Journal articles on the topic 'Cereal products – Mixing'

<p>Functional properties such as protein solubility, swelling capacity, water holding capacity, gelling ability, bulk density and foaming capacity of flours of some commonly used cereals and legume (wheat, refined wheat, maize and chickpea) and their blends were studied. Blends of flours were prepared by mixing equal proportions of selected floors. Statistically significant difference in studied functional properties except bulk density was observed among cereal flours and their blends. Chickpea flour was found to possess comparatively high water holding capacity, protein solubility index and swelling capacity. The functional properties of maize and wheat flours were found to be improved when blended with chickpea. Chickpea flour and its blends with cereal flours were found to possess good functional score and suggested as favorable candidates for use in the preparation of viscous foods and bakery products. The data provide guidelines regarding the improvement in functional properties of economically favorable cereal flours.<strong></strong></p>

<p>Functional properties such as protein solubility, swelling capacity, water holding capacity, gelling ability, bulk density and foaming capacity of flours of some commonly used cereals and legume (wheat, refined wheat, maize and chickpea) and their blends were studied. Blends of flours were prepared by mixing equal proportions of selected floors. Statistically significant difference in studied functional properties except bulk density was observed among cereal flours and their blends. Chickpea flour was found to possess comparatively high water holding capacity, protein solubility index and swelling capacity. The functional properties of maize and wheat flours were found to be improved when blended with chickpea. Chickpea flour and its blends with cereal flours were found to possess good functional score and suggested as favorable candidates for use in the preparation of viscous foods and bakery products. The data provide guidelines regarding the improvement in functional properties of economically favorable cereal flours.<strong></strong></p>

The effects of wheat flour substitution by sweet potato powder on rheological parameters of wheat dough and physical parameters of cookies and crackers were analyzed. Wheat flour was substituted with sweet potato powder at level 2.5%, 5%, 7.5%, and 10%. Sweet potato powder was characterized by high water holding capacity (9.00 g/g) and swelling capacity (8.16 cm3/g). The addition of sweet potato powder significantly changed the rheological properties of wheat dough (water absorption and mixing tolerance index were increased, dough stability was reduced, and dough development time was prolonged). It was also found that volumes of cookies and crackers were decreased, and spread ratios were increased with the addition of sweet potato powder. Lightness of baked products decreased and yellowness increased with the addition of sweet potato powder. Incorporation of sweet potato powder significantly decreased the hardness of cookies and crackers. Sensory evaluation showed that the most acceptable cookies and crackers were the ones obtained after the addition of sweet potato powder at level 2.5% and 7.5%, respectively.

We set up experiments for improving the nutritional value of cerealbased products. Our aims were to decrease the energy content of bakery products with the mixing of plant originated raw materials and byproducts with high fibre contents, and we have evaluated the effect of sodium-chloride on the physical properties of bakery products. We found that the apple pomace, the byproduct of juice production, is excellent for increasing of fibre content of bakery products and the further aim of investigation is to develop economical ways of hygienic byproduct handling and purification. Our experiments, evaluate the bakery use of triticale, have significant achievements and the breads made from triticale flour and whole-grain are commercially available nowadays. Our investigations included the possibilities of decrease of toxin contamination of cereals and our results can form a part of risk estimation systems after further experiments .

<p>Over the last few years, many studies were carried out on the use of legume-based ingredients to supplement cereal-based matrices and produce nutritionally enhanced products. However, little is known about the influence of supplementation on the mixing properties of the enriched cereal-based matrices. The objective of this work was to study the impact of supplementing cereal-based matrices with commercial pea protein isolate or pea protein isolate produced by ultrafiltration/diafiltration using a 50 kDa membrane on the dough mixing properties. Studies were performed using a PertenÒ Glutomatic to estimate gluten yield, namely in terms of gluten index, wet gluten, dry gluten and water binding capacity, and using a BrabenderÒ Farinograph to estimate water absorption, dough development time, stability, mixing tolerance index and minimum and maximum water content for dough formation. Four levels of pea protein isolate enrichment were considered: 0, 5, 10 and 15%. Results indicated that level of enrichment has little effect on measured mixing properties compared to the pea protein isolates considered. Isolate processed by membrane technologies takes part to the dough formation which does not seem to be the case with commercial isolate. Higher amount of water is required for dough formation with matrices enriched with commercial pea isolate compared to membrane processed isolate, while stronger dough properties are observed for matrices enriched with membrane processed isolate. This is attributable to the properties of the isolate, namely solubility and state of the proteins (native or denatured), which could impact how they interact with wheat proteins.</p>

A study was conducted to assess quality stability of cereal flours processed by food processingSMEs in Dar es Salaam. This product is obtained by mixing various cereal grains and isconsidered as of higher nutritional values in Tanzania. The shelf-life was predicted bydetermining water activity (a w ) and moisture content (MC) levels and plotting the water sorptionisotherms (MSI). Ninety per cent of investigated samples (N=78) were found packaged in thematerials of various quality conditions. It was found that the packaging materials mostly used isplastic films (63%), paper packets/bags (26%), hard papers (3%), plastic jars (1%) andcombination of paper packets/boards inserted with plastic film (7%). Water sorption isothermswere plotted for single and multiple ingredient products. The highest levels of a w were observedfor products in paper bags with 0.63 (a w ) and 0.13 MC (kg water/kg solids). Plastic films andjars had intermediate levels at 0.52 (a w ) and 0.042 MC (kg water/kg solids), and combined paperpackets/boards with plastic films had lowest levels at 0.43 (a w ) and 0.038 MC (kg water/kgsolids) exhibiting highest stability of products packaged in these materials. Relative humidityand temperature at sampling locations ranged from 80 to 94% and 30 to 34oC, respectively.Multiple ingredient products showed the lowest a w and MC levels, whereas single ingredientflours possessed higher a w and MC values. Generally, the package system comprising paperboard (or hard paper/box) and plastic bag (plastic film) was the most stable followed by plasticfilms, and paper bag by far.

Greek and Cyprus Trahanas are the most popular fermented milk-cereal products of Greece and Cyprus, and are produced during summer from fresh ewes’, goats’ milk or a mixture of them. Broken wheat is then added to the fermented milk and heated to cook the mixture and then a thick paste is left to cool and cut into small pieces and left to dry (sun or oven drying). In Greek trahanas, fermentation of the lactic acid bacteria Streptococcus lactis, Streptococcus diacetylactis, Leuconostoc cremoris, Lactobacillus lactis, Lactobacillus casei, Lactobacillus bulgaricus and Lactobacillus acidophilus plays the major acid- and aroma -producing roles. A great biodiversity of microorganisms was observed during Cyprus trahanas fermentation. Lactic acid bacteria (LAB) were the predominant group, followed by yeasts. Lactococcus, Lactobacillus, and yeast species contribute greatly to its fermentation. Turkish Tarhana is the dry form of yoghurt-cereal mixture that is produced by mixing cereal flour, yoghurt, baker’s yeast (Saccharomyces cerevisiae) and cooked vegetables, salt and spices followed by fermentation for one to seven days. The fermented slurry is then air-dried and used in soup making. LAB species found in Tarhana fermentation vary depending on the raw materials, fermentation time and techniques used for its production and play an important role in lactic acid and aromatic compounds formation. Lactococcuslactis spp. lactis, Leuconostoc mesenteroides, Lactobacillus acidophilus, Enterococcus durans, Pediococcus spp., Lactobacillus delbrueckii ssp. lactis and Lactobacillus paracasei bacteria played a role during the fermentation of Tarhana dough. Yeasts were mainly represented by S. cerevisiae.

Abstract Basic wheat-barley flour premixes (70 : 30 and 50 : 50) were enhanced by 5 and 10% of dehulled and hulled hemp seeds wholemeal or by 2 types of hemp fine flour. Barley flour (BF) decreased both protein content and quality by approximately 1.5 and 50%, respectively. In blends, hemp fine flour containing recovered protein level back. BF lowered amylases activity by about 20–25% in maximum; hemp products had no significant effect. Farinograph water absorption was magnified by additions of both alternative flours. Considerable shortening of dough stability and decrease of resistance against over-mixing occurred for all flour tri-composites. Extensigraph dough elasticity increased and extensibility diminished. After dough resting taking 30 min, extensigraph energy of the control sample fell from 141 cm2 to a half as barley flour portion increased. In cereal composites, hemp products demonstrated reversal tendencies. BF lowered water suspension viscosity, but hemp wholemeal H4 and especially fine hemp flour H7 caused a recovery of amylograph maxima to level comparable with wheat control. Correlation analysis confirmed analytical and rheological data agreement – the extensigraph elasticity or energy could be predicted according to the Zeleny value, or the amylograph maximum according to the Falling Number (r = 0.79, 0.90, and 0.65, respectively; P = 99.9%).

Powdered cellulose is often used in cereal processing industry. The effects of partial replacement (0.5%, 1%, 2% and 5%) of wheat flour by cellulose fiber with different fiber length (80, 120 and 220 µm) on rheological properties of wheat dough and qualitative parameters of baked rolls were studied. Sensory evaluation of baked products was also performed. Mixing and pasting properties of dough were determined by Mixolab. Generally, cellulose-enriched dough was characterized with higher water absorption, dough stability and parameters C2 and C3. Moreover, it was found that parameters C4 and C5 increased with increasing cellulose fiber length. From the results, it was also concluded that the physical parameters of baked rolls containing cellulose were reduced. It was also observed that the incorporation of cellulose fiber with shorter fiber length concluded in lower rolls volume compared to cellulose fiber with long fiber length. Texture analyses showed that the firmness of rolls containing cellulose at the substitution level 5% was significantly higher than those of the control, whereas the springiness of wheat rolls was not significantly affected. It was also recorded that the firmness and cohesiveness of baked rolls were higher after the addition of cellulose fiber with shorter fiber length. Sensory evaluation indicated that baked rolls with cellulose addition up to 1% were comparable with control rolls. Results also showed that higher levels of cellulose significantly decreased crust, taste, color and porosity of rolls.

Abstract Starch, glycogen, maltooligosaccharides, and other α-1,4- and α-1,6-linked glucose carbohydrates, exclusive of resistant starch, are collectively termed "dietary starch". This nutritionally important fraction is increasingly measured for use in diet formulation for animals as it can have positive or negative effects on animal performance and health by affecting energy supply, glycemic index, and formation of fermentation products by gut microbes. AOAC Method 920.40 that was used for measuring dietary starch in animal feeds was invalidated due to discontinued production of a required enzyme. As a replacement, an enzymatic-colorimetric starch assay developed in 1997 that had advantages in ease of sample handling and accuracy compared to other methods was considered. The assay was further modified to improve utilization of laboratory resources and reduce time required for the assay. The assay is quasi-empirical: glucose is the analyte detected, but its releaseis determined by run conditions and specification ofenzymes. The modified assay was tested in an AOAC collaborative study to evaluate its accuracy and reliability for determination of dietary starch in animalfeedstuffs and pet foods. In the assay, samples are incubated in screw cap tubes with thermostable α-amylase in pH 5.0 sodium acetate buffer for 1 h at 100°C with periodic mixing to gelatinize and partially hydrolyze α-glucan. Amyloglucosidase is added, and the reaction mixture is incubatedat 50°C for 2 h and mixed once. After subsequent addition of water, mixing, clarification, and dilution as needed, free + enzymatically released glucose are measured. Values from a separate determination of free glucose are subtracted to give values forenzymatically released glucose. Dietary starch equals enzymatically released glucose multiplied by 162/180 (or 0.9) divided by the weight of the as receivedsample. Fifteen laboratories that represented feed company, regulatory, research, and commercial feed testing laboratories analyzed 10 homogenous test materials representing animal feedstuffs and pet foods induplicate using the dietary starch assay. The test samples ranged from 1 to 70% in dietary starch content and included moist canned dog food, alfalfa pellets, distillers grains, ground corn grain, poultry feed, low starch horse feed, dry dog kibbles, complete dairy cattle feed, soybean meal, and corn silage.Theaverage within-laboratory repeatability SD (sr) for percentage dietary starch in the test samples was 0.49 with a range of 0.03 to 1.56, and among-laboratory repeatability SDs (sR) averaged 0.96 with a range of 0.09 to 2.69. The HorRat averaged 2.0 for all test samples and 1.9 for test samples containing greater than 2% dietary starch. The HorRat results are comparable to those found for AOAC Method 996.11, which measures starch in cereal products. It is recommended that the dietary starch method be accepted for Official First Action status.

Former food products (FFPs) represent a way by which leftovers from the food industry (e.g., biscuits, bread, breakfast cereals, chocolate bars, pasta, savoury snacks, and sweets) are converted into ingredients for the feed industry, thereby keeping food losses in the food chain. FFPs represent an alternative source of nutrients for animal feeding. However, beyond their nutritional value, the use of FFPs in animal feeding implies also safety issues, such as those related to the presence of packaging remnants. These contaminants might reside in FFP during food processing (e.g., collection, unpacking, mixing, grinding, and drying). Nowadays, artificial senses are widely used for the detection of foreign material in food and all of them involve computer vision. Computer vision technique provides detailed pixel-based characterizations of colours spectrum of food products, suitable for quality evaluation. The application of computer vision for a rapid qualitative screening of FFP’s safety features, in particular for the detection of packaging remnants, has been recently tested. This paper presents the basic principles, the advantages, and disadvantages of the computer vision method with an evaluation of its potential in the detection of packaging remnants in FFP.

Currently, one of the main tasks facing animal husbandry is to ensure the conservation of land to provide the population with high-quality livestock products, as well as to increase the productivity and productivity of each livestock. The correct implementation of this task primarily depends on the creation of a solid feed base. This, in turn, is possible due to the improvement and introduction of feed production technologies that do not depend on natural conditions. The technology of mixed feed production is a set of operations (grinding, dosing, mixing, etc.) performed in a certain sequence. As a result of these operations, feed is obtained from the raw materials (grain components, mineral additives, vitamins, salts, etc.) with the parameters specified in accordance with its recipe. The creation of a multicomponent dispenser-mixer capable of preparing grain mixtures in a continuous flow with high uniformity of dosing and mixing requires research and development work and is caused by the need of agricultural enterprises for such dispensers-mixers. In the technological line under study, the feed components are alternately crushed and loaded into the mixing unit. The processing line is equipped with an electronic weighing system that allows you to accurately dose the components of compound feeds and accumulate data on grain consumption. The raw materials for the preparation of compound feeds are cereals, as well as protein and vitamin supplements. The system of feeding protein and vitamin supplements is carried out by an auger, which ensures their supply to the mixing zone even with their minimum amount. The fineness of the grinding is regulated by replacing the sieve in the crusher.

Several toxic effects have been described after exposure to ochratoxin A (OTA), which can enter the human diet directly through food or through animal products via carry-over from contaminated feed. To assess the exposure of the Portuguese population to OTA, a study over a two-year period was conducted. It involved analysis of 472 morning urine samples from inhabitants of four regions, together with a survey of regional bread (738) and pork (254) samples. These foodstuffs are two staple foods in the Portuguese and Mediterranean diet that present a high and widespread consumption by the majority of the population. The bread samples analysed showed a low level of contamination, although the contamination range was broad and some of the samples exceeded the maximum level established in the European Union. Maize bread (broa), especially when made by mixing with rye, was the most contaminated, followed by whole grain-, rye- and wheat-based bread. However, the latter contributed more to OTA exposure, because they were more commonly consumed. Even though the occurrence was rather low, the average OTA amount in pork was relatively high compared to previous national and other surveys. The observed high within-subject variability of OTA in urine limited the use of this biomarker of exposure at the individual level, but not on a population or subgroup of subjects scale. Among the studied population, a widespread exposure was confirmed by the high frequency of OTA contamination in urine, although characterised by a low average contamination level. Independent of region or population, pork appears to be the main contributor to the daily OTA intake in Portugal. These data were clearly in contrast with previous studies showing that cereals and their derived products were the major contributors, while food of animal origin only contributed a small part to the total human dietary OTA exposure.

Synthesis of new potential plant growth regulators (analogues of natural phytohormones) is accomplished by mixing an equimolar mixture of aryloxypropin and 1-methylpiperidin-4-one under the conditions of Favorsky's reactions. New derivatives of acetylene aminoalcohols - the ZhOT series - have been obtained. The structure of the synthesized compounds was established by IR and NMR 1H spectroscopy. Screening of their water-soluble forms, on wheat and barley seeds, two preparations (ZhOT-4 and ZhOT-7) were selected, which exceed both the control and standards of known phytohormones, such as heteroauxin (indolyl-3-acetic acid), 6-BAP (6-benzylaminopurine) for further testing. Conducted in-depth laboratory and demonstration field tests on cereals (wheat and barley) showed high efficiency of ZhOT-4 and ZhOT-7, the indicators of which exceeded the well-known reference preparation - Agrostimulin (Ukraine). The growth regulating activity of synthesized compounds was determined. Processing of wheat seeds ZhOT-4 and ZhOT-7 increased the field germination of seeds, plant height, leaf area, the mass of the aerial part and the total area. The conducted studies showed that the biological activity of the tested compounds largely depends on the concentration and the best growth regulator is ZhOT-4. The activity of the synthesized growth regulatory compounds has been determined. Treatment of seeds of with ZhOT-4 and ZhOT-7 increased seed germination, height of plants, leave areas, weight of an elevated part and the total area, weight of an elevated part and the total area. Studies have shown that the biological activity of tested compounds is largely dependent on the concentration and the best growth regulator is ZhОТ-4. Thus, the advanced laboratory and demonstration (small-scale) comparative tests of ZhOT-4 and ZhOT-7 and the well-known reference preparation "Agrostimulin" (Ukraine) for cereals (wheat and barley) showed high efficiency of new synthesized preparations. The use of ZhOT preparations increases the germination and germination energy, the number of spikelets, the mass of grains, the bushiness and the yield of wheat and barley, leads to the accumulation of dry mass in both the ground and underground parts of plants. The advantages of ZhOT-4 and ZhOT-7 are: high efficiency, a wide range of cultures, good solubility in water, low application dose of 0.0001% by active ingredient (1g per 1t of water) or 13-50 mg per hectare, comparable to natural phytohormones, long shelf life, safety, high yield of target products, sequential 3-stage reaction in one reactor.

Purpose Due to the rise in urbanization, demand for easily prepared foods such as pastries and noodles has risen. But the high price of wheat in the global market puts financial stress on low-income people, especially on those living in tropical regions, where wheat does not thrive well. They depend solely on imported wheat, which is expensive due to importation cost, or seek other relatively less-nutritious cereals. Therefore the purpose of this paper is to investigate the possibility of supplementing wheat flour with flour from relatively cheap and easy-to-produce root tuber, such as cassava, potato and sweet potato. Design/methodology/approach Strong-, medium- and weak-gluten wheat flours were supplemented with flour from cassava, potato and sweet potato at 10, 20 and 30 percent. Strong gluten composites were used to make bread, whereas medium and weak gluten composites were used for cookie and noodle production, respectively. Protein, ash, fat, crude fiber, moisture, carbohydrate, gluten, zeleny and energy contents of each composite were tested. Findings The nutritional and sensory quality of bread, cookies and noodles made from wheat flour supplemented with root tuber flour at 10, 20 and 30 percent was assessed. Results revealed that mixing wheat flour and root tuber flour has important effects on the moisture, protein, carbohydrate, fat, ash, gluten, zeleny sedimentation value and crude fiber content of the resulting mixture. Moisture and carbohydrate increased while protein and fat significantly (p<0.05) decreased with increasing root tuber flour levels in formulations. Gluten content also decreased significantly with rising root tuber flour concentrations. There was a mild reduction in bread’s general acceptability at 10 and 20 percent in potato composites; thus potato flour was still acceptable at 20 percent. Cassava flour composite also topped with a general acceptability score of 69.26 at 20 percent in cookies, whereas sweet potato composite achieved a score of 84.81 in noodles. Originality/value This work has successfully confirmed that wheat flour could be supplemented up to 20 percent with root tuber flour without compromising the nutritional and sensory quality of products. It has also demonstrated that different products require different root tuber flour substitution for optimum results. Potato at 10 percent substitution was found to be best for bread production. Cassava and sweet potato at 10 percent substitution were also best for cookies and noodles, respectively. With respect to protein content only, sweet potato substitution is better than cassava and potato.

Aims: The aim was to produce of ready-to-eat breakfast cereals from blends of local rice (Oryza sativa), malted African yam-bean and orange- fleshed sweet potato [Ipomoea batatas (L) Lam.] (umusco/3 variety) flours as well as to evaluate the nutritional properties, microbiological quality and sensory attribute of the formulated breakfast cereals. Study Design: The experimental design that was used is Completely Randomized Design. Place and Duration of Study: The study took place at the Department of Food Science and Technology, University of Nigeria, Nsukka between December 2016 and September 2017. Methodology: The study investigated the application of local rice, malted African yam bean and orange-fleshed sweet potato flour to develop ready-to-eat breakfast cereals rich in proteins and pro-vitamin A. The local rice and malted African yam bean flours were blended in the ratio of 100:0, 90:10, 80:20, 70:30, 60:40 and 50:50 to produce ready-to eat breakfast cereals which was subjected to sensory evaluation to isolate the best blend (90:10). From the preliminary study, composite flour was formulated by mixing rice flour and African yam bean flour from the best blend in different percentages. Samples of ready-to-eat breakfast cereals were formulated by mixing composite flour (rice and African yam bean best flour blend) with graded levels of orange fleshed sweet potato and 100% rice flour was used as the control sample. The breakfast cereal products were subjected to proximate, pro-vitamin A, microbiological and sensory analysis using standard methods. Results: The protein, ash, fiber and moisture contents of the blends (rice/African yam bean best blend +orange-fleshed sweet potato flours) were significantly (p<0.05) higher than the control but their carbohydrate content were lower than the control. The protein content, fat, ash, crude fiber, moisture, and carbohydrate contents ranged from 6.82(100% rice flour) to 11.21%(90% rice/African yam bean best blend+ 10% orange-fleshed sweet potato flour), 0.20(50% rice/African yam bean best blend+ 50% orange-fleshed sweet potato flour) to 1.21%(90% rice/African yam bean best blend+ 10% orange-fleshed sweet potato flour), 4.03(100% rice flour) to 15.81% (50% rice/African yam bean best blend+ 50% orange-fleshed sweet potato flour), 1.31(100% rice flour) to 2.80% (50% rice/African yam bean best blend+ 50% orange-fleshed sweet potato flour), 6.61(100% rice flour) to 10.92% (50% rice/African yam bean best blend+ 50% orange-fleshed sweet potato flour) and 63.07(50% rice/African yam bean best blend+ 50% orange-fleshed sweet potato flour) to 80.22% (100% rice flour) respectively. The pro-vitamin content of the samples ranged from 0.13 (100% rice flour) to 2.55 mg/100 g (50% rice/African yam bean best blend+ 50% orange-fleshed sweet potato flour). There was an increase in the pro-vitamin A content as the ratio of orange-fleshed sweet potato increased in the blend. The total viable count ranged from 3.0 × 103 to 6.7 × 103cfu/g while mould was not detected in any of the samples. The microbial content of the samples were satisfactory and not high when assessed using the guideline for microbiological quality of cereal products. The sensory evaluation conducted showed that among the six ready-to-eat breakfast cereals, 100% adani rice breakfast cereals, samples RAYBF1+OPF1 and RAYBF5+OPF5 were highly accepted. Conclusion: The study has shown that acceptable ready-to-eat breakfast cereals could be produced from blends of Adani rice, malted African yam bean and orange flesh sweet potato flour. Among the different breakfast cereals, 100% adani rice and sample RAYBF1+OPF1 (90 % best blend + 10% orange flesh sweet potato flour) were highly accepted.

Abstract Objectives Determine the effect on glycemic response of equi-carbohydrate partial exchange of fruit for cereal, identify mechanisms of its effectiveness, and establish the metabolic safety of long-term fruit consumption in individuals at risk of type 2 diabetes. Methods Randomised repeated measures human intervention studies were conducted with healthy participants ingesting 40 g available carbohydrate meals of wheaten starch biscuit (WB), WB plus kiwifruit (WB + KF), and WB plus the same sugars in the same quantity as consumed in the kiwifruit (WB + KFS). Postprandial glycemic responses were measured. Associated in vitro studies aimed to identify mechanisms of glycemic response reduction by fruit. Physicochemical and rheological properties of fruit digested under simulated gastro-intestinal conditions, and the impact of the fruit remnants on physical and enzymatic processes of digestion were determined. In a follow-up parallel group intervention study, prediabetic (HBA1c > 4%) participants consumed 2 kiwifruit per day for 12 weeks, to establish the metabolic safety of long term kiwifruit consumption through clinical biomarkers. Results Partial substitution by kiwifruit (WB + KF) significantly (P < 0.05) and substantially (−35%) reduced glycemic response peak height compared with unsubstituted WB. Also, substitution by kiwifruit (WB + KF) caused significantly (P < 0.001) lower (−20%) peak glycaemic response than substitution with the kiwifruit sugars alone (WB + KFS), indicating the glycemia reducing effect of the fruit was due to more than fructose substitution of digestible starch. The mechanistic studies showed several gut-level factors by which kiwifruit could reduce glycemic impact; high gastric acidification and buffering capacity, swelling and dispersion of the fruit cell walls (dietary fiber) leading to rheological changes retarding digestion, glucose diffusion and intraluminal mixing, all involved in transport of digestion products to the gut wall for absorption. The long term study could not detect adverse metabolic effects. Conclusions Including fruit in the diet in a carbohydrate exchange format may suppress glycemic response through a number of mechanisms and without metabolic risk. Funding Sources New Zealand National Science Challenge.

Plant pathogens cause significant damage to plant products, compromising both quantities and quality. Even though many elements of agricultural practices are an integral part of reducing disease attacks, modern agriculture is still highly reliant on fungicides to guarantee high yields and product quality. The azoles, 14-alpha demethylase inhibitors, have been the fungicide class used most widely to control fungal plant diseases for more than four decades. More than 25 different azoles have been developed for the control of plant diseases in crops and the group has a world market value share of 20-25%. Azoles have proven to provide long-lasting control of many target plant pathogens and are categorized to have moderate risk for developing fungicide resistance. Field performances against many fungal pathogens have correspondingly been stable or only moderately reduced over time. Hence azoles are still, to date, considered the backbone in many control strategies and widely used as solo fungicides or as mixing partners with other fungicide groups, broadening the control spectrum as well as minimizing the overall risk of resistance development. This review describes the historic perspective of azoles, their market shares and importance for production of major crops like cereals, rice, oilseed rape, sugar beet, banana, citrus, and soybeans. In addition, information regarding use in amenity grass, in the wood preservation industry and as plant growth regulators are described. At the end of the review azoles are discussed in a wider context including future threats following stricter requirements for registration and potential impact on human health.

We take as our subject what many would deem a waste of good celluloid: the degraded cultural form of the stoner film. Stoner films plot the experiences of the wasted (those intoxicated on marijuana) as they exhibit wastefulness—excessiveness, improvidence, decay—on a number of fronts. Stoners waste time in constantly hunting for pot and in failing to pursue more productive activity whilst wasted. Stoners waste their minds, both literally, if we believe contested studies that indicate marijuana smoking kills brains cells, and figuratively, in rendering themselves cognitively impaired. Stoners waste their bodies through the dangerous practice of smoking and through the tendency toward physical inertia. Stoners waste money on marijuana firstly, but also on such sophomoric accoutrements as the stoner film itself. Stoners lay waste to convention in excessively seeking pleasure and in dressing and acting outrageously. And stoners, if the scatological humour of so many stoner films is any index, are preoccupied with bodily waste. Stoners, we argue here, waste whiteness as well. As the likes of Jesse and Chester (Dude, Where’s My Car?), Wayne and Garth (Wayne’s World), Bill and Ted (Bill and Ted’s Excellent Adventure) and Jay and Silent Bob (Jay and Silent Bob Strike Back) make clear, whiteness looms large in stoner films. Yet the genre, we argue, disavows its own whiteness, in favour of a post-white hybridity that lavishly squanders white privilege. For all its focus on whiteness, filmic wastedness has always been an ethnically diverse and ambiguous category. The genre’s origins in the work of Cheech Marin, a Chicano, and Tommy Chong, a Chinese-European Canadian, have been buttressed in this regard by many African American contributions to the stoner oeuvre, including How High, Half Baked and Friday, as well as by Harold and Kumar Go to White Castle, and its Korean-American and Indian-American protagonists. Cheech and Chong initiated the genre with the release of Up in Smoke in 1978. A host of films have followed featuring protagonists who spend much of their time smoking and seeking marijuana (or—in the case of stoner films such as Dude, Where’s My Car? released during the height of the War on Drugs—acting stoned without ever being seen to get stoned). Inspired in part by the 1938 anti-marijuana film Reefer Madness, and the unintended humour such propaganda films begat amongst marijuana smokers, stoner films are comedies that satirise both marijuana culture and its prohibition. Self-consciously slapstick, the stoner genre excludes more serious films about drugs, from Easy Rider to Shaft, as well as films such as The Wizard of Oz, Yellow Submarine, the Muppet movies, and others popular amongst marijuana smokers because of surreal content. Likewise, a host of films that include secondary stoner characters, such as Jeff Spicoli in Fast Times at Ridgemont High and Wooderson in Dazed and Confused, are commonly excluded from the genre on the grounds that the stoner film, first and foremost, celebrates stonerism, that is “serious commitment to smoking and acquiring marijuana as a lifestyle choice.” (Meltzer). Often taking the form of the “buddy film,” stoner flicks generally feature male leads and frequently exhibit a decidedly masculinist orientation, with women, for the most part reduced to little more than the object of the white male gaze.The plot, such as it is, of the typical stoner film concerns the search for marijuana (or an accessory, such as junk food) and the improbable misadventures that ensue. While frequently represented as resourceful and energetic in their quest for marijuana, filmic stoners otherwise exhibit ambivalent attitudes toward enterprise that involves significant effort. Typically represented as happy and peaceable, filmic stoners rarely engage in conflict beyond regular clashes with authority figures determined to enforce anti-drug laws, and other measures that stoners take to be infringements upon happiness. While Hollywood’s stoners thus share a sense of entitlement to pleasure, they do not otherwise exhibit a coherent ideological orthodoxy beyond a certain libertarian and relativistic open-mindedness. More likely to take inspiration from comic book heroes than Aldous Huxley or Timothy Leary, stoners are most often portrayed as ‘dazed and confused,’ and could be said to waste the intellectual tradition of mind expansion that Leary represents. That stoner films are, at times, misunderstood to be quintessentially white is hardly suprising. As a social construct that creates, maintains and legitimates white domination, whiteness manifests, as one of its most defining features, an ability to swallow up difference and to insist upon, at critical junctures, a universal subjectivity that disallows for difference (hooks 167). Such universalising not only sanctions co-optation of ethnic cultural expression, it also functions to mask whiteness’s existence, thus reinforcing its very power. Whiteness, as Richard Dyer argues, is simultaneously everywhere and nowhere. It obfuscates itself and its relationship to the particular traits it is said to embody—disinterest, prudence, temperance, rationality, bodily restraint, industriousness (3). Whiteness is thus constructed as neither an ethnic nor racial particularity, but rather the transcendence of such positionality (Wiegman 139). While non-whites are raced, to be white is to be “just human” and thus to possess the power to “claim to speak for the commonality of humanity” whilst denying the accrual of any particular racial privilege (Dyer 2). In refuting its own advantages—which are so wide ranging (from preferential treatment in housing loans, to the freedom to fail without fear of reflecting badly on other whites) that they are, like whiteness itself, both assumed and unproblematic—whiteness instantiates individualism, allowing whites to believe that their successes are in no way the outcome of systematic racial advantage, but rather the product of individual toil (McIntosh; Lipsitz). An examination of the 1978 stoner film Up in Smoke suggests that whatever the ethnic ambiguity of the figure of the stoner, the genre of the stoner film is all about the wasting of whiteness. Up in Smoke opens with two alternating domestic scenes. We first encounter Pedro De Pacas (Cheech Marin) in a cluttered and shadowy room as his siblings romp affectionately upon his back, waking him from his slumber on the couch. Pedro rises, stepping into a bowl of cereal on the floor. He stumbles to the bathroom, where, sleepy and disoriented, he urinates into the laundry hamper. The chaos of Pedro’s disrupted sleep is followed in the film by a more metaphoric awakening as Anthony Stoner (Tommy Chong) determines to leave home. The scene takes place in a far more orderly, light and lavish room. The space’s overpowering whiteness is breached only by the figure of Anthony and his unruly black hair, bushy black beard, and loud Hawaiian shirt, which vibrates with colour against the white walls, white furnishings and white curtains. We watch as Anthony, behind an elaborate bar, prepares a banana protein shake, impassively ignoring his parents, both clothed in all-white, as they clutch martini glasses and berate their son for his lack of ambition. Arnold Stoner [father]: Son, your mother and me would like for you to cozy up to the Finkelstein boy. He's a bright kid, and, uh... he's going to military school, and remember, he was an Eagle Scout. Tempest Stoner [mother]: Arnold…Arnold Stoner: [shouts over/to his wife] Will you shut up? We’re not going to have a family brawl!Tempest Stoner: [continues talking as her husband shouts]…. Retard.Arnold Stoner: [to Anthony] We've put up with a hell of a lot.[Anthony starts blender] Can this wait? ... Build your goddamn muscles, huh? You know, you could build your muscles picking strawberries.You know, bend and scoop... like the Mexicans. Shit, maybe I could get you a job with United Fruit. I got a buddy with United Fruit. ... Get you started. Start with strawberries, you might work your way up to these goddamn bananas! When, boy? When...are you going to get your act together?Anthony: [Burps]Tempest Stoner: Gross.Arnold Stoner: Oh, good God Almighty me. I think he's the Antichrist. Anthony, I want to talk to you. [Anthony gathers his smoothie supplements and begins to walk out of the room.] Now, listen! Don't walk away from me when I'm talking to you! You get a goddamn job before sundown, or we're shipping you off to military school with that goddamn Finkelstein shit kid! Son of a bitch!The whiteness of Anthony’s parents is signified so pervasively and so strikingly in this scene—in their improbable white outfits and in the room’s insufferably white décor—that we come to understand it as causative. The rage and racism of Mr. Stoner’s tirade, the scene suggests, is a product of whiteness itself. Given that whiteness achieves and maintains its domination via both ubiquity and invisibility, what Up in Smoke accomplishes in this scene is notable. Arnold Stoner’s tortured syntax (“that goddamn Finkelstein shit kid”) works to “mak[e] whiteness strange” (Dyer 4), while the scene’s exaggerated staging delineates whiteness as “a particular – even peculiar – identity, rather than a presumed norm” (Roediger, Colored White 21). The belligerence of the senior Stoners toward not only their son and each other, but the world at large, in turn, functions to render whiteness intrinsically ruthless and destructive. Anthony’s parents, in all their whiteness, enact David Roediger’s assertion that “it is not merely that ‘Whiteness’s is oppressive and false; it is that ‘Whiteness’s is nothing but oppressive and false” (Toward the Abolition 13).Anthony speaks not a word during the scene. He communicates only by belching and giving his parents the finger as he leaves the room and the home. This departure is significant in that it marks the moment when Anthony, hereafter known only as “Man,” flees the world of whiteness. He winds up taking refuge in the multi-hued world of stonerism, as embodied in the scene that follows, which features Pedro emerging from his home to interact with his Chicano neighbours and to lovingly inspect his car. As a lowrider, a customised vehicle that “begin[s] with the abandoned materials of one tradition (that of mainstream America), … [and is] … then transformed and recycled . . . into new and fresh objects of art which are distinctly Chicano,” Pedro’s car serves as a symbol of the cultural hybridisation that Man is about to undergo (quoted in Ondine 141).As Man’s muteness in the presence of his parents suggests, his racial status seems tentative from the start. Within the world of whiteness, Man is the subaltern, silenced and denigrated, finding voice only after he befriends Pedro. Even as the film identifies Man as white through his parental lineage, it renders indeterminate its own assertion, destabilising any such fixed or naturalised schema of identity. When Man is first introduced to Pedro’s band as their newest member, James, the band’s African American bass player, looks at Man, dressed in the uniform of the band, and asks: “Hey Pedro, where’s the white dude you said was playing the drums?” Clearly, from James’s point of view, the room contains no white dudes, just stoners. Man’s presumed whiteness becomes one of the film’s countless gags, the provocative ambiguity of the casting of a Chinese-European to play a white part underscored in the film by the equally implausible matter of age. Man, according to the film’s narrative, is a high school student; Chong was forty when the film was released. Like his age, Man’s whiteness is never a good fit. That Man ultimately winds up sleeping on the very couch upon which we first encounter Pedro suggests how radical and final the break with his dubious white past is. The “Mexicans” whom his father would mock as fit only for abject labour are amongst those whom Man comes to consider his closest companions. In departing his parents’ white world, and embracing Pedro’s dilapidated, barrio-based world of wastedness, Man traces the geographies narrated by George Lipsitz in The Possessive Investment in Whiteness. Historically, Lipsitz argues, the development of affluent white space (the suburbs) was made possible by the disintegration of African American, Chicano and other minority neighbourhoods disadvantaged by federal, state, and corporate housing, employment, health care, urban renewal, and education policies that favoured whites over non-whites. In this sense, Man’s flight from his parents’ home is a retreat from whiteness itself, and from the advantages that whiteness conveys. In choosing the ramshackle, non-white world of stonerism, Man performs an act of racial treachery. Whiteness, Lipsitz contends, has “cash value,” and “is invested in, like property, but it is also a means of accumulating property and keeping it from others,” which allows for “intergenerational transfers of inherited wealth that pass on the spoils of discrimination to succeeding generations” (vii-viii). Man’s disavowal of the privileges of whiteness is a reckless refusal to accept this racial birthright. Whiteness is thus wasted upon Man because Man wastes his whiteness. Given the centrality of prudence and restraint to hegemonic constructions of whiteness, Man’s willingness to squander the “valuable asset” that is his white inheritance is especially treasonous (Harris 1713). Man is the prodigal son of whiteness, a profligate who pours down the drain “the wages of whiteness” that his forbearers have spent generations accruing and protecting (Roediger, The Wages of Whiteness). His waste not only offends the core values which whiteness is said to comprise, it also denigrates whiteness itself by illuminating the excess of white privilege, as well as the unarticulated excess of meanings that hover around whiteness to create the illusion of transcendence and infinite variety. Man’s performance, like all bad performances of whiteness, “disrupt[s] implicit understandings of what it means to be white” (Hartigan 46). The spectre of seeing white domination go ‘up in smoke’—via wasting, as opposed to hoarding, white privilege—amounts to racial treason, and helps not only to explicate why whites in the film find stonerism so menacing, but also to explain the paradox of “pot [making] the people who don’t smoke it even more paranoid than the people who do” (Patterson). While Tommy Chong’s droll assertion that "what makes us so dangerous is that we're harmless" ridicules such paranoia, it ultimately fails to account for the politics of subversive squandering of white privilege that characterise the stoner film (“Biographies”). Stoners in Up in Smoke, as in most other stoner films, are marked as non-white, through association with ethnic Others, through their rejection of mainstream ideas about work and achievement, and/or through their lack of bodily restraint in relentlessly seeking pleasure, in dressing outrageously, and in refusing to abide conventional grooming habits. Significantly, the non-white status of the stoner is both voluntary and deliberate. While stonerism embraces its own non-whiteness, its Otherness is not signified, primarily, through racial cross-dressing of the sort Eric Lott detects in Elvis, but rather through race-mixing. Stoner collectivity practices an inclusivity that defies America’s historic practice of racial and ethnic segregation (Lott 248). Stonerism further reveals its unwillingness to abide constrictive American whiteness in a scene in which Pedro and Man, both US-born Americans, are deported. The pair are rounded up along with Pedro’s extended family in a raid initiated when Pedro’s cousin “narcs” on himself to la migra (the Immigration and Naturalization Service) in order to get free transport for his extended family to his wedding in Tijuana. Pedro and Man return to the US as unwitting tricksters, bringing back to the US more marijuana than has ever crossed the Mexican-US border at one time, fusing the relationship between transnationalism and wastedness. The disrespect that stoners exhibit for pregnable US borders contests presumed Chicano powerlessness in the face of white force and further affronts whiteness, which historically has mobilised itself most virulently at the threat of alien incursion. Transgression here is wilful and playful; stoners intend to offend normative values and taste through their actions, their dress, and non-white associations as part of the project of forging a new hybridised, transnational subjectivity that threatens to lay waste to whiteness’s purity and privilege. Stoners invite the scrutiny of white authority with their outrageous attire and ethnically diverse composition, turning the “inevitability of surveillance” (Borrie 87) into an opportunity to enact their own wastedness—their wasted privilege, their wasted youth, their wasted potential—before a gaze that is ultimately confounded and threatened by the chaotic hybridity with which it is faced (Hebdige 26). By perpetually displaying his/her wasted Otherness, the stoner makes of him/herself a “freak,” a label cops use derisively throughout Up in Smoke to denote the wasted without realising that stoners define themselves in precisely such terms, and, by doing so, obstruct whiteness’s assertion of universal subjectivity. Pedro’s cousin Strawberry (Tom Skerritt), a pot dealer, enacts freakishness by exhibiting a large facial birthmark and by suffering from Vietnam-induced Post Traumatic Stress disorder. A freak in every sense of the word, Strawberry is denied white status by virtue of physical and mental defect. But Strawberry, as a stoner, ultimately wants whiteness even less than it wants him. The defects that deny him membership in the exclusive “club” that is whiteness prove less significant than the choice he makes to defect from the ranks of whiteness and join with Man in the decision to waste his whiteness wantonly (“Editorial”). Stoner masculinity is represented as similarly freakish and defective. While white authority forcefully frustrates the attempts of Pedro and Man to “score” marijuana, the duo’s efforts to “score” sexually are thwarted by their own in/action. More often than not, wastedness produces impotence in Up in Smoke, either literally or figuratively, wherein the confusion and misadventures that attend pot-smoking interrupt foreplay. The film’s only ostensible sex scene is unconsummated, a wasted opportunity for whiteness to reproduce itself when Man sleeps through his girlfriend’s frenzied discussion of sex. During the course of Up in Smoke, Man dresses as a woman while hitchhiking, Pedro mistakes Man for a woman, Man sits on Pedro’s lap when they scramble to change seats whilst being pulled over by the police, Man suggests that Pedro has a “small dick,” Pedro reports liking “manly breasts,” and Pedro—unable to urinate in the presence of Sgt. Stedenko—tells his penis that if it does not perform, he will “put [it] back in the closet.” Such attenuations of the lead characters’ masculinity climax in the penultimate scene, in which Pedro, backed by his band, performs “Earache My Eye,” a song he has just composed backstage, whilst adorned in pink tutu, garter belt, tassle pasties, sequined opera mask and Mickey Mouse ears: My momma talkin’ to me tryin’ to tell me how to liveBut I don't listen to her cause my head is like a sieveMy daddy he disowned me cause I wear my sister's clothesHe caught me in the bathroom with a pair of pantyhoseMy basketball coach he done kicked me off the teamFor wearing high heeled sneakers and acting like a queen“Earache My Eye” corroborates the Othered natured of stonerism by marking stoners, already designated as non-white, as non-straight. In a classic iteration of a bad gender performance, the scene rejects both whiteness and its hegemonic partners-in-crime, heterosexuality and normative masculinity (Butler 26). Here stoners waste not only their whiteness, but also their white masculinity. Whiteness, and its dependence upon “intersection … [with] interlocking axes [of power such as] gender … [and] sexuality,” is “outed” in this scene (Shome 368). So, too, is it enfeebled. In rendering masculinity freakish and defective, the film threatens whiteness at its core. For if whiteness can not depend upon normative masculinity for its reproduction, then, like Man’s racial birthright, it is wasted. The stoner’s embodiment of freakishness further works to emphasise wasted whiteness by exposing just how hysterical whiteness’s defense of its own normativity can be. Up in Smoke frequently inflates not only the effects of marijuana, but also the eccentricities of those who smoke it, a strategy which means that much of the film’s humour turns on satirising hegemonic stereotypes of marijuana smokers. Equally, Cheech Marin’s exaggerated “slapstick, one-dimensional [portrayal] of [a] Chicano character” works to render ridiculous the very stereotypes his character incarnates (List 183). While the film deconstructs processes of social construction, it also makes extensive use of counter-stereotyping in its depictions of characters marked as white. The result is that whiteness’s “illusion of [its] own infinite variety” is contested and the lie of whiteness as non-raced is exposed, helping to explain the stoner’s decision to waste his/her whiteness (Dyer 12; 2). In Up in Smoke whiteness is the colour of straightness. Straights, who are willing neither to smoke pot nor to tolerate the smoking of pot by others/Others, are so comprehensively marked as white in the film that whiteness and straightness become isomorphic. As a result, the same stereotypes are mobilised in representing whiteness and straightness: incompetence, belligerence, hypocrisy, meanspiritedness, and paranoia, qualities that are all the more oppressive because virtually all whites/straights in the film occupy positions of authority. Anthony’s spectacularly white parents, as we have seen, are bigoted and dominating. Their whiteness is further impugned by alcohol, which fuels Mr. Stoner’s fury and Mrs. Stoner’s unintelligibility. That the senior Stoners are drunk before noon works, of course, to expose the hypocrisy of those who would indict marijuana use while ignoring the social damage alcohol can produce. Their inebriation (revealed as chronic in the DVD’s outtake scenes) takes on further significance when it is configured as a decidedly white attribute. Throughout the film, only characters marked as white consume alcohol—most notably, the judge who is discovered to be drinking vodka whist adjudicating drug charges against Pedro and Man—therefore dislodging whiteness’s self-construction as temperate, and suggesting just how wasted whiteness is. While stonerism is represented as pacific, drunkenness is of a piece with white/straight bellicosity. In Up in Smoke, whites/straights crave confrontation and discord, especially the angry, uptight, and vainglorious narcotics cop Sgt. Stedenko (Stacey Keech) who inhabits so many of the film’s counter-stereotypes. While a trio of white cops roughly apprehend and search a carload of innocent nuns in a manner that Man describes as “cold blooded,” Stedenko, unawares in the foreground, gives an interview about his plans for what he hopes will be the biggest border drug bust in US history: “[Reporter:] Do you expect to see any violence here today? [Sgt. Stedenko:] I certainly hope so.” Stedenko’s desire to act violently against stoners echoes mythologies of white regeneration in the Old West, wherein whiteness refurbished itself through violent attacks on Native Americans, whose wasteful cultures failed to make “civilised” use of western lands (Slotkin 565).White aggression is relentlessly depicted in the film, with one important exception: the instance of the stoned straight. Perhaps no other trope is as defining of the genre, as is the scene wherein a straight person accidentally becomes stoned. Up in Smoke offers several examples, most notably the scene in which a motorcycle cop pulls over Pedro and Man as they drive a van belonging to Pedro’s Uncle Chuey. In a plot twist requiring a degree of willing suspension of disbelief that even wasted audiences might find a stretch, the exterior shell of the van, unbeknownst to Pedro and Man, is made entirely of marijuana which has started to smoulder around the exhaust pipe. The cop, who becomes intoxicated whilst walking through the fumes, does not hassle Pedro and Man, as expected, but instead asks for a bite of their hot dog and then departs happily, instructing the duo to “have a nice day.” In declining, or perhaps simply forgetting, to exercise his authority, the cop demonstrates the regenerative potential not of violent whiteness but rather of hybrid wastedness. Marijuana here is transformative, morphing straight consciousness into stoner consciousness and, in the process, discharging all the uptight, mean-spirited, unnecessary, and hence wasteful baggage of whiteness along the way. While such a utopian potential for pot is both upheld and satirised in the film, the scene amounts to far more than an inconsequential generic gag, in that it argues for the disavowal of whiteness via the assumption of the voluntary Otherness that is stonerism. Whiteness, the scene suggests, can be cast off, discarded, wasted and thus surmounted. Whites, for want of a better phrase, simply need to ‘just say no’ to whiteness in order to excrete the brutality that is its necessary affliction and inevitable result. While Up in Smoke laudably offers a powerful refusal to horde the assets of whiteness, the film fails to acknowledge that ‘just saying no’ is, indeed, one of whiteness’s exclusive privileges, since whites and only whites possess the liberty to refuse the advantages whiteness bestows. Non-whites possess no analogical ability to jettison the social constructions to which they are subjected, to refuse the power of dominant classes to define their subjectivity. Neither does the film confront the fact that Man nor any other of Up in Smoke’s white freaks are disallowed from re-embracing their whiteness, and its attendant value, at any time. However inchoate the film’s challenge to racial privilege, Up in Smoke’s celebration of the subversive pleasures of wasting whiteness offers a tentative, if bleary, first step toward ‘the abolition of whiteness.’ Its utopian vision of a post-white hybridised subjectivity, however dazed and confused, is worthy of far more serious contemplation than the film, taken at face value, might seem to suggest. Perhaps Up in Smoke is a stoner film that should also be viewed while sober. ReferencesBill and Ted’s Excellent Adventure. Dir. Stephen Herek. Orion Pictures Corporation, 1989.“Biographies”. 10 June 2010 ‹http://www.cheechandchongfans.com/biography.html›. Borrie, Lee. "Wild Ones: Containment Culture and 1950s Youth Rebellion”. Diss. University of Canterbury, 2007.Butler, Judith. "Critically Queer”. GLQ: A Journal of Lesbian and Gay Studies 1.1 (1993): 17-32.Chavoya, C. Ondine. “Customized Hybrids: The Art of Ruben Ortiz Torres and Lowriding in Southern California”. 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