From Plating to Tasting: Towards Understanding theChoreography of Computational Food
Jialin Deng

Nathalie Overdevest

Exertion Games Lab, Department of Human-Centered
Computing, Monash University, Melbourne, Australia
jialin.deng@monash.edu

Exertion Games Lab, Department of Human-Centered
Computing, Monash University, Melbourne, Australia
nathalie.overdevest@monash.edu

Patrick Olivier

Florian ‘Floyd’ Mueller

Action Lab, Department of Human-Centered Computing,Monash University, Melbourne, VIC, Australia
patrick.olivier@monash.edu

Exertion Games Lab, Department of Human-Centered
Computing, Monash University, Melbourne, Australia
floyd@floydmueller.com

Figure 1: Experiencing the computational food from plating to tasting.

ABSTRACTCCS CONCEPTS

The emerging concept of “computational food” focusing on thematerial affordances when designing food interactions is gaining
traction in Human-Food Interaction (HFI). However, prior HFI research has not yet substantively investigated the dynamic nature ofcomputational food from its creation to consumption, limiting ourunderstanding of the complex interactions among creators, computational food, and consumers. In response, our paper shifts theperspective towards the dynamics of computational food interactions through a study in cooperation with chefs and gastronomists.
Utilizing “Dancing Delicacies” as a research artifact – a systemthat facilitates dynamic dining trajectories – we adopted the concept of “choreography” to unravel the experiential dynamics ofcomputational food. Our study resulted in six themes concerning
computational food experiences and detailed four design implications central to culinary choreography. Our work aspires toleverage the choreographic potential of computational food design,paving the way for future HFI innovations.

• Human-centered computing; • Interaction design;This work is licensed under a Creative Commons Attribution International 4.0 License.
CHI ’24, May 11–16, 2024, Honolulu, HI, USA© 2024 Copyright held by the owner/author(s).
ACM ISBN 979-8-4007-0330-0/24/05
https://doi.org/10.1145/3613904.3642516

KEYWORDS
Computational food, Choreography, Human-Food Interaction, Food
DesignACM Reference Format:
Jialin Deng, Nathalie Overdevest, Patrick Olivier, and Florian ‘Floyd’ Mueller.
2024. From Plating to Tasting: Towards Understanding the Choreography ofComputational Food. In Proceedings of the CHI Conference on Human Factors
in Computing Systems (CHI ’24), May 11–16, 2024, Honolulu, HI, USA. ACM,
New York, NY, USA, 17 pages. https://doi.org/10.1145/3613904.3642516

1

INTRODUCTION

A growing trend in HCI is the effort to “weave together” the digitaland physical worlds [25, 32, 60] by emphasizing the materiality
in the design of computational technology [55, 56, 59]. Such a“material concern” has given rise to the emerging concept of “computational food” that represents a future where food as a material
is computationally transformable and reconfigurable [3, 27]. This
concept leads to a broader research agenda reimagining food as adynamic, interactive medium. It has motivated our investigation
into food’s computational potential, which could enable multiple
future scenarios that move beyond a traditional view. Specifically,

CHI ’24, May 11–16, 2024, Honolulu, HI, USA

we identify three potential benefits of computational food as key
drivers of our investigation:• Enhanced personalization on the fly. By leveraging computational capabilities, we envision the possibility that foodcan be dynamically reconfigured to align with changing
consumer preferences and needs in real-time, allowing lastminute adjustments. This means that food is able to alter its
taste for immediate gratification, modify its nutrient profiles
to benefit health, or substitute its inner ingredients to comply with dietary restrictions or personal beliefs (e.g., wish toadhere to a vegan diet).
• Improved distribution methods. We envision computational
food that can lead to novel, contactless serving in social
dining settings. For instance, dishes could be programmed
to self-serve according to individual requests, reducing theneed for shared cutlery and promoting hygiene while stillallowing the social aspect of sharing meals and engaging
with fellow diners. This is particularly relevant in adapting tohealth sensitive circumstances, where minimizing physicalcontact is crucial.
• Innovative culinary experiences. We also envision that computational food can enable self-transforming dishes that offer
sensory engagement and respond to diner interactions, suchas changing shape in reaction to a diner’s touch or actions.
Such advancements could foster culinary creativity amongchefs and provide diners with interactive and immersive
dining experiences unlike any seen before.
Leading research initiatives have laid the foundational steps toward these envisioned culinary futures. Notably, works in “digital
gastronomy” [9, 37, 62] have introduced methods for the “computability” of food, utilizing hybrid fabrication devices and generative algorithms to manipulate the flavor profiles and physicalstructures of food. These works primarily leveraged computational
power to enhance food production, often disregarding the inherent qualities of food such as cooling, vaporizing, or decaying. The
results typically presented static, unchangeable representationsof computational processes – once produced, the food does notoffer much interactivity beyond consumption. Moving beyond,researchers have experimented with dynamic transformations offood by regarding it as computational matter [53]. They have, forexample, encoded active structures into food, enabling food items
to transform their shapes in response to external stimuli duringcooking [27, 58]. Similarly, prior research on “material integration” [12] introduced the design of a dessert as a computational
artifact that is able to “compute” its own flavor and visual presentation through an intrinsic fluidic system [14]. Together, theseprior works demonstrated the computability of food by employing
food’s materiality (i.e., changes of state) for the direct realizationof a computational processes (i.e., taking in information, sense, andreact), and simultaneously, using food’s computational capabilities
to achieve desired operations and effects (e.g., shape/color changes).
However, many of those works have not emphasized the user experience, and those that did typically focused on either the chef’s or
the diner’s perspective. Given that dining involves both chefs anddiners, there is a gap in understanding the interactions between
food creators, computational food, and consumers.

Jialin Deng et al.

Extending the concept of computational food further, recent research demonstrated a novel computational food system, “Dancing
Delicacies” [16], which could facilitate dynamic dining trajectories
according to how the dishes were programmed by food creatorsand reconfigured by consumers. Through their design practice, theresearchers proposed possible dynamics within the interactions between food creator, computational food, and consumer [16]. These
dynamics prompted new relations to form due to the creative actof setting the conditions in computational food creation, enabling
the emergence of new activities during consumption. We contend
that these dynamics resonate with an expanded concept of “choreography”, defined as “emerging, autonomous aesthetics concernedwith the workings and governance of patterns, dynamics and ecologies” [28]. This concept of choreography encapsulates the creative
process of setting the stage for new relationships to develop [28].
Unfortunately, we found a dearth of empirical knowledge regarding the influence of this choreography within computational foodexperiences. To address this gap, we utilized the concept of choreography as an analytical lens to investigate the dynamics of thecomputational food experience. We believe that this knowledge
could deepen our understanding of computational food experiences
and help illuminate the complex meanings underlying these interactions. This understanding could be vital for advancing the HFI
field.
This paper reports on a study that builds on our prior design
work called “Dancing Delicacies” [16]. Through engaging withboth chefs (as food creators) and gastronomists (as consumers), wewere able to unpack the emerging dynamics between food creator,
computational food, and consumer by examining both creative
processes and dining experiences with Dancing Delicacies.
Our work makes the following contributions:• Groundwork for future design: We brought two new dishes
to fruition out of six concepts. Both designs lay the groundwork for subsequent iterations of computational food, andexpand the creative lexicon for future pursuits, especially via
newly introduced ingredients, and could serve as a blueprintthat highlights the culinary techniques compatible with thesystem.
• Thematic insights: We articulate six themes derived fromour study’s findings regarding the creation and consumption
experience with computational food; these themes could
guide HFI researchers to further investigate the multifaceted
nature of computational food choreography from plating totasing.
• Expanded dimension of choreography: We identify four
new facets of choreography through a reflection on ourthemes. These facets offer fresh perspectives, enabling HCI
researchers, especially those specializing in choreography,
to explore new opportunities for choreographic interactions
within the culinary realm.
• Design implications: We discuss potential design implications for the choreography of computational food in future
culinary creations. These implications can guide food designers and culinary experts in the food and hospitality sector
as they seek unique and captivating dining experiences.

From Plating to Tasting: Towards Understanding the Choreography of Computational Food

2 RELATED WORKS
2.1 Building on prior understandings ofcomputational food
The concept of “computational food” has initially envisioned food asa transformable and reconfigurable computational interface [3, 27].
Previous works have contributed to this concept, including research
into shape-changing food [27, 58] and food-based electronics [12].
These associated innovations have enabled foods to function as
sensors, actuators, and integrated circuits, as well as to serve as
collocated input and output interfaces (hinting at a potential computing architecture) [10]. However, most previous works werepredominantly focused on achieving a singular or rather fixed stateof changes of the food materials, therefore affording limited interactions when it comes to the dining experience.
Recent research on the “Logic Bonbon” [12] aimed to change
this situation by taking an experiential view on computational food.
The authors presented a novel dessert that can “compute” its own
flavor through integrated logic operations [14]. Using the dessert
as a research artifact to investigate people’s dining experience, thisresearch provided a first account of the experience of consuming
computational food. However, this dessert possessed only basic
logic functions and offered predetermined interactivity with set
inputs and outputs. The study has not yet deeply investigated thevaried state changes of food nor the dynamics that emerge frompeople’s interactions with computational food.
Taken together, there appears to be a noticeable gap in computational food design research into the rich diversity of people’s
food experiences regarding its dynamics. To delve deeper into thestructures of computational food experiences, we articulate in thesubsequent section a pertinent concept within the HCI domain that
we believe could help enhance our understanding.

2.2

Learning from choreography and its
relation to interaction design

The field of HCI has seen a growing trend in the arrangement andcoordination of activities and events drawing together technologies and people into complex structures. The aim was to facilitate
efficient and cohesive experiences that span across various temporal and spatial dimensions [6, 33, 44]. This trend has elevated theprominence of the “choreography” concept [11, 30, 61] within HCI
research.
Choreography, traditionally associated with dancing and bodily movements in space and time [26] has been interpreted more
broadly in recent research. Prior work [2, 18] has introduced and defined the concept of “choreographic interfaces” as human-computerinterfaces that augment the “kinetic and spatial interactivity between humans and computers through integrating ‘choreographic
thinking’ into the design process”. These works described choreographic thinking as the “application of mental models derived
from choreography to the understanding of movement, space, andtime” [18]. Klien [28] proposed a modern take on choreography,
defining it as the “interconnectedness” of all actions, encompassing
the setting of conditions in creative processes for meaningful interactions, and the fostering of new relationships to appear among
all participants [28]. This definition aligns with prior work that

CHI ’24, May 11–16, 2024, Honolulu, HI, USA

which regarded the choreography of interaction as “the total system
of user, product, and other elements involved in interaction” [24].
Delving deeper, Parviainen et al. [40] described choreography as“all bodily movements and other activities in which movements
appear to form meaningful interactions and relations between different animate or inanimate agents”. Further elaborating on choreography’s significance in interaction design, researchers have emphasized how design decisions influence actions and movements
within the existing choreographies of specific situations [40]. For
instance, Klooster et al. introduced a device named “Joint” [29],that demonstrated how designing a product can be an integral partof the choreography of interaction. This device fosters a choreographic play between two friends, allowing them to explore theirrelationship through touch and movement. This work showed thatdesigning choreography of interaction incorporates more than justthe product itself: it “embodies a trinity of physical involvement,
dynamic quality, and expressed meaning” [29].

2.2.1 An analytical matrix of computational food choreography.
Drawing on the insights above, we attempted to examine the valueof “choreography” in HCI. We developed a 3-by-3 matrix of choreography with computational food by combining Derry et al.’s [17, 18]choreography models with Klooster et al.’s [29] three levels of examining human-technology choreographies (Figure 2). Our aim
was to offer an initial comprehensive lens, not just for design, butalso as an analytical tool that could illuminate the diverse facets ofcomputational food choreography that might otherwise be overlooked. We hope that this matrix could help capture the entirety ofthe experience, encompassing physical artifacts and encompassing
all users’ actions across the whole interaction spectrum, from foodcreation to consumption.
Specifically, the matrix comprises two axes, each divided into
three distinct categories, resulting in nine cells. Drawing from
Derry’s [17] concept of the “choreographic agency of user,” ourhorizontal axis is labeled “agency of choreography”. In our matrix,
this axis identifies three potential agents of the choreography within
the context of computational food interactions: the creator, thecomputational food, and the consumer. For our vertical axis, we
adapted the three “pivots” of choreography as suggested by Klooster
et al. [29]: Physical Involvement, Dynamic Quality, and Expressed
Meaning. Below we tailored and expanded these concepts to fit thecontext and nuances of the computational food domain.
Physical involvement is concerned with who/what is physicallyinvolved in the choreography [29]. When applied to the domainof computational food interaction, physical involvement can be
unpacked into three aspects. Firstly, it involves the creators who
engage in cooking and plating activities. Secondly, it involves thefood, with its inherent material affordances that offer possibilities
and constraints to interact (such as the food’s shape, size, construction, texture, color, and taste). Lastly, it encompasses the consumers
and the various actions they undertake in the process of consuming
the food.
Dynamic quality is rooted in the system’s inherent capabilities
and constraints. This pivot is concerned with space, time, and external force, highlighting how these factors interplay to produce thedynamism of interaction [29]. Within the context of computational

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Jialin Deng et al.

Figure 2: Matrix of computational food choreography.
food interaction, we unpacked the dynamic quality into three aspects: Firstly, from the creator’s perspective, dynamic quality refers
to their actions and operations evolving across time and space,which can potentially shape the dining trajectories and experiences.
Secondly, viewing it from the food’s aspect, the dynamic quality
involves the state changes in food’s physical movements (e.g., directions, paths), kinetics (e.g., speed, pace), as well as its materialand sensory attributes (e.g., shape, color) over time, space, and in
response to external forces during the food practices (e.g., scooping,dipping), facilitated by computational capabilities. Lastly, fromthe consumer’s standpoint, it entails their actions and operations
guided by the food’s design through time and space.
Expressed meaning, according to Klooster et al. [29], emphasizes the choreographed meaning of interaction and involves all
agents involved in an interactive unity. The concept highlights
both functional meaning and broader social, emotional, and cultural connotations in the choreographic interactions. We unpacked
this pivot into three perspectives. For the creator, it refers to thenarratives, messages, and visions they aim to convey through computational food. For the food itself, it means the realization of its
computational functionality and the expressive nuances it manifests (e.g., specific traits presented by its dynamic qualities). For
the consumer, it captures the array of socio-cultural, and emotional
connotations they derived as they partake in the dining experience.
Our matrix aims to provide an overview of choreography thatprovides a basis for the investigation of computational food experiences through the lens of choreography. We are particularlyinterested in understanding the role of food creators as choreographers who set the stage for events in a dynamic environment, andhow the Dancing Delicacies dishes, as computational agents, carryout the performance while also guiding the diner’s actions to foster
engaging dining experiences.

In summary, our review of the prior concepts and associatedworks reveals a knowledge gap concerning the experience of computational food that could potentially be navigated via the conceptof choreography. In this regard, this paper aims to answer thequestion: How do we understand the choreography in computational
food design and its impact on shaping food experiences?

3

DANCING DELICACIES AS RESEARCHARTIFACT

Our paper aims to investigate the computational food experience
with a focus on choreography. By employing the Dancing Delicacies system [16] (Figure 3) as a research artifact, we can facilitate
various dynamic dining trajectories via a set of food operations,such as moving food items, merging edible liquids, and blending
multiple flavorings, that are governed by “electrowetting on dielectric (EWOD)” technology (the design process and technical detailsof the system has been reported in [16]). The system serves the
purpose of a “research archetype” [36], that is, a “physical embodiment” of new concepts – the emerging dynamics within creatorfood-consumer interactions enabled by dynamic trajectories withcomputational food.
This system can facilitate choreographic interactions by enablinga dish to be “programmable” and “reconfigurable”. Specifically,
through “programming”, a creator can define the setting of thestarting conditions of a dish and its dynamic behaviors (i.e., moving, merging, transporting), and through reconfiguring, a diner isoffered several parameters to control the food process according
to the settings defined by the creator (e.g., letting diners to control
the dish’s presentation or flavor combination). Figure 4 shows an
exemplar dish that can facilitate a dining trajectory with multiple
choices [16].

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CHI ’24, May 11–16, 2024, Honolulu, HI, USA

Figure 3: The Dancing Delicacies System.

4

METHODOLOGY

In our study, we utilized the Dancing Delicacies system as a “research archetype” [36] to leverage the choreography in creator andconsumer practices and interactions. We prioritized the involvement of participants with a deep ontological and epistemologicalunderstanding of food, as we believe such an understanding makes
them more likely to draw better connections between food creationand consumption. Particularly, we established a space in whichchefs and diners could engage, communicate, and express ideas.
We intended for theses interactions to expand the potential for new
understandings of choreography in computational food to emerge.
Our two-phase study delved into the choreography of computational food, involving both experienced chefs and diners in theprocesses of “co-creation” and “dining experience”.

4.1

Figure 4: An exemplar Dancing Delicacies dish showing a
multi-choice dining trajectory.

Co-creation

The “co-creation” process is grounded in the “participatory design”
tradition [23], which underpins the process of “investigating, understanding, reflecting upon, establishing, developing and supporting
mutual learning” between multiple participants in a design process[23]. We see the process of creating computational food shaped
around the involvement of food creators take over as an essential part of the evaluative phase of our study. The participants inthis process, i.e., the chefs, are no longer the passive objects of astudy, but rather, the person who is given the position of expertsof their experience through the design process, and plays a role inknowledge development, idea generation and concept development[49, 57]. Through co-creation, we aimed to investigate how chefs as“choreographers” set the stage for the experiences to unfold dynamically throughout creative arrangements with reflective activities[52] in developing computational dishes.

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Jialin Deng et al.

Figure 5: Schematic flow of the study.

4.2

Dining experience

The “dining experience” aligns with the “in-situ” concept in HCI[31, 45], which acknowledges that human actions and interactions
are deeply “situated” [46]. While the approach emphasizes observing and engaging with participants in real-world settings [31, 45],it does not negate the importance of laboratory-based research [46].
Furthermore, current HFI studies [13, 15, 38] underline the significance of coordination and meaningful social interactions during
food experiences [5, 14, 41, 54]. Therefore, in our dining experience sessions, we developed a simulated restaurant environment
with an open-kitchen layout, aiming to encourage interactions andconnectivity between chefs and diners, thus enriching the entire
experience from food preparation to tasting in an authentic setting.
It is important to note that our goal was not to mimic a high-end“fine dining” ambiance. Instead, we focused on creating a wellequipped and fully functional environment with a “cozy” dining
atmosphere and effective risk management. This design aimed toensure a smooth execution of the study, comfort for participants,
and stringent food safety measures to mitigate any possible hazards.

5

STUDY

We conducted a study with both chefs (food creators) and gastronomists (consumers) with the objective of facilitating better
computational food experiences through choreography that we
found occurring during creator-computational food-consumer interactions (Figure 5).

5.1

Participants

We recruited 12 participants (age range 25–42 years, M=30.25,
S.D.=5.36; 7 self-identified as male, 5 as female, none identifying as
non-binary or providing other descriptions), comprising six chefs
and six diners (Table 1). Participants were sourced from our internallab mailing list, website advertisements, and word of mouth. Whena potential participant expressed interest, one of our researchers
initiated a pre-study conversation via Zoom to determine whether
they met the selection criteria.

For chef participants, the selection criteria required them to: 1)
have at least one year of experience in developing new recipes anddirecting food preparation for events or social situations; or 2) becurrently employed in a restaurant, specializing in modern fusion
cuisine and plating; and 3) be open to experiment with new technology that challenges traditional culinary methods. Given thatmost chefs may be unfamiliar with interactive technologies beyond
standard kitchen facilities and equipment, we made concerted efforts to familiarize them with the Dancing Delicacies system before
the study. This preparation included individual pre-consultations
with chefs via Zoom, supplying them with instructional materials
both text-based and visual, and providing a verbal briefing during
the workshop.
For diner participants, the criteria included: 1) having an ardentinterest in diverse food and tastes; and 2) exhibiting an enthusiasm
for seeking out novel food experiences and a discerning appreciation of them.

5.2

Study procedure

5.2.1 Co-creation workshop. To facilitate the co-creation processof our study, we collaborated with six experienced chefs and organized three co-creation workshops [23], featuring two chefs ineach workshop. These workshops drew upon “design thinking”
principles tailored to food design [39, 48, 51]. To aid in the process,in each workshop session, two research team members supported
the chefs by facilitating activities and providing worksheets, tools,
and food materials for the ideation and implementation of new dishdesigns [47, 50] with the Dancing Delicacies system. The workshop,
lasting 120 minutes, was structured through two tasks moving fromdivergent to convergent thinking (Figure 6).
Ideation & experimentation During the first task, chefs spentroughly 40 minutes brainstorming new dish concepts with “magical” qualities, inspired by the capabilities of computational food.
Facilitated by our researchers, the chefs were provided with worksheets, visual aids, reference images, and sticky notes to stimulate
out-of-the-box thinking. This activity aimed to detach the chefs

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Table 1: Participants’ demographics
ParticipantGroup

Code

Name(pseudonym)

Occupation

Experience offood-related practice

Past experience in foodtechnology

Chef(Food creator)

C1

Chris (26, M)

Sous Chef

C2

Rich (30, M)

Casual chef
/Cooking
enthusiast

C3

Mitch (42, M)

Head Chef

4 years’ experience inlocal fine dining
restaurant
Culinary content creatoron YouTube, grounded ina decade of family
cooking traditions
24 years’ experience inglobal restaurants

C4

Blake (38, M)

Head Chef

12 years’ experience inglobal restaurants

C5

Dominic (36, M)

Head Chef

17 years’ experience inlocal restaurants

C6

Nick (31, M)

Head Chef

4 years’ experience inlocal restaurants

D1

Dan (28, F)

Researcher

D2

Pat (30, F)

Researcher

D3

Nadine (25, F)

CoffeeTechnician

Consider themselves anadventurer who is keen
on novel food experiences
PhD in digital health with
an emphasis on eating
disorder studies
5 years’ experience in thehospitality industry

D4

Phoebe (26, F)

Masters
Student

D5

Chad (26, M)

Researcher

D6

Zelda (25, F)

Researcher

Proficient with modern kitchentechnology, no experience indigital technology
Skilled in interactive device designand development, with passing
knowledge of modern kitchentechnology
Proficient with modern kitchentechnology, knowledgeable about
digital technology innovations in
the food industry
Moderate experience in using
modern kitchen technology, no
experience in digital technology
Moderate experience in using
modern kitchen technology, no
experience in digital technology
Moderate experience in using
modern kitchen technology, no
experience in digital technology
Moderate experience in using
modern kitchen technology, no
experience in digital technology
No hands-on experience but
well-informed about digitaltechnology in the food industry
Extensive experience in studying
and using digital equipment andappliances in industry practices
No hands-on experience andpassing knowledge about digitaltechnology in the food industry
No hands-on experience but
well-informed about digitaltechnology in the food industry
No hands-on experience andpassing knowledge about digitaltechnology in the food industry

Diner(Consumer)from traditional practices, encourage expansive thinking, and develop a collective understanding of the context and potential ofcomputational food.
In the second task, lasting around 50 minutes, each chef developed a Dancing Delicacies dish under specific system constraints
and parameters outlined on their worksheets. These constraints
were primarily due to the system’s limitation to aqueous droplets
and restricted droplet movements [16]. Despite these constraints,
chefs were encouraged to experiment with parameters such as the
kinetics (i.e., velocity and pace), expression (i.e., emotion and traits),
and operation (i.e., mix and transport). They were also supplied

Consider themselves anadventurer who is keen
on novel food experiences
Consider themselves anadventurer who is keen
on novel food experiences
Consider themselves anadventurer who is keen
on novel food experienceswith an array of food materials and ingredients for hands-on experimentation. These materials were not necessarily intended for use
in their final dishes but were provided as concrete tools to aid indemonstrating their design concepts. Upon completion, the initial
dishes were presented for discussion, allowing chefs to share theirconcept, the anticipated taste profiles, and their choreography ofthe diners’ experience.
After finishing the ideation, we ran a group interview [20] (approx. 30 minutes) with the chefs at the end of each workshop.
The interview sought to stimulate discussions by asking topicalquestions in a semi-structured manner [1], using the laddering
technique [42]. Questions included: “in what ways did the Dancing

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Jialin Deng et al.

Figure 6: The process of co-creation workshop.
Delicacies system enhance/hinder the way you conceive and design
a dish?”; “how did the ‘computation’ change the way you realized
the intended experience from the dish?”; and “how did you consider
taking more/less control over the ways that your diners consume
the dish as how it was being designed?”
Reflection, iteration & & implementation After the workshop,
chefs who expressed an interest in progressing their ideas to thenext phase were tasked with reflecting on and refining their designconcepts. They were instructed to prepare the ingredients for thesubsequent phase of our study, which was scheduled during thesubsequent weeks. Throughout this interim period, our researchteam maintained regular communication with the chefs throughemails and online meetings. The chefs were encouraged to visit
the lab kitchen to test their recipes and further refine their designs
under the supervision and guidance of our researchers. Once thisiterative process was complete, we scheduled a dining experience
session with the chefs to implement the final dish and serve it to
the diners.

settled, the chef started to introduce the dish including its concept
and philosophy behind it, and to showcase all ingredients while they
worked in front of the diners. Both the chef and the diners wereencouraged to talk freely and ask questions. When the dish wasplated and served, the chef started to initiate the execution of the
pre-programmed operations of the dish, so that the food items on
the plate could dynamically move and re-organize as intended. The
diners were invited to interact with the dish as they wished. Figure
7 showcases the dish in one of our dining experience sessions.
Post-dining During the post-dining phase (approx. 30 minutes),
both the chef and diners from the same session were invited to aninterview on their experience with the dish. They were asked topicalquestions, such as: “how did your experience change over time?”;“how did you feel about having more/less control over the dishcompared with the traditional way of creating/eating the dish?”;and “how did it make you feel about the relationship between you
and the chef, the diners, or the food?”.

5.2.2 Dining experience session. We conducted three dining experience sessions with six diner participants to experience the dishes
in our dedicated lab kitchen. The kitchen was presented in an
open kitchen style that would facilitate the chef making the dish in
front of the dining table and communicating with the diners. Eachsession included two diners, and one chef from the co-creation
workshops prepared their dish. The session was structured into
three phases: pre-dining, dining, and post-dining.
Pre-dining During the pre-dining phase (approx. 45 minutes),
the chef began preparing the ingredients according to their final
designs and set up the dining table with help from our researchers
if needed.
In-dining During the dining phase (approx. 45 minutes), thediners entered and were guided to sit down. When the diners were

5.3

Data collection and analysis

Our data set included video and audio recordings from all workshops and dining experience sessions, capturing conversations, activities, and group interviews. We transcribed the video and audio
recordings of the discussions and interviews that were most pertinent to our research question. To ensure privacy, all transcriptions
were anonymized, and participants were assigned pseudonyms.
Furthermore, we collected field notes and reflections penned downon the participants’ worksheets during the co-creation workshops,
and we documented the design outcomes (section 5.4).
We used NVivo to code the data using a hybrid approach including both deductive and inductive coding based on the tenetsof social phenomenology [19]. The deductive codes were identified based on a practice-informed conceptual framework from theFrom Plating to Tasting: Towards Understanding the Choreography of Computational Food

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Figure 7: Flowchart of the dining experience session.
Table 2: Two Dancing Delicacies dishes spotlight the concepts, ingredients and techniques used in their creation.

Chef
Description
Concept

RecipeDining session

Dish #1: Yin & Yang

Dish #2: A Taste Ballet

Chris
Yin & Yang features black and white sauces graduallymerging, complementing the final dish.
“This dish represents the opposite but interconnected
forces, like ‘Yin & Yang’, that slowly creates itself out ofchaos, and self-organizes into balance and harmony, as
symbolism of the life cycle.” (Chris)

Mitch
A Taste Ballet features various flavorings performing aballet dance towards the center food items.
“This dish, inspired by my daughter who’s a ballet dancer,
combines ingredients harmoniously from the farmland andsoil. The flavors, elegantly intertwined with a unique rhythm,
perform a ballet on the palate, building to a crescendo that
culminates in a rich, delightful finale.” (Mitch)
Flavoring (droplets): Five sous vide extracts (carrot,
rosemary, thyme, orange flesh and orange zest),
temperature set at 52℃, time set for 12 hours.
Bites: Beef steak, rainbow carrots, cilantro
Session 3

Flavoring droplets: Squid ink, katsuobushi black
vinegar, soy sauce; diluted buttermilk with yuzu
Bites: Kombu cured flathead fish, eggplant, mint
flower, sesame cracker
Session 1, Session 2

previous work on designing the Dancing Delicacies system [16],a theory-informed through prior research [29, 40] and our matrixof choreography (section 2). Five provisional codes emerged, including material affordance, dining trajectory, chef-diner connection,
human-food synergy, and sense of agency. Lastly, using reflexive
thematic analysis [8], six themes were iteratively refined during
discussions between the two authors (section 5.5).

5.4• From the six conceptual designs, we brought two dishes tofruition (Figure 9). Both dishes underwent refinement before being presented in our dining experience study sessions.
This exercise introduced new ingredients to the existing foodmaterial library, building upon previous research [16], andlaid down a blueprint highlighting the culinary techniques
compatible with the system. As shown in Table 2, we introduced new liquid ingredients to the system, such as seasoned
squid ink and diluted flavored buttermilk. We also adopted
the sous vide technique to obtain natural water-based foodextracts that expanded our ingredient list and enriched thetaste spectrum available for computational food creations.

Co-creation outcomes

From our co-creation workshops, we distilled two key outcomes:• We derived six conceptual designs of the Dancing Delicacies
dishes (Figure 8). These designs could lay the groundworkfor subsequent iterations of the dish designs and possibly
expanded the creative lexicon for future innovations in computational food.

5.5

Findings

We clustered our study findings into six themes relating to thechoreography of computational food.

CHI ’24, May 11–16, 2024, Honolulu, HI, USA

Jialin Deng et al.

Figure 8: Conceptual dish designs.

Figure 9: A showcase of the two dishes implemented for the dining experience study sessions.
5.5.1 Theme 1: Expressiveness through thematic anchors in culinary conceptualization. From our observations and interviews withchefs, a distinct theme-based approach emerged when they wereconceptualizing new dishes using the Dancing Delicacies system.
In contrast with traditional hospitality settings where dish development often pivots on established culinary norms, taste profiles,
ingredient availability, commercial concerns, and directives fromhigher-ups, the Dancing Delicacies system seems to inspire chefs toprioritize thematic anchors. Blake (C4) illustrated traditional constraints, mentioning factors like seasonality and costs that dictate
dish creation. Blake (C4) shared:“As chefs in a commercial setting, what you do is in the morning
you are given, [. . .e.g.,] ‘uh, oranges are in season and supplier has
a good quality, do something with oranges’ [. . .] I think cost has[also played] a big factor. Not necessarily because you want to doit, but you are given those constraints.”
However, with Dancing Delicacies, chefs like Chris (C1), Dominic (C6), and Nick (C5) highlighted a starting point rooted inaesthetics and the system’s design, emphasizing the unique structural constraints. Chefs also expressed that, even before selecting
ingredients, they already envisioned the thematic imagery they
aimed to create. Like Chris (C1) described:

From Plating to Tasting: Towards Understanding the Choreography of Computational Food

“What came to the first is the, really weird, like, the concept. The
starting point was actually the whole aesthetics [of] the plate [system] itself, it has its own structure and constraints. So, I had thevision of the image that I wanted to do, like the shape and everything, and started from that, I think about whether I want to put a
bit of a theme on it, I then go think about my ingredients.”
Mitch’s (C3) ideation behind “A Taste Ballet” offers an insight
into the intertwining of personal experiences with culinary creativity. The core theme of “dance”, characterized by the food items’
motions, evoked memories of his daughter’s ballet performances.
This connection inspired a broader theme of “harmony”, influencing
not just the choice of ingredients but also the taste balance andrhythm of the dish. Nick’s (C6) ideation process seemed to resonate
with Mitch’s:“It’s [the dish] called ‘The Pond’. The way I see it [the plateware],it’s like a basin [. . .] And I went to the Monet exhibition the otherday [specifically referring to Claude Monet’s series paintings of thewater lily pond], the way I see this is more of a theater. You get
to put a show on before you start eating. I want something likelittle lily, nasturtium leaves, like herbs and salads around, and thendroplets can act as fishes swimming around the main dish. The dishtells a story about the painting and the artist, it could be a kind of
Impressionism-themed experience.”
This theme suggests that computational food can bring about ashift in the creative process chefs typically employ. The design andcomputational capabilities of the system can play a significant rolein the dish creation process. Furthermore, we found that personal
experiences can also serve as foundational pillars in the creationof such thematic dishes, emphasizing the deep human connection
inherent in computational food creations. This can add a layer of
intimacy and relatability to the dining experience.
5.5.2 Theme 2: Curated experiential potentiality over culinary instrumentality. This theme highlights that while chefs tended to feelthat the system might limit their daily kitchen practices and tasks,
due to its technological constraints, it simultaneously encouraged
greater exploration of food’s experiential possibilities during thecreative process. Specifically, from a practical standpoint, Chris(C1) and Dominic (C5) shared their opinions on the “extra efforts”
required, such as applying ingredients with aqueous qualities, andthe time they had invested in continuously learning, experimenting,and programming the system:“There’s definitely extra effort, for the [food] product itself, forcooking itself, it gives you a lot more limitations for the things
that don’t necessarily have to be done this way [. . .] lots of these[making procedures] actually take longer, and it’s not something
you can achieve instantly on the plate in a short time.” (C1)
“I think this [system] for me, acts more as a perimeter to workwithin, rather than an extension of what I can do. It restricts what
I can typically do on a normal plate.” (C5)Nevertheless, chefs appreciated how the system shifted theirfocus towards crafting an experience rather than just perfecting
the final dish presentation. Rich (C2) explained:

CHI ’24, May 11–16, 2024, Honolulu, HI, USA“It has its limits, but it also brought out a very interesting side offood, you can be more interactive telling a better story, a better
story.”
Moreover, after having the experience with diners together, chef
Chris (C1) emphasized the importance of crafting an experience,
he shared:“My feeling about the whole process, like it’s not really about how
the food should taste or whatever. It’s like we’re trying to figureout if we can actually create an experience rather than just give
you something to taste [. . .] For me, it’s like we are in search of
the potential of another dimension of experience rather than any
certain type of food I reckon [. . .], and you want to try to create
more on the experience side rather than the dish itself”.
In essence, this theme suggests chefs intended to prioritize theexperiential side of dining over the mere presentation or taste of thedish when creating computational food. Furthermore, such an intent can position the chefs not just as culinary experts but as choreographers of a rich experience. This might facilitate movements
where chefs and restaurateurs seek to differentiate themselves byoffering unique, experiential dining rather than just gourmet meals.
5.5.3 Theme 3: Unraveling underlying narratives through food’s
dynamism. This theme highlights an active, energetic process ofwhen chefs encode a dish’s concept, and when diners understandthe dish’s philosophy that a chef wants to convey. Chefs valued how
the dynamic nature of computational food broadened their mindset
and enhanced their design intentions to effectively convey theirconcept to diners. Chris (C1) acknowledged that this dynamism
not only sparked his concept of “Yin & Yang” but also seamlessly
integrated with this concept. He elaborated:“And also, like what we did [a trial run with the system] before, it[blending black and white sauces] actually formed a shape of Yin& Yang. When I saw it on this platform, I immediately knew it’sgonna be more of a themed thing already. So, giving it [the dish] a
bit more overwhelming concept won’t be so overwhelming in thiscase [. . .] And it makes sense of the concept as well.”This opinion was further affirmed by the diners. For example,
Dan (D1) stated that the dynamic movements within the dish played
an essential role in her interpreting and understanding the dish’s
underlying concept of the dish:“When we actually saw the process of mixing the white and blacksauces, I kind of get the point why it is called Yin & Yang, andwhere the name comes from.”
Zelda also expressed her thoughts on the food’s dynamism andexpressed meaning as:“I really appreciate not just how delicious it tastes, but also thethoughts and meanings you [referring to C3] put in each ingredient.
Like how you took inspiration from your daughter’s ballet and how
the carrot symbolizes soil while other ingredients represent theland [. . .] Everything came together like a collage, where different
components and flavors came to achieve balance. The movement
embodies harmony, adding more meaning to the flavors.”

CHI ’24, May 11–16, 2024, Honolulu, HI, USA

The theme underscores the active process of conceptually conveying and understanding a chef’s philosophy through computational
food. The dynamism is found not only in the physical aspects ofthe dish but also in the thought process behind the dish. It appears
that computational food could encourage chefs to experiment withand employ unexpected dynamic presentations. Essentially, thedynamism brought by computational food could serve as both anenhancer of chefs’ creativity and as a bridge to a more insightful
and meaningful dining experience for the diners.
5.5.4 Theme 4: Chef-food synergy via dish’s performance. While
studying the interplay between the creator, computational food, andthe consumer during dining sessions, we noted a unique synergy
between chefs and computational food. This theme explores how
computational food can collaboratively participate with chefs in
the plating and serving process. This process marks a departurefrom the conventional open-kitchen dining style where the chef
singularly dominates the food performance and presentation. Chris(C1) elaborated:“An interesting point with Dancing Delicacies is that it actuallytakes part of the performance now. It shifts the diners’ attention to
the dish rather than the chef himself. It’s [the computational food]a good tool to center the diners’ focus on the dish’s presentationand implementation, rather than, you know, wondering about thechef: ‘What is he doing?’ ‘What’s the chef chopping now?’ ‘Oh,
he’s putting that thing on top of that thing. . .Oh no!’. . .”Furthermore, chefs found themselves less burdened with the taskof explicating the intricacies of a dish. As it is artistically plated,crafted, and animated, the dish takes on the tasks of both performer
and narrator, eloquently presenting its complex elements to thediners on the chefs’ behalf. Such “working together” between chefs
and computational food also heightened the diners’ awareness of adish’s complexity, which appeared to enrich their dining experience.
This view is echoed by Zelda (D6) who remarked:“I noticed the complexity of the dish. It’s not like I usually think,
like in the restaurant, when we are having a dish, I was not aware
about all those thoughts and different layers, different ingredientsit has. But seeing the process of different aspects or elements of thedishes, like moving towards each other, made me be more aware of
the complexity of the dish, and I think even when I was tasting it,that awareness also brings more appreciation and more richness tothe dish itself.”
This theme suggests that, unlike the conventional open-kitchenstyle that centers on the chef’s performance, computational foodplays a collaborative and active role in the dish’s presentation andperformance, captivating diners via its evolving presentation. The
synergy between the chef and the food they create can be seen as
a form of choreography, where both elements come together todeliver a performance that is captivating, meaningful, and evocative.
This dish-centric approach can not only reduce the explanatoryburden on chefs, but also enrich the dining experience, as dinersconnect the highly visual choreography with the flavors, whichleads to a heightened awareness and understanding of the dish’s
complexity.

Jialin Deng et al.

5.5.5 Theme 5: Animated dishes fosters anthropomorphic interactions. This theme shows the participants’ (chefs and diners) inclinations to view the food items as living, anthropomorphic agents.
Participants attributed human-like feelings or traits to the computational food when they interacted with it. For instance, Rich (C2)presented a dining concept whereby diners interacted with fooddroplets that took on the roles of heroes and villains in a series offlavorful encounters (Figure 8, Design 2). Many diners instinctively
perceived these animated food items as possessing a life-like qualityand distinct personalities. Conversations reflecting this sentiment
included:Pat (D2): “It [moving food items] looked like a living organism, likesome sort of biotic thing.”
Dan (D1): “Kind of like the Venom [movie] when the black[sauce] went to the white ones, and then went right straight into
the food.”
Also, there were dialogues between diners and chefs:
Nadine (D3): “It seems that the black liquid underneath [the fish]
is moving that way [referring to the sauce trying to get rid of thefish] on their own.”
Chris (C1): “It’s like ‘let me out!’ [laughter]”
Chad (D5): “Some [food droplets] moved together and then they
incorporated being soaked by the steak. But while the others, they
just run away. They didn’t want to be soaked. . .”Mitch (C4): “That’s the black sheep of the family! [laughter]”
Zelda (D6) further commented on the anthropomorphic natureof the interaction; as if the food items held their own intent andpurpose, performing as if they were on a stage:“Watching the sauce move towards the food felt like a beautiful
metaphor for encounters. It’s as if the ingredients themselves havetheir own agency in how they interact and meet [. . .] The fooditems felt as if they embodied unique characters and personalities,
there seemed to be a storyline and emotion behind each droplet’s
movement; it seemed the droplets hesitated to approach the meat,
as if they were shy.”
We discovered that such anthropomorphism enhanced the interactions and connections between diners and the dish, especiallywhen the food droplets did not execute as programmed (e.g., got
pinned on the plate) due to unpredictable material qualities (i.e.,inconsistent viscosity of the food droplets). As the diners commented:
Chad (D5): “Even though something went wrong, it showed some
sort of a personality. So, it makes me feel [the dish was] more likea human and say, more interesting.”
Zelda (D6): “I felt more connected because there was a ‘glitch’,it’s something that happened wasn’t being planned. This madeit seem as if the dish had its own thoughts, like maybe they [thefood droplets] are unwilling to cooperate. Maybe they were lostor needed some help. As a response to that, I got my intention
to interact with them, like helping them out, and it made me feel
more connected to ‘who they are’ [. . .] and this also brought more
appreciation and more richness to the dish itself.”From Plating to Tasting: Towards Understanding the Choreography of Computational Food

This theme suggests both chefs and diners could perceive foodbeyond its traditional role as sustenance, recognizing it as an entitywith its own narrative, emotions, and intentions. By anthropomorphizing food items, the culinary presentation could become not justabout taste but also about the underlying traits and emotions eachdish expresses and evokes. As a result of such anthropomorphic
interactions, diners can become deeply invested and engaged in
the food’s animated behaviors, heightening their appreciation of
the culinary craft.
5.5.6 Theme 6: A culinary bridge reinforces chef-diner bonds. This
theme illustrates the potential for computational food to serve asa culinary bridge that can reinforce chef-diner bonds. Our study
found that these bonds often arise from the unexpected, serendipitous events that occur during culinary creation. These momentsof unpredictability in computational food interactions can lead toinventive collaborations and deepen the emotional ties between
chef and diner.
Specifically, those spontaneous events are not necessarily seen
as obstacles, but rather embraced as chances to explore new tastes
and presentations, reminiscent of the unscripted movements indance that bring joy and beauty. Chris (C1) viewed the blending of
the black and white sauces, which formed an exact but unforeseen
Yin & Yang pattern, as a serendipitous inspiration:“Actually, the mixing sauce part is like just coming on the fly, thatwas something more inspiring, like something that happens randomly, but can still work our way around it.”Our study also suggested that an unexpected challenge can turninto a collaborative opportunity. For example, when some fooddroplets became stuck on the plate, both the chef and diners instinctively collaborated to interfere with the process: the chef introduced
more flavorings to connect them with other moving droplets, while
diners used cutlery to guide these droplets to their intended destinations. Participants likened these unforeseen incidents to spontaneous improvisations seen in dance performances, bringing newopportunities for taste adventures thanks to the unexpected events.
The following exchange between diners echoes this perspective:
Chad (D5): “One thing I do notice is, because of the accident, wedidn’t get every flavor mixed together with the steak. So, I justtasted part of the [sauce] separately and waited to try other flavors
later. It made me feel like I do have other kinds of combinations.
Even now, I feel it’s a good thing that I could try this flavor first
and then I could try that one later.”
Zelda (D6): “And also like for me, I’m also practicing dancing. I
feel when the movement of drops somehow went the way that was
not as planned, it’s also beautiful, like Chad (D5) said like how it
could bring up different possibilities.”
Furthermore, the unveiled chef’s vision and narrative, and theimmersion into the chef’s world, allowed the diners to feel an
intimate connection with the chef without having to speak. Phoebe(D4) reflected:“You felt a bit more a part of the entire team of creation. I feellike getting involved in something when came up with that scene[referring to participating in the plating together at the beginning],

CHI ’24, May 11–16, 2024, Honolulu, HI, USA

it’s kind of you feel a bit closer to its creator, you kind of know a
bit more about them and you don’t have to talk to them, that’s fine,coz you just know them through the food.”This theme highlights a dynamic culinary landscape where unexpected elements in computational food interactions can be embraced as creative improvisations. It can transform dining into acollaborative and enjoyable journey with open-ended experiencesand varied outcomes. Those evolving changes and emerging uncertainties along the journey can encourage diners and chefs to explore
and celebrate a broad spectrum of tastes and presentations, while
also facilitating the exchange of cultural knowledge between them[35]. This contrasts with traditional open-kitchen styles, wherechefs typically lead while diners remain mostly passive observers.
Here, the dynamic is shifted, creating a stronger bond between dinerand chef. Diners become active contributors to the culinary story,
deepening their appreciation for the culinary arts and potentiallyfostering greater loyalty to specific chefs or dining establishments.

6 DISCUSSION
6.1 Critical reflections on the challenges inculinary practices
We discuss potential limitations that our themes might impose on
chefs’ creativity and culinary processes, which could in turn impact the diners’ experiences. We outlined the benefits in the above
themes, such as enabling chefs to artistically express themselves
and stimulate creativity with computational power. These advantages can strengthen the bond between chefs, diners, and theirculinary creations, potentially enhancing customer satisfaction andloyalty, and opening new business opportunities in the food andentertainment sectors.
While the benefits of computational food are significant, theycome with challenges. A prominent obstacle, noted in theme 2,
involves technological constraints that limit chefs to aqueous ingredients and specific methods, which diverges from conventional
restaurant practices and challenges the norms of daily kitchen operations. Moreover, chefs have also expressed concerns about thelearning curve associated with these systems, including acquiring computational skills, investing time in ingredient preparation,and experimenting with the new system, which could be daunting for those less familiar with technology, possibly hindering
innovation in the kitchen. Furthermore, the chef-food synergy, as
highlighted in themes 4, could lead to concerns about diminishedcreative control, with chefs feeling their autonomy is reduced as
the food’s self-operating nature might reduce their ability to intervene and guarantee the quality of their creations, especially during
unexpected events (theme 6). This situation leads to an additional
challenge for chefs – determining the appropriate level of control
to delegate to diners. It is crucial to strike a balance that offers
diners sufficient freedom and engagement in the experience, while
avoiding overcomplication and overwhelming them with too many
parameters and interactions. Lastly, the extra costs associated withthese technologies could upset the balance of cost and performance
ratio in traditional restaurants and food retail businesses.

CHI ’24, May 11–16, 2024, Honolulu, HI, USA

6.2

Facets of computational food choreography
and design implications

In the following section, we identify four salient facets underpinning computational food choreography, drawing upon our study
results: unforeseeable culinary improvisation, anthropomorphized
gastronomic expression, collaborative interplay, and material narrative of culinary artifact. These facets further extended the “pivots”
of choreographic interaction within our matrix in section 2. Withineach facet, we discuss our findings with a focus on their design
implications for future HFI designs, aiming to provide guidance
for scholars and practitioners interested in studying and crafting
choreography in computational food experiences.
6.2.1 Unforeseeable culinary improvisation. Our study results suggest that culinary choreography can exhibit an unforeseeable nature. In particular, we noticed that varied food viscosities andinconsistency can result in unforeseeable movements, such as the
emergence of spontaneous patterns and motions by food dropletsthat cannot be programmed. For instance, we observed unanticipated Yin & Yang patterns (themes 3, 6) and dragging motions whendroplets were anchored on the plate (theme 5). These seemingly“glitchy” behaviors were not necessarily impacting the experience
negatively. We noticed that this unforeseeability could prompt instinctive actions where chefs interfered by adding flavors to engage
with those pinned droplets, while diners disrupted by maneuvering them with cutlery, seemingly assisting them to move to theirintended location. This unforeseeable dynamic seemed to amplify
diners’ immersion and potentially even deepen their food appreciation as they were able to participate in the crafting process,investing in the process that led to the final dish.
Design implication: Harnessing the unforeseeable culinary improvisations to amplify food appreciation
The above highlights potential avenues for designers to purposefully employ unpredictable food movements to foster improvisational engagement. Particularly, integrating seemingly “glitchy”
moments or introducing deliberate challenges during dining mightlead to serendipitous taste discoveries and, potentially, a deeper
appreciation of the food.
This approach aligns with existing HCI theories. First, Gaveret. al. [21] advocated the merit of “ambiguity” in interaction design, suggesting that unforeseeable elements render a “mysterious
and thus attractive” system that can compel people to join in thework of making sense of it. Furthermore, the idea of introducing
deliberate challenges aligns with Andersen et. al.’s [4] argumentof the potential of disruptive improvisation, which uses concepts
like “scarcity”, “uselessness”, and “failure”, to “make the familiar
strange”, or “creatively problematize to promote innovation”. However, a challenge lies in balancing between unforeseeability andthe requisite planning [7, 34]. Therefore, culinary creators should
strike a harmonious balance between improvisational adaptability
and scripted choreography.
6.2.2 Anthropomorphized gastronomic expression. Our study highlighted that food droplets, when animated, can exude lifelike characteristics, prompting both chefs and diners to interpret them as

Jialin Deng et al.

living, anthropomorphic entities (theme 5). The rhythmic and dynamic behaviors exhibited by these droplets were reminiscent ofcertain emotions or traits, such as vulnerability or shyness. Some
diners showed empathetic actions, guiding the “stuck” dropletsback to their intended paths. We noted that such anthropomorphic
cues fostered deeper emotional bonds, and potentially created asense of unity and camaraderie with the food.
Design implication: Crafting anthropomorphized food interactions tocultivate deep human-food affinities
The above insights suggest that by deliberately embedding
human-like traits into food movements, creators can amplify theexpressiveness and deepen the emotional ties diners have with theirdishes. Through precise programming, creators can manipulate kinetic parameters of food, such as pace (e.g., the rate of food droplets
are blending), speed (i.e., how fast the droplets are moving), or
paths (e.g., the direction the foods move along), to evoke varied
emotional associations in diners.
This anthropomorphized approach aligns with prior HCI research on shape-changing interfaces that proposed “expressive
parameters” based on kinetic attributes, drawing out specific traits
and qualities from certain movements [43]. For instance, rapid
oscillating movements might be reminiscent of “agitation” or “enthusiasm” [43]. This implication also connects with the future
direction of HFI that calls for anthropomorphized food interactions,
intending to bolster customer loyalty by establishing an emotionalbond between diners and food items [15]. However, a critical challenge lies in ensuring that the designed expressiveness aligns withthe user’s perception and the creator’s intent. Therefore, culinary
innovators should carefully test and refine these traits to ensure
the desired experiences are achieved.
6.2.3 Collaborative interplay. Our investigation unveiled a collaborative nature between chefs, computational food, and diners, asevident in themes like “chef-food synergy,” and “chef-diner bonds”(themes 4 and 6). This collaborative interplay highlights the collective feature of culinary choreography, rendering it not merely
as a spectacle but as a cooperative experience. This feature wasfacilitated by the system that was designed to function as stages,
exuding expressive appeal (e.g., synchronized food performancesthat echo the chef’s crafting process) and visual cues (e.g., moving
droplets provoke actions). Our insights highlight that the culinary
experience is not a solitary act but a collaborative endeavor. Chefs
and diners both play roles in shaping the experience. In our study,
the chefs set the stage, while diners were not merely passive recipients of the chef’s creation, but they took part in an explorative
tasting journey through their reactions and interactions. This collaborative choreography appeared to foster a more adventurous
and experimental tasting experience.
Design implication: Harnessing the collaborative interplay for ashared explorative food journey
We recommend culinary practitioners to incorporate the specificmoments and perceivable control events that invite both chefs
and diners to take a part in the culinary journey, and to foster an
inclusive space for this shared culinary choreography.

From Plating to Tasting: Towards Understanding the Choreography of Computational Food

This speaks to Benford et al.’s [6] concept of “trajectories”. The
authors proposed the trajectory concept to map out structured
user experiences, accentuating the multiplicity of roles in any interaction. This posits a dichotomy: the trajectory that a designer
envisions versus the trajectory taken by the end-user [6]. To solve
this, it needs designers to engage in behind-the-scenes activities—
managing, monitoring, and making timely interventions. Our study
builds upon this view by casting chefs as both choreographers who
is not only manage the food from the sidelines, but also participants
who dynamically steer emerging experiences. Simultaneously, diners are empowered not just as spectators, but also have the agency
to take part in modifying what is being partially pre-determined.
With the anthropomorphic traits of computational food, we see atriumvirate dance of the food creator, food, and consumer, eachplaying a pivotal role in the overall choreography.
6.2.4 Material narrative of culinary artifact. Our findings also
demonstrated that the inherent aesthetics of the artifact’s design(the Dancing Delicacies system) can serve as a blank canvas, inspiring thematic anchors and allowing creators to intertwine personal
narratives, memories, and experiences (theme 1, 2). The emphasis
here is on the materiality of the artifact as an integral componentof culinary choreography. For example, the plateware design of
the Dancing Delicacies system, both structurally and functionally,
served as an impactful storytelling device. Culinary creators canthus draw upon the aesthetic language of the plateware (e.g., itssmooth shape, subtle edge, and soft white hue), marrying it withpersonal experiences to curate their dishes that champion expressiveness and narrative-driven designs.
Design implication: Leveraging the artifact as a storytelling device
for narrative-driven culinary curations
We encourage system designers to harness the materiality of thedesigned artifact, turning it into a storytelling device. This could
potentially amplify the narrative potential, and open new possibilities for culinary creators, allowing them to further experiment andinnovate in their choreographic endeavors.
This implication aligns with the concept of “material experience”
that emphasizes the influence materials have on shaping ways of
doing and practice, anchored deeply within the experiences they
offer [22]. Particularly, our study confirms previous assertions
on the connection between design aesthetics (spanning sensory,interpretative, and affective dimensions) and the performances enacted through its material essence [22]. Hence, designers aiming
for narrative-driven culinary curations in computational food systems should judiciously factor in both design aesthetics and theinteractive performances they can potentially inspire.

7

LIMITATIONS AND FUTURE WORKThis study has certain limitations. First, technical constraints influenced our choice of food materials. Since we were limited toaqueous droplets, it was challenging to incorporate many food ingredients that are highly viscous, such as sauces and condiments.
This constraint limited the types of dishes we could design. Future
research could explore other design possibilities, such as mixology
or drinks, that might be more suitable for a liquid-driven system.
Additionally, the system requires more effort to design and prepare

CHI ’24, May 11–16, 2024, Honolulu, HI, USAa dish than traditional cooking methods. This additional effort could
influence how chefs interact with the system, particularly in termsof their efficiency. On the other hand, this challenge might also
provide an opportunity to foster more themed dining experiences.
Secondly, while our design outcomes, encompassing both conceptual and tangible designs that primarily focused on a more
performative dining trajectory, we have not yet offered a feedback
loop in the human-computational food interactions. There remains
untapped potential in using these loops to create additional choreographies. Prior research suggested ways to technically implement
this, for example, through capacitive sensing [16], that could pave
the way for broader explorations in computational food design.
Our study focused on a specific dining context involving chefs
and diners. We have not yet explored how computational food
could be incorporated into different dining environments and situations. Future research could broaden the scope of dining contexts
to include family-friendly engagement, and educational settings forfood and technology schooling, involving collaborations with students, educators, and food designers. These contexts could support
the development of further insights into the potential applicationsof computational food and its broader sociocultural impact.

8

CONCLUSION

In this research, we embarked on an exploration of computational
food through the perspective of choreography, revealing the dynamics between creators, the computational food, and the consumers.
Specifically, we presented six conceptual dish designs, two of which
we brought to life, offering a blueprint for suitable culinary techniques and introducing new ingredients. Our findings unveiled
six themes concerning computational food creation and consumption experiences, providing valuable insights for HFI researchers todelve deeper into computational food choreography. Furthermore,
we identified four facets of culinary choreography and detailed associated design implications for future computational food designs.
Our work aspires to leverage the choreographic potential of computational food design, paving the way for future HFI innovations.

ACKNOWLEDGMENTS
Florian ‘Floyd’ Mueller thanks the Australian Research Council,
especially DP190102068, DP200102612 and LP210200656.

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