Influence of sucrose reduction on fouling during the production of dulce de leche

In this Research Communication we focus the food industry´s broad tendency to decrease sugar content in food products onto dulce de leche (DL) and examine the influence of sucrose reduction on the detrimental deposits formed during the production process. The method used to identify the impact produced directly on the heat exchanger during the production of this product with low sucrose content required varying the quantity of sucrose in the milk. Different percentages of sucrose (20, 15, 10, 5 and 0% w/w) were submitted to the DL concentration process in a process simulator. After concentration, the quantification of the deposits formed in each was carried out and these deposits were characterized according to their composition. Methods such as Kjeldahl, Pregl-Dumas and sem-EDS were used. Thus, the work highlights the need to change the product manufacturing process due to changes in the formulation that directly impact the formation of deposits in the equipment used (fouling). This deposit changes significantly in relation to its quantity as well as in relation to the composition and chemical characteristics as the gradual reduction of the sucrose content in the production takes place. Therefore, these impacts must be considered in order to maintain better manufacturing and ensure efficient cleaning of equipment.

Effect of Malting on the Nutritional Composition, Anti-nutrition Factors and Mineral Composition on Sorghum (Sorghum bicolor)

Background: Sorghum (Sorghum bicolor) is commonly named as Jowar, belongs to family Framineae. The presence of anti-nutrients affect the nutritional values by limiting protein and starch digestibility, hinder mineral bioavailability. This can be reduced by malting procedures. Hence, the study was undertaken to study the effect of malting on nutritional composition, anti nutritional factors and mineral composition. Methods: Processing methods include soaking for 24 hr and germination for different time periods and drying in hot air oven for 2-3 hr. at 50oC. The yield of malted sorghum flour is 95g/100g. Result: Nutrient composition include moisture, protein, fat, ash, crude fibre, carbohydrate and energy showed that the sorghum germinated for 3 days has the higher value of 6.7%, 11.37g, 3.27g, 1g 2.4g 73.57g 375 /100g respectively. The micronutrients i.e. calcium and iron content of malted flour was significantly increased (p less than 0.05) to 28mg/100g, 5.83mg/100g. Anti-nutrients like Tannin and Phytate decreased subsequently in three day germinated sorghum to 61.2mg/100g, 50.625mg/100g respectively. The result showed that processing increases the nutritional, mineral composition and decreases theanti-nutritional factors in sorghum. Hence, Sorghum has potential in fortification of food productsand its suitability of utilization in formulation of value added food products.

Composing aleatoric music through interaction

Urban public art is an art exhibition held in public places, contextualized with their surroundings and its audience. Technology is a significant trend in public art due to its connection possibilities with human life, fostering different kinds of interaction. In this way, this work presents an installation proposal consisting of an environment for creating collaborative random music from interaction with mobile devices in public spaces. Everyone participating in the installation is a composer and interaction is a chance agent, although it follows John Cage's composition methods. In order to probe technology, we carried out two pilot studies, followed by a workshop for the installation itself. Those two pilot studies led us to a new version that was put into practice during the workshop. During the workshop, participants' interaction generated fourteen compositions, and the sounds resulting from the collaborative composition were made available to the public through a website.

Imaginary Soundscapes: Electronic Music Culture and the Aesthetics of the Virtual

This study is an exploration into how dance music cultures (better known as "rave" or "club" cultures) find ways to straddle the divide between human and machine through their incorporation of both of these oft-competing elements. Electronic dance music and its digital composition methods represent what Mike Berk calls "a new sonic paradigm." The different modes of production, performance and consumption within this paradigm require alternative ways of thinking about originality, creativity, and authenticity. While I do look briefly at issues of consumption and performance within dance music cultures, I focus specifically on how electronic music producers are bound by a unique vision of musical authenticity and creativity, borne out of their own "technological imagination" and the sonic possibilities enabled by digital technology. To use the concepts employed within my paper, I contend that dance music cultures make evident what Michael Punt calls the "postdigital analogue"--a cultural condition in which the decidedly more "human" or "analogue" elements of felt experience and authenticity coexist and converse with the predominance of the digital technologies of simulation and artifice. Dance music cultures are an emergent social formation, to use Williams' term, revising and questioning the typical relationships understood between digital and analogue. This postdigital analogue manifests in a number of ways in the cultural, aesthetic, and technological principles promoted by dance music cultures. In terms of production in particular, signs of digital and analogue coexist in a form of virtual authenticity, as the sound of the technological process engaged to make electronic dance music bears the mark of musical creativity and originality. This study reveals the unique manner in which dance music cultures incorporate both analogue and digital principles, bridging a sense of humanity with the acceptance of the technological.

Imaginary Soundscapes: Electronic Music Culture and the Aesthetics of the Virtual

This study is an exploration into how dance music cultures (better known as "rave" or "club" cultures) find ways to straddle the divide between human and machine through their incorporation of both of these oft-competing elements. Electronic dance music and its digital composition methods represent what Mike Berk calls "a new sonic paradigm." The different modes of production, performance and consumption within this paradigm require alternative ways of thinking about originality, creativity, and authenticity. While I do look briefly at issues of consumption and performance within dance music cultures, I focus specifically on how electronic music producers are bound by a unique vision of musical authenticity and creativity, borne out of their own "technological imagination" and the sonic possibilities enabled by digital technology. To use the concepts employed within my paper, I contend that dance music cultures make evident what Michael Punt calls the "postdigital analogue"--a cultural condition in which the decidedly more "human" or "analogue" elements of felt experience and authenticity coexist and converse with the predominance of the digital technologies of simulation and artifice. Dance music cultures are an emergent social formation, to use Williams' term, revising and questioning the typical relationships understood between digital and analogue. This postdigital analogue manifests in a number of ways in the cultural, aesthetic, and technological principles promoted by dance music cultures. In terms of production in particular, signs of digital and analogue coexist in a form of virtual authenticity, as the sound of the technological process engaged to make electronic dance music bears the mark of musical creativity and originality. This study reveals the unique manner in which dance music cultures incorporate both analogue and digital principles, bridging a sense of humanity with the acceptance of the technological.