 Welcome to the National Museums of Kenya. Kenya is actually home to quite a number of museums and right here we are at the Nairobi National Museum, which is a flagship of the National Museums of Kenya set up in 1929. And this is actually the Nairobi National Museum is actually a walking distance from the city center and it possesses some of the iconic collections of Kenya's history, nature, culture and contemporary art. So today particularly, we're going to be speaking to a curator specifically in the natural science department and we're going to learn much more about the preservation of mammals in the country. Come with me. My name is Bernadagwanda. I work for National Museums of Kenya as a research scientist in the curator of mammals. Where we are is National Museums of Kenya and at the center of collections for mammals. The National Museums of Kenya is in charge of collections of historical, cultural and scientific value. And so this is just one part of the functions of the museums where we're standing. 80% of what you see here are specimens in chemical called ethano to preserve them forever and most of them are collected by myself. Because of my research program from 2006 till today it is to understand what mammals we have in Kenya, where do they are and what are the pathogens, virus, whole bacteria that they have that could be of medical importance. And that's why they're in this format. Of course, we also do the same for the dry skins you see over there. And we have controlled collection of dry skins of large mammals that this is still done a little bit with precaution to answer those important questions for biomedical as well as food security questions. So you can see here, Aguenda. And this is McKinney. My oldest collection is 1999. 1999? Yes. I was a student that time but I was already working closely with the National Museums of Kenya. Yes. Do you remember what it was? Yeah, I do. It's a rodent, which is only found in Titer Hills. Yeah, but overly mammals here, the oldest is 2000, is 1909. 1909. Yeah, meaning we have celebrated our setonary. Yeah, yeah. Okay. Over our setonary. Of course, yeah, 1909 even Nairobi was not properly Nairobi. I think we were operating from Magya Coast as the air quarters at that time. Yeah. So what's like, have been one of your most memorable experience in the tenure of your work here? Several of them, but one outstanding one is working in a place which is full of terrorists and trying to get the important science out. And I'm glad that we were able to describe a new species for science which I'll show you back in my office. We've named it after Mandela because the terrorism issue was borrowed from neighboring countries, which is struggling to have a proper governance and peace and proper governance is one of the things that Mandela fought for many years, not just in South Africa for the entire continent. And so we attributed this to his name, Asahona, for that. So we've named it after Mandela. So that to me is outstanding. We're working very hard but we were surrounded by terrorists and very many security agents who are not able to give us protection because we were unable to follow the procedures of the security of the country. So to me, that was challenging but thrilling because the results were rewarding. Yeah, we were actually sleeping under the tree the same way you can see. The chimp is sitting under my tongue. So you are sitting under the tree. Each night we have to retire that way because there was no home. We could not establish camps because of the skin tissues and so forth and so on. So that's one of the one out of many outstanding and exciting aspects of my work. Remember, each one of them has about a number and this number takes you to the data where it was collected, when it was collected it was a male or a female, what was its weight, what was the tail length and so forth and so on. So if you want to understand if the monkeys tail are shortening or lengthening with time, then you are able to tell. Then you say from 1909 to 1920, they were longer this way in this area but from this time envelope to that envelope they're getting shorter and then now they're getting again and so forth and so on. So each collection has got a unique way of answering our questions. It could be those questions that don't have already advanced to our life but there are certain questions that can be brought to answer food security issues, public health issues and hope I'll be able to explain for you some more public health issues. Just right next to us is a freezer where we keep the organs of these animals and it's deep, it's deep, literally, it freezes to minus 80 and therefore if there's a virus there, that virus is preserved for that long. So we can answer questions of if for instance COVID-19, virus actually came from our pangolin and we have pangolins and we have good organs here or blood then we can be able to screen and say, well, for those that we've been able to collect over the years in Kenya in this particular area, they are COVID-19 free. Or this one has got a virus that is related to COVID but not actually COVID. And you do that for the bats too because bats has also been implicated and we've been able to see that certain bats in our environment have got virus that are similar to coronavirus that we know are found in human beings. Similar but not the same. Like relatives. Ebola was linked to bats as well. Yeah, and we are able to look at our environment, screen the bats and then understand whether the virus they have are similar to Ebola or not. Now, this is a kenrat, a rat that is commonly, many communities eat it as a delicacy. But next to it, this one is a rat that was brought by colonialists to control weeds in Kenya. It's called koipus. It stays in a muddy, marshy area. That's why it's the feet are a little bit webbed. Different from our indigenous, which is on dry grassland. Can you see the difference? Yes. And the piece of paper you see here is what contains the summary information. When it was, what the name is, when it was collected and collected by whom and then the number. That unique number is like an ID. It's captured in a catalog, which has got expanded information inside there. Occupied. And this is crested. This crested because it's behind the head, it's long hair. As opposed to it's close relatives, which has no hair at the back, but has got something that looks like wheat and the tail. We call it brash fern, this one. If you know rattlesnake, rattlesnake that seem to have something like this. This is like wheat or barley. Yes. Yeah. So we have these different types collected in different areas and different sexes all together combined to give you what you call the distribution map of the atlas of animals in Kenya. Unip from the two that I've showed you are the flying squirrels. The only mammals that fly are bats, but they are also flying squirrels and I know many people don't understand where in Kenya you may be able to see. A squirrel that has got some sort of wings and flies from one tree to another. The reason why they're not called true flying mammals is because when they leave one tree to another, they cannot change direction and come back to the branch. Once they take off, they have to continue. They can also not gain altitude. They can only descend or go straight. So they actually glide. We've presented this in a way that people can understand in the public gallery. So if you visit the mammal gallery, you understand this natural history of mammals. So welcome to the world of flying squirrels. These are the hands, these are the legs, and between the hands and the legs, a membrane just grows from the wrist, actually almost towards the elbow, all the way to near the knee. For the bats, it starts from the last digit. The membrane grows to the last toe. This guy just somewhere after the elbow, down to near the knee. This membrane is not supported by a musculature that can make it flap. So this is a zincary. And it has got scales on the tail. So when it's climbing the branch, it wraps on the stem or the back of the trees, it can slide back to help them keep on keeping on. So where to see these guys? These are collected from Western Kenya, Kakamega, North Nandi, South Nandi Forest, are the only place in Kenya you can see this. Allow me to show you the bats. And I'm glad you're starting with this because I want to connect these to public health. The specimen of bat, and this is Tadaridapumila. So this is how we preserve some of them. They are dry, they can stay for long. The group of bats that we have here, one of them is mobs, which I will probably find down here, recently was found to have a virus similar to Ebola virus. Actually it's Ebola virus called, let's keep it simple, it's Ebola virus. It's only that it is not the same species of Ebola virus that causes Ebola virus hemorrhagic fever disease in West Africa. Yeah, the genetic materials is comparable, but this one doesn't cause disease. Yes, so we know that bats have viruses that are similar to the one causing problems. Now with the COVID-19 virus, we know viruses can change formation and become more violent, causing more disease and causing more death. So it's good to take note that the other virus are similar to Ebola virus, even though they don't cause any problem today. You never know, they can change direction of evolution and become more violent and this is causing two human beings. So how bats live with them is important for us because once we understand that, we can be able to use that kind of information to know how to protect ourselves against virus. But more importantly, the reason why COVID-19 vaccine came quickly are many, but one key factor that people really talk about is the genetic materials. Once we identify a virus, we keep the genetic material into that information. So people would develop a vaccine, try to play around with it and see if the vaccine can be developed with it. So a prototype is already waiting somewhere. Should it emerge to become an issue? They use the prototype to just finish the job. Nobody talks about it, but that's the truth, yeah. So being able to understand our background, what mammals do we have, what virus do they have, and all the genetic materials that are in them is important because it takes you from the groundwork of time to look for the materials to develop a vaccine. Now, when we have got questions that the skins can answer, similarly we have got scientific questions that the bones, including the skulls, do answer. And when you have a glimpse of the skulls and sometimes you see the horns, you see the kind of weaponry that these mammals do have. They can't manufacture guns, spears, arrows like humans' beings do. They rely on their natural materials. It could be teeth, like you've seen one in Wapok, see this one. Or very sharp canines, like you've seen from a lion. And each material like this has got information that links it to the skin that you've seen above, or the organ that you could be having in the freezer, or any other material that could be elsewhere. Museums exchange materials for comparative reasons and some of the materials that we could see linked to this specimen could be lying in Europe, or in America, or in other parts of the world where we have got exchange agreement. But basically any animal that has bones and has ever lived in Kenya is represented here in details that help us to ask questions about past, environment, present, and can be predictive to help us answer what kind of environment we foresee, what kind of body changes we foresee in those animals. And we can use that to infer what might happen to us as human beings. We are using this kind of collections to predict hotspots for the next emerging disease. Hotspots where environment is changing quickly, and hotspots where human survival in terms of livelihood could be. One of the most outstanding work that I'm doing here, we discovered a rat the size of a rabbit about one kilogram of weight that uses poison from plants to protect itself. Yeah, I have a list of some sort. Or a huge animal for some sort. It takes the poison of our poison plant. Our poison plant is a plant that Africans have used for millennia. They use the poison put on the blade of the spear or of the arrow. And when they shoot down an enemy or a prey, the prey or the enemy will come down quickly within five minutes, irrespective of how deep the blade went into the system. Now, the rat is using the same poison, and because it doesn't have the technology and tools to handle, it chews it, instead of swallowing the poison that comes out of the juice, it puts it on its coat on the skin. And the skin has got hair, that specialised force, wicking it in. You don't know whether you're used to, you know, the lamps that people are calling Kuromboi, you have a piece of cloth put inside there and then you have paraffin in the tank. And then the piece of cloth will wicks the paraffin and when you put the flame on top, it will just, yeah, same thing. So the hair on the body of the rat, you do that for lack of a better name for this, will suck in and keep the poison. So if you're coming into, it is like a jackal or a mongoose, it will have to mouth fast the poison and you'll be either memed or killed. So we discovered this very recently and we formally published it. And now we're busy mapping where the rats are and where the plant is. We see that they coexist throughout the range of the animal. I'm Douglas here from Cape Town, South Africa. We're about to head into the National Gallery of South Africa to see some of the items in their collection and celebration and in preparation for this year's Wikimania 2021. Let's go, check it out. Give you guys some understanding of where the National Gallery is in relation to the rest of Cape Town. It's here in South Africa, Cape Town. It's here in the city of Cape Town, in the city centre, in company gardens. Right next door to the National Gallery or and in the company gardens is the South African Parliament building. So that is the back entrance of the South African Parliament over there. Here right in front of me is the National Gallery. Looking quite, quite, quite nice. And then right next door to the National Gallery, also further into the company gardens is the South African Jewish Museum, right behind those trees over there behind the mural of the elephant. Great, let's go in and have a look. We're here with standing in the Gallery Atrium, which is an extension of the installation that we have in room one by Coral Bijou, titled Dreams as Revolution. And Coral's work really in this installation is looking at human behaviour through, I suppose, the metaphor of single-use plastic. And the exhibition is less, is more commentary on human behaviour than it is a kind of celebrational commentary on recycling. And it tries to move away from the understanding that you can sort of change the impact that we've had on the environment by changing our behaviours, but rather think of other ways of being human and think about the ways that we exist in the world. So the use of single-use plastic is transformed into all these objects and co-exists with plant life as a way of thinking through how the organic and the inorganic, the relationship between the two, but also how the organic can sort of teach us new ways of being and allow us to dream new ways of existing that might have a better impact on the world or might not, but to really sit in the space of dreaming. So the idea is for there to be this ongoing planting of dreams throughout the run of the installation. And the artist first created this installation at an abandoned nursery on the UK-Zed Inn Belville campus. And I think the translation of this installation from a space that was a nursery and how a lot of these objects had plants growing in them and around them and through them and how they then come into a gallery space. And it's a very different interrogation of sites and space where we're thinking through kind of like the colonial history of the building of the National Gallery itself, but also the past that exists beyond that history, that this land actually has a history beyond its colonial takeover and that we can reclaim it in sitting in the space of dreaming. So I think it's really interesting to have these kinds of installations alongside our collections and that is one of the significant reasons why or one of the things I enjoy really about the fact that we have a dynamic program at the gallery and we move away from permanent exhibitions to having an ongoing rotation of temporary exhibitions because that allows us to have works that are in conversation not only with the collection but the history of the institution in ways that the collection sometimes isn't able to do as succinctly. I think Coral's installation in the space has definitely done that in also interrogating the relationship between inside and outside space so that the exhibition itself exists outside in the atrium as well as inside starts to also bring up questions about the relationship between the internal gallery space and the internal institutional structure and everyone who exists outside of it and how access is managed and mediated. Yeah, so this is dreams as revolution and this is where we come to dream. So it's in progress, the site is in progress. It's never quite final, never finished and there's an ongoing program of gardening in the space that continues to grow what the installation looks like. So what you come and see on one given day might not look the same when you come again next week. Wow, there's a lot there. But three themes really sort of stuck out for me at least on sort of this piece and what you just said about it. I suppose that three themes would be first the transient or the dynamic nature of the display here at the National Museum, how you're always trying to choose something that's different every time and how this particular display is a nice representation of that because it itself is always changing. And the other one would be this sort of juxtaposition between plastic and nature or industry, human-made industry and nature. There's something there that we can learn. And please do correct me if I get any of this wrong but this is just the take home I'm getting. I don't think there's anything right or wrong and absolutely I think these are all ideas that are instigated by seeing the relationship or the relationship between plastic and nature or what is made and what is natural. I think all of those are there. So it sounds like that's quite an environmental message as well as sort of an exit, I suppose. I mean it comments on the environment but I think what it tries to do is I think what Coral's work does for me is to situate a commentary on human behavior within the context of the environment. So to look at what the environment and its current state can teach us about human behavior as opposed to starting with it being solely like a commentary on the impact on the environment. I think we've had that message repeated to us so many times and I think that often goes towards the space of, okay if we change our human behaviors, the environment would be better. But I think if we can sit in the space of understanding the ways we navigate the world as human beings and why our behaviors are structured in that way, whether it's consumerism or mass production and where that comes from within ourselves as human beings, we're in a better position to imagine new worlds that impact the environment differently. Interesting, yeah and I suppose for me it sort of signifies how we as human beings can't be separated from the environment that exists here on earth because we are part of the system and we can't live outside of that environmental system and even though we try to impose plastic objects to try and control it, it's yeah. Because we are of the environment and I think what we do in the environment is more kind of a display of the ways we try to exert power onto it as opposed to us being solely divorced from it because we are of the environment. And that's a nice segue actually to the third thing that you raised which was this commentary on colonialism in certainly in South Africa but I suppose it could be a commentary on colonialism and elements that descend perhaps not from colonialism or maybe colonialism from it which is industrialization and sort of this desire for human beings to control nature and control other things too through science or through other means. Yeah, whatever new mechanisms we figure out to exert power and control capitalism as well as a system that is also rooted in controlling the means of production. Yeah, well I suppose yeah, I mean all types of politics socialism is also controlling the means of production. Yeah, and I suppose it also falls in the same communism circles in the same trap as well in this particular instance, very interesting. Disquieting the domesticities and vestiges of violence, exhibition. The works are made from a cellulose fiber and over time they'll begin to degrade and disintegrate which is also quite interesting because the images reference pieces of European and Dutch and Chinese porcelain. So it's quite interesting that something, the reference to something so fragile but rather more sturdy and somewhat durable becomes rendered in these cellulose fiber sculptural forms that will disintegrate over time. And I think it's interesting to see that process unfold throughout each of the pieces. Fascinating, why have they focused on porcelain and making it out of this sort of paper like material? The ending is that Lior is focusing on the kind of porcelain objects as signifiers of home life but also as having quite a particular reference to colonial history in South Africa. So the home space as a kind of, the domestic space rather as a kind of site where the social and political violences and circumstances and conditions converge in ways that are I suppose macro but also intimate in many ways. Because it feels like it's very temporary, the piece. She's exploring the temporary, also feels like a strong feeling of decay. Yeah, rot and decay kind of comes through in the ways that the objects begin to disintegrate and this installation has been absent May and I believe that by September most of the objects were completely disintegrated. And why is she focused on this theme of decay? I think Lior is interested in the idea of bio or what people call bio art. So the use of materials and looking at how materials change over time. I think that, but also that looking at that biological decay as a metaphor I suppose the decayed human behavior or society or social circumstances, political organization of structures of the world is how I've interpreted these pieces. Fascinating. Society decay to some sense. So this piece I suppose feels a little bit pessimistic then about society. Is this a mystic or observational? I don't know. And you say that by September or late end of September should all decayed away? Yeah, so what? So it's about a month from now. I mean already a lot of the pieces that were a lot higher started to collapse. And collapse, yeah. And what the artist does is does quite a close documentation of the works at the beginning of the installation and at different stages in the decay. So after the objects have just integrated audiences will have an opportunity to look at video installations that sort of document the process of, not really the process of decay, but the object at a different stage. Oh. So that's also another translation from one medium to another from the sculptural form into video. Interesting. So this will then become essentially a video piece. Yes. Fascinating. I like how it's all backlit as well, like an underlit. Yeah, reference the domestic object. So porcelain, yes, but I've also seen patterns that almost remind me of doilies and crocheted table cloths and things like that. So you get these patterns that reflect domestic life, particular types of domestic life. Great. Femininity as well. What you gotta do? Fascinating. In some porcelain. My name is Tando and I am from Johannesburg, South Africa. I'm a professional chef. I've been doing this for about 11 years. I've worked for private chefs around South Africa. My favorite type of cooking, within the fine dining spectrum, I would say French, a lot of Italian. Indian is good. Yeah. The meal we're going to cook today is a beef fillet with pampuere, truffle pampuere. We've got some Parmesan. We've got some fresh peas mixed with some bacon, some carrots that's been tossed in some honey just for a bit of sweetness, a beautiful jus and some Parmesan to just end it off. Hi there. I am Diane, aka Obsidiac. I am a Wikimedia, I am a board member at Wikimedia France and of course I contributed to Wikipedia and other Wikimedia projects. I live in Grenoble. You might be able to see the mountains here. We're in the Alps in France and I am cooking today with Thondo and I'm so excited. And with my girlfriend, Morgan, he'll be cooking with me. So we're excited to go. Okay, Diane, first of all, have you gotten your potato going and the jus, the stock for the jus? Yeah, the jus is actually reducing right now. Yeah, perfect. Yeah, and the potatoes are cooking, they were huge, so I'm taking a bit of time. I think I'm going to have to take some pieces. So what I want to start with is the carrots. Some baby carrots here. If we could just put our ovens on to 180. I use, what is it, sea again? Salsias. So what we want to do is to just, we're just going to roast this carrot a bit. We'll roast it and then we'll get it into the pan and we'll toss it in some honey and get it some flavor and a bit of color. So what we want to do is to just get a bit of salt on there and some oil for the roast. So if we get our carrots, we just want to dress them in olive oil just a little and just season them with some salt and some pepper. And then I've got two years because I'm cooking for one, but you guys will have double the amount. Let's season that and let's get that into the oven on 180 and then we'll keep that in there for about half an hour, 25 minutes. So the other components, once our potato is ready, we'll attend to that. Can you guys let me know at what stage your potatoes are? Crick it with a knife or something. It's starting to be soft. Quite soft. Yeah. Okay, awesome. Let's, yeah, let's start with some mushroom. So we've got some mushroom. Mm-hmm, yep. We've got some wild mushroom here. We'll have those too. I wish I had those. Okay. Okay, so what I'm just going to do is these, I'm going to leave as they are. Mm-hmm. And then I'm just going to cut my chestnuts just into slices. I'll show you now. And I'm going to cut this guy just simply like that. Mm-hmm, yeah. So what we want to do is we want to get a pan and get it sort of quite hot. And then we're just going to toss these in some olive oil and do you guys have hard herbs like thyme or rosemary? Yes, we do. Awesome. Okay, so let's get our pan hot. Okay. Then I'm going to take some olive oil, actually. Take my mushroom. So I've just got my hob on and it's just a dry pan. Just waiting for it to get hot here. Mm-hmm. Just move my light. So I've got my olive oil, I've got my thyme and some garlic that I'm just going to throw in. What I actually like to do is when the pan is hot, I like to just, without even putting on any oil, I like to just put the mushroom in while like dry pan. What this will do is it will release a really beautiful nutty flavor. So we just want to heat this a little bit. So after this, we're going to put in some olive oil. And then we're going to throw in some thyme and then we're going to throw in some garlic and just toss that in it. So when your pan is hot, you can hear it just sizzle a little. That's awesome. You guys good? Yes, you're good. Let's get some olive oil in. You can throw some rosemary or some thyme in there. That will give it some good flavor. Just season it a little bit with some salt. And then you can throw in just a little bit of garlic. We should have some beautiful color forming here. I'm going to throw in some butter. I'm going to put in a little piece of butter like this for the amount of mushroom that I've got. I think yours will be more. Awesome. Right now we've got the garlic in here, we've got some butter, we've got some thyme. Really good flavors coming here. Really good color. Okay, so I'm going to take mine out. Our potatoes are cooked. Should we take them out and filter the water? Yeah, so what you can do, just take them out and filter the water and we'll keep them there for a few minutes. I'm going to taste my potato because mine should also be almost done. Yeah. How's your mushroom doing there? It looks good. Yeah, stunning guys. What we want to do next is I think let's get the bacon going in the same pan. Just keep it on, just keep the same type of heat. Let me just bring my stuff. So the type of bacon I've got, I just bought some normal, just diced bacon like this. But if you've got pancetta or any type, that's cool. But what we want is small pieces like this. What do you have? No, that's fine because we can still dice it. No, that's perfect. Delicious. That's perfect. So we'll cook it whole. And then what we'll do is to just chop it up into diced pieces. We're also going to need once we're done with the bacon. It's just some, some salty boiling water for our peas, just to get that in. So if we could just get, we'll start thinking about that for off to the bacon. Yeah, we'll boil some water. Okay. We couldn't find spring peas because it's not spring anymore here. So we got these. We got these. No, it's fine. Okay. I guess it's the same, but. Yeah. No, that's awesome. Okay. I think the mushroom already. What do you think? Okay. That looks good. Let's just set that aside. Perfect. Okay, let's get that hot. And then, and there's still a bit of olive oil in there. Okay. Let's get that, let's get that going. Put the slices straight in there. I'm going to throw this right in there. And then you're going to flip it again so we can just get some color out of it and just to get it slightly crispy. Yeah. That's some crispy. Yeah. I'm going to take mine off. And we're going to use this one again. You can just grab your shallots or your onion. Yeah, peel it first. So I've just got a normal baby onion here. Don't seem to have shallots at the moment. But yeah, just peel it and then cut it in half lengthwise like that. Yeah. Perfect. Let's get that side down on the heat and we're just going to let it get some color. We're going to try this. So when it starts to get a beautiful black color, very dark brown to black, then we'll take it out. This will also cook the rest of the onion and just soften it slightly. Kind of. Yes. Aha. Nice. Beautiful. And then we should get like a really beautiful dark color on the flat side. Actually taking care of the view. Okay. Yeah. That looks good. It'll be done very soon. Yeah. I'm a few minutes out here. Awesome. Okay. So far, please. I just want some salty water going on the hub. And what we're going to do is we're literally. Just going to get them in for like 30 seconds. We don't want them to be mushy, but we do want them to cook a little and to release some flavor. So they will have a bit of a crunch to them. All right. I'm going to take my onion off. This is what I've got. And I'll use mainly the center parts. My cat's ready. I think. Come out. We'll take them out. And we'll start with the sauce for the peas. What did you call it? Yes. Okay. That's not like either being on something. I don't know. Okay. So I'm just waiting for my key water to just boil. That should be like another minute or so. So when that's ready, when that water's boiling, I'm just going to throw my piece in. like 25 seconds, not too long, 25-30 seconds. Normally how we'd cook it is we'd chuck it into the boiling water and then into some ice water, but we're not cooking it that much. How's it going? Starting to soften. Yes, beautiful. We've got our potato done, which we'll get to now now. We're about to do our peas, our carrots are waiting for us, mushroom is done, and the bacon's done. All right, so do we have boiling water for the peas? We do. Okay, let's just chuck it in for about 30 seconds, straight in. So we'll just let that chill in there for about 30 seconds and then straight out. I'm going to take mine off, back in here. So the reason we're not fully cooking them is because I do want to toss them with the bacon before we plate it just for it to catch that flavor and just for us to warm the food a bit before we eat. I'm going to go back to my station so we can get some potato going. So my potato's done, I'm just quickly going to peel it. And what I have, I don't know if you guys have a squeezy bottle or some kind of a ziplock to put the potato, to put the puree in. Mm-hmm. Okay, let me just peel quickly here. It's also good to do it while it's still hot. I'm just passing my potato to the stove guys, while it's still nice and hot. How are your beans doing? I'm nearly done. I'm good here. I'll just wait for you guys. What I have here is a really beautiful fluffy potato. Think we'll stuff there. What we want to do while this is still hot is get some butter in there, just get it between your fingers. Mm-hmm. Okay. And while the potato's still hot, just get some butter in there. You can break it up also. So I just threw in two little cubes of what I've got. Once it's in there, you can start mixing it and it'll start melting almost immediately. What we also want to do is just a pinch of salt on the potato. I couldn't find real truffle, so I've just got a bit of truffle oil here. And I'm literally just going to put in like half a teaspoon of the truffle oil in. So it should look really smooth and really fluffy. It does. So once you've mixed your truffle oil in, we can just put in just a swig of milk. Just about, I would say, two tablespoons, let's say. Not a lot. We don't want this to be too runny. So it's getting a bit softer. And before, we put it in the bottle to taste it. Just to make sure that we've got the right thing going on here. Right amount of salt. You can taste some truffle. It's creamy. Good stuff. So this is what mine looks like. Just white and fluffy. Yeah, looks like yours too. Beautiful stuff. All right. Next, we're going to put it in our bottle. Now squeeze bottle. Awesome, guys. We're doing well. I think that's good for me. We're almost ready to carry on. I'm going to set my potato aside. More good. Now we're almost done. We want to get our carrots tossed in some honey, some butter honey. And then we want to get our meat going. So I've got a really big piece here. Perfect. That's awesome. Yeah, that's cool. Okay. So what we want to do is just to get some salt. Cover the whole surface with your salt. Yeah. And then get some pepper on there. Get it all around there. Right. So our cooking times are going to be different. But I will be with you. Let's get some olive oil on there. And then what you want to do is to get your pan really hot. Really, really hot. Because if it's not hot, we're going to put these steaks in and they're just going to boil. So we want them to really touch the surface and to really catch some heat. All right. So let's just give that about two, three minutes that that really get hot. And then we'll get our beef in there and fry that. In the meantime, what you also want to do is just on low, just to get your jus just warming up. Because you don't want a cold fatty jus on your plate. So just put that on low until we plate later on. When our pan is hot, let's get our beef in. And then we'll come back to the carrot. All right. It's getting hot. It's very hot. It's getting. Yeah. There is some. Yeah. I think it's good. Mine's almost there. Once it starts steaming, you'll see it's sort of steaming on the side. It's almost like a good to go. Yeah. Just one side and then we'll flip it. You want to cook it evenly. So one side first and then we'll flip it halfway through. So you always can cook about one minute, 30 on each side, depending on how you like it. How do you guys like your steak? I'm going to get mine in. Okay. So if it's like one minute, 30 seconds on each side, that'll be sort of medium rare. Nice heat. What we'll also need for this, if you want to just throw in some butter, the butter will burn. So it'll also help with that charring look that you want on your steak. Yeah, that looks good. Should we take it out? I think? Yeah, take it out and put on a plate and let it rest. So I'm going to do it on the same panel that I've got my steak. It's nice and hot. And the steak will take way longer to cook. So we can do just a knob of butter. Straighten. Let it melt a bit. So that's going to start to melt immediately. Do you want to get your honey in? Just a little bit of that. I'll sort of just mix those two and then let's get our carrot in very quickly and just give it some color. You'll start to smell the honey burning or caramelizing when you say. We literally want this in for like a minute or so. I'll take my art. I'm going to take my honey out before it burns. Awesome, guys. Okay, so my meat is done. Okay, in the meantime, you can get your plate ready because we're going to plate through and we're also going to warm everything up soon. We're just going to toss everything back in the pan so that you guys don't need cold food. So I've got my ketchup. Really beautiful. That's some beautiful color. Really nice and caramelized. So just get your station ready, your plating station. You want it to be nice and clean. Get your plates ready. And so we're ready to go in a few minutes. We've got our bacon. So let's get our bacon in. Let that sizzle a bit and let that release a bit of fat. Are you happy with them? Okay. Get our peas in there. Not for too long. We don't want them to burn or anything. Let's chuck the peas in there for no more than like 20 seconds. Let that fat really coat it. Looks that good. Right. That's good. So I've got bacon and pea mix here. You can just get that back into the pan and get that warmed up. Yeah. Starting to be a bit hungry. We can get our mushroom back in. Just toss that through. So I'm getting mine in there. Just for a few seconds just to get some heat on them. Cut. Now take mine off. Did you guys get parsley? Yes. Okay. So this is a very quick and you've got a blender. Vertical one. Okay. So this will take literally like 30 seconds to do. So we're just going to get a beautiful, tasty, very herby green emulsion like that. Yeah. See. Okay. So what you want to do is take like a handful of the parsley and just quickly run it under some like boiling water. Just you can go to your tap and run it under hot water. What that'll do is that'll release the flavor. So once you've done that, just get it into the blender. Just a pinch of salt and some oil. I'd say about a quarter cup of oil. So maybe four or five teaspoons of oil. And then just blitz that until it's really beautiful and green and smooth. We're ready to plate now, guys. Okay. What we want to do is to start with our potato. We want three really good sized dollops on the plates and then we'll sort of work around them. Three beautiful dollops. Now take our carrots. So what I'm going to do is I'm going to slice mine in half. You guys can just put them as they are. Yeah. Okay. That's perfect. Okay. I'm going to take our mushroom now and just get it around the plate. You can take your onion and you can either use a hole. I'll just wait for you. So you can take your onion and you can kind of use a hole or take a petal and just rip that out to use that. Or you can mix it. This way. I'm going to take a petal and just sort of lay it very randomly on the side there. You don't keep some space for our beef also. What's nice about these petals is that we can put some herbal oil in there for the plating. And let's get to the courgette. Okay. So I've got this one. I think mine's quite different from yours. I think I saw like quite a yellow one. Awesome. So just with a peeler, we're just going to peel slices like that. Three per person would be good. You want to use quite thick ones. So once you get to the middle, those are quite good. So what I've done is just roll it around my finger. Yeah, that's perfect. And then just put two or three just for a pop of green around your plate. Okay. Let's get up here and bake it on. Okay. So if you've got a full spoon, you want to take maybe just half of it or you can take a teaspoon and just sort of put them around just random blobs of it around the plate and just put my meat on my chopping board here. Cool. All right. I'm going to slice mine. Beautiful. All right. So I've got a beautiful medium rare medium steak there. Very good. Very nice one, guys. Okay. I've got my herb oil here in my hand. If you guys have any liquid in yours or if you just want to put the blobs of the herb around your plate, you can do that depending on how it came out. What I'm going to do is I'm going to put mine in my petal, just fill it there. Let it hold some and let it spill out. And then I'm just going to put some randomly around the plate. You'll appreciate the flavor. I'm kind of stunning my silky junior. Okay. Just let it drip off there and let it go where it wants to go and get a bit more just randomly around the plate. Are you guys happy? And if you guys want just some great little parmesan on the other corner of the piece of meat, just for a bit of effect. Not too much. Just a little. So with whatever herbs you have, let's just finish off the plate. Just get them around the plate very randomly. I've got these guys that bring a little more green to the table. I'll try and find another color. Oh, nice, guys. Yes. Oh, it looks really good. And I've got nice blue plates. Well, guys, thank you so much for cooking with me today. I really hope you learned a hell of a lot of stuff and I hope you enjoyed cooking. Here is the dish. Please enjoy bon appetit. Thank you very much, vendors, for sharing your expertise with us. This is probably going to be amazingly good. So I'll tell you, it looks awesome and I'm sure it will taste awesome. Have a great week, media, everyone. Enjoy. Bye-bye. And I will let the bird have her dinner too.