Journal articles: 'Laser cooking' – Grafiati (2024)

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The Faraday Effect is a magnetooptical phenomenon in physics describing the interaction of light and magnetic fields in a medium. A parameter that indicates the interaction is the Verdet constant. In this research, Verdet constant was measured on cooking oil that has been used several times. Magneto-optical properties were measured using the polarimetry method, which uses a He-Ne Laser beam with a magnetic field treatment of 50 gauss, 80 gauss and 100 gauss. The samples analyzed were bulk and non-bulk cooking oil. Repeated use of cooking oil causes a change in the polarization axis of the polarized laser. This has an impact on the Verdet constant of the material. The difference in the Verdet constant shows that the Verdet constant can be used as an indicator of cooking oil that has been used up to three times.

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Evaluation of quality of cooking oil using integrated polarizer based on fluorescence polarization method has been carried out. Integrated polarizer used a green laser with a wavelength of 532 ± 10 nm. Measurements were made by observing changes in fluorescence polarization angles that occurs when without an external electric field and with the provision of an external electric field produced from two copper plates given a voltage of 0-6 kV. The samples used were new cooking oil and expired cooking oil, palm cooking oil that has been contaminated by chicken oil and lard. The test results show that the change in polarization angle on cooking oil expires is greater than the new cooking oil, as well as changes in the polarization angle in palm cooking oil that has been contaminated by lard is greater than pure palm cooking oil and palm cooking oil. This indicates that the saturated fatty acid content in lard is greater than that of pure palm cooking oil and chicken oil. With these results, the fluorescence polarization method is expected to be a method for evaluating halal cooking oil.

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Research about the application of Luxmeter measuring instrumental with white diode laser to distribute the light intensity in pure or candle-contaminated cooking oil. This research is conducted by varying the range, so the result of intensity value is acquired. The result of research shows that there are differences in the light intensity value of both pure and candle-contaminated cooking oil. The output of measuring instrument in this research shows a different number between pure cooking oil and candle-contaminated cooking oil. Based on the data analyzed, 5 cm range from the Luxmeter sensor is the most sensitive area. From the calculation, the value acquired is 273,1349 ± 0.06 Cd, that means if the reading value is more than that value, the oil is identified as candle-contaminated if less the oil is pure.

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In this report we have succeeded to map various cooking oils using change of fluorescence polarization. Various cooking oils consisted of several vegetables oils and animal oils (chicken oil and lard) were used in the experiment, and some oils were measured in two different times. The change of polarization angle &tetha; was measured as the difference between linear polarized green pointer laser as incoming light and fluorescence light using a pair of polarizers. The direct measurement of fluorescence polarization gives a new unique result of critical polarizer’s angle φc that can group vegetable cooking oils into group 1 (at φc = 10o for VCO, olive, and soybean), group 2 (at φc = 20o for palm, corn and rice bran), group 3 (at φc = 30o for sunflower and canola), and also animals cooking oils into group 4 (at φc = 20o for chicken oil), and group 5 (at φc = 40o for lard). Mostly cooking oils can be distinguished using modified maps. The large difference φc and &tetha; of lard from vegetable oils provides an advantage to develop for testing halal oil due to lard contamination. The capability of this method has benefits, at least, as a complement and simple method in comparison to other expensive sophisticated instruments such as fluorescence spectroscopy or GCMS methods with their derivation’s instruments.

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A system based on spectrum analysis for cooking oil testing which combining laser-induced-fluorescence and laser-Raman technology is established. Several oil samples are testing by this system. The measurement results show that, there are rich information for fluorescence and Raman spectrum for the oil samples and there are obvious difference between the fluoresce spectrums for these samples, which can be used as a reference for oil pollution classification and recognition. This technology can be used for in-situ monitoring equipments.

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This research was conducted for evaluation of contamination of pig fat on vegetable cooking oil using transmission polarization method. The sample used is palm oil that has been contaminated with chicken oil and pork oil, with variations of chicken oil and pork oil content. The light source used is a green laser with a wavelength of 532 ± 10 nm. Measurements are made by observing the change in the transmission polarization angle that occurs when no external electric field is provided and by external electric field generated from two copper plates given a voltage of 0-6 kV. Test results show that palm oil contaminated with pig oil has the greatest change in polarization angle compared to pure palm oil and palm oil that has been contaminated with chicken oil. This is because the content of saturated fatty acids in pig oil is greater than pure palm oil and chicken oil. With these results, the transmission polarization method is expected to become a method for the evaluation of halal of cooking oil.Keywords: Transmission Polarization, Electrooptics, Cooking Oil, Impurities of Lard, Halal

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Raman spectroscopy as a fast and nondestructive technique has been used to investigate heating effects on Desi ghee during frying/cooking of food for the first time. A temperature in the range of 140–180℃ has been investigated within which Desi ghee can be used safely for cooking/frying without much alteration of its natural molecular composition. In addition, heating effects in case of reuse, heating for different times, and cooking inside pressure cookers are also presented. An excitation laser at 785 nm has been used to obtain Raman spectra and the range of 540–1800 cm−1 is found to contain prominent spectral bands. Prominent variations have been observed in the Raman bands of 560–770 cm−1, 790–1160 cm−1, and 1180–1285 cm−1 with the rise in temperature. The spectral variations have been verified using classifier principal component analysis. It has been found that Desi ghee can be reused if heated below 180℃ and it can be heated up to 30 min without any appreciable molecular changes if a controlled heating can be managed.

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Rice is the main food for approximately 3.5 billion people worldwide, especially in Asians, who have consumed more than 90% of the total rice produced. Restructured rice is another designation of artificial rice is an effort to diversify staple foods processed from carbohydrate-based raw materials with the addition of certain substances to improve the quality of staple foods. Restructured rice can be done with several techniques, such as using extrusion. This study aimed to investigate the effect water content (35%, 37.5%, 40%, 42.5%, and 45%) and temperature (100oC and 26oC) on the surface and characteristics of restructured rice using a pasta extruder. Results of this study showed the treatment with water content 40% and temperature 100oC to be the best, more precisely seen from the results of laser microscope, color, WAI, WSI, WAR, Cooking losses, and cooking time. Pores and surfaces of restructured rice are almost the same as milled rice. Water absorption index (WAI) value = 2.273±0.10 g/g, WSI = 2.114±0.11%, WAR = 150.99±0.77%, CL = 1.92±0.10% and cooking time 4 mins. Suggestions for this research are further studies such as fortification with other ingredients using a pasta extruder technology and are expected to be implemented and commercialized.

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In this report, we study the electro-optics effect on cooking oil to obtain the relative dissociation energy as a new single proposed parameter of oil quality. The sample was canola oil which had been heated in 0.5 hours, 2 hours and 4 hours. The light source used in the experiment was a green pointer laser with a wave length of 532 nm. The sample was applied to a potential difference from 0 to 9 kV to obtain the electro-optics effect in form of the change of the polarization angle Dq as function of potential difference DV. The relative dissociation energy was obtained from the fitting data of the relative Lenard-Jones potential energy curves represented by change of polarization per unit change of potential difference, Dq/DV. The result shows that the relative dissociation energy is reduced as the oil quality decreased after heated. The relative dissociation energy provides simple physical understanding about electro-optics effect on cooking oils. The study of electro-optics polarization that represents relative Lenard-Jones potential energy is a new but somewhat intuitive, which can be further improved and emphasized for grouping, mapping, and determining various cooking oil quality and halal food due to the lard contamination.

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A japonica restorer line (named m119) with extremely high protein content was bred successfully, whose protein content (wet base) reached 13.30%±0.19% in brown rice. SDS-PAGE analysis showed that the proportion of glutelin to total protein content increased to 71.77% in m119 compared with CK. The fracture of m119 grain was rough compared with CK, which might bring about negative influence to cooking and eating quality. However, there was no significant difference of endosperm cell in size, shape and distribution compared with CK. The increase of protein content in brown rice was neither proportion nor synchronization; The axis of japonica rice grain was nearly at the center and close to the ventral part of the grain fracture observed by confocal laser scanning microscopy, which was associated with the distribution of vascular bundles transporting nutrition to the grain. The proportion of smooth to rough surface in soaked grain fracture had certain correlation with protein content and cooking and eating quality.

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The top surface of the raw eye of round steaks was inoculated with either green fluorescent protein (GFP)-labeled Escherichia coli (E. coli-GFP) or rifampin-resistant E. coli (E. coli-rif). Cryostat sampling in concert with laser scanning confocal microscopy (LSCM) or plating onto antibiotic selective agar was used to determine if hydrodynamic shock wave (HSW) treatment resulted in the movement of the inoculated bacteria from the outer inoculated surface to the interior of intact beef steaks. HSW treatment induced the movement of both marker bacteria into the steaks to a maximum depth of 300 μm (0.3 mm). Because popular steak-cooking techniques involve the application of heat from the exterior surface of the steak to achieve internal temperatures ranging from 55 to 82°C, the extent of bacterial penetration observed in HSW-treated steaks does not appear to pose a safety hazard to consumers.

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In order to investigate the effects of salt on the nutrients and tastes profiles of big eye tuna head soup, the typical nutrients and taste substances were analyzed. The formation and the morphology of micro/nanoparticles (MNPs) were studied using an inverted optical microscope, and the interactions among components in MNPs were studied using a laser scanning confocal microscope. The results showed that the nutrients were dissolved to the maximum in the soup when salt was added at 150 min of cooking. Comparatively, much smaller MNPs with a more stable bilayer were formed at the same salt addition time. Meanwhile, Cl− was found to permeate throughout the core and Na+ bonded with glycosylated molecules, which were dispersed around much smaller MNPs. These results suggested that in addition to promoting the migration of nutrients and taste substances, NaCl also participated in the formation and stability of MNPs in fish head soups.

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Routine identification of pathogens by MALDI-TOF MS (matrix-assisted laser desorption ionisation time-of-flight mass spectrometry) is based on the fingerprint of intracellular proteins. This work evaluated the use of MALDI-TOF MS for the identification of extracellular pathogen factors. A Staphylococcus aureus isolate from a food contaminant was exponentially grown in liquid cultures. Secreted proteins were collected using methanol– chloroform precipitation and analysed by MALDI-TOF MS. A main peak m/z 28,250 was demonstrated, which was identified as S.aureus enterotoxin type B (SEB) by using the pure authentic SEB reference of 28.2 kDa and by amino acid sequence analysis. SEB was also detected in this intact form following pasteurization and cooking treatments. Further application of the elaborated MALDI-TOF MS protocol resulted in the detection of SEA at m/z 27,032 and SEC at m/z 27,629. In conclusion, a simple sample preparation from S.aureus cultures and an easy-to-perform identification of pathogen factors SE in intact form represents a promising next-generation application of MALDI-TOF MS.

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ABSTRACTHeat-resistant endospore formation plays an important role inClostridium perfringens-associated foodborne illnesses. The spores allow the bacterium to survive heating during normal cooking processes, followed by germination and outgrowth of the bacterium in contaminated foods. To identify proteins associated with germination and other spore functions, a comparative spore membrane proteome analysis of dormant and germinated spores ofC. perfringensstrain SM101 was performed by using gel-based protein separation and liquid chromatography coupled with matrix-assisted laser desorption ionization–tandem time of flight (MALDI-TOF/TOF) mass spectrometry. A total of 494 proteins were identified, and 117 of them were predicted to be integral membrane or membrane-associated proteins. Among these membrane proteins, 16 and 26 were detected only in dormant and germinated spores, respectively. One protein that was detected only in germinated spore membranes was the enzyme cyanophycinase, a protease that cleaves the polymer cyanophycin, which is composed ofl-arginine-poly(l-aspartic acid), to β-Asp-Arg. Genes encoding cyanophycinase and cyanophycin synthetase have been observed in many species ofClostridium, but their role has not been defined. To determine the function of cyanophycin inC. perfringens, a mutation was introduced into thecphAgene, encoding cyanophycin synthetase. In comparison to parent strain SM101, the spores of the mutant strain retained wild-type levels of heat resistance, but fewer spores were made, and they were smaller, suggesting that cyanophycin synthesis plays a role in spore assembly. Although cyanophycin could not be extracted from sporulatingC. perfringenscells, anEscherichia colistrain expressing thecphAgene made copious amounts of cyanophycin, confirming thatcphAencodes a cyanophycin synthetase.IMPORTANCEClostridium perfringensis a common cause of food poisoning, and germination of spores after cooking is thought to play a significant role in the disease. HowC. perfringenscontrols the germination process is still not completely understood. We characterized the proteome of the membranes from dormant and germinated spores and discovered that large-scale changes occur after germination is initiated. One of the proteins that was detected after germination was the enzyme cyanophycinase, which degrades the storage compound cyanophycin, which is found in cyanobacteria and other prokaryotes. A cyanophycin synthetase mutant was constructed and found to make spores with altered morphology but normal heat resistance, suggesting that cyanophycin plays a different role inC. perfringensthan it does in cyanobacteria.

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Many persons use to eat ready-to-eat meat products sold mostly on the street. The aim of our study was to investigate the microbial contaminants profile of meat products sold on the streets of 5 communes in Abidjan. To reach our goal, a survey was conducted to investigate on the type of customer, meat, the selling points, and the probable causes of food poisoning. Forty samples of each of the three kind of ready-to-eat meat (beef, pork and chicken) were collected in five communes of Abidjan. The microbial quality of the collected meat was determined with conventional methods and confirmed by matrix-assisted laser desorption ionization-time-of-flight mass spectrometry. The results of the survey showed a health risk potentially related to the method of cooking and the type of meat. Out of the 600 samples analyzed, 443 strains were isolated. Among the microorganisms, there are Cocci’s (61.61%) mainly Staphylococcus strains, Bacilli (37.28%) and yeast (1.11%). Staphylococcal strains and Enterobacteriaceae are the most predominant and chicken meat is the most contaminated meat product. Also, some strains (Alloiococcus otitis and Ochrobactrum intermedium) were rarely isolated. The meat products contamination constitutes a health risk which could cause significant income loss for both merchant and consumer.

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Chemical vapor deposition (CVD) is one of the few deposition processes in which the deposited phase is produced in situ via chemical reaction(s). Thus the vapor source for CVD can consist of high vapor pressure species at moderate temperatures and yet deposit very high-melting phases. For example, pure TiB2, which melts at 3225°C, can be produced at 900°C from TiCl4, BC13, and H2.Chemical vapor deposition and its variants such as low pressure CVD (LPCVD), plasma-assisted CVD (PACVD), and laser CVD (LCVD) have been active areas of research for many years. Recent review articles have contained extensive lists of the phases deposited by CVD, which include most of the metals and many carbides, nitrides, borides, silicides, and sulfides. The techniques have found increased acceptance as commercial methods for the fabrication of films and coatings which are fundamental to the semiconductor device and the high-performance tool bit industries. They have been used to prepare multiphase-multilayer coatings, stand-alone bodies, and fiber-reinforced composites. As the demand increases for more complex and sophisticated materials, it is expected that CVD will play a still larger role.In CVD a solid material is deposited from gaseous precursors onto a substrate. The substrate is typically heated to promote the deposition reaction and/or provide sufficient mobility of the adatoms to form the desired structure. Chemical vapor deposition was performed for the first time when early humans inadvertently coated cooking utensils with soot from the campfire. In this CVD process, hydrocarbons generated by the heated wood pyrolyzed on the utensil surface, depositing carbon.

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In this paper the spreading of a contaminant accompanied with natural convection in a box is numerically simulated. The box may be considered as a cooking room or a working place where some sources of heat and contaminant are in the simultaneous action. The box floor is supposed to be divided into several domains with different boundary conditions for temperature or heat flux. Here the purpose of the simulation is to understand the contaminant spreading process in the box under the influence of a convective motion. The model can be also applied for an enclosure with separated parts differentially heated by the sunlight on its boundaries. A good knowledge of this process is very useful for setting an efficient ventilation scheme. In this paper the finite difference method based on the Samarski scheme with ADI technique is applied for numerical simulation. Here the box floor is divided into two domains of equal sizes but with different temperature or heat flux. The contaminant source locates in the middle of the box bottom. The simulation shows that over the part of the floor where temperature or heat flux is greater the contaminant concentration is lager. That result is in the accordance with the experiment done in the framework of this~investigation.

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Abstract Western society is facing an increase in the number of food-allergic individuals, with rising incidence in the past years. Therefore, allergen-free food and accurate and reliable analysis of allergen contamination are essential for the protection of consumers. Yet, there is limited understanding on the effect of food processing on allergenicity and on the ability of available methods to detect trace contamination in processed food. Available studies addressing this have relied on sample processing on a laboratory scale. In this study, industry-like processing under precisely defined conditions (ranging from 110 to 150°C roasting temperatures) was employed to better understand the limitations of state-of-the-art methods for detecting traces of hazelnut and almond in processed food. Sodium dodecyl sulfate–polyacrylamide gel electrophoresis analysis indicated an overall reduction in extracted proteins from roasted nut samples, and with matrix-assisted laser desorption ionization time-of-flight Cor a 9 and Prunin, were identified as majorly expressed proteins for hazelnut and almond, respectively. A commercial ELISA kit detected nut traces only up to a 130°C roasting temperature. Untargeted MS (Orbitrap) analysis was able to detect traces of nuts roasted up to 150°C while also confirming Cor a 9 and Prunin as the major expressed proteins for hazelnut and almond, respectively. Preparing cookie dough spiked with roasted nut samples, a complex food matrix was simulated. Analysis by ELISA showed the same limitations encountered for pure nuts samples, hardly detecting traces of nuts roasted above 130°C. Targeted MS (linear ion trap) using multiple reaction monitoring methods for one proteotypic peptide for Cor a 9 and Prunin, respectively, enabled a detection of nut traces up to 150°C. The results indicated that a reduced extractability because of temperature-related effects (e.g., protein denaturation, cross-linking, poor solubility) caused the significant differences between the ELISA and MS analysis. Overall, the results of this study may form the basis to improve allergen detection after roasting through improved extraction methods and refined ELISA formats.

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AbstractAdditive manufacturing of food is a method of creating three-dimensional edible products layer-by-layer. While food printers have been in use since 2007, commercial cooking appliances to simultaneously cook and print food layers do not yet exist. A key challenge has been the spatially controlled delivery of cooking energy. Here, we explore precision laser cooking which offers precise temporal and spatial control over heat delivery and the ability to cook, broil, cut and otherwise transform food products via customized software-driven patterns, including through packaging. Using chicken as a model food, we combine the cooking capabilities of a blue laser (λ = 445 nm), a near-infrared (NIR) laser (λ = 980 nm), and a mid-infrared (MIR) laser (λ = 10.6 μm) to broil printed chicken and find that IR light browns more efficiently than blue light, NIR light can brown and cook foods through packaging, laser-cooked foods experience about 50% less cooking loss than foods broiled in an oven, and calculate the cooking resolution of a laser to be ~1 mm. Infusing software into the cooking process will enable more creative food design, allow individuals to more precisely customize their meals, disintermediate food supply chains, streamline at-home food production, and generate horizontal markets for this burgeoning industry.

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Abstract The aim of the work was to investigate the effect of extrusion-cooking process conditions on the structure and pasting properties of starch extrudates. In addition, the extrudates structure was observed using scanning electron microscopy (SEM) and confocal laser microscopy (CSLM). Wheat, corn and potato starch were extrusion-cooked with different process parameters (moisture content, screw speed, process temperature) in a single screw extruder. Results showed influence of the process parameters on extruded starches pasting properties. Viscosity measurements indicated that water content during starch extrusion is more important than process temperature. The extrudates structure observed with scanning electron and confocal laser microscopes showed that the main effect of extrusion-cooking was loss of the crystalline structure of the starch and the formation of a cellular structure of the extrudates. In extrudates processed at higher starch moisture content reduced the quantity and diameters of created cells was observed.

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The growing world population and the need to reduce the environmental impact of food production drive the exploration of novel protein sources. Insects are being cultivated, harvested, and processed to be applied in animal and human nutrition. The inherent microbial contamination of insect matrices requires risk management and decontamination strategies. Thermal sterilization results in unfavorable cooking effects and oxidation of fatty acids. The present study demonstrates the risk management in Acheta domesticus (home cricket) powder with a low-energy (8.7–22.0 mW/cm2, 5 min) semi-direct surface micro discharge (SMD)–cold atmospheric pressure plasma (CAPP). At a plasma power density lower than 22 mW/cm2, no degradation of triglycerides (TG) or increased free fatty acids (FFA) content was detected. For mesophilic bacteria, 1.6 ± 0.1 log10 reductions were achieved, and for Enterobacteriaceae, there were close to 1.9 ± 0.2 log10 reductions in a layer of powder. Colonies of Bacillus cereus, Bacillus subtilis, and Bacillus megaterium were identified via the mass spectral fingerprint analyzed with matrix-assisted laser desorption/ionization time of flight (MALDI-TOF) mass spectrometry (MS). The spores of these Bacillus strains resisted to a plasma power density of 22 mW/cm2. Additional inactivation effects at non-thermal, practically non-oxidative conditions are supposed for low-intensity plasma treatments combined with the powder’s fluidization.

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ObjectivesRinse & Chill® (RC) is a process applied early postmortem that provides the ability to manipulate muscle metabolism and can have a positive impact on meat quality traits. This study aimed to evaluate the effect of RC on pH decline, shear force, sarcomere length and cooking losses on different cull dairy cow carcass grades. Investigate the ability of different substrates to modulate contractile response as an indirect measure of metabolic activity on beef early postmortem.Materials and MethodsFor each carcass grade (lean, LE; light, LI), ten carcasses were conventionally chilled (CC) and twelve carcasses were chilled using RC technology (MPSC Inc.). The RC process involved infusion of a chilled isotonic solution (98.5% water; balance: glucose, phosphates, and maltose) through the vascular system, beginning in the arterial and exiting the venous side of the vasculature. Shear force and cooking losses were measured on Longissimus dorsi steaks aged (7 d). Sarcomere length (SL) was determined by a laser diffraction method. Animal served as the experimental unit and data were analyzed with a PROC MIXED procedure. For contraction measurements, a muscle-fiber bundle from the Sternomandibularis muscles (n = 14) was collected from cull dairy cows in a commercial packing plant, 15 min after bleeding. The muscle bundle was attached to a force transducer (FT-302, iWorx, Dover, NH). Stimulation electrodes were used to elicit a supramaximal electrical stimulus at a frequency of 50 V, 0.1 Hz (HCS-100 stimulator, iWorx). Muscle weight was standardized, and length was adjusted to obtain maximum twitch-tension output. After 3 min of rest in a test solution, 200 stimuli were given, and the contractile response was recorded. Four solutions were tested (A = RC, B = Fructose, C = Sodium phosphate, D = Dipotassium phosphate; substrates added at 1% except fructose 1.5%). Descriptive means for initial peak twitch force, final peak twitch force, percentage decline and percentage half-time decline were calculated to determine the response associated with each solution.ResultsRC reduced (P < 0.05) shear force by 51.9% (6.79 kgf CC) and 55.8% (8.50 kgf CC) for LI and LE cows, respectively. LI cows were more tender than LE for CC (6.79 vs. 8.50 kgf; P < 0.05). RC compared to CC had longer SLs (LE: 1.80 vs. 1.44µ; P < 0.05) and LI (1.80 vs. 1.40µ; P < 0.05). Purge and cooking losses were not affected by chilling method. The contractile responses of the muscle after the exposure to the solutions were slightly different. The average percentage decline of peak twitch force was higher for solution B, followed by solutions A, D, C (54.8%, 53.5%, 48.0%, 43.4%, respectively). Furthermore, the same pattern was observed for the average percentage decline at half time of the test (82.5%, 80.4%, 78.1% and 74.7%, respectively).ConclusionPacking plants that harvest cull dairy cows have the potential to dramatically improve tenderness and thereby merchandize a greater amount of whole muscle cuts as a result of the application of the Rinse & Chill®. This improvement may be associated with accelerating postmortem glycolysis, thereby limiting cold shortening, although enhanced proteolysis may also be involved. Continuous electrical stimulation of isolated muscle-fiber bundles while being soaked in selected test solutions led to decreased and somewhat varied contractile force responses suggesting the potential to modify muscle metabolism.

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Fundamental, physics-based modeling of complex food processes is still in the developmental stages. This lack of development can be attributed to complexities in both the material and transport processes. Society has a critical need for automating food processes (both in industry and at home) while improving quality and making food safe. Product, process, and equipment designs in food manufacturing require a more detailed understanding of food processes that is possible only through physics-based modeling. The objectives of this paper are (1) to develop a general multicomponent and multiphase modeling framework that can be used for different thermal food processes and can be implemented in commercially available software (for wider use) and (2) to apply the model to the simulation of deep-fat frying and hamburger cooking processes and validate the results. Treating food material as a porous medium, heat and mass transfer inside such material during its thermal processing is described using equations for mass and energy conservation that include binary diffusion, capillary and convective modes of transport, and physicochemical changes in the solid matrix that include phase changes such as melting of fat and water and evaporation/condensation of water. Evaporation/condensation is considered to be distributed throughout the domain and is described by a novel nonequilibrium formulation whose parameters have been discussed in detail. Two complex food processes, deep-fat frying and contact heating of a hamburger patty, representing a large group of common food thermal processes with similar physics have been implemented using the modeling framework. The predictions are validated with experimental results from the literature. As the food (a porous hygroscopic material) is heated from the surface, a zone of evaporation moves from the surface to the interior. Mass transfer due to the pressure gradient (from evaporation) is significant. As temperature rises, the properties of the solid matrix change and the phases of frozen water and fat become transportable, thus affecting the transport processes significantly. Because the modeling framework is general and formulated in a manner that makes it implementable in commercial software, it can be very useful in computer-aided food manufacturing. Beyond its immediate applicability in food processing, such a comprehensive model can be useful in medicine (for thermal therapies such as laser surgery), soil remediation, nuclear waste treatment, and other fields where heat and mass transfer takes place in porous media with significant evaporation and other phase changes.

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Sometimes ... we don’t want to feel like a post-modern, post-feminist, overstretched woman but, rather, a domestic goddess, trailing nutmeggy fumes of baking pie in our languorous wake (Nigella Lawson, How to be a Domestic Goddess vii). IntroductionFor today’s female readers, the idea of trailing “nutmeggy fumes” of home-baked pie through their kitchens could be as much a source of gender-stereotyping outrage as one of desire or longing. Regardless of personal response, there seems little doubt that the image Lawson’s words create prevails even in the 21st century: an apron-clad, kitchen-bound woman, cooking for others as an expression of love and communication. This is particularly true of contemporary cookbooks written by and aimed at women. Two examples are Sophie Dahl’s Miss Dahl’s Voluptuous Delights (2010) and Nigella Lawson’s How to be a Domestic Goddess (2000). This paper explores how Dahl and Lawson use three narrative strategies—sequence, description and voice—to frame their recipes; it also analyses how these narrative strategies encourage readers to embrace traditional constructs of domestic femininity, albeit in a contemporary and celebratory light. The authors’ use of these strategies also makes their cookbooks more than simply instruction manuals—instead, they become engaging and pleasurable texts that use memoir, humour and nostalgia to convey their recipes and create distinct authorial personas and cultural ideas about food and femininity. While primary purpose of cookbooks is to instruct, what makes them distinctive—and, arguably, so popular—is their mix of pleasure and utility. The stories they tell, both cultural and personal, are what make us continue to buy and read them, despite bookshelves that may already bend beneath the weight of three hundred different versions of chicken risotto and chocolate cake; as Anne Bower notes, many women read cookbooks for escapism and enjoyment. This concept of escapism and enjoyment is closely tied to the role of narrative. Cognitive narratology, a more recent strand of narrative theory, emphasises what readers bring to a text, and how narrative allows readers to frame and understand texts and the world around them. Therefore, cookbooks that situate their recipes among personal anecdotes and familiar cultural ideals or myths—such as the woman in the kitchen—appeal to our experiences and emotions. Cookbooks thus become engaging and resonant on personal and sociocultural levels: Gvion argues that cookbooks are “social texts” (54), which seems appropriate when considering the meanings we ascribe to food—it remains a fundamental part of our culture and identity (Lupton). Certain cookbooks—those that emphasise the social and emotional aspects of what we consume—can be regarded as a reflection of how we attach meanings to foods in particular contexts (Mintz). The books discussed in this paper combine the societal and personal aspects of this process: their authors blend familiar cultural tropes with their own engaging autobiographical anecdotes using sequence, description and voice. Narrative theory has traditionally been applied to fiction, and cookbooks obviously lack fictional elements such as plot and character. However, cognitivist narratology, which directs its focus to humans’ cognitive understanding and perception of various actions and events (Fludernik, Histories), makes it applicable to a range of texts. Cookbooks’ use of sequence, description, and voice create “storyworlds” for readers, which “can be viewed as [a] global mental representation enabling interpreters to draw inferences about items and occurrences either explicitly or implicitly included in a narrative” (Herman 9). Cookbook authors use memories, anecdotes and imagery to conjure scenes to which readers can aspire or relate, perhaps prompting responses similar to those experienced when reading fiction.Prince characterises narrative as a “representation of events in a time sequence” (82). The sequence of information and anecdotes in a cookbook—its introduction, chapter structure and recipe structure—positions readers to read and interpret the text in a particular way; it is both part of how the texts authors construct a sense of self and of how they encourage readers to construct their own meanings in response. Dahl, for example, arranges her recipes according to season, since she places great importance on seasonal eating. Description is the cornerstone of any successful cookbook, since it becomes impossible to successfully replicate a dish if you cannot make sense of the instructions. However, in a narrative sense, description operates as part of a narrator’s “rhetorical strategy” (Bal 36); it helps construct their narrative persona and enables them to reinforce the associations between food, culture and identity in evocative language. Voice is the final piece of the narrative puzzle. These cookbooks are all “narrated” by their authors, who offer selected anecdotes and stories to support their authorial intentions and position readers to interpret their texts in a particular way. Feminist narratologist Susan Lanser regards voice as the “intersection of social identity and textual form” (14), a definition that recognises the broader social and cultural significance of cookbooks. Since they tend to be narrated “directly” from author to readers, authorial voice serves not only to engage readers, but also to establish authors’ culinary authority. The two cookbooks analysed here are written by—and, arguably, primarily aimed at—women, and this paper contends that their authors use narrative to reclaim a powerful sense of feminine ownership. While they are just two of many contemporary cookbooks that arguably strive to achieve similar ends (Tessa Kiros’s 2010 Apples for Jam, and Monica Trapaga’s 2010 She’s Leaving Home, are two recent Australian examples), Dahl’s and Lawson’s texts are apt case studies: both are commercially successful and their authors occupy a significant space in the public imagination, particularly where women’s identity is concerned. Dahl is a former plus-size model who lost weight “rather publicly” (Dahl xi) and whose book charts the evolution of her complex relationship with food; Lawson’s books and cooking programs have seen her variously characterised as “prefeminist housewife … antifeminist Stepford wife … the saviour of downshifting middle-class career women and as both the negative and positive product of postfeminism” (Hollows 180). Dahl and Lawson narrate the knowledge and skill of their recipes in a context of experiences and memories related to their lives as mothers and/or partners and food professionals, which underscores the weight of their kitchen authority as women while still maintaining that rather mythic connection between the feminine and domestic. Sequence The introductory pages and internal structure of each book reflects both its author’s intentions, and the persona they construct within the text that speaks directly to readers. It also foregrounds the link between women and food. The link between this domesticity and feminine identity is explicit in both texts. Miss Dahl’s Voluptuous Delights is a food memoir as well as a cookbook, and Dahl’s use of narrative sequence makes this clear: in her introduction, she reveals that “the second word I ever spoke was ‘crunch,’ muddled baby-speak for fudge” (viii). Interspersed between the book’s four sections (Autumn, Winter, Spring and Summer) are essays that chart Dahl’s evolving relationship with food and cooking, framed particularly in terms of her female identity: they detail her progression from a plump-cheeked teenager unhappy about carrying a few extra pounds to a woman at ease with her body and appetite who cannot “get away from the siren call of the kitchen” (15). Dahl often introduces her recipes with reference to their personal significance, particularly in relation to cooking as an act of love or communication—“Musician’s Breakfast,” for example, is so named because it is a favourite of her boyfriend, jazz musician Jamie Cullum (152). Lawson’s book is ostensibly more practical—her chapters are arranged according to types of dish, such cakes or biscuits. She also explicitly summons the familiar vision of the woman at home in the kitchen. Although she draws on the clichéd image of the domestic goddess, her preface seems aimed at making female readers feel at ease. For example, she writes that she does not want her audience to think of baking as a “land you do not inhabit” or to “confine you to kitchen quarters” (vii); rather, her aim is to make them “feel” (vii) like a domestic goddess rather than be one, an act that might be interpreted as an attempt to put a more contemporary spin on a dated archetype.Nonetheless, throughout Lawson’s book, the prose that introduces her recipes draws on those associations between baking and homely comfort: cake-baking “implies effort and domestic prowess,” (2) but is easy in practice, and baking loaf cakes makes one feel “humble and worthy and brimming with good things” (5). Again, Lawson’s own experience—particularly as a busy mother and career woman—shapes the introductory words for each recipe and establishes a sense of her authorial persona in relation to broader social constructs of food and the feminine. Description Vivid, evocative descriptions of food and food-related memories and experiences are an integral part of what makes these texts narratively engaging, and how they continue to enforce and idealise that connection between the feminine and the domestic. Both authors frequently describe food in terms that create concepts of cosy domesticity: Lawson describes baking as a metaphor for “familial warmth” (vii), and for Dahl, roast chicken “is Sunday ... there’s something about that smell wafting through the house” (53). A distinct sense of nostalgia is at play here; as Linda Hutcheon observes, one can “look and reject” or “look and linger longingly” (online), and this apparent yearning to return to simpler times summons a “mythical past of comfort and stability” (Duruz 57), seemingly embodied in images of wholesome foods cooked for us by mothers or wives. This idea of food as emotionally nourishing is frequently related in terms of the author’s duties as domestic providers and as women who occasionally—and by choice—inhabit traditional female roles. However, Lawson and Dahl reveal the tensions between past and present: while they embrace the pleasures of old-fashioned domesticity, they do not—and cannot—wholly recreate it. Instead, they must balance it with other priorities, making space for a more liberated and contemporary female home cook who can choose to occupy a place at the stove. Of course, the title of Lawson’s book—and the wording of its preface, quoted at the start of this paper—refers explicitly to the old-fashioned idea of the domestic goddess. But Lawson aims to update or demystify the concept for today’s busy women: she expresses the view that many have become “alienated” from the domestic sphere, but that “it can actually make us feel better to claim back some of that space, make it comforting rather than frightening” (vii). While she summons very traditional images—for example, “a pie is just what we all know should be emanating from the kitchen of a domestic goddess” (81)—she also puts a new spin on them, perhaps in an attempt to make them seem less patronising or intimidating while still enforcing how satisfying it can be to feel like a domestic goddess without slaving in the kitchen. She frequently emphasises the simplicity of her recipes and describes food in terms of the pleasure it brings the cook as well as those for whom she is cooking: while baking bread brings “crucial satisfaction, that warm feeling of homespun achievement,” she also notes that “my way of baking bread is designed to fit more easily into the sort of lives we lead” (291). As Hollows notes, the “Nigella cooking philosophy” is that “cooking should be pleasurable and should start from the desire to eat” (182), a concept far removed from the traditional construct of women as “providers of food for others” who have difficulty “experiencing food as pleasurable themselves, particularly in a domestic context” (184). Dahl also emphasises pleasure, ease and practicality, and describes food in terms of its nostalgic and emotional associations, particularly in relation to her female relatives. As a child, Dahl attended boarding school, and on the last night of her holidays—before she returned to terrible school food, with its “gristly stew, grey Scotch eggs and collapsed beetroot” (7)—her mother would cook her a special dinner, and she remembers feasting on “roast chicken wrapped in bacon with tarragon creeping wistfully over its breast, potatoes golden and gloriously crispy on the outside and flaking softly from within” (7). Although Dahl’s mother taught her the importance of “cooking for your man,” this very old-fashioned idea is presented in a tongue-in-cheek way, with the caveat, “woe betide any man who doesn’t appreciate it” (73). Again, the act of cooking is described as something that brings intense domestic satisfaction, and represents a conscious choice to relive the past in a contemporary, and perhaps slightly ironic (albeit still enjoyable), context: making tawny granola “makes one feel very fifties housewife, because as it bakes the house is bathed in a warm cinnamon-y glow” (25). Such descriptions of food and cooking are both evocative and romantic, even while they emphasise convenience and practicality. This perhaps reflects the realities of modern life for busy modern women juggling work and family commitments; it emphasises that tension between the ideal of the past and the reality of the present. While Lawson and Dahl still idealise the correlation between women, food and the domestic, drawing on familiar and perhaps comforting associations, they nonetheless manage to make their cookbooks both narratively engaging and culturally revealing: as Susan Leonardi points out, recipes are an exchange between reader and writer, and they require “a recommendation, a context ... a reason to be” (340). Descriptions of memories, emotions and sensations in relation to cooking and women’s identity help to create a particular narrative “storyworld” (Herman 9) or familiar context; the authors here describe experiences that are likely to resonate with female readers to enforce that connection between women and their kitchens. Since they draw so heavily on their authors’ lives, these cookbooks are almost forms of life narrative; by drawing on their own recollections to appeal to readers and share recipes, their narrators are “performing several rhetorical acts, justifying their own perceptions, conveying cultural information” (Smith and Watson 10). This is a fundamental aspect of narrative voice: who “speaks” in the text (Genette 185). Voice Both authors use their identity as women and home cooks to enforce the feminine/domestic connection and relate to their audience. They each create a distinct narrating voice or authorial persona that speaks directly to readers and aims to win their trust and sympathy. Lawson positions herself as a busy mother and wife; Dahl focuses on her evolving relationship with food, particularly in the context of her former career as a plus-size model and her subsequent weight loss. Both women share cooking anecdotes, and often, significantly, their kitchen failures—Dahl’s recipe for asparagus soup reveals that one of her attempts at trialling the recipe resulted in soup spurting from her blender, “covering me, the walls and floor in a thick slick of green” (168). Both women write as passionate home cooks: what seems most important is a love of food and what it represents, the joy of cooking as much as the culinary skill it may require. Lanser writes that “the authority of a given voice or text is produced from a conjunction of social and rhetorical properties” (6), and both Dahl’s and Lawson’s authority comes from their domestic experience and their roles as women who cook for themselves and for the pleasure it brings them as much as for their families. Although they advocate this sense of enjoyment over duty, there remains in each text a distinctly romantic idea of what it means to cook; specifically, to be a female home cook. This is most explicit in how Dahl and Lawson narrate their texts, particularly in terms of the confidences they share. Both confess their shortcomings in relaxed and informal tones: Lawson writes about an occasion when she found herself in “dire straits” when trying to make marzipan (6), and confesses to being a “negligent mother” because all she does with her children is cook with them (209); Dahl says that she “would plant tarragon in my garden in London, but the neighbour’s cat is partial to peeing on every herb I have” (58). Both imbue their actual recipes, as well as the prose that surrounds them, with a very personal tone, offering tips and advice drawn from their own experience: Dahl advises readers to “go by instinct and taste, adding or taking away as you want” (52) and Lawson suggests leaving “a decent amount of uncooked cake batter in the bowl for scraping-out purposes” (183). Conclusion Pasupathi’s work on constructing identity in storytelling, and how recounting stories becomes a way of establishing a sense of self, is particularly relevant here; a similar concept is evident in cookbooks. Lawson and Dahl choose familiar life stories and situations that readers, (particularly female), might recognise and engage with. As Fludernik observes, narrators are integral to narrative texts, since they help to establish narrative meaning and interest (An Introduction to Narratology). The narrating voices of Dahl’s and Lawson’s cookbooks foreground their identity as women and home cooks to highlight experiences and issues relevant to women. All three of the narrative strategies discussed in this paper contribute to this. Both texts do, to a degree, enforce cultural stereotypes—most obviously, the idea of a woman’s kitchen as a kind of natural habitat—but they also emphasise the pleasures of cooking. Despite the clichéd imagery and heavy nostalgia, Dahl’s and Lawson’s appropriation of the domestic goddess image exposes and reconfigures the contradictions between the idealised past and more liberated present; offering female readers and cooks “beguiling possibilities … for re-enactment” (Duruz 57). Lawson and Dahl’s use of narrative strategies not only makes their texts more engaging to read, but reflects the social and cultural relevance of cookbooks, and how they can embody and reshape our engrained values and ideas. In their own way, they seek to affirm the female domestic experience and position it as something celebratory rather than oppressive. Perhaps no one puts it so aptly as Lawson: “I know the idea of being in the kitchen faffing around with bottles and jars and hot pans might seem confining to many, but honestly, I have found it liberating. The sense of connectedness you get, with your kitchen, your home, your food, is the very opposite of constraint” (334). This seems an apt reflection of cookbooks’ narrative power and ability to explore fundamental social and cultural ideas; they engage us, inspire us and entertain us. References Bal, Mieke. Introduction to the Theory of Narrative. Toronto: U of Toronto P, 1997. Bower, Anne. “Romanced by Cookbooks.” Gastronomica 4.2 (2004): 35–42. Dahl, Sophie. Miss Dahl’s Voluptuous Delights. London: HarperCollins, 2009. Duruz, Jean. “Haunted Kitchens: Cooking and Remembering.” Gastronomica 4.1 (2004): 57–68. Fludernik, Monica. An Introduction to Narratology. New York: Routledge, 2009. Fludernik, Monica. “Histories of Narrative (II): From Structuralism to the Present.” A Companion to Narrative Theory. Eds. James Phelan and Peter J. Rabinowitz. Hoboken: Blackwell, 2005. Blackwell Reference Online. 4 Apr. 2013. Genette, Gerard. Narrative Discourse: An Essay in Method. Trans. Jane E. Lewin. New York: Cornell UP, 1980. Gvion, Liora. “What’s Cooking in America? Cookbooks Narrate Ethnicity: 1850–1990.” Food, Culture, and Society 7.1 (2004): 53–76. Herman, David. Story Logic: Problems and Possibilities of Narrative. Lincoln: U of Nebraska P, 2002. Hollows, Joanne. “Feeling Like a Domestic Goddess: Postfeminism and Cooking.” European Journal of Cultural Studies 6.2 (2003): 179–202. Hutcheon, Linda. “Irony, Nostalgia, and the Postmodern.” U of Toronto English Library, 1998. 21 Oct. 2010. ‹http://www.library.utoronto.ca/utel/criticism/hutchinp.html›. Lanser, Susan. Fictions of Authority: Women Writers and Narrative Voice. New York: Cornell UP, 1992. Lawson, Nigella. How to be a Domestic Goddess. London: Chatto & Windus, 2000. Leonardi, Susan. “Recipes for Reading: Summer Pasta, Lobster á la Riseholme, and Key Lime Pie.” Modern Language Association 104.3 (1989): 340–47. Lupton, Deborah. “Food and Emotion.” The Taste Culture Reader: Experiencing Food and Drink. Ed. Carolyn Korsmeyer. Oxford: Berg, 2005. 317–24. Mintz, Sidney. “Sweetness and Meaning.” The Taste Culture Reader: Experiencing Food and Drink. Ed. Carolyn Korsmeyer. Oxford: Berg, 2005. 110–22. Pasupathi, Monisha. “Silk from Sow’s Ears: Collaborative Construction of Everyday Selves in Everyday Stories.” Identity and Story: Creating Self in Narrative. Ed. Dan P. McAdams, Ruthellen Josselson, and Amia Lieblich. Vol. 4. Washington, DC: APA, 2006. 129–50. Prince, Gerald. Narratology: The Form and Function of Narrative. Berlin: Mouton, 1982. Smith, Sidonie, and Julia Watson. Reading Autobiography: A Guide to Interpreting Life Narratives. Minneapolis: U of Minnesota P, 2001.

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Purpose Flowers and fruits of Madhuca longifolia (Koenig) (mahua) tree are edible and used as traditional Indian medicines. The physicochemical properties of different parts of mahua are investigated. This study aims to estimate the different mineral contents, polyphenols compounds and antioxidant activities by 2,2-diphenyl-1-picrylhydrazyl inhibition, reducing power, free radical scavenging activity using 2,2'-azino-bis (3-ethylbenzothiazoline-6-sulfonic acid) and ferric reducing antioxidant power assays of mahua flower, ripe and unripe fruit. Design/methodology/approach Flavonoids were identified and quantified in yellow flowers and fruits of M. longifolia tree by high-performance liquid chromatography with diode array detector. Low molecular weight carbohydrates were determined by the ICBio scan, a specific method for determining of carbohydrates. Mineral content is determined by laser-induced breakdown spectroscopy (LIBS) and atomic absorption spectroscopy. Physicochemical, nutritional and mineral properties of mahua flower, ripe and unripe fruit were investigated by the statistical approach of principal component analysis (PCA). Findings Ascorbic acid, gallic acid (GA), quercetin and myrcetin were the phenolic compounds identified and quantified in mahua flower and fruit extracts. Sugar profiling of mahua flowers and fruits confirmed the presence of inositol, sorbitol, mannitol, dextrose, fructose, sucrose, raffinose and maltose. The mineral content of Na, K, Mg and Ca was present in quite a good amount in all samples. Total phenolic content (TPC) was significantly high in mahua flower (25.3 ± 1.0 mg GA equivalent/g FW) followed by mahua unripe (15.8 ± 1.0 mg GA equivalent/g FW) and ripe fruit (14.3 ± 1.0 mg GA equivalent/g FW) at p = 5%. In contrast, total flavonoid contents (TFCs) were highest in ripe fruit, then mahua flower and unripe fruit. Positive correlations were predicted by PCA for mahua flower with TPC, antioxidant activity assays and minerals except for Na; ripe fruit with TFC and Na; and unripe fruit with maltose and sorbitol. Originality/value This study demonstrates the application of LIBS for the determination of elements present in the mahua flowers and fruits and reveals that mahua can be a good source of nutrients. Sugar profiling of mahua flower showed that it is a rich source of reducing and non-reducing sugar, proving that mahua flower juice can be used as a natural sweetener in the development of different food products, namely, biscuits, cookies, cake, jam, jelly, juice and squash.

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In March 2020, co-authors burrough and Starnaman with Technical Director Dale MacDonald had just finished collaborating on a work of computational art, A Kitchen of One’s Own, for The Photographers’ Gallery in London. In this essay we discuss the genealogy of our Zoom performance, Epic Handwashing for Synchronous Participation, which was an extension of two earlier projects—one that was derailed due to COVID-19, and the other that resulted from our pivot towards reflecting on the pandemic experience. Our performance was a response to, and offered a collaborative moment of reflection on, the uncertain moment in time of living in a global pandemic and understanding our experience through participatory art. A Kitchen of One’s Own was commissioned for “Data/Set/Match”—a year-long program dedicated to analysing, interpreting, and visualising image datasets (burrough, Starnaman, and MacDonald). The image dataset we interpreted is Epic Kitchens’ 2018 collection. Epic Kitchens is a dataset of videos collected by a group of researchers whose participants create non-scripted recordings of daily activities in kitchens. It is the largest known dataset produced using first-person vision. Researchers assign each recorded action with a verb like “wash”, “peel”, “toast”, or “rub” to describe and categorise the event. Our project juxtaposed the videos from Epic Kitchens with quotes from a dataset created by Starnaman with research assistant Alyssa Yates. This work was scheduled for installation on the approximately nine by nine-foot media wall, viewable to the public inside the gallery and to passersby on the street in London’s SoHo neighborhood. However, the work was not sent until May because of the COVID-19 lockdowns in London and Dallas. Thus, feeling trapped and frustrated in our respective homes, totally separated by quarantine, but close in distance, we responded to our historical moment with art. Figure 1: xtine burrough and Sabrina Starnaman with technical direction by Dale MacDonald, A Kitchen of One’s Own, single frame on the media wall seen from Ramilles Street. The Photographers’ Gallery, London, October 2020. A Kitchen of One’s Own explored personal and domestic kitchen spaces as mundane, politically-charged, and inspirational (fig. 1). The familiar, comforting space of the home kitchen became charged with domestic tropes of the pandemic: hand washing, sanitising, and cooking. We explained, A Kitchen of One’s Own is a speculative remix that confronts Epic Kitchens, a dataset of first-person cooking videos, with quotes from articles and social media posts on sexual harassment in professional and domestic kitchens, podcasts about the kitchen as a political space, and reflective texts by women authors about food and cooking. (burrough, Starnaman, and MacDonald, “Kitchen”) Taking inspiration from our Kitchen project, we pivoted for audiences online with a browser-based project, Epic Hand Washing in a Time of Lost Narratives. This project (fig. 2) showcases 68 videos found in Epic Kitchens’ 2018 dataset that had been tagged by researchers with the keywords “wash” or “hand”, which burrough and MacDonald optimised for the web browser and republished in a showcase on Vimeo (burrough, Starnaman, and MacDonald, “Epic”). Starnaman and burrough developed a new dataset of complementary quotes for this iteration including selections from literature written during or about pandemics such as the bubonic plague and the global influenza pandemic of 1918-19. Figure 2: Epic Hand Washing in a Time of Lost Narratives. Browser-based project for The Photographers’ Gallery and Unthinking Photography. March 2020 (https://unthinking.photography/projects/epichandwashing/). We developed Epic Hand Washing for Synchronous Participation (fig. 3) as a Zoom performance of our browser-based project for a virtual engagement session at the Electronic Literature Organization’s (ELO) conference in the summer of 2020 (burrough and Starnaman, “Epic”). In this article, we illustrate these projects as a series of interrelated investigations, and centre on the Zoom performance, Epic Hand Washing for Synchronous Participation. We then reflect on the way these works engage a range of public audiences and participants. Figure 3: xtine burrough and Sabrina Starnaman, Epic Hand Washing for Synchronous Participation. Virtual engagement session and participatory performance hosted on Zoom for the ELO conference. This still frame shows a final group performance of hand washing at 21:56 (the complete session was 27:32). July 2020. Blurring Boundaries: Audiences, Participants, Maintenance, and Labour Our past projects demonstrate our commitment to participatory creative practices in which the boundary between audience members, performers, and participants is blurred in the generation of the work of art. Our earliest collaboration, The Laboring Self, was an installation of cardboard cut to the shape of virtual workers’ hands. We collected tracings of hands from workers on Amazon.com’s Mechanical Turk work platform and laser-cut them from recycled Amazon boxes. In the gallery we invited participants to inscribe or embroider the hands with statements about work before adding them to The Laboring Self installation. Audience members shared their stories, sentiments, anxieties, and hopes about the labour they perform in their everyday lives on hands that crowded a wall space during the span of the exhibition (fig. 4). This work was inspired by Mierle Laderman Ukeles's 1970s feminist performances in maintenance art, which elevated care-taking and everyday “maintenance” activities to the platform of fine art. In Manifesto for Maintenance Art 1969!, Ukeles confronts the boundary between her everyday performance as a mother, woman, and artist. In particular, with regard to maintenance, Ukeles proposes to “simply do these maintenance everyday things, and flush them up to consciousness, exhibit them, as Art” (qtd. in Burnham). So too, we exhibited the hands of hidden workers to bring visibility to the invisible and asked audience members to become participants by putting on view their own reflections on the various forms of labour they embody. Figure 4: xtine burrough and Sabrina Starnaman, The Laboring Self, installation view approximately 8 by 10 feet. The Dallas Museum of Art Center for Creative Connections. October 2017-January 2018. For our more recent Zoom-based performance, Epic Hand Washing for Synchronous Participation, we again focus on the hands of our audience members-turned participatory performers. As Ukeles used her hands to wash the steps of an urban museum, turning often invisible labour visible through performance, we sought to make the private act of hand washing—an act of personal protection and civic duty—a public performance in the digital town square. The individual hand, which has been central to our work in the past, synecdochally represents the worker, or in this case the person-turned-public-health-citizen. In a world of ubiquitous Zoom calls, the focus is almost always on our faces, our bodies cut off around the shoulders or mid-torso. Hands are but a fleeting on-screen guest. Yet, for this performance, our hands were at the centre of the screen, standing in for our physical effort and existential fear. Directions for Participants Before our performance, we shared this set of directions with participants: Prepare to wash your hands on Zoom in real time by setting up a camera to live stream or recruit a person to film you near your sink. Log into the Zoom link provided. Wash your hands on camera for 20 seconds while we read along with your performance. Notes from the Live Event On 18 July 2020, about 24 people participated in our event as solo participants, as couples, and as families on one Zoom call. The invitation to this project included the instruction to be camera-ready for hand washing at any household sink, so our participatory public entered the call from their kitchens and bathrooms. Before our formal introduction, a couple of tech-savvy kids drew on the Zoom screen (fig. 5), initiating a spirit of playfulness that the adults on the call stepped right into. While we had anticipated this event would elicit a sense of communal action, we were not prepared for just how community- and play-starved we all were. Figure 5: Opening Title Slide, Epic Hand Washing for Synchronous Participation. ELO Virtual Engagement Session. 18 July 2020. We set the stage for the performance by introducing Epic Hand Washing in a Time of Lost Narratives, our spring 2020 browser-based project, and gave participants a moment to click through it and to read the texts we had culled for our database of “pandemic quotes” (burrough and Starnaman, “Epic Hand Washing Text Dataset”). Then we explained that our facilitator and Zoom host, John Murray, would be calling on the participants one at a time to wash their hands, while we took turns reading quotes from our archive. The first participant quietly washed their hands, and the pairing of our first quote created a serious tone: “so, at the bidding of the queen, they washed their hands, and all took their places…” (Boccaccio 26). However, the rhythm of the call and response, and the joy of witnessing each other in our various households across the globe, lightened the experience. We, along with participants, reveled in the intimate hygienic dance of hand washing at kitchen sinks and bathroom vanities; one after another we shifted our presence to another person’s living quarters and joined them at the sink. This was a truly mixed, global group. Scholars and artists for whom ELO is a disciplinary home rubbed virtual shoulders with our friends and their own friends who would not have attended ELO otherwise. This event replicated the same kind of shared experience across time and space that the archive of pandemic and hand washing texts elicited. These texts bring humanity together through the calamity of plague and disease, allowing for a sense of larger community, and that is exactly what we saw on the screen: human experience mediated by the screen in conversation with writers across time and connected by the word. Moreover, this event took place in July 2020, a time of “early pandemic”, a time when the complete unknown of the epidemic had given way to the acceptance of quarantining, but before the exhaustion and cynicism of The Long Confinement and Zoom fatigue had fully set in. Thus, we saw an enthusiasm to connect and play with the medium in a way that might have been impossible eight months later. Synchronous Participation as a Performance While the complete performance is archived on the ELO website, we have excerpted a clip from the performance for analysis (burrough and Starnaman, “Excerpt”). It is a 2:15 clip from the middle of the performance, during which we took turns reading quotes from our database while participants washed their hands on camera, one at a time. We showcase this selection of the performance to highlight the repetition embedded in the script. Our directions for participants and our moderator, John Murray, became repetitive mantras throughout the performance, while the reading of the quotes gave participants space to wash their hands. We read four quotes for each participant, which we measured to leave approximately thirty seconds of time for hand washing. We wanted participants to wash their hands for at least 20 seconds, following the Centers for Disease Control’s (CDC) guidelines, and we predicted that there would be moments when we would begin reading but participants would not yet be washing their hands. Since their performances were out of our control, we decided to read for slightly more than twenty seconds for each participant. From 0 to 22 seconds, Sabrina and our moderator, John Murray, enact the transitional directions between participants. At the start of the clip, Sabrina thanks the participants who have just finished washing their hands—our friends’ twin children, Cora and Henry, who fill the screen in Zoom’s Spotlight mode until eight seconds. The twins are at a double-vanity, washing their hands in coordinated outfits, and moving towards separate towels at the left and right sides of the screen at six seconds. At eight seconds Sabrina is spotlighted. She directs our moderator with the same “set-up phrase” that we repeat throughout the performance: “please mute everyone but us and the next selected hand washer, and don’t forget to change the spotlight to them. When you’re ready, announce who will begin washing their hands.” From 12 to 22 seconds participants are visible in Gallery View while John announces that Tina Escaga will wash their hands next (fig. 6). From 0:22 to 1:07 Tina appears in Spotlight mode. The screen is filled with Tina in the bathroom washing their hands with a white bar of soap. The next set of four quotes are read by xtine, as we watch Tina perform hand washing: "Can we not contrive that he somehow wash himself a little, that he stink not so shrewdly?” (Boccaccio 149). “We are now close to a well, which is never without the pulley and a large bucket; ’tis but a step thither, and we will wash him out of hand” (Boccaccio 149). “Among the drawbacks of illness as matter for literature there is the poverty of the language” (Woolf 33). “English, which can express the thoughts of Hamlet and the tragedy of Lear, has no words for the shiver and the headache” (Woolf 34). Figure 6: Tina washes their hands at the sink with a white bar of soap. From 1:01 to 1:29 xtine thanks Tina, repeats the set-up phrase to John, and John announces that Renee Carmichael is the next performer. The spotlight shifts from Tina to xtine to Gallery View to Renee. From 1:29 to 2:00 Renee appears at their kitchen sink and washes their hands in Spotlight mode as Sabrina can be heard reading the following four quotes: “We’ve not seen anything of the sort before...” (Camus 6). “The truth is that everyone is bored, and devotes himself to cultivating habits” (Camus 1). “It becomes strange indeed that illness has not taken its place with love, battle, and jealousy among the prime themes of literature” (Woolf 32). “They determined to attach him to the rope, and lower him into the well, there to wash himself...” (Boccaccio 149). From 2:00 to 2:15 Sabrina thanks Renee, repeats the set-up phrase, and John announces “OK, next up, Leo”. From 2:00 to 2:07 we see Sabrina in Spotlight mode, at 2:07 to 2:15 participants are visible in Gallery View, and though this clip ends at 2:15, in the full-length documentation of the performance, Leo is next seen in the Spotlight. In this short clip, it is evident that the repetition of the performance directions sets the stage for our audience / guests / performers, who voluntarily came to this ELO virtual engagement without prior rehearsal. Cora and Henry, Tina, and Renee are prepared with the camera near their sinks and wash their hands for the complete duration of our reading. Tina and Renee (and all of our adult participants) are seen in the video wearing headphones or earbuds for their performance. Our directions did not advise this, but we were encouraged to see that the participants thought ahead about their technical engagement. We also did not advise participants to turn off the water while they were scrubbing their hands. If we were to restage the event, we would include this for water sustainability purposes. It should not be so surprising to us, but we are still amazed at how thoroughly all of our participants washed their hands. Clearly, our performers had watched the directions provided by the CDC for washing viral matter from our bodies. Conclusion Our original project A Kitchen of One’s Own had viewers peering into the recorded kitchen scenes of anonymous participants in person at The Photographers’ Gallery or through the gallery window on Ramillies Street in SoHo, London. Viewers watched the private actions of strangers in their kitchens while being presented with various texts. Some offered descriptions of sexual harassment in often famous professional kitchens and others, the meditations of women about the significance of creation in their home kitchen. This developed an exploration of the significance of women’s experience in place. While fewer people were able to visit the gallery installation, A Kitchen of One’s Own, in London due to the pandemic, many people viewed Epic Hand Washing in a Time of Lost Narrative online. Epic Hand Washing for Synchronous Participation put the audience in the domestic space while sharing the historic, traumatic experience of a pandemic, dislocated across time. It invited an entirely online audience to experience a live performance of hand washing at the sinks of strangers and friends, fully mediated through screens on both sides. Epic Hand Washing for Synchronous Participation did exactly what we named it to do—engage people in a live, synchronous elevation of a mundane human action in a personal, yet ubiquitous space to a work of art, while experiencing the asynchronous voices of people who had already lived through global pandemics. This iteration offered us the embodied experience we had originally envisioned for A Kitchen of One’s Own. As a result of the pandemic, people in technologically connected communities are intimately familiar with the online interactive public that was once the realm of digitally savvy producers and users. This reality thus broadens the audience for our online projects. Our previous browser-based art and archive project An Archive of Unnamed Women was largely visited at workshops and conference presentations that we hosted. In previous projects like The Laboring Self, which was installed at the DMA and in the lobby of the California State University, San Marcos library, we transformed library patrons into a participatory-art public. In a moment of transformation, Epic Hand Washing for Synchronous Participation reinvented the pedestrian action of hand washing, like turning an ordinary visit to the library into an encounter with art. Similarly, it reinvented the ubiquitous act of hand washing into a live-for-Zoom performance. We are intrigued by transformation, and this shows in the way we accompany a project though many different forms before moving on to something completely different; our work is iterative by nature. A Kitchen of One’s Own germinated from our project An Archive of Unnamed Women, which pairs images of unnamed women from the New York Public Library with textual selections from fiction by women about women (“Archive of Unnamed Women”). That project engaged the archive and sought to reclaim these women from the obscurity of history. A Kitchen of One's Own took us into the kitchen, exploring what it means for women to labour and create in kitchens, both in ease and amid the duress of sexism and sexual harassment, through videos paired with text. With the pandemic arising in the U.S. and Europe in Spring 2020, we were swept up into the shared confusion, and like so many, we sought to make sense of a moment so catastrophic. We turned to writers of the past who had endured plagues and epidemics to help us gain clarity, creating a video and text synthesis that again allows for speculative meaning-making through fortuitous pairings. Presently, we are evolving this project from pandemic to enlightenment, with an iteration that takes up as inspiration the Instructions for the Zen Cook by thirteenth century Zen Master Eihei Dōgen Zenji. Epic Hand Washing for Synchronous Participation is an iterative work arising from the tensions of a time in transformative upheaval. It was one way we sought to make sense and bring people together in a playful experience that was beyond easy understanding. References Boccaccio, Giovanni. The Decameron. Filippo and Bernardo Giunti: 1370-71. Coradella Collegiate Bookshelf Edition. <http://flc.ahnu.edu.cn/__local/7/E7/75/6AB8DEBA692DD0CF6790CA70701_26DE4EC2_17EED4.pdf?e=.pdf>. Burnham, Jack. “Problems of Criticism IX: Art and Technology.” ArtForum (Jan. 1971). <http://www.artforum.com/print/197101/problems-of-criticism-ix-art-and-technology-38921>. burrough, xtine, and Sabrina Starnaman. “Epic Hand Washing for Synchronous Participation.” Electronic Literature Organization Virtual Engagement Session. July 2020. <http://stars.library.ucf.edu/elo2020/live/events/12>. ———. “Excerpt of ELO Virtual Engagement, ‘Epic Hand Washing for Synchronous Participation’ (2:15).” Vimeo, 19 May 2021. <http://vimeo.com/xtineburrough/elo-zoom>. ———. The Laboring Self. Dallas Museum of Art Center for Creative Connections. Oct. 2017 to Jan. 2018. <http://dma.org/visit-center-creative-connections-community-projects/laboring-self>. ———. Epic Hand Washing in a Time of Lost Narratives: Text Dataset. Mar. 2020. <http://drive.google.com/file/d/1hSV-9l_ETTOruBpI-NCOChjuPtprlZue/view>. ———. An Archive of Unnamed Women. Browser-based project. Oct. 2019. <http://visiblewomen.net/unnamed-women/index.html>. burrough, xtine, and Sabrina Starnaman, with Technical Direction from Dale MacDonald. “A Kitchen of One’s Own.” The Photographers’ Gallery, 1-28 Oct. 2020. <http://thephotographersgallery.org.uk/akitchenofonesown>. ———. “Epic Hand Washing.” Vimeo. <https://vimeo.com/showcase/4611141>. Camus, Albert. The Plague. Gallimard, 1947. <http://antilogicalism.com/wp-content/uploads/2018/03/the-plague.pdf>. Woolf, Virginia. “On Being Ill.” The Criterion, 1926. <http://thenewcriterion1926.files.wordpress.com/2014/12/woolf-on-being-ill.pdf>.

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Perhaps nothing in media culture today makes clearer the connection between people’s bodies and their homes than the Emmy-winning reality TV program Extreme Makeover: Home Edition. Home Edition is a spin-off from the original Extreme Makeover, and that fact provides in fundamental form the strong connection that the show demonstrates between bodies and houses. The first EM, initially popular for its focus on cosmetic surgery, laser skin and hair treatments, dental work, cosmetics and wardrobe for mainly middle-aged and self-described unattractive participants, lagged after two full seasons and was finally cancelled entirely, whereas EMHE has continued to accrue viewers and sponsors, as well as accolades (Paulsen, Poniewozik, EMHE Website, Wilhelm). That viewers and the ABC network shifted their attention to the reconstruction of houses over the original version’s direct intervention in problematic bodies indicates that sites of personal transformation are not necessarily within our own physical or emotional beings, but in the larger surround of our environments and in our cultural ideals of home and body. One effect of this shift in the Extreme Makeover format is that a seemingly wider range of narrative problems can be solved relating to houses than to the particular bodies featured on the original show. Although Extreme Makeover featured a few people who’d had previously botched cleft palate surgeries or mastectomies, as Cressida Heyes points out, “the only kind of disability that interests the show is one that can be corrected to conform to able-bodied norms” (22). Most of the recipients were simply middle-aged folks who were ordinary or aged in appearance; many of them seemed self-obsessed and vain, and their children often seemed disturbed by the transformation (Heyes 24). However, children are happy to have a brand new TV and a toy-filled room decorated like their latest fantasy, and they thereby can be drawn into the process of identity transformation in the Home Edition version; in fact, children are required of virtually all recipients of the show’s largess. Because EMHE can do “major surgery” or simply bulldoze an old structure and start with a new building, it is also able to incorporate more variety in its stories—floods, fires, hurricanes, propane explosions, war, crime, immigration, car accidents, unscrupulous contractors, insurance problems, terrorist attacks—the list of traumas is seemingly endless. Home Edition can solve any problem, small or large. Houses are much easier things to repair or reconstruct than bodies. Perhaps partly for this reason, EMHE uses disability as one of its major tropes. Until Season 4, Episode 22, 46.9 percent of the episodes have had some content related to disability or illness of a disabling sort, and this number rises to 76.4 percent if the count includes families that have been traumatised by the (usually recent) death of a family member in childhood or the prime of life by illness, accident or violence. Considering that the percentage of people living with disabilities in the U.S. is defined at 18.1 percent (Steinmetz), EMHE obviously favours them considerably in the selection process. Even the disproportionate numbers of people with disabilities living in poverty and who therefore might be more likely to need help—20.9 percent as opposed to 7.7 percent of the able-bodied population (Steinmetz)—does not fully explain their dominance on the program. In fact, the program seeks out people with new and different physical disabilities and illnesses, sending out emails to local news stations looking for “Extraordinary Mom / Dad recently diagnosed with ALS,” “Family who has a child with PROGERIA (aka ‘little old man’s disease’)” and other particular situations (Simonian). A total of sixty-five ill or disabled people have been featured on the show over the past four years, and, even if one considers its methods maudlin or exploitive, the presence of that much disability and illness is very unusual for reality TV and for TV in general. What the show purports to do is to radically transform multiple aspects of individuals’ lives—and especially lives marred by what are perceived as physical setbacks—via the provision of a luxurious new house, albeit sometimes with the addition of automobiles, mortgage payments or college scholarships. In some ways the assumptions underpinning EMHE fit with a social constructionist body theory that posits an almost infinitely flexible physical matter, of which the definitions and capabilities are largely determined by social concepts and institutions. The social model within the disability studies field has used this theoretical perspective to emphasise the distinction between an impairment, “the physical fact of lacking an arm or a leg,” and disability, “the social process that turns an impairment into a negative by creating barriers to access” (Davis, Bending 12). Accessible housing has certainly been one emphasis of disability rights activists, and many of them have focused on how “design conceptions, in relation to floor plans and allocation of functions to specific spaces, do not conceive of impairment, disease and illness as part of domestic habitation or being” (Imrie 91). In this regard, EMHE appears as a paragon. In one of its most challenging and dramatic Season 1 episodes, the “Design Team” worked on the home of the Ziteks, whose twenty-two-year-old son had been restricted to a sub-floor of the three-level structure since a car accident had paralyzed him. The show refitted the house with an elevator, roll-in bathroom and shower, and wheelchair-accessible doors. Robert Zitek was also provided with sophisticated computer equipment that would help him produce music, a life-long interest that had been halted by his upper-vertebra paralysis. Such examples abound in the new EMHE houses, which have been constructed for families featuring situations such as both blind and deaf members, a child prone to bone breaks due to osteogenesis imperfecta, legs lost in Iraq warfare, allergies that make mold life-threatening, sun sensitivity due to melanoma or polymorphic light eruption or migraines, fragile immune systems (often due to organ transplants or chemotherapy), cerebral palsy, multiple sclerosis, Krabbe disease and autism. EMHE tries to set these lives right via the latest in technology and treatment—computer communication software and hardware, lock systems, wheelchair-friendly design, ventilation and air purification set-ups, the latest in care and mental health approaches for various disabilities and occasional consultations with disabled celebrities like Marlee Matlin. Even when individuals or familes are “[d]iscriminated against on a daily basis by ignorance and physical challenges,” as the program website notes, they “deserve to have a home that doesn’t discriminate against them” (EMHE website, Season 3, Episode 4). The relief that they will be able to inhabit accessible and pleasant environments is evident on the faces of many of these recipients. That physical ease, that ability to move and perform the intimate acts of domestic life, seems according to the show’s narrative to be the most basic element of home. Nonetheless, as Robert Imrie has pointed out, superficial accessibility may still veil “a static, singular conception of the body” (201) that prevents broader change in attitudes about people with disabilities, their activities and their spaces. Starting with the story of the child singing in an attempt at self-comforting from Deleuze and Guattari’s A Thousand Plateaus, J. MacGregor Wise defines home as a process of territorialisation through specific behaviours. “The markers of home … are not simply inanimate objects (a place with stuff),” he notes, “but the presence, habits, and effects of spouses, children, parents, and companions” (299). While Ty Pennington, EMHE’s boisterous host, implies changes for these families along the lines of access to higher education, creative possibilities provided by musical instruments and disability-appropriate art materials, help with home businesses in the way of equipment and licenses and so on, the families’ identity-producing habits are just as likely to be significantly changed by the structural and decorative arrangements made for them by the Design Team. The homes that are created for these families are highly conventional in their structure, layout, decoration, and expectations of use. More specifically, certain behavioural patterns are encouraged and others discouraged by the Design Team’s assumptions. Several themes run through the show’s episodes: Large dining rooms provide for the most common of Pennington’s comments: “You can finally sit down and eat meals together as a family.” A nostalgic value in an era where most families have schedules full of conflicts that prevent such Ozzie-and-Harriet scenarios, it nonetheless predominates. Large kitchens allow for cooking and eating at home, though featured food is usually frozen and instant. In addition, kitchens are not designed for the families’ disabled members; for wheelchair users, for instance, counters need to be lower than usual with open space underneath, so that a wheelchair can roll underneath the counter. Thus, all the wheelchair inhabitants depicted will still be dependent on family members, primarily mothers, to prepare food and clean up after them. (See Imrie, 95-96, for examples of adapted kitchens.) Pets, perhaps because they are inherently “dirty,” are downplayed or absent, even when the family has them when EMHE arrives (except one family that is featured for their animal rescue efforts); interestingly, there are no service dogs, which might obviate the need for some of the high-tech solutions for the disabled offered by the show. The previous example is one element of an emphasis on clutter-free cleanliness and tastefulness combined with a rampant consumerism. While “cultural” elements may be salvaged from exotic immigrant families, most of the houses are very similar and assume a certain kind of commodified style based on new furniture (not humble family hand-me-downs), appliances, toys and expensive, prefab yard gear. Sears is a sponsor of the program, and shopping trips for furniture and appliances form a regular part of the program. Most or all of the houses have large garages, and the families are often given large vehicles by Ford, maintaining a positive take on a reliance on private transportation and gas-guzzling vehicles, but rarely handicap-adapted vans. Living spaces are open, with high ceilings and arches rather than doorways, so that family members will have visual and aural contact. Bedrooms are by contrast presented as private domains of retreat, especially for parents who have demanding (often ill or disabled) children, from which they are considered to need an occasional break. All living and bedrooms are dominated by TVs and other electronica, sometimes presented as an aid to the disabled, but also dominating to the point of excluding other ways of being and interacting. As already mentioned, childless couples and elderly people without children are completely absent. Friends buying houses together and gay couples are also not represented. The ideal of the heterosexual nuclear family is thus perpetuated, even though some of the show’s craftspeople are gay. Likewise, even though “independence” is mentioned frequently in the context of families with disabled members, there are no recipients who are disabled adults living on their own without family caretakers. “Independence” is spoken of mostly in terms of bathing, dressing, using the bathroom and other bodily aspects of life, not in terms of work, friendship, community or self-concept. Perhaps most salient, the EMHE houses are usually created as though nothing about the family will ever again change. While a few of the projects have featured terminally ill parents seeking to leave their children secure after their death, for the most part the families are considered oddly in stasis. Single mothers will stay single mothers, even children with conditions with severe prognoses will continue to live, the five-year-old will sleep forever in a fire-truck bed or dollhouse room, the occasional grandparent installed in his or her own suite will never pass away, and teenagers and young adults (especially the disabled) will never grow up, marry, discover their hom*osexuality, have a falling out with their parents or leave home. A kind of timeless nostalgia, hearkening back to Gaston Bachelard’s The Poetics of Space, pervades the show. Like the body-modifying Extreme Makeover, the Home Edition version is haunted by the issue of normalisation. The word ‘normal’, in fact, floats through the program’s dialogue frequently, and it is made clear that the goal of the show is to restore, as much as possible, a somewhat glamourised, but status quo existence. The website, in describing the work of one deserving couple notes that “Camp Barnabas is a non-profit organisation that caters to the needs of critically and chronically ill children and gives them the opportunity to be ‘normal’ for one week” (EMHE website, Season 3, Episode 7). Someone at the network is sophisticated enough to put ‘normal’ in quotation marks, and the show demonstrates a relatively inclusive concept of ‘normal’, but the word dominates the show itself, and the concept remains largely unquestioned (See Canguilhem; Davis, Enforcing Normalcy; and Snyder and Mitchell, Narrative, for critiques of the process of normalization in regard to disability). In EMHE there is no sense that disability or illness ever produces anything positive, even though the show also notes repeatedly the inspirational attitudes that people have developed through their disability and illness experiences. Similarly, there is no sense that a little messiness can be creatively productive or even necessary. Wise makes a distinction between “home and the home, home and house, home and domus,” the latter of each pair being normative concepts, whereas the former “is a space of comfort (a never-ending process)” antithetical to oppressive norms, such as the association of the home with the enforced domesticity of women. In cases where the house or domus becomes a place of violence and discomfort, home becomes the process of coping with or resisting the negative aspects of the place (300). Certainly the disabled have experienced this in inaccessible homes, but they may also come to experience a different version in a new EMHE house. For, as Wise puts it, “home can also mean a process of rationalization or submission, a break with the reality of the situation, self-delusion, or falling under the delusion of others” (300). The show’s assumption that the construction of these new houses will to a great extent solve these families’ problems (and that disability itself is the problem, not the failure of our culture to accommodate its many forms) may in fact be a delusional spell under which the recipient families fall. In fact, the show demonstrates a triumphalist narrative prevalent today, in which individual happenstance and extreme circ*mstances are given responsibility for social ills. In this regard, EMHE acts out an ancient morality play, where the recipients of the show’s largesse are assessed and judged based on what they “deserve,” and the opening of each show, when the Design Team reviews the application video tape of the family, strongly emphasises what good people these are (they work with charities, they love each other, they help out their neighbours) and how their situation is caused by natural disaster, act of God or undeserved tragedy, not their own bad behaviour. Disabilities are viewed as terrible tragedies that befall the young and innocent—there is no lung cancer or emphysema from a former smoking habit, and the recipients paralyzed by gunshots have received them in drive-by shootings or in the line of duty as police officers and soldiers. In addition, one of the functions of large families is that the children veil any selfish motivation the adults may have—they are always seeking the show’s assistance on behalf of the children, not themselves. While the Design Team always notes that there are “so many other deserving people out there,” the implication is that some people’s poverty and need may be their own fault. (See Snyder and Mitchell, Locations 41-67; Blunt and Dowling 116-25; and Holliday.) In addition, the structure of the show—with the opening view of the family’s undeserved problems, their joyous greeting at the arrival of the Team, their departure for the first vacation they may ever have had and then the final exuberance when they return to the new house—creates a sense of complete, almost religious salvation. Such narratives fail to point out social support systems that fail large numbers of people who live in poverty and who struggle with issues of accessibility in terms of not only domestic spaces, but public buildings, educational opportunities and social acceptance. In this way, it echoes elements of the medical model, long criticised in disability studies, where each and every disabled body is conceptualised as a site of individual aberration in need of correction, not as something disabled by an ableist society. In fact, “the house does not shelter us from cosmic forces; at most it filters and selects them” (Deleuze and Guattari, What Is Philosophy?, qtd. in Frichot 61), and those outside forces will still apply to all these families. The normative assumptions inherent in the houses may also become oppressive in spite of their being accessible in a technical sense (a thing necessary but perhaps not sufficient for a sense of home). As Tobin Siebers points out, “[t]he debate in architecture has so far focused more on the fundamental problem of whether buildings and landscapes should be universally accessible than on the aesthetic symbolism by which the built environment mirrors its potential inhabitants” (“Culture” 183). Siebers argues that the Jamesonian “political unconscious” is a “social imaginary” based on a concept of perfection (186) that “enforces a mutual identification between forms of appearance, whether organic, aesthetic, or architectural, and ideal images of the body politic” (185). Able-bodied people are fearful of the disabled’s incurability and refusal of normalisation, and do not accept the statistical fact that, at least through the process of aging, most people will end up dependent, ill and/or disabled at some point in life. Mainstream society “prefers to think of people with disabilities as a small population, a stable population, that nevertheless makes enormous claims on the resources of everyone else” (“Theory” 742). Siebers notes that the use of euphemism and strategies of covering eventually harm efforts to create a society that is home to able-bodied and disabled alike (“Theory” 747) and calls for an exploration of “new modes of beauty that attack aesthetic and political standards that insist on uniformity, balance, hygiene, and formal integrity” (Culture 210). What such an architecture, particularly of an actually livable domestic nature, might look like is an open question, though there are already some examples of people trying to reframe many of the assumptions about housing design. For instance, cohousing, where families and individuals share communal space, yet have private accommodations, too, makes available a larger social group than the nuclear family for social and caretaking activities (Blunt and Dowling, 262-65). But how does one define a beauty-less aesthetic or a pleasant home that is not hygienic? Post-structuralist architects, working on different grounds and usually in a highly theoretical, imaginary framework, however, may offer another clue, as they have also tried to ‘liberate’ architecture from the nostalgic dictates of the aesthetic. Ironically, one of the most famous of these, Peter Eisenman, is well known for producing, in a strange reversal, buildings that render the able-bodied uncomfortable and even sometimes ill (see, in particular, Frank and Eisenman). Of several house designs he produced over the years, Eisenman notes that his intention was to dislocate the house from that comforting metaphysic and symbolism of shelter in order to initiate a search for those possibilities of dwelling that may have been repressed by that metaphysic. The house may once have been a true locus and symbol of nurturing shelter, but in a world of irresolvable anxiety, the meaning and form of shelter must be different. (Eisenman 172) Although Eisenman’s starting point is very different from that of Siebers, it nonetheless resonates with the latter’s desire for an aesthetic that incorporates the “ragged edge” of disabled bodies. Yet few would want to live in a home made less attractive or less comfortable, and the “illusion” of permanence is one of the things that provide rest within our homes. Could there be an architecture, or an aesthetic, of home that could create a new and different kind of comfort and beauty, one that is neither based on a denial of the importance of bodily comfort and pleasure nor based on an oppressively narrow and commercialised set of aesthetic values that implicitly value some people over others? For one thing, instead of viewing home as a place of (false) stasis and permanence, we might see it as a place of continual change and renewal, which any home always becomes in practice anyway. As architect Hélène Frichot suggests, “we must look toward the immanent conditions of architecture, the processes it employs, the serial deformations of its built forms, together with our quotidian spatio-temporal practices” (63) instead of settling into a deadening nostalgia like that seen on EMHE. If we define home as a process of continual territorialisation, if we understand that “[t]here is no fixed self, only the process of looking for one,” and likewise that “there is no home, only the process of forming one” (Wise 303), perhaps we can begin to imagine a different, yet lovely conception of “house” and its relation to the experience of “home.” Extreme Makeover: Home Edition should be lauded for its attempts to include families of a wide variety of ethnic and racial backgrounds, various religions, from different regions around the U.S., both rural and suburban, even occasionally urban, and especially for its bringing to the fore how, indeed, structures can be as disabling as any individual impairment. That it shows designers and builders working with the families of the disabled to create accessible homes may help to change wider attitudes and break down resistance to the building of inclusive housing. However, it so far has missed the opportunity to help viewers think about the ways that our ideal homes may conflict with our constantly evolving social needs and bodily realities. References Bachelard, Gaston. The Poetics of Space. Tr. Maria Jolas. Boston: Beacon Press, 1969. Blunt, Alison, and Robyn Dowling. Home. London and New York: Routledge, 2006. Canguilhem, Georges. The Normal and the Pathological. New York: Zone Books, 1991. Davis, Lennard. Bending Over Backwards: Disability, Dismodernism & Other Difficult Positions. New York: NYUP, 2002. ———. Enforcing Normalcy: Disability, Deafness, and the Body. New York: Verso, 1995. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Tr. B. Massumi. Minneapolis: University of Minnesota Press, 1987. ———. What Is Philosophy? Tr. G. Burchell and H. Tomlinson. London and New York: Verso, 1994. Eisenman, Peter Eisenman. “Misreading” in House of Cards. New York: Oxford University Press, 1987. 21 Aug. 2007 http://prelectur.stanford.edu/lecturers/eisenman/biblio.html#cards>. Peter Eisenman Texts Anthology at the Stanford Presidential Lectures and Symposia in the Humanities and Arts site. 5 June 2007 http://prelectur.stanford.edu/lecturers/eisenman/texts.html#misread>. “Extreme Makeover: Home Edition” Website. 18 May 2007 http://abc.go.com/primetime/xtremehome/index.html>; http://abc.go.com/primetime/xtremehome/show.html>; http://abc.go.com/primetime/xtremehome/bios/101.html>; http://abc.go.com/primetime/xtremehome/bios/301.html>; and http://abc.go.com/primetime/xtremehome/bios/401.html>. Frank, Suzanne Sulof, and Peter Eisenman. House VI: The Client’s Response. New York: Watson-Guptill, 1994. Frichot, Hélène. “Stealing into Gilles Deleuze’s Baroque House.” In Deleuze and Space, eds. Ian Buchanan and Gregg Lambert. Deleuze Connections Series. Toronto: University of Toronto P, 2005. 61-79. Heyes, Cressida J. “Cosmetic Surgery and the Televisual Makeover: A Foucauldian feminist reading.” Feminist Media Studies 7.1 (2007): 17-32. Holliday, Ruth. “Home Truths?” In Ordinary Lifestyles: Popular Media, Consumption and Taste. Ed. David Bell and Joanne Hollows. Maidenhead, Berkshire, England: Open UP, 2005. 65-81. Imrie, Rob. Accessible Housing: Quality, Disability and Design. London and New York: Routledge, 2006. Paulsen, Wade. “‘Extreme Makeover: Home Edition’ surges in ratings and adds Ford as auto partner.” Reality TV World. 14 October 2004. 27 March 2005 http://www.realitytvworld.com/index/articles/story.php?s=2981>. Poniewozik, James, with Jeanne McDowell. “Charity Begins at Home: Extreme Makeover: Home Edition renovates its way into the Top 10 one heart-wrenching story at a time.” Time 20 Dec. 2004: i25 p159. Siebers, Tobin. “Disability in Theory: From Social Constructionism to the New Realism of the Body.” American Literary History 13.4 (2001): 737-754. ———. “What Can Disability Studies Learn from the Culture Wars?” Cultural Critique 55 (2003): 182-216. Simonian, Charisse. Email to network affiliates, 10 March 2006. 18 May 2007 http://www.thesmokinggun.com/archive/0327062extreme1.html>. Snyder, Sharon L., and David T. Mitchell. Cultural Locations of Disability. Chicago: U of Chicago P, 2006. ———. Narrative Prosthesis: Disability and the Dependencies of Discourse. Ann Arbor: University of Michigan Press, 2000. Steinmetz, Erika. Americans with Disabilities: 2002. U.S. Department of Commerce, Economics, and Statistics Administration, U.S. Census Bureau, 2006. 15 May 2007 http://www.census.gov/prod/2006pubs/p70-107.pdf>. Wilhelm, Ian. “The Rise of Charity TV (Reality Television Shows).” Chronicle of Philanthropy 19.8 (8 Feb. 2007): n.p. Wise, J. Macgregor. “Home: Territory and Identity.” Cultural Studies 14.2 (2000): 295-310. Citation reference for this article MLA Style Roney, Lisa. "The Extreme Connection Between Bodies and Houses." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/03-roney.php>. APA Style Roney, L. (Aug. 2007) "The Extreme Connection Between Bodies and Houses," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/03-roney.php>.