We propose a novel cooking technology that uses a laser cutter as a dry-heating device. In general, dry-heat cooking heats the whole surface of an ingredient, while a laser cutter heats a small spot of the surface in a very short time. Our approach employs a computer-controlled laser cutter and a video image-processing technique to cook ingredients according to their shape and composition, allowing for new tastes, textures, decorations, and engraving unique identifiers to the ingredients. We introduce some examples of laser cooking. In addition, we propose a multi-layered 3D printing technique using powdered sugar to create edible sculpture.

ParticipART is an initiative aimed at exploring participation in interactive works using ubiquitous computing and mixed reality. It supports and analyses work of artists and creative practitioners incorporating or reflecting on participatory processes to support new roles and forms of engagement for art participants. We aim at proposing a space for discussion that can enliven and enrich the dialogue between human-computer interaction and the creative practices. We present several works that have been exhibited and experienced. The works are used to reflect on the different participative strategies and the role of interaction technologies: enabling authorship, affording connectivity, interacting with artificial beings, reinterpreting the visitor world, and engaging in performative acts. KEYWORDS:Participation, interactive art, performative interaction.INDEX TERMS: H5.m. Information interfaces and presentation (e.g., HCI): Miscellaneous. INTRODUCTIONWhile human-computer interaction has among other things reflected on the role of users and systems and on the application of interface technologies, Participatory Design has traditionally focused on the design and development of computing and information technologies with the active engagement of the people who use or are affected by these systems. An interesting analogy can be conceived where human-computer interaction HCI and Participatory Design PD talk about the designer and user dichotomy to the situation in art works between users and artists. Over the years, the efforts of artists, musicians, architects and designers working across a wide range of disciplines have contributed to invigorate the discussion on the design boundaries of such engagement, and in recent years HCI and the PD fields have actively sought submissions from artists and designers that exemplify the principles of participatory design. ParticipArt [4][6][5][25] is a series of initiatives such as exhibitions, installations and research that takes inspiration from artists and creative practitioners who incorporate ubiquitous computing and mixed reality to stage participatory processes that can expand the boundaries of audience engagement in either experiencing or engendering the work. The work presented in this paper was curated as part of PDC 2006 in Trento, Italy, and exhibited in the Contemporary and Modern Art Museum in Rovereto.Artistic work based on emergent media and technologies is a particularly fertile domain for the development of tools and environments that both supplement creative practices and contribute valuable research and design methodologies for other disciplines [7]. By promoting divergent thinking and creative visions, new media art practices offer a platform that emphasizes creative engagement as a locus for innovative design and evaluation methods [8], thus encouraging fresh and critical perspectives [9].Our objectives in this paper can be summarized as follows: (1) explore novel relationships and multiple participatory processes enabled by emergent media and interaction tech...

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This paper presents a process-based approach to considering workshops as a route to participation in collective creative musical practice. We evoke the notion of the Music One Participates In, which focuses on a shift from the listeneras-consumer to participant-actor actively engaged in sound perception and production. We look at the range of different methods that make up the term 'workshop', as well as emergent relationships between facilitator and participant in creative do-it-yourself activities to frame our discussion of participatory music practice. We then examine the nature of participation across a range of disciplines from social and cognitive science through human computer interaction to radical and contemporary art, and identify possible contradictions in horizontal utopian organisational models. With this conceptual frame as a backdrop, we present four types of workshop that we have conducted across time at different sites with diverse groups of participants. We apply concepts from the participation literature to analyse our music workshops, and attempt to reconcile the potentially diverging agendas of facilitator and participant to arrive at a process-based view of 'workshopping'.

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