The moment an object appears in a narrative, it is charged with a special force and becomes like the pole of a magnetic field, a knot in the network of invisible relationships. The symbolism of an object may be more or less explicit, but it is always there. We might even say that in a narrative any object is always magic.
You take delight not in a city's seven or seventy wonders but in the answer it gives to a question of yours
With cities, it is as with dreams: everything imaginable can be dreamed, but even the most unexpected dream is a rebus that conceals a desire or, its reverse, a fear. Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.
It has been suggested that the cooks who accompanied the Hindu kings of Indonesia during their visits home during the 8th to 12th centuries AD brought fermentation techniques back with them to their homeland. Perhaps the use of rice along with the pulse was necessary as a source of the mixed natural microflora needed for an effective fermentation. Yeasts have enzymes which break down starch to simpler sugar forms, and bacteria which dominate the idli fermentation carry enzymes for souring and leavening through carbon dioxide production.
The material of which a cooking vessel is made influenced the food cooked in it, and the effect that it exerted on the body. Taking rice as an example, cooking it in a copper vessel destroys gas (vatha), removes Spleen disease, and was recommended for yogins.