A Semi-Formal Annotated Bibliography:
Some Articles That Were Useful for food.ever
Alan Chamberlain and Chloe Griffiths. 2013. Taste and place: design, HCI, location and food. In Proceedings of the 5th international workshop on Multimedia for cooking & eating activities (CEA ‘13). ACM, New York, NY, USA, 57–62. DOI: https://doi.org/10.1145/2506023.2506034
The paper tells about an app called Tastebooks, which is a system that expert users upload content about food, for the consumption of a wider public. It is important for it inspires about the system that food.ever could use in the generation of event specific animations and also it gives insights about how a mobile app as such could be sustainable.
Andrea Grimes and Richard Harper. 2008. Celebratory technology: new directions for food research in HCI. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI ‘08). ACM, New York, NY, USA, 467–476. DOI: https://doi.org/10.1145/1357054.1357130
In this paper Grimes and Harper tries to explore a “new path for food research in HCI”, which focuses on ways people find pleasure and success in their interactions rather than addressing problems.
Writers point that design in HCI usually focus on problems such as uncertainty, inefficiency etc. and state that this approach have some presuppositions that could hurt the human experience, e.g., the mistakenly discovered recipes in kitchen may disappear due to a design that asserts high efficiency and removes accidents from cooking process.
In their paper Grimes and Harper suggests “six positive aspects of human-food interaction that can be designed for”: creativity, pleasure and nostalgia, gifting, family connectedness, trend-seeking behaviors and relaxation. They are also pointing out the challenges in such a philosophy of design such as determining when to introduce technology, which is especially important for food.ever.
This paper provides valuable insights on how to design for human activity and human experience in a positive way of thinking. Since it is not desired for food.ever to have a corrective and governing nature, the positive aspects provided in this article are important in design process. It also suggests the unremarkable computing and this is also accepted as a goal for food.ever.
Annika Hupfeld and Tom Rodden. 2012. Laying the table for HCI: uncovering ecologies of domestic food consumption. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI ‘12). ACM, New York, NY, USA, 119–128. DOI: https://doi.org/10.1145/2207676.2207694
Hupfeld and Rodden discusses how to design for digitally augmenting the domestic dining, mainly focusing on the dining table, rather than preparation part. They are providing the interaction designers with valuable insights from their studies with 8 English households.
Paper gives an account on how the digital design for dining table may switch from background to foreground in occasions by explaining that people tend to use different settings in their tables in dinners with different purposes, i.e., a celebratory setting tend to be different than a routine dinner. Driving from this point, food.ever also accepts such a principal and its activity is carefully regulated in accordance with the mood and setting of the dinners. For example, if a user revealed a celebratory purpose for the planned dinner in their mobile app, the projection system tends to act in a congruent way.
The research demonstrates that technology and technological setting around the table may change how the people situate themselves in a dinner. Thus it makes a point on how to design in a way to be unobtrusive for the users and nourish the conviviality of the dining tables.
Bell G, Kaye J. Designing technology for domestic spaces: a kitchen manifesto. Gastronomica: the journal of food and culture. 2002;2(2):46–62.
Bell and Kaye discusses how design for domestic spaces should go beyond efficiency and take empathy, sharing, commensality, experience and affect into consideration. It points the danger of presupposition of a digital lifestyle when designing for domestic spaces.
The paper offers a criticism towards the functionalist approach and intervening design towards human activities. Learning from that research, food.ever is sought to be designed in a way that would nourish the mundanity and humane nature of eating rather than having a corrective and intervening character.
Bell and Kaye states that one should think domestic when designing for domestic activities and not digital. One should think and design for human and intuition, keeping in mind that domestic spaces are ecologies. For this reason, when designing food.ever, the dining table in the restaurant was accepted as an ecology and the project was there to only cultivate that. Although it may till be robust or obtrusive when an ideal design is imagined, it tends to grow in a way that becomes more and more intuitive. It is suggested in this paper that one should design for emotions and affection. This view of design aligns with the design of food.ever, for its main goal is to evoke emotions both towards the food, accompanists (people who are dining together), and the time that was spent and being spent together. It aims to make people feel more empathetic and curious about the food and raise awareness on the topic. Through creation of a digital project, food.ever seeks to augment real experiences with “real people” like Bell and Kaye suggested.
Chia-Hsun Lee, Leonardo Bonnani, and Ted Selker. 2005. Augmented reality kitchen: enhancing human sensibility in domestic life. In ACM SIGGRAPH 2005 Posters (SIGGRAPH ‘05), Juan Buhler (Ed.). ACM, New York, NY, USA, , Article 60 . DOI=http://dx.doi.org/10.1145/1186954.1187022
This short article serves as an inspirational work for food.ever, which uses mapping of the surfaces and AR tools that supports the cooking process. It is worthy to study for its counter-intelligent nature. It is also useful to examine for this project tries to create an intuitive design.
Ekaterina Sysoeva, Ivan Zusik, and Oleksandr Symonenko. 2017. Food-to-Person Interaction: How to Get Information About What We Eat?. In Proceedings of the 2017 ACM Conference Companion Publication on Designing Interactive Systems (DIS ’17 Companion). ACM, New York, NY, USA, 106–110. DOI: https://doi.org/10.1145/3064857.3079128
This paper tries to explore how would people’s choices of food would change, if they were able to involve their emotions in the process by interacting with the food’s itself, via a chatbot speaks in the name of the food, e.g., an apple that is about to be purchased.
The research demonstrate that people are open to communicate with their food and they are particularly interested in this kind of an interaction. People tend to change after the related communication with the food. This indicates that the stories that are told by food.ever may also change the behavior of the people.
Hasan Shahid Ferdous. 2015. Technology at Mealtime: Beyond the ‘Ordinary’. In Proceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems (CHI EA ‘15). ACM, New York, NY, USA, 195–198. DOI: https://doi.org/10.1145/2702613.2702620
The research tried to understand how people used communication devices during the mealtime and when it became desirable and when it became not.
Food related research may be an area of study for HCI; however, it should be focusing on more than efficiency and consider the experience, affect and desire of eating and sharing time together.
This paper demonstrates, use of technology is a familiar concept for people eating together, for a very long time. Sometimes families tend to situate themselves around the media such as TV, radio, PC, and then start eating together. They could be means to share. However, the same media may be considered obtrusive from time to time depending on the context. This is why monitoring arousal is important for food.ever.
Martijn ten Bhömer, John Helmes, Kenton O’Hara, and Elise van den Hoven. 2010. 4Photos: a collaborative photo sharing experience. In Proceedings of the 6th Nordic Conference on Human-Computer Interaction: Extending Boundaries (NordiCHI ‘10). ACM, New York, NY, USA, 52–61. DOI=http://dx.doi.org/10.1145/1868914.1868925
The paper describes “the iterative design and user study of’ a product called “4Photos, a multi-screen table centerpiece allowing media content to be shared and enjoyed in a social setting”.
The paper highlights that display of images in different places at home has different meanings. In that it suggests that the image display on dining table, encourages people to talk about it.
Serendipity is an important concept when designing displays for eating experiences. The paper illustrates that people act more enthusiastically to the serendipitous selection of images that are going to be displayed for them. As randomness’ itself become a reason for arousal, it also serves better as a conversation starter than curated content to be displayed. It is important to know that, for food.ever also desires to be serendipitous.
This paper was also inspirational for food.ever, since it demonstrated that an unobstrusive design is possible: Sometimes people just chosen to drift away from the content that are being displayed and continued with their natural conversation. Hence, being a concept that monitors the arousal of the users, it is possible for food.ever to reach its unobtrusive design, once it is actualized.
Mina Shibasaki, Karin Iwazaki, Minato Takeda, Youich Kamiyama, Koichi Obata, Koichi Yoshino, Shimizu Endo, Satoru Tokuhisa, and Kouta Minamizawa. 2017. MeLight: Embodied Appreciation of “Inouzu”. In Proceedings of the Virtual Reality International Conference — Laval Virtual 2017(VRIC ‘17). ACM, New York, NY, USA, Article 16, 3 pages. DOI: https://doi.org/10.1145/3110292.3110309
The paper introduces an embodied appreciation system in Tokio National Museum, in which a user can compare the Inouzu map with the modern map of Japan, with a digital spotlight.
This paper demonstrates that, even highlighting some details, without further manipulation may greatly enhance both the experience from an artwork and also increase the active appreciation, driving the user towards curiosity.
It is important for food.ever since it demonstrates that, to drive the user for more research and increase their appreciation is easily possible.
Sarah Mennicken, Thorsten Karrer, Peter Russell, and Jan Borchers. 2010. First-person cooking: a dual-perspective interactive kitchen counter. In CHI ’10 Extended Abstracts on Human Factors in Computing Systems (CHI EA ‘10). ACM, New York, NY, USA, 3403–3408. DOI: https://doi.org/10.1145/1753846.1753992
This paper introduces an interactive kitchen counter called PersonalChef. It demonstrates the design process of the product and points that enhancement of cooking process by such a counter increases the confidence of the users. The system assists in a way that would reduce the perceived difficulty of the cooking process. It also offers how users with different levels of expertise could differ in using the PersonalChef.
The project introduced in this paper differs with food.ever in philosophy since it has a rather more corrective nature than desired for food.ever. However, it offers insights about how impactful a design can be and how users from different levels of expertise could be treated.
Tsutomu Miyashita. 2009. A new system to appreciate the visual characteristics of a painting. In ACM SIGGRAPH 2009 Art Gallery (SIGGRAPH ‘09), Jacquelyn Martino (Ed.). ACM, New York, NY, USA, Article 6, 8 pages. DOI: https://doi.org/10.1145/1667265.1667272
This paper suggests a new way of examining a painting through a device that could highlight the necessary parts and able to zoom in and out, actively interact with the user. It states that such an active way of interaction increases the appreciation of art.
This is inspirational for food.ever since both seeks to induce a feeling of appreciation, one towards food, the other towards paintings.
The paper shows that, different user groups require different kind of information. As an art savvy person do enjoy about learning deeply about the technical aspects and the paintings’ relation to other pieces of art, a person who is less intelligible on the matter feels anxious when received the same information. They look for something more general. Inspiring from that, food.ever is designed in a way to target people who eat regularly in the restaurants and give information to them, according to their past experience on the mobile app.
William Gaver, John Bowers, Andy Boucher, Andy Law, Sarah Pennington, and Nicholas Villar. 2006. The history tablecloth: illuminating domestic activity. In Proceedings of the 6th conference on Designing Interactive systems (DIS ‘06). ACM, New York, NY, USA, 199–208. DOI: https://doi.org/10.1145/1142405.1142437
This paper by Gaver et. al. introduces a product called The History Tablecloth and discusses the interactions happened around it caused by its interpretive nature. “When objects are left on the table, cells beneath them light to form a halo that grows over a period of hours, highlighting the flow of objects in the house”.
It introduces a concept called “ludic design”, which means designing for playfulness and entertainment. The tablecloth shows how long the objects stayed on it but interpreting these indications is a playful process for people since it has no other information. Writers suggest that this induces “people to explore, speculate, wander and find new perspectives” and arouse curiosity. Just due to this subtle illumination of the tablecloth, writers have observed that everyday activities of the users have been enhanced.
This paper offers some significant insights for food.ever. First of all, it suggests and demonstrates that even a subtle computing technology such as illumination in that case may greatly enhance the human activities. It is especially important that this particular project focuses on a tablecloth which dinner takes place. Also, it offers a new point of view towards a more ambiguous interface, which was somehow adopted by food.ever in the later phases of design, and provides an example for how it could work.