How To Train Your Drone (HTTYD) is a novel, embodied human-drone interaction demonstration that enables an individual to shape the mapping between a drone and their own body. By demonstrating this system we aim to give conference attendees the opportunity to, not only shape their own interactions with a drone, but to experience being shaped by it. We hope this demonstration inspires researchers to build systems that allow for this kind of mutual shaping. We believe that supporting such interactions is vital to real world deployments of robots as they leverage embodied ways that people can understand robots, their environments, and the people around them.

Friction - disagreement and breakdown - is an omnipresent aspect of conducting interdisciplinary research yet is rarely presented in formal research reporting. We analyse a performance-led research process where professional dancers with different disabilities explored how to improvise with an industrial robot, with the support of an interdisciplinary team of human-computer and human-robot interaction researchers. We focus on one site of friction in our research process; how to dance - safely - with robots? By presenting our research process, we exemplify the different ways in which we encountered this friction and how we reconfigured the research process around it. We contribute five ways in which we arrived at a generative ethical outcome, which may be helpful in productively engaging with friction in interdisciplinary collaboration.

We explore transdisciplinary collaborations between artists and roboticists across a portfolio of artworks. Brendan Walker’s Broncomatic was a breath controlled mechanical rodeo bull ride. Blast Theory’s Cat Royale deployed a robot arm to play with a family of three cats for twelve days. Different Bodies is a prototype improvised dance performance in which dancers with disabilities physically manipulate two mirrored robot arms. We reflect on these to explore how artists shape robotics research through the two key strategies of improvisation and provocation. Artists are skilled at improvising extended robot experiences that surface opportunities for technology-focused design, but which also require researchers to improvise their research processes. Artists may provoke audiences into reflecting on the societal implications of robots, but at the same time challenge the established techno-centric concepts, methods and underlying epistemology of robotics research.

Designing technologies that clothe, adorn, or are otherwise placed on the body raises questions concerning the role they will play in dressing ourselves. We situate self-fashioning - or the process through which we stylise and present our bodies - as a complex practice where a series of social, material, and contextual factors shape how we present ourselves. Informed by reflective discussions and projective design tools, we contribute three critical points of departure for self-fashioning technologies: (i) Purposeful examining discomfort as an ongoing phenomenon, (ii) Supporting mimesis and visibility as qualities to be negotiated, and (iii) Envisioning the multiplicity of the body. We call for the design community to help devise fashionable technologies that are sensitive, caring, and responsive to the complexities of fashioning our bodies.

As robots enter the messy human world so the vital matter of safety takes on a fresh complexion with physical contact becoming inevitable and even desirable. We report on an artistic-exploration of how dancers, working as part of a multidisciplinary team, engaged in contact improvisation exer-cises to explore the opportunities and challenges of dancing with cobots. We reveal how they employed their honed bodily senses and physical skills to engage with the robots aesthetically and yet safely, interleaving improvised physical manipulations with reflections to grow their knowledge of how the robots behaved and felt. We introduce somatic safety, a holistic mind-body approach in which safety is learned, felt and enacted through bodily contact with robots in addition to being reasoned about. We conclude that robots need to be better designed for people to hold them and might recognise tacit safety cues among people. We propose that safety should be learned through iterative bodily experience interleaved with reflection.

We reappraise the idea of colliding with robots, moving from a position that tries to avoid or mitigate collisions to one that considers them an important facet of human interaction. We report on a soma design workshop that explored how our bodies could collide with telepresence robots, mobility aids and a quadruped robot. Based on our findings, we employed soma trajectories to analyse collisions as extended experiences that negotiate key transitions of consent, preparation, launch, contact, ripple, sting, untangle, debris and reflect. We then employed these ideas to analyse two collision experiences, an accidental collision between a person and a drone and the deliberate design of a robot to play with cats, revealing how real-world collisions involve the complex and ongoing entanglement of soma trajectories. We discuss how viewing collisions as entangled trajectories, or ‘tangles’, can be used analytically, as a design approach, and as a lens to broach ethical complexity.

We present mechanical sympathy as a generative design concept for cultivating somaesthetic relationships with machines and machine-like systems. We identify the qualities of mechanical sympathy using the design case of How to Train your Drone (HTTYD), a unique human-drone research product designed to explore the process by which people discover and co-create the somaesthetic potential of drones. We articulate the qualities – (i) machine-agency, (ii) oscillations, and (iii) aesthetic pursuits – by using descriptive and reflective accounts of our design strategies and of our co-creators engaging with the system. We also discuss how each quality can extend soma design research; conceptualizing of appreciative, temporal, and idiosyncratic relationships with machines that can complement technical learning and enrich human-machine interaction. Finally, we ground our concept in a similar selection of works from across the HCI community.

In response to this year's conference theme of why design and the recognition of instability and uncertainty as factors influencing the future of the field, our workshop "Designing [Im]Material Inventories of Nomadic Belongings"revolves around the experiences of being a nomad in our [im]material world of various entanglements. In this space, we will share our stories through the belongings and technologies we carry and discard, problematising nomadism and impermanence as possibilities for resilience and growth. Through the use of various design methods -including collaborative inventorying, somatic noticing and material fabulations- we will unpack together our experiences of mobility in academia, speaking about the objects and affects we embrace and leave behind, the role of technology in the construction of our changing identities, and possible futures we envision for nomadism.

Ethical sensibilities are constantly enacted in design practice. As we move towards pluralistic ways of designing, different ethical sensibilities increasingly merge, diverge, and diffract. It becomes vital to attend to the implicit ethics that imbue design practice to envision alternative practices and generative epistemics for the interaction design discipline. My research develops felt ethics - an attitude of somatic, critical, and reflective attentiveness towards how our ethical sensibilities are engaged in design. I develop an understanding of ethical sensibilities as fundamentally relational and co-constitutional; shaped by factors such as our relationships with others, society, culture, politics, technologies, and materials. I discuss two ongoing project involving autonomous systems, using choreographic methods to explore ethical assumptions embedded in industrial robots and then reimagining such ethics using research through design. I conclude with open questions for the DIS 2024 Doctoral Consortium concerning the relation-making potential and resonance of felt ethics with other design practices.

Soma design is intimately entangled with the politics, not only of design itself, but of bodies. We combine perspectives from soma design, political theory, and Sara Ahmed’s work The Cultural Politics of Emotions, to develop five political provocations that reflect on the politics of soma design and the possibilities and frictions therein. Inspired by soma design’s roots in somaesthetic philosophy, our five provocations are (i) Knowledge and Ways of Knowing; (ii) The Self and Self-Knowledge; (iii) Felt Ethics and Right Action; (iv) The Pursuit of Happiness; and (v) Justice and the Emotional Labour of Transformation. Our contribution intends to foster reflection on the politics implicit within soma design practice.