I think the area of fermentation is an under-explored genre of food manipulation. At our recent visit to Akelaŕe, a dish described as "milk and grape, cheese and wine in parallel evolution" promised to explore the subject, but while the concept was there, I thought the execution was somewhat lacking.
I've always generally understood how the fermentation process works with wine, with yeast acting to convert the sugars in the grape juice into alcohol. I understood it less with regard to fermented vegetables (i.e., kim chee) and meats (i.e., sausages) until doing a little research. My naive understanding now is that it is in most respects essentially the same process, but instead of sugar converting to alcohol, it is the conversion of carbohydrates into lactic acid by means of beneficial bacteria. It is this lactic acid which both acts to preserve the foods and helps eliminate bad bacteria.
In any event, here's an interesting little interview with Sandor Katz, fermentation maven, on the topic of home fermentation, which in turn led me to his website, Wild Fermentation. I suspect I've had some unintentional home fermentation projects going on at one time or another - this suggests a more purposeful approach.
Thursday, April 16, 2009
Stop Me If You've Heard This One Before
Big name N.Y. restaurateur opens fancy restaurant in great big new Miami hotel. First reported in MenuPages, now with more detail - and a preview menu (sorry - link appears to be screwed up) - from UrbanDaddy, Eos in the Viceroy Hotel, a product of restaurateur Donatella Arpaia with a menu from chef Michael Psilakis, will be doing a soft opening starting next Tuesday.
At least it's not a steakhouse.
Eos
485 Brickell Avenue
Miami, FL 33131
305.503.4400
At least it's not a steakhouse.
Eos
485 Brickell Avenue
Miami, FL 33131
305.503.4400
Wednesday, April 15, 2009
Everything Old is New Again
When we were in Spain, I noted on more than one occasion how traditional dishes were the springboard for creative contemporary dishes - a new-age variant of a Gilda pintxo at Akelaŕe, an apertivo of puding de kabrarroka at Arzak. This is hardly a new idea. There's a long line of chefs who play with variations on classics. Here is just one local example from here in Miami - oeufs à la gelée, inspired by Fernand Point's Ma Gastronomie. The use of classic combinations in conjunction with contemporary techniques, or alternatively, classic presentations with untraditional ingredients, is often an effective way to mediate the tension between neophilia and neophobia* (or, to skip the fancy lingo, "I want something new" vs. "I want something familiar") inherent in any dining experience.
Indeed, there seems to be plenty of looking backwards these days, with Zagat sponsoring a series of "Vintage Dinners" - including this magnificent offering from Thomas Keller and Jonathan Benno of Per Se from a few months ago (salmon coulibiac; lobster thermidor; veal a la maintenon; grand kugelhof - we're going to party like it's 1899!).
But in a recent post on the new Atlantic Food Channel, Grant Achatz of Alinea (as usual) takes it to another level. In "New Fusion: Making Old Modern," instead of using old recipes as a jumping-off point for the use of new techniques, he talks instead about the incorporation of classic recipes, lock stock and barrel, into contemporary menus, for purposes of contrast and comparison:
*Borrowing a concept from Michael Pollan's great book, "The Omnivore's Dilemma", and redeploying it in a slightly different context.
Indeed, there seems to be plenty of looking backwards these days, with Zagat sponsoring a series of "Vintage Dinners" - including this magnificent offering from Thomas Keller and Jonathan Benno of Per Se from a few months ago (salmon coulibiac; lobster thermidor; veal a la maintenon; grand kugelhof - we're going to party like it's 1899!).
But in a recent post on the new Atlantic Food Channel, Grant Achatz of Alinea (as usual) takes it to another level. In "New Fusion: Making Old Modern," instead of using old recipes as a jumping-off point for the use of new techniques, he talks instead about the incorporation of classic recipes, lock stock and barrel, into contemporary menus, for purposes of contrast and comparison:
Can the juxtaposition of modern and classic preparations within the same menu elevate each by giving a clearer perspective of evolution? Or does it show how little cooking has really changed? Can it fulfill different emotional aspects through the contrasts? Will people even notice? Is it a moment of gastronomic time travel?Most of these questions probably can't be answered until it's experienced, but they are all good questions to be asking. I've generally always been of the belief that there's a lot less that separates the "modern" and the "classic" than many people seem to think, but perhaps that assumption is off the mark. Are we ready for a Quantum Leap dining experience? And how long until Michael Mina comes up with a "time travel trio"?
*Borrowing a concept from Michael Pollan's great book, "The Omnivore's Dilemma", and redeploying it in a slightly different context.
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