clients to be - namely, those of us who wish to eat.  In order for the chef-as-artist and the chef-as-scientist to flourish concurrently, the conversation must continue, and the act of writing must be employed.  Without recipe, there can be no preservation [nor mutation] -- and without writing, there can be no dialogue. As an instructor of writing, I maintain and employ a strictly paperless classroom.  Our required journals are kept on blogs, papers are transmitted, edited, and saved on GoogleDocs, collaborative presentations are produced using an assortment of digital media, and photojournalism assignments are used to track the process of perfecting the historiographic methods when exploring regional cuisine and family heritage as preserved through recipe.  Over the last two years, I've begun to work more closely with a handful of the chef instructors, and we are reshaping our curriculum into something that blends classical technique with cutting edge technology.  The paper I wish to present focuses on some of the most memorable moments of merging the two, in a manner that seeks to preserve, rather than destroy both disciplines. Physical Practice: The Artifacts of Noise Art , Nick Seaver "Noise" usually refers to interference, unintentional sound that impedes communication or causes discomfort. Starting early in the twentieth century, however, artists began exploring the possibilities using noise in their works, raising the question: Can noise be made and distributed intentionally? The development of recording technology has influenced this distribution, enabling the dissemination of novel sounds and introducing new kinds of