tradition. Novel techniques and ingredients should only be used when they contribute to a dish. For example, liquid nitrogen should not be used for the sake of novelty. And that progress can come from collaboration, for example with chemists and psychologists. Multi-sensory cooking Blumenthal calls his scientific approach to cuisine "multi-sensory cooking", arguing that eating is "one of the few activities we do that involves all of the senses simultaneously". One of the catalysts for this culinary approach was a visit at 16 to the restaurant L'Oustau de Baumanière in Provence, which at the time had three Michelin stars. The trip prompted a passion for cooking, above all because of "the whole multisensory experience: the sound of fountains and cicadas, the heady smell of lavender, the sight of the waiters carving lamb at the table". One of the other main inspirations for a multi-sensory style of cooking was the lack of space and opulence at the Fat Duck. "Places like the Baumaniere had a view and a history and architecture that took its diners to a world of beauty and indulgence. The Fat Duck didn't have any of that, so it had had to capture the diners’ imagination in a different way – taking them to the mysteries of flavour perception and multi sensory delight." The event that cemented Heston's interest in this area was his creation of a crab ice cream to accompany a crab risotto. "People had difficulty accepting Crab Ice Cream, yet if it was renamed "Frozen Crab Bisque", people found it more acceptable and less sweet. p. 71 The phenomenon was subsequently researched by Martin Yeomans and Lucy Chambers of the University of Sussex, who served test subjects a version of Blumenthal's ice cream flavoured with smoked salmon, but told one group they would be tasting ice cream and the other that they would be tasting a frozen savoury mousse. Although all consumed identical food, those eating what they thought was savoury mousse found the flavour acceptable while those eating what they thought was ice cream found the taste salty and generally disgusting. For Blumenthal, this confirmed his ideas. "If something as simple as a name could make a dish appear more or less salty ... what effect might other cues have on flavours and our appreciation of them?" Since that point, exploring the sensory potential of food – via both research and the creation of