. Furthermore they let you serve every experiment at two different tempereatures. This is neat because is allows you to explore the great influence temperature has on texture and aroma. Each kit sells for $125 - expensive yes, but from the presentation it seems like a good bundle.

Science tasting kit no. 1

The following is illustrated in kit no. 1:

Experiment 1: foaming of pectin and gelatin gels, spherification of a fruit juice/chocolate emulsion (there’s no info on this, but I guess the spherification is alginate based)

Experiment 2: explore how temperature influences sweet and bitter tastes, make a chocolate emulsion (with cream, strawberry juice, wine, cocoa butter and oil) and serve it at two different temperatures

Experiment 3: explore the fact that “taste” is 80% smell, illustrate how salt can suppress bitterness, use a special powder made from an aromatic liquid and maltodextrin which is then dried under vacuum with microwaves (sort of like freeze drying, only this uses microwaves in stead)

Experiment 4: Hervé This’ double dispersion chocolate “cake” made with chocolate and egg white foam which is set in a microwave oven (described in his Angewante Chemie article on molecular gastronomy), short lived crunchy texture, flavor pairing is illustrated by combining cumin and coffe with chocolate

Science tasting kit no. 2

Kit no. 2 starts of by exploring culinary “equations” which are remarkably similar to (yet somewhat less comprehensive than) the CDS formalism described by Hervé This elsewhere. The following is illustrated in the second kit:

Experiment no. 1: a “whisky” is constructed from ethanol lignin, aromatic aldehydes, sugars, acetic acid, oak flavor, vanilin, malt etc.

Experiment no. 2: ice cream is made without churning using foamed egg whites to incorporate air (is this what Italians refer to as a frozen parfait?)

Experiment no. 3: Hervé This’ chocolate chantilly

Experiment no. 4: meringues floating on a pool of custard sauce drizzled with caramel

If you’d rather reverse engineer the dishes, my list of hydrocolloid suppliers might come handy. The “tasting notes” also gives you some hints if you want to have a go on your own.

2. Know what temperature you’re cooking at.

A dip probe thermometer with a digital read out is a cheap way to bring science into your kitchen. It should preferably cover the temperatures from -30 to 300 °C (-22 to 570 °F). It’s a good idea to check how accurate it is. This is easily done using a water/ice mixture and boiling water.

Fill a glas with crushed icecubes and top of with cold tap water. Leave if for some minutes for the water to cool and stir every now and then. Make sure the tip of the probe does not come in direct contact with ice. A mixture of water and ice is exactly 0 °C (32 °F). If the reading is off by 2 °C (~4 °F) or more I would take the thermometer back to the shop and claim a refund.

Similarly, you can use boiling water as a high temperature reference point. Water boils at 100 °C (212 °F) at sea level and standard barometric pressure. The exact boiling point at your location can be calculated.

When I bought my first thermometer it turned out that the temperature readings were quite erratic so I had to return it. The one I have now however works fine (1 degree off for the boiling water is OK).

As an addition to a dip probe thermometer, contact-less thermometers with infrared sensors are becomming more affordable. Suppliers include Raytek, Strathwood, Radiant (here, here or here) and Extech Instruments (links to product pages at Amazon).

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Check out my previous blogpost for an overview of the tips for practical molecular gastronomy. The collection of books (favorite, molecular gastronomy, aroma/taste, reference/technique, food chemistry) and links (webresources, people/chefs/blogs, institutions, articles, audio/video) at khymos.org might also be of interest.

1. Use good and fresh raw materials of the best quality available.

No amount of cooking and preparation - be it traditional, modern or molecular - can fully disguise ingredients of poor quality. No one will probably disagree with this and it’s elementary knowledge for every cook, yet I include it because after all molecular gastronomy is also about the raw materials you use. Do not always reach for the cheapest products. Eat better, but less - it won’t cost you more, because you’ll just get less calories for the same price!

I will also encourage you to support local producers. This will probably make me sound like a slow food practitioner which is fine, because molecular gastronomy is not in any opposition to slow food or traditional cooking, it’s more about understanding the chemical and physical principles underlying all handling and preparation of food. Part of my motivation when writing about molecular gastronomy is actually to bring it a little more down to earth.

When talking about freshness it’s important to consider how food deteriorates. Assuming that safety and toxicological issues are taken care of, from a molecular gastronomy viewpoint it is interesting to discuss flavor. The most important pathways to flavor deterioration include exposure to air (particularly oxygen), light, moisture, high temperature, bacteria and fungi.

The flavor of foods stems largely from the presence of volatile organic compounds. Because of the low boiling point, these compounds easily escape from the food. And at higher temperatures evaporation of aroma compounds is even faster. Also, many of the compounds can react with oxygen in air. A typical example is the oxidation of fats which gives a rancid flavor. Generally, fats and oils should be stored in the refridgerator to slow down this oxidation, but it turns out there’s an exception for olive oil.

To retain as much of the volatile compounds as possible it is advisable to store spices in tight containers kept in a dark and cool place. If you for some reason need to store spices for a long time, put them in the freezer. Since the loss of aroma comounds is proportional to the surface area of the spice, it’s also a good idea to buy whole spices and grind them yourself immediatly prior to use. I would also recommend the use of spice pastes (such as curry pastes for instance) since the oil helps extract aroma compounds. Such pastes should preferably be stored in the fridge.

Like me, you probably have many different spices in your pantry. Some of them have probably been sitting around there for years which is far from optimal. Therefore, as a reminder to myself, I have started to mark each spice with the date of opening (or purchase) using a water proof pen.

With fresh fruit and vegetables, finding the right storage conditions can sometimes be difficult, but this pdf from UC Davis provides a quick overview of recommended storage conditions (ie. what should be stored in the fridge and what should be stored on the countertop).

One last example of the importance of correct storage conditions is the staling of bread. Contrary to popular belief, staling of bread is not caused by evaporation of water from the crumb. This is easily demonstrated when you heat a slice of bread in a toaster or a microwave oven. What happens upon storage is that starch and water crystallize. As a consequence the crumb loses its elasticity and goes stale. The aging process proceeds fastest at 14 °C. Because of this, bread should be stored at room temperature - never in a fridge. When freezing bread, rapid cooling is important because the staling is halted below -5 °C.

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Check out my previous blogpost for an overview of the tips for practical molecular gastronomy. The collection of books (favorite, molecular gastronomy, aroma/taste, reference/technique, food chemistry) and links (webresources, people/chefs/blogs, institutions, articles, audio/video) at khymos.org might also be of interest.

In a recent survey 72% of chefs say they may want to experiment with molecular gastronomy in 2007. That’s an impressive number and considering the attention molecular gastronomy gets in media I bet many home cooks would want to experiment in the kitchen as well. Here’s a list of things to consider if you want to make a scientific approach towards cooking:

1. Use good and fresh raw materials of the best quality available.

2. Know what temperature you’re cooking at. A dip probe thermometer with a digital read out is a cheap way to bring science into your kitchen.

3. Get a basic understanding of heat transfer, heat capacity and heat conductance. “Heat” in this context des not imply high temperature since it also applies to the understanding of freezing/thawing.

4. Learn how to control the texture of food. Some key points: temperature induced changes (freezing, heating), emulsifiers, thickeners, gelling agents, moisture content, pressure/vacuum, osmosis.

5. Learn how to control taste and flavor. Some key points: flavor pairings, spice synergies/antagonies, influence of temperature (Maillard reaction, caramelization, temperature stability, volatility), taste enhancers, taste suppresants, solubility of flavour compounds in fat/water, extraction.

6. Remember that prolonged exposure to a flavor causes desenzitation, meaning that your brain thinks the food smells less even though it’s still present in the same amount. Therefore, let different flavours enhance each other. Similarly, variation in taste, texture, temperature and color can open up new dimensions in a dish. This is referred to as “increased sensing by contrast amplification”.

7. Be critial to recipes and question authority - they do not necessarily represent “the truth”. Nevertheless, you can certainly learn a lot from the experts.

8. Dare to experiment and try new ingredients and procedures. Do control experiments so you can compare results. When evaluating the outcome, be aware that your own opinions will be biased. Have a friend help you perform a blind test, or even better a triangle test to evaluate the outcome of your experiments.

9. Keep a written record of what you do! It would be a pity if you couldn’t recreate that perfect concoction you made last week, simply because you forgot how you did it.

10. Have fun!

Heat causes many changes in food, but few appreciate how important it is to know at what temperature they are cooking and at what temperature the desired change occurs.

These tips for molecular gastronomy relate to the technical and scientific aspects of food preparation and eating, and I plan to elaborate on each of the points in separate blog posts. However, according to Hervé This’ definition of molecular gastronomy, one should also investigate the social and artistic components of cooking. A good example of this is the “Five Aspects Meal Model” developed at Grythyttan in Sweden (Gustafsson, I.B. et al. Journal of Food Service, 2006, 84.). Although intended for a restaurant setting, the general idea can also be applied for home cooking.

The meal takes place in a room (room), where the consumer meets waiters and other consumers (meeting), and where dishes and drinks (products) are served. Backstage there are several rules, laws and economic and management resources (management control system) that are needed to make the meal possible and make the experience an entirety as a meal (entirety – expressing an atmosphere).

Or to put it differently: average food eaten together with good friends while you’re sitting on a terrace with the sun setting in the ocean will taste superior to excellent food served on plastic plates and eaten alone in a room with mess all over the place.

One last thing: once you’re finished in the kitchen with your culinary alchemy, your gastro physics, your cutting edge science cuisine, your molecular cooking, your hypermodern emotional cooking, your science food or whatever fancy name you attach to it - remember the social and artistic components when you serve the food. Just so people won’t refer to you as a techno chef, a mad scientist or a modern day Willy Wonka. After all, molecular gastronomy is about the science of deliciousness, not technical wizardry.

Questions and topics for future blog posts are welcome at webmaster [a] khymos.org (substitute @ for [a]) or as a comment below.

One important aspect of molecular gastronomy is the application of scientific principles to food preparation in a normal kitchen. This can very well be illustrated by discussing the preparation of a steak. The surface of the meat needs to be heated to > 120 °C (250 F) for the Maillard reaction to take place at a reasonable rate. This gives meat much of it’s characteristic aroma. The interior of the meat however should not be heated to more than 50-65 °C (120-150 F) for a rare or a medium rare appearance. If the heat is provided by a frying pan with a temperature typically in the range 120-160 °C (250-320 F), the different temperature required for the interior and the surface of the meat can actually be quite difficult to achieve. Bringing the meat to room temperature before cooking by taking it out of the fridge 1-2 hours in advance helps. Also, half way through the cooking it’s advisable to let the meat rest on a plate to allow the heat to diffuse into the interior and to let the surface cool down a little.

There is however an easier way to make a perfect steak! In restaurants the method has been around since the 70’s and is known under the name sous vide (fr. under vacuum, more info on history of sous vide in this NY Times article). The meat is packed in plastic bags, vacuumed and put into thermostated water baths. This equipment is not (yet?) found in the average kitchen. So here is a simple DIY procedure. You just use a normal plastic bag, leave the meat in the water bath for 30 min (or longer) and then quickly fry both sides to generate the products of the Maillard reaction. You do need a thermometer though to control the temperature of the water bath, preferably one with a dip in probe.

1. Put the meat (I used a rib eye steak for this experiment) in a thick plastic bag. Only put one or two pieces of meat in each plastic bag - this ensures a greater contact surface with the water.

2. Add any spices you like (salt and pepper always works well - for the experiment shown I used curry paste, soy sauce and chili sauce in stead), press (or suck) out the air and close the plastic bag tightly by tying a knot (or use a zip-lock bag). You don’t want any water to enter the bag!

3. Heat a pot of water to the desired temperature (or use hot tap water) and place the plastic bag with meat in the water. Cover with a lid (not shown in the picture) to reduce heat loss. If you use a large pot of water it’s easier to keep the temperature constant. Also, it’s easier to control the temperature with an induction or gas stove top than with an electric plate since there is no additional heating once you turn them off. Regarding the temperature, start with 60 °C (140 F) and experiment from there (or check this table at Wikipedia for doneness temperatures of meat). You should leave the meat in the water for at least 30 minutes - more for a thicker cut. But the good thing is you can leave it for much longer (several hours) provided the temperature does not come above 60 °C (or whatever temperature you decided on). A convenient way to keep the temperature constant for a long time is to put the pan with water into the oven and use the thermostat of the oven.

4. Heat a frying pan, add a fat of you choice, remove meat from plastic bag and brown both sides of the meat. Since you take the meat directly from the water bath it’s already at about 60 °C. Therefore the browning is very fast.

5. A temperature of 60 °C (140 F) gives the meat a pink interior. It’s succulent and juicy. The short frying gives it a nice browned crust and the chewing resistance is perfect. All in all a wonderful combination of taste, aroma, texture and mouth feel!

Update: Click for more practical tips on molecular gastronomy

Since The fat duck and El Bulli were announced “Best restaurant” in 2005 and 2006 respectively by Restaurant Magazine, molecular gastronomy has received increased attention. This has also resulted in a greater demand for the ingredients used, especially various thickeners, stabilizers and emulsifiers. In Europe, these have been given E-numbers ranging from E400-E499. The other ranges include colours (E100-199), preservatives (E200-E299), acidity regulators, anti-oxidants and anti cacking agents (E300-E399, E500-E599) and flavour enhancers (E600-E699). The European numbering is a sub-set of an international list of food additives, the Codex Alimentarius.

The Alchemist’s pantry - an early predecessor to that of the modern cook! (picture source)

Some of the most used ingredients in restaurant kitchens are listed below:

E322 Lecithin
E327 Calcium lactate
E331 Sodium citrates
E400 Alginic acid
E401 Sodium alginate
E402 Potassium alginate
E403 Ammonium alginate
E404 Calcium alginate
E406 Agar
E407 Carrageenan
E407a Processed eucheuma seaweed
E410 Locust bean gum (Carob gum)
E412 Guar gum
E413 Tragacanth
E414 Acacia gum
E415 Xanthan gum
E416 Karaya gum
E417 Tara gum
E418 Gellan gum
E422 Glycerol
E425 Konjac
E440 Pectins
E441 Gelatine
E461 Methyl cellulose
E463 Hydroxypropyl cellulose
E464 Hydroxy propyl methyl cellulose
E466 Carboxymethyl cellulose
E473 Sucrose esters of fatty acids
E474 Sucroglycerides
E621 Monosodium glutamate
E631 Disodium inosinate
E636 Maltol
E953 Isomalt
E1103 Invertase
E1400 Dextrin
Transglutaminase (no E-number as far as I know)

(click here for the full list)

Unfortunately these ingredients are not available in normal stores (with one exception: gelatine). Of course they are readily available in large quantities to the food industry, but lately suppliers of sub-kilogram amounts have appeared. I have collected a list of these suppliers - if you’re not on the list, drop me a note at webmaster((a))khymos((dot))org). Recent additions to the list include Kalys, texturePro and DCDuby.

One challenge with the different shops is that some products come with little or no technical specification. For cellulose ethers for instance, Dow provides an extensive range to industrial customers (more on this in a previous blog post on cellulose ethers), just to give you an idea of the product range available.

I should also add a closing remark om tools: some companies sell syringes, measuring spoons etc in “nice boxes”. However, these tools can most often be obtained for a fraction of the price at any drug store, pharmacy or kitchen hardware store.

Once you have stocked up with your cooking chemicals, the next question is - how do you use them? I would recommend the information provided by INICON on molecular gastronomy and textures (MANY pdf’s to download). Also, many of the suppliers have recipes on their homepages.