We theoretically develop the ethical positions implicit in somaesthetic interaction design and, using the case study of a water faucet, illustrate our conceptual understanding of ethical sensibilities in design. We apply four lenses – the felt self, intercorporeal self, socio-cultural and political self, and entangled self – to show how our selves and ethical sensibilities are fundamentally constituted by a socially, materially, and technologically entwined world. Further, we show how ethical sensibilities are cultivated in the practice of somaesthetic interaction design. We contribute felt ethics as an approach to cultivating ethical sensibilities in design practice. The felt ethics approach is comprised of (i) a processual cultivation of ethical sensibility through analytical, pragmatic, and practical engagement, (ii) an ongoing critical attentiveness to the limits of our own bodies and lived experiences, and (iii) the rendering visible of our ethical practices as a matter of care.

Glitches moments when technologies do not work as desired will become increasingly common as industrially-designed robots move into complex contexts. Taking glitches to be potential sites of critical ethical reflection, we examine a glitch that occurred in the context of a collaborative research project where professional dancers with different disabilities improvised with a robotic arm. Through a first-person account, we analyse how the dancer, the robot, and the rest of the research team enacted ethics in the moment of glitch. Through this analysis, we discovered a deep and implicit ethical misalignment wherein our enactments of ethics in response to the glitch did not align with the values of the project. This prompted a critical re-engagement with our research process through which we forged a dialogue between different ethical perspectives that acted as an invitation to bring us back into ethical alignment with the projects values.

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 investigate how ethical agency is shaped in proximate interactions between bodies and machines. From a dataset of novel human-robot embraces, we examine how bodies sense and act on machines to fulfil different responsibilities. Each action continuously reconfigures the possibilities for sense-making and action-taking that are available in the interaction, which in turn, changes how bodies can fulfil their responsibilities. We explore how this process can shape our ethical relations with machines, based on whether interactive possibilities construct or reduce agency; bodies must compensate for missing possibilities; boundaries are counterproductive to sustaining ethical agency; or are resilient under challenge. Our analysis demonstrates how bodies are empowered – or not – to fulfil their responsibilities through the embodied possibilities for sense-making and action-taking available within such interactions. We propose a relational conception of ethical capability and advocate for designing human-machine interactions that relationally support bodies in diverse forms of doings and beings.

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.