It was an honour to present in the presence of Her Excellency Ms Helena Drnovšek Zorko, Ambassador of the Republic of Slovenia in Australia, Ms Jana Grilc, First Secretary at the Embassy of the Republic of Slovenia in Canberra, members of the Slovenian Australian community, colleagues from the University of Canberra and all who participated the seminar.
Many thanks to all those who attended, and the organisers from CCCR and UC.
CCCR Seminar: Communicating culinary heritage of Slovenian Australians: From digital cross-cultural hubs to 3D food printing
Dr Kaja Antlej Endeavour Research Fellow
Monday 12 October 2015 1-2pm
Staff Teaching Commons, Building 1, Level C (above the refectory)
University of Canberra See more information at UC Events
This seminar will present the outcomes of a research project that explored ways in which digital technologies can aid younger generations of Slovenian Australians to preserve and communicate Slovenian culinary heritage in Australia. The project considered how community participation and creative potential can be enhanced by this re-use of heritage. Throughout the course of the research project 18 in-depth and 7 thematic interviews were conducted among members of a Slovenian ethnic group (all generations and ages) in Australian cities. The interviews investigated how a traditional Slovenian cuisine is still present, how important it is to them, and how it can be digitally communicated, not only within the group, but also more broadly.
The project also explored how a museum can be used as a laboratory for engaging audiences in new food production and reinterpretations of culinary heritage in the context of ‘makerspaces’. We investigated the concept of the creative reinterpretation of culinary heritage through 3D food printing – in this case a 3D-printed Slovenian Potica cake. We anticipate that this introduction to the reinterpretation of culinary heritage through 3D food printing can provide an innovative thought-piece for future research investigations.
The research has been made possible through the support of an Australian Government Department of Education 2015 Endeavour Research Fellowship under supervision of Professor Angelina Russo.
A young Slovenian Australian about the importance of Internet for searching Slovenian recipes:
“[…] if you do not have grandparents that have all those cookbooks and stuff I do see the importance of Internet and social media which could get you the recipes that you need and show you how to cook it.”
…Digital technologies…Did you know that already in 1985, 30 years ago, a Slovenian cooking software for ZX Spectrum Moja gospodinjska pomočnica (Centralni zavod za napredek gospodinjstva and Radio Študent) showed youwhat to cook from the ingredients you have in the kitchen storage? However, the Honeywell Kitchen Computer from 1969 is recognised asone of the earliestattempts to usecomputersfor cooking. “There is no evidence that any Kitchen Computer was ever sold.” (The Computer History Museum)
(Photos from the conference added on 27 October 2015.)
Our research paper Museums as creative labs: 3D food printing inspired by culinary heritage in the context of makerspaces will be presented at the MWA2015: Museums and the Web Asia 2015 conference, 5-8 October 2015, Melbourne.
In this paper we explore how a museum can be used as a laboratory for engaging audiences in new food production and new reinterpretations of culinary heritage in the context of makerspaces. We explore the concept of the creative reinterpretation of culinary heritage through 3D printing – in this case of Slovenian Australians: a 3D printed Slovenian potica cake. We anticipate that this introduction to the reinterpretation of culinary heritage through 3D printing can provide an innovative thought-piece for future research investigations.
The paper prepared for MWA2015 and published at the conference website is also available below:
The preparation and consumption of local and global foods has never been more topical than it is today. Food security and nutrition issues explored at a global level (EXPO 2015: Feeding the Planet, Energy for Life), while the skills and practices associated with domestic food preparation are the subject of multiple reality TV-programs. Popular locally produced programs such as MyKitchen Rules and Master Chef (Bodey, 2015) are part of global franchises while, in the UK, The Great British Bake-Off2014 grand final drew more audience numbers (12.3 million) than the World Cup final (12.1 million) (Malnick, 2014). At the same time, new museums specifically dedicated to food and communities, but not affiliated with food industry, such as MOFAD (Museum of Food and Drink), are also arising (Merritt, 2015).
In 2012 the Australian National Museum led a project entitled “Urban Farming and the Agricultural Show” which explored how agricultural shows helped to shape understandings of the relationships between food, people and place. In the following year (2013) they released “Food Stories”, a program of digital content creation and publication, which allowed audiences to share their food stories. In terms of re-use of heritage and creative participation of audiences, both initiatives represent a relatively traditional approach to the interpretation of food production and culinary heritage.
In this paper we explore opportunities for museums to become creative labs pursuing creative reinterpretations of cultural content through the use of new digital fabrication technologies. 3D food printing is one of those technologies.
3D food printing (Cohen et al., 2009), first introduced in 2006 (Lipson & Kurman, 2013) is bringing another dimension to the curatorial endeavor. A 3D food printer is a special 3D printing system which enables the construction of parts using edible materials mainly from viscous materials (e.g. cheese, paté, dough, chocolate) and powdered substances (e.g. sugar).
In this research we explore how a museum can be used as a laboratory for engaging audiences in new food production and resultant reinterpretations of culinary heritage. A traditional cuisine is a rich source of creativity, as evidenced through the recent 3D food printing projects. See Foodini (Molitch-Hou, 2015), ChefJet (Ngo, 2015), Bocusini (Biggs, 2015), Pancake Bot (Senese, 2015), Barilla’s 3D pasta printer at EXPO 2015 (Alec, 2015), Australian project EdiPulse (Khot et al., 2015) and many other initiatives.
However, the potential of 3D food printing for the creative reinterpretation of culinary heritage in a context of a makerspace (Dougherty, 2013) in a museum at which visitors can be creatively engaged, has yet to be explored. Many burgeoning makerspaces, equipped with rudimentary digital fabrication facilities, are located in community spaces and science/cultural centers. Due to their rich resources, makerspaces are also entering into museums.
In New York, NEW INC, the first museum-led incubator, demonstrates the potential for museums to act as creative laboratories. This innovative platform was established by the New Museum in 2013 to support creative professionals not only with their lab-like co-working space, but also with resources from the New Museum’s collection of contemporary art.
Additionally, a few examples of 3D food printing in museums have already been introduced. For instance, in Sydney by Vivid Ideas 2013 and through the Eat the Collection project at the Powerhouse Museum (Museum of Applied arts and Sciences) collaborated with ten creative industry professionals on re-use of some of the museum objects (Kinski, 2013). During the public event, their reinterpretations were 3D printed in chocolate and visitors were invited to eat them.
Culinary heritage of Slovenian Australians
Throughout 2015 we conducted a research project exploring how digital technologies can aid younger generations of Slovenian Australians to preserve and communicate Slovenian culinary heritage in Australia. The central aim of the research was to explore how their creative participation in culinary heritage could enhance notions of identity as Slovenian Australians. Culinary heritage has long been connected with notions of identity and together they form an important part of intangible heritage and a universal way of bringing people together.
Throughout the course of the research, 18 in-depth interviews were conducted among members (all generations and ages) of Slovenian ethnic groups in Australian cities. It was discovered that, for many of them, traditional Slovenian cuisine is still an important part of their lives. Since most traditional Slovenian dishes (especially desserts) require a great deal of preparation time, together with advanced cooking skills and knowledge, they are usually prepared by members of the older generations (mothers, grandmothers) for family gatherings during holidays or other special events. Therefore, it was decided that a Slovenian dessert would be chosen as a test case for creative reinterpretation through 3D printing.
A creative reinterpretation of culinary heritage: A 3D printed Slovenian potica
Potica is one of the most typical Slovenian festive cakes. Among gibanica and štruklji, it is one of the most popular desserts also by Slovenian migrants in Australia. Potica (Figure 1) is made from a bread dough and filling such as walnut, tarragon, poppy seed and cottage cheese. It forms a large hollow cylinder and when cut, every slice has a nut-roll style shape.
Figure 1: Slices of a poppy seed potica made by Jožica Koštrica, a Slovenian-Australian cooking expert from Canberra (Photo: Kaja Antlej).
The characteristic potica has a central spiral, but through 3D food printing, potica can be created in a multitude of different shapes and can incorporate forms inspired by other Slovenian motifs (Razboršek, 1992) such as hearts, plants and flowers.
Using potica as a test case, we explored the notion that museum visitors could creatively engage in the reinterpretation of the dessert by accessing digital fabrication technologies through museum makerspaces. The research hypothesized that participants in a museum (e.g. Immigration Museum) could use a special app to design their own image of a potica slice. The newly created image could be generated into a 3D model (Figure 2) and prepared for 3D printing. Since a two material (two syringes) 3D printer is needed, we propose to use Scientist 3D printeror a similar machine from Seraph Robotics, together with their software for generating multi-material print jobs from a single standard STL file. This 3D printer also represents a further development of a Fab@Home model 2, which was successfully used for 3D printing a prism-shaped cookie with a chocolate letter “C” in the interior (Lipton, et al., 2010).
Figure 2: Visualization of a 3D printed potica cake (concept) (3D model: Kaja Antlej; texturization and rendering: Nina Oman).
Conclusions and Further Work
The conceptual framework for creative reinterpretation of culinary heritage is one which requires further investigation. While conceptually, a 3D model of potica can be created and print files produced, there is much testing of dough and filling which would need to be carried out. The opportunity to use museum collection knowledge to aid this experimentation offers a unique opportunity to bring together collections, culinary heritage and digital fabrication in a new space of investigation and innovation. We contend that museum visitor engagement in the process of experimentation would go some way towards modelling how museum makerspaces can enact the notion of a creative laboratory. However, we underpin our work by considering the opportunities afforded museums to act as creative laboratories, providing makerspaces which engage audiences in digital fabrication with access to significantly more expensive highly specialized equipment such as 3D food printers.
The research has been made possible through the support of an Australian government 2015 Endeavour Research Fellowship (Postdoctoral Research) of Kaja Antlej at the Centre for Creative and Cultural Research, Faculty of Arts and Design, University of Canberra under supervision of Professor Angelina Russo and provided by the Australian Government Department of Education.
Antlej, K., M. Kos & J. Horvat (2013). “3D-tehnologije kot podpora muzejski razstavi industrijskega oblikovanja (3D Technologies as a Support for Industrial Design Museum Exhibition).” Doctoral thesis, University of Ljubljana.
Antlej, K., & S. J. Mächtig (2008). “Razvoj industrijsko oblikovanega izdelka z uporabo 3D tehnologij (The Development of an Industrially Designed Product through the Use of 3D Technologies).” Masters thesis, University of Ljubljana.
Cohen D.L., Lipton, J., Cutler, M., Coulter, D., Vesco, A. & Lipson, H. (2009). “Hydrocolloid Printing: A Novel Platform for Customized Food Production.” In Solid freeform fabrication proceedings, 20th Solid Freeform Fabrication Symposium (SFF’09). Austin, Texas. 807–818. Consulted August 7, 2015. Available at http://creativemachines.cornell.edu/sites/default/files/SFF09_Cohen1_0.pdf
Dougherty, D. (2013). “The Maker Mindset.” In M. Honey & D. E. Kanter (ed.). Design, Make, Play: Growing the Next Generation of STEM Innovators. New York: Routledge, 7–11.
Khot, R.A., R. Pennings & F. F. Mueller (2015). “EdiPulse: Supporting Physical Activity with Chocolate Printed Messages”. In B. Begole, J. Kim, K. Inkpen & W. Woo (eds.). Proceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems, Seoul, CHI 2015 Extended Abstracts, Republic of Korea, April 18 – 23, 2015. 1391–1396. Consulted August 7, 2015. Available at http://exertiongameslab.org/wp-content/uploads/2011/07/edipulse_wip_chi2015.pdf
As pointed out in one of the previous posts, learning a language can also be fun, creative… and delicious.
Usually every Saturday, Sarah, Jana, Kate and Frank, a group of Slovenian Australians from Melbourne gets together to learn Slovenian language with a help of Draga Gelt, a long-time teacher who almosttwenty yearsledand taughtat theschool of the Slovenian Association Melbourne. 10 years she taught at a high school level at the Saturday School of Modern Languages.
It was a pleasant experience to join Sarah, Jana, Kate, Frank and Draga at one of their language lessons. This time, inspired by the Slovenian strive to the proclamation of World Bee Day within the framework of the United Nations and in connection with the Cook Hub project, the topic was related to honey.
Following the concept learning-by-doing, the participants have learned Slovenian nouns with adverbs for cooking utensils, tools, ingredients and dishes as well as verbs used to makeDražgoše honeybread, a traditional Slovenian decorated bread. At the end, all went home with new knowledge, experience and their own honey heart.
It is not an easy way to follow a recipe in Slovenian – but it’s fun! 😉
Here you can read more about Draga’s language courses.
Dražgoški medeni kruhki niso samo značilna jed, so tudi prijetni na pogled in seveda zanimivi. Najbolje jo seveda pripravijo domačinke, če pa se želite tudi sami poizkusiti v pripravi, je tukaj recept.
Za pripravo jedi dražgoški medeni kruhki za osnovno testo potrebujete:
– Med (1 kg)
– Ržena moka (1,5 kg)
– Jelenova sol (15 g)
– Voda (0,5 dl)
– Mleti cimet (1 žlička)
– Mleti klinčki (1 žlička)
Za testo za okrasitev dražgoških medenih kruhkov potrebujete:
– Med (500g)
– Pšenična moka (700g)
– Jelenova sol (7 g)
– Voda (0,25 dl)
– Ščep mletega cimeta
– Ščep mletih klinčkov
V ponvi segrejemo med. Pred tem pa v večji posodi zamešamo rženo moko, mlete klinčke in mleti cimet. Sol stopimo v vodi in jo z medom, ki smo ga segreli dodamo drugim sestavinam. Vse sestavine zgnetemo v gosto in gladko testo.
Celoten postopek se ponovi, ko pripravljamo testo za okrasitev medenih kruhkov.
Testo nato na podlagi, ki smo jo pomokali razvaljamo, nato pa si izberemo obliko in jo izrežemo. Robove po želji okrasimo. Kruhke po tem, ko smo izrezali oblike premažemo s hladno vodo. Iz testa za okraske naredimo poljubne vzorce (rože, srčki, vitice …) in z njimi okrasimo z vodo premazane kruhke.
Namažemo pekač in okrašene medene kruhke postavimo na pekač. Pečico pred tem ogrejemo na 165°C in pustimo peči od 10 do 15 minut. Ko so kruhki pečeni jih še premažemo s toplim prelivom, ki ga naredimo tako, da segrejemo vodo in v njen žlico medu. Dražgoški medeni kruhki dobijo svetleč sijaj.
Dražgoški medeni kruhki so primerni kot posladek ali pa kot darilo za vaše najdražje. Priprava je tudi odlična za zabavo z otroki. Pa dober tek!
A broad idea of the Slovenian Australian Cook Hub research project is to extend this platform to future cross-cultural hubs working jointly towards a harmonious and creative multicultural Australian society. In order to achieve common goals we are happy to spread a message of similar initiatives.
Therefore, we are inviting a broader Slovenian Australian community to join the Welcome Dinner Project, an initiative of joiningthedots which connects newly arrived people with established Australians over pot-luck dinners in local homes.
It all began in March 2013 and since then the initiative has taken off right around the country. It’s about creating a space where people come together across cultures over a shared meal to form friendships and networks.
The next event will take place on Sunday 26th July in Canberra. Below you will find more information about the project and how you can join as facilitators.
The Welcome Dinner Project is launching in Canberra very soon and to get things off the ground they need a team of volunteers who help facilitate the dinners. There’s a training day for people interested in becoming a Welcome Dinner Facilitator coming up on Sunday 26th July from 10:30am-4pm in Canberra in the city centre. Full details about the location, what to expect and to bring will be sent out to people who register for the training.
What do Welcome Dinner Facilitators do?
The Welcome Dinner Project relies on volunteer Welcome Dinner Project facilitators to create successful experiences where people come together across cultures over a shared meal. The volunteer Welcome Dinner Project facilitator plays a key role in ensuring the effectiveness of this project by creating a safe, welcoming and comfortable environment. At every dinner, two facilitators hold a space for all participants to be able to bring something to the table through a series of ritualised activities and helps to get interaction flowing between Welcome Dinner hosts and attendees.
You will need to complete the 1-Day Welcome Dinner Facilitator training workshop run by joiningthedots. After successful completion of the training you will assist a lead facilitator to facilitate Welcome Dinners until you are ready to step into the lead facilitator role yourself. The date and time of each Welcome Dinner is determined by the Welcome Dinner hosts and attendees in conjunction with the availability of the facilitators. Dinners usually begin in the evening between 6pm and 7pm and conclude by 8pm-9pm, although some prefer to have a lunchtime gathering.
How much time is expected?
After completing your Welcome Dinner Facilitator training the organiser ask that you commit to facilitating approximately one Welcome Dinner every 2 or 3 months, depending on how many are organised in the region you are assigned as well as attending shorter supplementary trainings and facilitator catch ups several times a year. You are also invited to assist with promotions, for example reaching out to local English classes and help where possible with preparations in the lead up to dinners you’re facilitating.
APPLY HERE or send an expression of interest to firstname.lastname@example.org. Please apply or email by Friday 17th July.
Please also help spread the word by forwarding this message to others who might be interested.
All of them, the youth club, archive, museum and the library keep in their collections not only the Association’s heritage, but also a rich history of Slovenians across whole Australia. Different objects related to food traditions, such as pottery, glassware, cookbooks and other publications as well as a large range ofphotographic material recording traditional festivities, are presented as well. Some of the material was produced in Australia, however there is also a numerous objects brought from Slovenia.
Nevertheless the archive became an independent entity already in September 1998, both the museum and the archive were officially open on 29 November 2014. The library was open already on 20 November 1983.
In collaboration with the Museum Victoria in partnership with Museums Australia (Victoria), the Association is also represented on the Victorian Collections website, “a showcase of cultural artefacts held by many hundreds of organisations distributed across the State of Victoria in Australia.” Currently 250 items can be explored.
All the photos in the album were taken on 18 June 2015.
This is a website of a research project exploring digital technologies for communicating the culinary heritage of Slovenian Australians in collaboration with the University of Canberra under the 2015 Endeavour Fellowship Programme (PDR).