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Found 1,329 results

  1. I'm in somewhat desperate need of a caviar maker like the one available from Chef Rubber. I placed an order for 1 from them a couple of weeks ago but they are backordered until early Feb. at the soonest. Does anyone know of another source for it or for something similar? I'm thinking there has to be a similar product in the medical field but so far I haven't had any luck tracking one down. Ay help would be greatly appreciated. Thanks Dan
  2. <img src="http://forums.egullet.org/uploads/1144897038/gallery_29805_2457_5544.jpg" hspace="5" align="left">It has often been said that the human activity that calls on the greatest number of senses is gastronomy. When we look at a painting or photograph, only the sense of sight is brought into play, just as when we listen to a symphony, the sense that transports the information to the brain is hearing. An opera or film calls for the joint participation of sight and hearing. When we are eating, four out of the five senses come into play, to a greater or lesser extent: sight, smell, touch and taste. Even hearing plays a small but interesting role in food with certain preparations, such as those with a crisp texture. <br><br> Sight is the first sense that transmits information to us when the dish arrives on the table. It enables us to identify the product, and appreciate its composition, presentation, colours and shapes. <br><br> The next to come into operation is smell, thanks to which we perceive aromas. All products have a specific odour which we appreciate when we smell them close up, and sometimes it can be very powerful (truffles, shellfish, certain fruits and vegetables). Stews and other products and preparations that are served hot can be smelled from further away. To appreciate wine, smell is essential.<br><br> The perceptions related to touch are two-fold: firstly the whole gamut of temperatures that the mouth can discern, as well as possible contrasts between different temperatures. Secondly, the various textures of products and preparations. <br><br> The sense of taste is the one that plays the major role when eating. Just as it is perfectly understood that the senses are the gateway for information to the brain, it goes without saying that taste is the sense that needs most attention when suggesting a dish to a diner. This is also true in our way of understanding cooking, although we are now aware of the fact that the right proportion of stimuli for each sense increases the pleasure.</p> <br> <hr noshade size="2" color="#666666"> <table border="0" bgcolor="#FFFFFF"> <tr> <td><img src="http://forums.egullet.org/uploads/1144897038/gallery_29805_2457_1700.jpg"></td> <td><img src="http://forums.egullet.org/uploads/1144883250/gallery_29805_2457_2702.jpg"></td> </tr> <tr> <td colspan="2" align="right"> <hr size="1" noshade color="#333333"></td></tr> <tr> <td valign="top"><img src="http://forums.egullet.org/uploads/1144883250/gallery_29805_2457_1803.jpg"></td> <td><img src="http://forums.egullet.org/uploads/1144883250/gallery_29805_2457_3169.jpg" hspace="5" align="left">When a diner goes to a gourmet restaurant, he will experience physical reactions that go beyond the need to feed himself, but also a series of sensations that his brain will process based on data collected by his senses. This process is usually taken for granted, and many chefs accept this as an undeniably important aspect, without warranting further consideration or thought. For example, they know that they have to choose a high quality product, cook it in its own style and ensure that the diner’s requirements are met. This does not necessarily mean that it is routine, or that disdain is shown for the options provided by the senses, even though they are not usually taken into account as a starting out point for the creating process. <br><br> For several years, this was more or less our attitude. We knew that the gateway to gastronomic sensations was the senses, but we never really asked ourselves how they functioned and how they could be influenced. Apart from one or two specific ideas prior to 1994, it was from that year onwards that a change of attitude began to be forged, directed at exploiting the entire potential of this relationship between the chef and the diner. Three years later, while we were writing Los secretos de El Bulli, our method of tackling this aspect had taken root, and in that book we explained what the senses meant for us. In all fields of human activity, knowing how a process functions helps one to work with it, by modifying it, being sparing with some factors or enhancing others, in order to obtain the desired result. This is equally true with cooking: if we analyse how cooking is perceived, how each sense influences the appreciation of a dish and the pleasure it provides, we can then offer the diner much more information, and thus increase the emotion. <br><br> Of course, this understanding meant that when creating, it was essential to bear in mind all the information that the diner received. In other words, because this information directly depended on the senses, we had to study the role of each one in the act of eating in order to use them as a creative method. For several years, this was more or less our attitude. We knew that the gateway to gastronomic sensations was the senses, but we never really asked ourselves how they functioned and how they could be influenced. Apart from one or two specific ideas prior to 1994, it was from that year onwards that a change of attitude began to be forged, directed at exploiting the entire potential of this relationship between the chef and the diner. Three years later, while we were writing Los secretos de El Bulli, our method of tackling this aspect had taken root, and in that book we explained what the senses meant for us. In all fields of human activity, knowing how a process functions helps one to work with it, by modifying it, being sparing with some factors or enhancing others, in order to obtain the desired result. This is equally true with cooking: if we analyse how cooking is perceived, how each sense influences the appreciation of a dish and the pleasure it provides, we can then offer the diner much more information, and thus increase the emotion. <br><br> </font> </td> </tr> <td colspan="2" align="right"> <hr size="1" noshade color="#333333"></td></tr> <tr> <tr> <td valign="top"><img src="http://forums.egullet.org/uploads/1144897038/gallery_29805_2457_685.jpg"></td> <td><img src="http://forums.egullet.org/uploads/1144883250/gallery_29805_2457_9210.jpg" hspace="5" align="left"> We stated earlier that sight is the first sense to transmit information in the act of eating. The data can indicate various aspects, such as the amount served, the shapes and proportions of the products and preparations, colours or the layout of food on the plate. Thanks to sight, we can immediately identify, before trying it, what food we are going to eat, as well as the type of cuisine the dish belongs to. In creative cooking, it is often even possible to identify the chef that has created a dish, merely through what we might call its artistic style. In view of all the data that the diner receives using his sense of sight, the chef has various options. Firstly, the appearance of a dish is undeniably a motivation: playing with colours, shapes, proportions, layout and so on – in short, everything that gives rise to what we colloquially call “eating with one’s eyes”. But this appearance can also “tell” things, such as indicating how the dish should be eaten, in what order the ingredients are to be consumed. There are gourmets who are particularly good at “reading” a dish, people who know the right way to appreciate the chef’s idea. <br> <br> <tr> <td colspan="2" align="right"> <hr size="1" noshade color="#333333"></td></tr> <tr> <td valign="top"><img src="http://forums.egullet.org/uploads/1144897038/gallery_29805_2457_79.jpg"></td> <td> <img src="http://forums.egullet.org/uploads/1144897038/gallery_29805_2457_2795.jpg" hspace="5" align="left"> This is one of the senses that intervenes the most in the act of eating, and it plays various roles. Firstly, it has a physiological function which has nothing to do with culinary sensitivity: it is responsible for preparing the gastric juices for digestion. In the area of perception, thanks to smell we perceive the aromas of a dish. Furthermore, smell is a very important aid for the chef in order to judge the quality or condition of a product. <br><br> When creating, only the second of these functions, perceiving the aroma of a dish, is important. The aroma of a product or preparation is essential, to the extent that if we could not appreciate its smell, we would only be able to perceive a fraction of the basic flavours and refinements when tasting, but without the characteristic personality of these ingredients, since the two senses are very closely related. It is well known that a person whose sense of smell is neutralised (because of some product or a simple cold) does not experience the “savour” of food. <br><br> It was not until 1997 that we dealt with smell at a creative level in our cuisine, when we decided to concentrate an aroma to add flavour to a dessert. In 2000 we enhanced the aroma of a dish with rosemary in our Norway lobsters au naturel with rosemary or with a sprig of vanilla in our sweet vanilla potato purée. In 2001, with the creation of the aromas of elBulliolor, we invented three dishes in which smell played a crucial role: raw/sautéed St George’s mushrooms with elderflower and yoghurt and pine foam with a woodland scent, orange, pumpkin with yoghurt powder and bitter almond and oysters on a trip.<br><br></td></tr> <tr> <td colspan="2" align="right"> <hr size="1" noshade color="#333333"></td></tr> <tr> <td valign="top"><img src="http://forums.egullet.org/uploads/1144897038/gallery_29805_2457_89.jpg"></td> <td> <img src="http://forums.egullet.org/uploads/1144883250/gallery_29805_2457_8046.jpg" hspace="5" align="left">The first tactile sensation that our mouths experience when we introduce food is temperature. The human palate is capable of standing only a certain range of temperatures, and anything that exceeds the limits of -20 ºC and 70 ºC approximately (depending on a person’s sensitivity) should not be considered when cooking. Within this range of temperatures, the sense of touch acts by detecting whether a food is cold, warm or hot, and also by perceiving contrasts between various temperatures. <br><br> So temperature is a source of sensations that a chef should know how to exploit, so that, for example, contrasts between different temperatures may be appreciated. In addition, it is important, and not just in creative cuisine, that the temperature of each dish is right, a factor that is often ignored. A variation of 5 ºC in a preparation can mark the difference between success and failure. <br><br> When creating, it is also important to bear in mind which preparations lend themselves to different temperatures. Soups, sauces, custards, crèmes or purées can be cold, warm or hot. Since 1998, jellies and foams, which until then could only be cold, can also be hot. In other cases, temperature defines the physical state of certain preparations: the temperature of a sorbet will always be below 0 ºC; the same preparation at 5 ºC is no longer a sorbet. <br> <br> </td> </tr> <tr> <td colspan="2" align="right"> <hr size="1" noshade color="#333333"></td></tr> <tr> <td align="right" valign="top"><img src="http://forums.egullet.org/uploads/1144897038/gallery_29805_2457_1351.jpg" align="top"></td> <td valign="top"><img src="http://forums.egullet.org/uploads/1144883250/gallery_29805_2457_7074.jpg" hspace="5" align="left"> After appreciating the temperature of a mouthful (or sometimes simultaneously), the sense of touch detects its texture. This factor is very important (borne out by the fact that many people do not like a product, not because of its taste but because of its texture), and in El Bulli it plays a vital role. The wealth of sensations provided by texture is only limited by the number of textures that actually exist. <br> <br> Firstly, one can play with the original textures of a product. It might be said that the appeal of certain products is based more on their texture than their flavour: pasta, rice, elvers, caviar, etc. The gelatinous texture of pigs’ trotters, frogs’ legs or cod plays a vital role in their gourmet value. Furthermore, by working on these textures, an infinite number of variations can be obtained: countless textures are provided by cutting and cooking asparagus in as many ways as possible. A large number of textures can also be obtained from a liquid or purée: whey, mousse, foam, water ice, sorbet, ice cream, custard, jelly, and so on. Then there are other preparations whose textures are not based on liquids or purées, such as caramels, croquants, pastry and all its variations (biscuits, sponges, tiles, millefeuilles), etc. <br><br> Creative playing revolves around offering contrasts in textures, and also modifying the usual texture of a product to provide a completely new perspective. Deciding which textures to provide in a product and combining them with others is one of the most complex, yet at the same time agreeable, aspects of creativity based on the senses. </td></tr> <td colspan="2" align="right"> <hr size="1" noshade color="#333333"></td></tr> <tr><td align="right" valign="top"><img src="http://forums.egullet.org/uploads/1144897038/gallery_29805_2457_395.jpg" align="top"></td><td><img src="http://forums.egullet.org/uploads/1138590929/gallery_29805_2457_2236.jpg" hspace="5" align="left">The world of prepared textures: the panaché, a distinctive dish. It is not often that we can say that a dish of ours has generated a whole line of evolution. Almost certainly, one of them would be our textured panaché, since it represents a veritable frontier between our way of tackling cold dishes up to 1994 and what we did afterwards. The panaché opened up a new world to us, the world of prepared textures, in which the transformation of products took on a new prominence in our cuisine. The origins of the panaché dish occurred more or less simultaneously. In 1994, concepts and techniques to obtain new textures were created: savoury ice creams, foams, or jellies which we had been experimenting with since 1991. All these factors were subsequently incorporated into our panaché, an ideal showcase displaying this complete range of different textures. <br><br> We usually say that the need to create this dish goes back to the time we tried Michel Bras’ gargouillou dish. From that moment, our dream was to create a vegetable dish that would offer the same response to a different attitude. With the panaché, we succeeded. Furthermore, it was probably one of the first dishes for which we used the deconstruction method, although at that time we had not even thought about it. For all these reasons, we consider this dish to be a symbol, a distinctive dish. </td></tr> <tr> <td colspan="2" align="right"> <hr size="1" noshade color="#333333"></td></tr> <tr> <td align="right" valign="top"><img src="http://forums.egullet.org/uploads/1144897038/gallery_29805_2457_739.jpg" align="top"></td> <td><img src="http://forums.egullet.org/uploads/1144883250/gallery_29805_2457_5850.jpg" hspace="5" align="left">The sensations perceived by the sense of taste while one is eating may be categorised as follows: <br> <br> - Perception of the primary flavours: sweet, savoury, acid, bitter.<br> - Perception of refinements: sour, astringent, spicy, balsamic, iodised, smoked, aniseed, etc.<br> - Identification of the characteristic flavour of each food. <br><br> Through taste we also perceive the harmony between the elements of a dish, although it is not actually this sense that judges the success or otherwise of combinations. This is done afterwards by the brain taking into account the perceptions that arrive via taste. <br><br> When creating, we can play with this harmony by modifying the proportions of basic flavours, complementing it with refinements, etc. To understand the potential of this creative method related to taste, we had to think about it for a while. For a long time we had assumed that the savoury flavour should predominate in a savoury dish, and sweetness in a dessert. On that basis, the other primary flavours merely acted as points of contrast. The evolution of the symbiosis between the sweet and savoury worlds stimulated a new way of looking at things. Our intention when creating a dish based on flavours is to provide variety, in which the four flavours are balanced, so that different sensations may be experienced. An essential ingredient of this method is the chef’s sensitivity, which will enable him to attain balance and harmony between all the elements. <br><br> When we are asked to give an example of the importance of balance between the basic flavours, we usually say that if one adds too much salt (or too much sugar) to a savoury dish, it is out of proportion. Harmony is the objective. And multiplying sensations does not mean multiplying the ingredients in a dish. For example, if we put a pinch of Maldon salt on a grapefruit segment, we have a taste of something with the four basic flavours. To these are added the flavour refinements (spicy, astringent, sour, etc.) that are as important in gastronomy as the basic flavours, and a vital component for enhancing a dish; however they are sometimes relegated to second place when talking about the sense of taste. This search for balance between flavours and refinements has also been the driving force that has led us to use new products that are distinguished precisely because of some of these aspects. </td> </tr> <tr> <td colspan="2" align="right"> <hr size="1" noshade color="#333333"></td></tr> <tr><td align="right" valign="top"><img src="http://forums.egullet.org/uploads/1144897038/gallery_29805_2457_1383.jpg" align="top"></td> <td><img src="http://forums.egullet.org/uploads/1144883250/gallery_29805_2457_2923.jpg" hspace="5" align="left">The concept of sequence when eating a dish is one of the ideas that enabled us to enter into the world of the senses with a different attitude. The catalyst was our green asparagus wrapped in ceps, which we wanted to serve with a ceps jelly, macadamia nuts and a parmesan vinaigrette. After trying the dish several times we found that the balance was almost perfect, but there was something missing, something to set it off. At that time, we were also working on citrus fruit reductions, and it occurred to us that we might add an acid flavour by using a mandarin reduction. <br> <br> Now we just needed to know what part of the dish to apply it to, and we saw that the most suitable solution was to put it on the asparagus tip. This led us to set a sequence for eating it: the waiter told the diner that the dish was to be eaten in a certain order, and that the tip with the reduction had to be eaten last. This would produce an explosion of the acid flavour of the mandarin once the asparagus had been finished. In short, the dish consisted of three asparagus spears that had to be eaten in sequence. This was the catalyst of the analysis that led us to understand that there were two ways of eating: in the first way, the order in which the elements of a dish are eaten is not important; in the second way, it is essential so that its entire harmony can be appreciated. We also realised that the proportion of each element was extremely important, and that a lack of balance in this aspect could thoroughly upset the result. One only has to think of what happens if too much salt is added to a dish. If the harmony of a dish were to be expressed in an equation, order and proportion would be major elements. </td> </tr> <tr> <tr><td colspan="2"></font><hr size="1" noshade color="#333333"> <font size="-2" face="Verdana, Arial, Helvetica, sans-serif">Our thanks to Juli Soler for his invaluable assistance in this project. <br> Copyright Ferran Adria, Juli Soler, Albert Adria © 2006. Photographs by Francesc Guillamet. <br> Introduction by Pedro Espinosa.<br> El Bulli books may be purchased here.<br> </font></td></tr> </table>
  3. Hi On Monday the 17th we have the pleasure to have a reservation at El Bulli. I wanted to ask the members, wether there are some do's und don'ts at El Bulli's, if you can pay with credit cards and how much the usual tip is. I don't want to get banned from further visits, so please help Best regards Andi
  4. rcianci

    New El Bulli Website

    Looks like El Bulli recently revamped their website. They've got 1200 photos tracing the evolution of their cuisine, a timeline, "historical" documents (such as their permit to put in a miniature golf course back in 1961), and testimonials from the key players. I've been exploring the site for 2 days now and I find it quite engrossing. I'd be interested to read other members' comments. El Bulli
  5. Anonymous Modernist 4342

    Pop Rocks

    So I have been wanting to serve some savory pop rocks for a little while and was wondering if anyone here has had any experience with flavoring them. More specifically I am talking about these http://www.modernistpantry.com.....candy.html . It says on modernist pantry that they can be flavored with any fat based substance. The flavors I want to do would be Bacon, Chicken 'N' Waffles, Foie Gras, and White Truffle. My thought is to take some N-Zorbit and make a powder from these substances and simply toss the unflavored popping candy in my flavoring powder. Am I way off? Any different way to do this?
  6. Ok, I'm starting this thread now, with this confuse title, as it's subjet I'm very interested about. We saw a lot of different paths being followed on savory cooking but when it comes to pastry things tend to go a little slower... El Bulli has opened a huge range of new techniques/ingredientes/combinations/methods that can also be brought to pastry (not that anyone is doing that, but it's not a very common topic - as a whole- around these P&B threads) I've bought some products from the Texturas range, by El Bulli, and for me it's a great excitement to start experiencing them. Today I've made my first caviar : apple caviar. I've tryed a peach caviar first but it didn't went very well... This is how it turned out (the apple one) For now I'm just experiencing... but I can't wait to be using it for real on my pastry adventures. Anyone wanna join?
  7. Hello culinarians, I was reading the David Kinch article on eater and he said some pretty interesting things. Beside from the Asian influence on western haute cuisine he seems to suggest things like foraging and sous vide are going out of style or at least being overused. I believe that as a professional culinarian the only way to improve is to study and understand your predecessors. From Escoffier to Point to Keller to Ferran to Redzepi we must know our past to create or future. I think Kinch is doing wonderful things at Manresa with Love Apple Farms, but is he being the pot and calling the kettle avant-garde? I think sous vide, modernist technique, local food, etc. are more than fads but tools to for perpetual change in our industry. What do you think about Chef Kinch's stance?
  8. paulraphael

    Spherified chocolate

    So, half a decade or so after everyone got sick of spherification I decided to start doing it. I needed to bring something to an erotic dessert party, and thought chocolate truffles that explode in the mouth would be the ticket. It worked pretty well. People loved them, and made incredible faces, wondering about what was going on in there. One friend said they were like "yolks of the ganache vulture" ... a name that has stuck. Unfortunately, making them was a gross process. My assumption that a mellon baller would work for scooping the cold ganache into the alginate was thwarted by their crumbly texture. I ended up forming the balls by hand, which left me looking like I was covered in poop. Here's the recipe (it's for reverse spherification): 175g heavy cream 30g liqueur 15g sugar 3.2g calcium chloride 100g dark chocolate, chopped The chocolate is chilled in the freezer before making balls, and then soaked in hot water to melt the centers before serving. Two thoughts I had are substituting invert syrup for the sugar, and adding gelatin (enough to give them better adhesion while cold, but not so much as to thicken them noticeably while melted). Any better ideas?
  9. Guest


    Cantucci Serves 50. 200 g almonds 2 eggs 200 g sugar 1 tsp dry yeast 250 g flour salt Dissolve yeast, add eggs. Mix dry ingredients, add egg/yeast mixture, knead to dough. Let rest for 30 min. Shape into logs. Bake for 20 min. at 160 degrees. Cool, slice like bicottis, dry in oven again for 20 min. Serve with good coffee or italian wine. (DIP!) Flavor with Frangelico if you like. For chocolate cantucci, replace some of the flour for good cocoa powder dip ends in dark couverture. Keywords: Easy, Cookie ( RG1678 )
  10. I have a question-Alinea or Moto? Having trouble deciding. Taking my dad to Chicago in June, he's open to anything foodwise.
  11. Daily Gullet Staff

    Products with soul

    <img src="http://forums.egullet.org/uploads/1141577940/gallery_29805_2457_21200.jpg" width="324" height="285" hspace="5" align="left">Within the family of products with soul, we include in this analysis all products that have played a major role in El Bulli, those that have warranted special attention or have been important in our evolution. The N2O that we blow into siphons to obtain foams meets these criteria, except in one crucial aspect that might be debated for hours: is air a product? There are many preparations in which air plays an important role, even though it has never been treated as a cooking ingredient, but the creation of foams in 1994 certainly gave it star status. <br><br> What in fact characterises foams is their airy texture, their lightness, and the fact that they have more air than traditional mousses. The mission of the siphon is to blow air into the preparation with the help of N2O capsules that charge this utensil. Without the magic of the siphon, without the intervention of this gas that is not only harmless but also tasteless, foams would not be possible. Air is an essential element for obtaining these foams for which we feel a particular fondness, and for this reason we think that it deserves to be included in the family of products with soul. <br> <hr noshade size="2" color="#666666"> <table border="0" bgcolor="#FFFFFF"> <tr> <td><img src="http://forums.egullet.org/uploads/1139674845/gallery_29805_2457_381.jpg"></td> <td><img src="http://forums.egullet.org/uploads/1141577940/gallery_29805_2457_4833.jpg"></td> </tr> <tr> <td colspan="2" align="right"> <hr size="1" noshade color="#333333"></td></tr> <tr> <td valign="top"><img src="http://forums.egullet.org/uploads/1141577940/gallery_29805_2457_1999.jpg"></td> <td><img src="http://forums.egullet.org/uploads/1141577940/gallery_29805_2457_7110.jpg" hspace="5" align="left">Foams arrived in 1994, but they had undergone a lengthy germination phase. The only reason that this preparation did not come to fruition until then was because of technical problems, as we did not know how to achieve this texture that we dreamed about, and if we had the right tool, our dream would come true. Early experiments were carried out in 1991-1992 in Xavier Medina Campeny’s workshop, but after some amusing domestic disasters, the ony thing that we knew was that gas was essential to reap success in this aspect. The appearance of the siphon in our kitchen was to give us the solution, but even then it was not so simple. <br> <br> </td></tr> <td valign="top"> </td> <td> In 1993, our dear friend Antoni Escribà brought us back from Switzerland a gadget that we called “the phantom siphon” because it was always getting lost. After buying a set of CO2 capsules, we attempted to make our first foams, but we knew nothing about gases at that time, and the foams we obtained seemed fermented to us. Strangely enough, we went back to CO2 in 2001 for our mojito and carrot soda. In any case, these discouraging results caused the “phantom siphon” to be banished to the cupboard. <br> <br></td></tr> <td valign="top"><img src="http://forums.egullet.org/uploads/1141577940/gallery_29805_2457_829.jpg"></td> <td> <img src="http://forums.egullet.org/uploads/1141577940/gallery_29805_2457_6625.jpg" hspace="5" align="left"> In the winter of 1993-1994, while we were helping our friend Eduard Roigé to draw up the menu of the restaurant Bel-Air in Barcelona, a customer asked for a dessert with whipped cream. To our surprise, the cream was served in the kitchen with a gadget they took out of the fridge, from which whipped cream emerged by pressing a lever at the top. Suddenly we saw the light, and we reckoned that this siphon might solve the foams problem. So we borrowed the siphon, and in a matter of just a few days, our dream became a reality. <br> <br> Now, when we look back on that time, it is hard to believe how long we used this siphon "full stop," the name we gave it to distinguish it from the ISI siphon that came to El Bulli in 1997. The siphon “full stop” was charged from a bulky cylinder containing N2O, and it was a sizeable gadget which meant that ease of service from it left a lot to be desired. Even so, for three years we were inventing foams and serving them from that lovable monstrosity. The ridiculous thing was that when the ISI siphon arrived in 1997, we realised it was very similar to the "phantom siphon" that we used to charge with CO2, and that if we had used N2O instead, we would almost certainly have adopted it instead of our siphon "full stop".</td> </tr> <tr> <td align="right" valign="top"><img src="http://forums.egullet.org/uploads/1141577940/gallery_29805_2457_1187.jpg" align="top"></td> <td valign="top"><img src="http://forums.egullet.org/uploads/1138590929/gallery_29805_2457_7783.jpg" hspace="5" align="left">At this stage of the game, so much has been written about foams in the gourmet media (and even the general press) that it only remains for us to mention the brief history of this preparation, which is a technique and a concept at the same time. Cold foams were hatched in the El Bulli kitchen on March 19th 1994, the year the development squad project started. <br> <br> Since 1990 we had been nurturing the idea of achieving a lighter mousse, in which the product’s flavour would be much more intense than in traditional mousses. The idea came to us while we were in a specialist fruit juice bar and we noticed the foam that formed in the top part of the glass. Between 1990 and 1993 we conducted a good many tests, some as crazy as the ones we did in Xavier Medina Campeny’s workshop (see elBulli1983-1993), but it was not until 1994 that we reached a satisfactory outcome. <br> <br> For this, the crucial moment was when the siphon came into our hands, the utensil that enabled us to turn our dream into a reality (see The siphon “full stop”, page 90). Our first test involved putting a consommé into the siphon; when it came out, it had maintained its consistency, and we thought that this was because of the natural gelatin contained in the consommé. Therefore, if any product did not gel naturally, we could always add gelatin leaves, something that had not occurred to us the year before during the tests with the “phantom siphon” our friend Antoni Escribà had brought us. <br> <br> And this is what we did with a white bean purée on that fateful 19th of March 1994. The first foam served at our tables was this one, accompanied by sea urchins. The same year we made foams out of beetroot, coriander and almonds. These preparations began life in the savoury world, but once we discovered their potential, their migration to sweet preparations was only a matter of time. In 1994, we only made coconut foam, the first in a long series that we began to prepare from the following year onwards. <br> <br> Foams were born with the intention of using only the juice or purée of the product in question, without the addition of cream, eggs or other fats that might diminish the flavour. As time went on, we began to realise that on the one hand there was the philosophy of foams, but on the other hand we had a marvellous gadget, the siphon, which provided us with innumerable possibilities: creams, meringues, extremely light mousses that were easy to prepare, and so on. Today we would probably call anything that comes from the use of the siphon, a “foam”. <br> <br> Of course, foams are very well known today, and hundreds of chefs serve them in their restaurants. It remains to be seen whether they will be so important in twenty or thirty years’ time. As for the controversy surrounding them, we still find it hard to understand why criticisms have been so harsh. Current results lead us to claim, without hesitation, that there are good foams and foams that are not so good, in the same way as there are mousses with varying degrees of success. </td> </tr> <tr> </tr> <tr> <tr><td colspan="2"></font><hr size="1" noshade color="#333333"> <font size="-2" face="Verdana, Arial, Helvetica, sans-serif">This is the second part in a multi-part series. Part one is here.<br> El Bulli books may be purchased here.<br><br> Our thanks to Juli Soler for his invaluable assistance in this project. <br> Copyright Ferran Adria, Juli Soler, Albert Adria ©2006. <br> Photographs by Francesc Guillamet. <br> Art by Dave Scantland, after a photograph by Francesc Guillamet.<br> Introduction to part one by Pedro Espinosa.<br> <br> </font></td></tr> </table> </body> </html>
  12. Megan Blocker

    NY Sous Vide Lockdown

    Rut roh...just saw this article on NYTimes.com about the NY health departments concerns over sous vide. I'm thinking more temporary setback/annoyance than real problem. Thoughts?
  13. I've noted your three recipes in the new book that utilize the sous vide technique. There is also a rather active sous vide topic on the cooking forum. Was sous vide evident when you wrote the first edition of your book? Is this technique gaining momentum in the Southwestern France region? Is method employed in home cooking in the region, or is it still primarily a restaurant technique? Do you often use sous vide at home?
  14. Sorry if i've missed this somewhere, but was wondering if anyone was going to this event? Store Event Where: Washington, DC Event: An evening with Thomas Keller Date: 11/17/04 Time: 7pm-9pm Cost: $35.00/person Contact: (202) 237-0375 Details: Join America's Top Chef, Thomas Keller, owner of The French Laundry in Yountville, Bouchon in Yountville, and Per Se in New York City for a reception and book signing to benefit the National Capitol Chapter of the American Institute of Wine and Food. Thomas will be joined by Bouchon’s executive chef, Jeff Cerciello, to discuss classic bistro dishes from their new book, Bouchon. Chef Jeff Heineman of the Grapeseed American Bistro and Wine Bar will prepare the evening’s food; wine will be provided by Michel-Schlumberger. Book signings are limited to books purchased at Sur La Table. Please bring your receipt for books purchased prior to the event. Ticket sales will benefit the AIWF.
  15. Well, there I was pushing my cart around the Mega Commercial in León and what should I spot but a bottle with Ferran Adria's photo on the label hanging round its neck. Or a series of bottles of flavored olive oil produced by the firm Borges. So seven bucks later, I am the proud owner of 200ml of chile and cardamom flavored oil. The web page suggests I try it over spinach. All in the interests of culinary research! I'll be curious to see how they sell, Rachel
  16. lostintranslation

    keller and offal

    Michael: In Soul of a Chef and TFL cookbook, you talk about Keller's love for offal/variety meats. I adore offal---kidneys, sweetbreads, brain, tripe, heart, but it's rare to find them on a menu or even regularly availible at a good butcher. Is Keller's love for guts part of the French influence on his cuisine, or is it just a willingness to experiment/expose more people to the unknown joy of offal? Do you think American restaurants are doomed to serving overcooked, millimeter thin calf's liver, or will we eventually embrace the so-called 'head to toe' cooking of St. John's Fergus Henderson? Thanks! Stewart
  17. Anonymous Modernist 17880

    $60 Home built sous vide controller - success!!!

    I wanted to share with you that we've had great success with a $60 dollar temperature control kit. We are sous vide converts! Here's a link to the build blog if you are interested in building your own. http://arduinoforgoodnotevil.blogspot.ca/2013/05/modernist-cuisine-diy-sous-vide-part-2.html I don't sell the kits, but there's a link on my blog if you are curious.
  18. Anonymous Modernist 3093

    [Modernist Cuisine] Halibut in Verbena Bubble (4•156)

    This a great looking dish, but it has an odd note stating that the verbena gel should not be consumed. If I use food grade lemon verbena essential oil (e.g., from the "Chef's Essences" product line), would the gel be edible? All the other ingredients of the gel (water, lemongrass, mint, agar, and sorbitol) are obviously edible, so I''m rather confused about the warning against eating it.
  19. Controversy was stirred up in Spanish gastronomic circles when Santi Santamaria, himself a 3 Michelin Star holder, criticized Ferran Adria of "unethical" cooking practices related to his extensive use of gelling and emulsification agents. Link to article.
  20. Anonymous Modernist 847

    Aluminum Foil

    I have always wondered if it makes a difference what side of the foil one uses when roasting/baking/braising in an oven. I would assume that having the shinier side face down (facing the food) would reflect the heat onto the food better and create a more stable cooking environment. Thoughts?
  21. Anonymous Modernist 5499

    Jaccard Meat Tenderizer

    Hi Modernist Cuisine and followers, One of the recommended tools suggested by MC was the Jaccard 45-Knife Meat Tenderizer. They are not expensive but the jury seems to be out on whether they make a difference. Does anyone use one? How/when? (i.e. what kinds of meat etc.) Are their any Modernist Cuisine recipes that call for a tenderizer...I would love to make a specific dish twice, once with and once without using the tenderizer to decide for myself. Also, I already have a mallet-style tenderizer for carpaccio, so I am wondering if two tenderizers is overkill or if they are completely different in terms of application and results. Happy to try one out but thought I would run it by the group to see if anyone had experience with them. Thanks, Ian
  22. ellenesk

    niagara on the lake recs

    Will be there in a few weeks, any suggestions. Price not an issue. E
  23. Nut chef

    Equipment buying dilemma

    So I looking now, at the vacmaster.vp112,and anova pro,would love to get them both but I'm not able,so the question is,get the vp112 sealer and cheapo immersion circulator,or get whatever sealer sins you can even cook food sous vide in Ziploc bags,and get the Anova Pro circulator? What makes more sens in your opinion guys?
  24. daveb

    Sous Vide Demo

    At a local culinary store I have a hobby/job helping local Chef's do cooking demonstrations, prepping for catered events and all kinds of other things that let me play with new toys and other peoples food. I've been asked to prepare a Sous Vide Demo meal to stimulate interest in SV and modern technique - and hopefully sell some SV units. Menu to be Mi Cuit Salmon (104F from Chef Steps), Asparagus Salad w poached egg, 72 hr Short Ribs w Cauliflower puree and a Poached Pear desert.
  25. Paul Bacino

    Possibly a Juicier Burger?

    So I was having company for the opening Football season. One of the local food store had Hamburger patties on sale. So, I opted to use them 85/15 chuck. They were only probably 3/4 " thick. When I got them home.. that seemed like a wimpy thickness. So , Idea Lets fuse 2 patties using Activa -RM-- so I treated one side ( dusted like a chicken breast ) - put together, and place them in frig for about 2 hrs.. to meld Took them out about 45 min prior to cook. Then off to my flat top to cook.. usually these thick burgers 1 1/2 icnches, get a big blood bubble in the middle, even if you dent them prior to cooking. What I notice with the Activa-Rm barrier in the middle , this really didn't happen. thick the meat juice collected just under, that in-side half. So i flipped and cooked side two. Really was amazed how uniform they cook and how the juices real stayed inside. No pictures as the game was on. Just thought I would share. PB