Movement-based design foregrounds the moving and sentient body, fostering holistic engagement with the surrounding physical, material, and sociospatial contexts. Over the years, this approach has yielded multiple methodologies, tools, and exemplars to support body-based ideation. In this studio, we explore tools that facilitate embodied thinking and the creative processes of designing with, through, and for the body. In particular, we focus on: i) embodied ideation tools, kits, and technology probes to prompt ideation; ii) sketching and other documentation techniques to materialize ephemeral embodied action during ideation. We will bring tools and techniques to engage with both aspects, and we will invite participants to bring their own, which can be physical or technological, low or high-fidelity. This hands-on studio will provide a space to collectively engage in embodied ideation and sketching; exploring, analysing, and engaging deeply with the available objects and methods. The studio will culminate in a rich set of visual material and an annotated portfolio, which will be shared with the broader community, fostering connections among designers interested in movement-based and tangible design.

This paper explores the aesthetic value shifts required for sustainable design of so called ‘high-tech’ products, highlighting an increasing down-to-earth ethos within the field. Using a spaceship metaphor and drawing from principles of post-industrial design and visions for long-term sustainable transformation, a high-level analysis is presented of how grassroot activist cultures and alternative tastemaking practices are currently steering designs towards the systemic, earthy and organic. This direction is illustrated by diverse examples from within the TEI discourse that investigates new material approaches and that critically challenge conventional aesthetic orientations. While such approaches can be criticized for insufficiently addressing interactive and electronic components, this research underscores their essential role in reimagining technology and materials, to navigate complex cultural interdependencies and advance sustainable design futures.

The topic of time and how it can be unpacked, deconstructed and designed with is fundamental to HCI, but it is also extensively engaged within artistic practice. By analysing a selection of ten media artworks, all in different ways concerned with time and temporality, we explore how artists approach these matters as culturally and politically loaded. The selected projects align with the ongoing scholarly interest in alternatives to common perceptions on time, unmaking the normative clock time and the posthuman discourse. Following an analysis of the theoretical and material expressions of these artworks, we conceptualised four themes through which unmaking was represented: dissecting temporality, the unmaking of the singular, unmaking as messing up and unmaking the other. We close with a discussion on how these themes intersect with the current discourse on unmaking in HCI and reflect on challenges and opportunities for design and theory.

This paper elaborates on design visions for computing, by attending to the values expressed in ideals around post-industrial ways of living. Such ideals highlight finitude not only as a challenge to overcome, but as an aesthetic quality, captured by notions of preciousness. We discuss three themes: to embrace possibilities within limits, to resist fantasies of unlimited power, and welcoming complexity as an inherent feature of the living.

This article explores the shift in design education from traditional, hands-on practices to digitally-based approaches, particularly accelerated by the sudden and temporary remote teaching mandates that affected design schools during the global pandemic restrictions of the early 2020’s. It uses a case involving an interaction design class during such restrictions, where students engaged in, designed, and facilitated 15-minute remote collaborative activities called “Fire-up” sessions, to demonstrate how a short design doing task can provide surface what is at stake in the design of hybrid learning activities. Reflections of the students and teachers are used to take the pulse of remote and hybrid teaching arrangements that are physicality and materiality inherent in design education, emphasizing the perceived elasticity of physical and digital arrangements in these contexts. The paper offers three main sensitizing instruments to consider when arranging and engaging in hybrid design work.

The design of user experiences for physical appliances increasingly involves connection, monitoring, and control via smartphone applications. Despite the rich possibilities for interaction provided by smartphones, the current standard mode of engagement with such apps is through graphical user interface manipulations. To explore new felt experiences for this use context, a remote-control app for a robotic vacuum cleaner was designed, enabling participants to have their gaze focused on the robot, while steering it by gently tilting the phone. This particular interaction is used as a case to emphasize the role of somatic sensibilities when designing smartphone applications in the context of IoT. Through a phenomenologically-inspired analysis, we describe the user experience in terms of physical manipulation, perception, effort, and utility, and through social and emotional engagement. An important attribute was how the interaction, through its subtleness, created a somatically connected experience.

We here present a series of design explorations focusing on batteryless interactions powered by hand cranking body movements. The explorations concern not only the matter of powering but also the use of human physical engagement for controlling interactive systems, as well as how to support designers in testing, exploring, and making such interactions. This pictorial illustrates contributions concerned with the embodied and electro-physical prototyping of such experiences, in addition to our efforts to facilitate such design work through new technical tools.

Non-fungible tokens (NFTs) have been a defining trend for design, technology, and business in 2021. The value, legitimacy, and utility of NFTs is disputed: proponents highlight revolutionary economic and cultural potentials of an open, secure, and immutable ownership database, while opponents are displeased by the environmental issues and abundant wrongdoing in the ecosystem. Nevertheless, the phenomenon is relevant to HCI, and signifies important developments for future interactive products. To better understand the NFT phenomenon, and to inform future HCI research and design, we investigated the stakeholders in the NFT ecosystem and relations between them. Based on open data we mined from the social news website Hacker News, we contribute the first data-backed model of stakeholders in the NFT ecosystem. The model reveals a nuanced account of the outlooks of creators, owners, and technologists; identifies investment firms and auction houses as arbiters of knowledge and value; and presents implications for future research.

This work investigates experiences and practical aspects of co-located and co-watched 360-videos in head mounted displays by groups of older people at nursing homes. In a study involving 19 residents at two different nursing homes, co-watching screenings were arranged with 360-videos produced in the local area by filmmakers. Data was collected through non-participant observation and semi-structured interviews with the participants. Input from nurses and facilitators were also collected. We found this to be a much appreciated, feasible, and enjoyable immersive experience improving short-term well-being, expressed through (e.g.) new conversations, pride in participation, and spontaneous movements. However, the value of co-watching was mainly captured for residents who already knew each other, and we found limited indications of virtual co-presence. We further recognized the value of the videos themselves and the desire for new 360-video experiences. But also, a need for better headsets suitable for older people and shared use at nursing homes to avoid social isolation due to the introduction of VR technology.

Micro-controllers like Arduino are increasingly used in classroom settings to teach skills, attitudesand knowledge around technology. Education around these tools is often set in group contexts andcollaboration is typically considered an important part of the learning process. However, much of thesoftware tools currently available are still designed around a laptop programming paradigm that tendsto restrict collaboration rather than encourage shifting of roles and sharing of experiences. This paperexplores how to design tools that invite collaborative interactions, in particular how mobile softwaretools, with heavy usage of video as an interactive resource, could allow for collaborative sketchingand understanding. Based on contextual inquiries with educators, observations and engagements withstudents in classroom settings, and a workshop with Arduino Education, this paper sketches out avision for how the software tools used for learning physical computing can be re-designed to better work within the context of group work from the observations, for groups of students aged 14–16-years old.