Optimizing mixing during the sponge cake manufacturing process

Sponge cakes have traditionally been manufactured using multistage mixing methods to enhance potential foam formation by the eggs. Today, use of all-in (single-stage) mixing methods is superseding multistage methods for large-scale batter preparation to reduce costs and production time. In this study, multistage and all-in mixing procedures and three final high-speed mixing times (3, 5, and 15 min) for sponge cake production were tested to optimize a mixing method for pilot-scale research. Mixing for 3 min produced batters with higher relative density values than did longer mixing times. These batters generated well-aerated cakes with high volume and low hardness. In contrast, after 5 and 15 min of high-speed mixing, batters with lower relative density and higher viscosity values were produced. Although higher bubble incorporation and retention were observed, longer mixing times produced better developed gluten networks, which stiffened the batters and inhibited bubble expansion during mixing. As a result, these batters did not expand properly and produced cakes with low volume, dense crumb, and high hardness values. Results for all-in mixing were similar to those for the multistage mixing procedure in terms of the physical properties of batters and cakes (i.e., relative density, elastic moduli, volume, total cell area, hardness, etc.). These results suggest the all-in mixing procedure with a final high-speed mixing time of 3 min is an appropriate mixing method for pilot-scale sponge cake production. The advantages of this method are reduced energy costs and production time.

Affective trajectories: locating diegetic velocity in the cinema experience

Films that feature high-speed diegetic motion, and present those high speeds through fast mobile framing and fast cutting, are frequently charged with generating a sensory overload which empties out meaning or any sense of spatial orientation. Inherent in this discourse is a privileging of optical-spatial intelligibility that suppresses consideration of the ways cinema can represent diegetic velocity, and the spectator’s sensory experience of the same. This paper will instead highlight the centrality of the evocation of a trajectory for movement for the spectator’s experience of diegetic speed, an evocation that does not depend on optical-spatial legibility for its affective force.