For HCI to move beyond human exceptionalism requires embracing morethan-humans, humans as parts of ecosystems, as multispecies assemblages and events.In short, decentering the human.Yet, human experience sits at the center of HCI.We report from Shit!, an experimental research inquiry into the relationship between people suffering intestinal dysbiosis and their gut microbiome.We discuss a series of Shitty workshops and the method's suitability for fostering multiple-perspectives on human-microbiome relations.We reflect on the possibilities and challenges of conducting intimate, more-than-human design inquiries through workshops: carefully curated tasks undertaken collaboratively, in social settings, with facilitation.Our contribution is threefold: (1) we trace the lineage of workshops in HCI and Participatory Design; (2) we highlight and problematize humanmicrobiome relationships in sensitive participatory health-care contexts;(3) we deepen understanding of how workshops -as method -may be rearticulated in more-than-human design processes.We propose future directions in the work to extend and supplement the efficacy of the workshop with self-experimentation kits.Rather than developing design research methods anew, we argue the necessity of inquiring into and experimenting with the workshop as an established design method in HCI to prompt a re-articulation of situated knowledges and allow multiple voices, perspectives, and species to flourish.

We share an emergent repository of nature-entangled methods-to-be shared, experimented with, and discussed during a conference workshop. We present them in-use, as they are in formation. We do not seek to theorise or even fully articulate these methods-to-be. Rather, to make them approachable and actionable for others by showing them not fully polished. By doing this, we advocate for increased transparency in the difficulties of creating new methods, techniques, tools, and approaches. Our contribution is threefold: we provide 1) an annotated portfolio of methods-to-be; 2) illustrative examples of how cross-pollination of these methods can enrich their situated use; and 3) a discussion of ways to further articulate the methods and deepen reflection on their roles in nature-entangled design processes.

We discuss three cases of transformative creative practice that aim to address large-scale societal issues related to the climate emergency by taking a series of interconnected, small-scale actions. Drawing on our first-hand perspectives, we reflect on how the cases address such issues by proliferating across different social contexts and supporting creative engagements of diverse stakeholders. We offer this empirical reflection at a time of rapid social and ecological change that has affected all life on the planet. Eco-social challenges and structural inequalities caused by shifts in global economic, political and technological power require new approaches and transformative actions to stabilize and restore ecosystems on which life depends. Our research shows that creative practice in art and design has a critical role to play in these processes of transformation. By discussing the opportunities and challenges encountered by our three cases within their transformative efforts and analyzing how they proliferate across diverse scales, we aim to expand the emerging scholarship on the transformative potential of creative practice.

In this pictorial, we turn to culture and traditions to present an annotated portfolio of play-food potentials, i.e. interesting design qualities and/or interaction mechanisms that could help promote playful and social engagement in food practices. Our portfolio emerged from a one-day workshop where we played with and analyzed a collection of 27 food traditions from diverse cultural backgrounds and historical periods. We highlight play forms and experiential textures that are underexplored in Human-Food Interaction (HFI) research. Our contribution is intended to inspire designers to broaden the palette of play experiences and emotions embraced in HFI.

Digital technology has become a frequent companion of daily food practices, shaping the ways we produce, consume, and interact with food. Smart kitchenware, diet tracking apps, and other techno-solutions carry promise for healthy and sustainable food futures but are often problematic in their impact on food cultures. We conducted four Human-Food Interaction (HFI) workshops to reflect on and anticipate food-tech issues, using experimental food design co-creation as our primary method. At the workshops, food and food practices served as the central research theme and accessible starting point to engage stakeholders and explore values, desires, and imaginaries associated with food-tech. Drawing on these explorations, we discuss diverse roles that experimental design co-creation, performed with and around food, can play in supporting critical, interdisciplinary HFI inquiries. Our findings will appeal to design researchers interested in food as a research theme or as a tangible (and compostable!) design material affording diverse co-creative engagements.

Deploying wearable technologies in the performing arts not only concerns costume wearers but affects further stakeholders whose work is impacted by the interactive effects or who help maintain the technology. Beyond the wearer, literature neglects how these other stakeholders engage with interactive costumes, though a performance production is based on the contribution of many parties. We conducted a longitudinal study to examine how stakeholders of a youth ballet production experience and appropriate interactive costuming. Our findings suggest that user experiences vary according to stakeholders' closeness to the costume, background and taste, the costume interaction mode and social environment. We expand existing models of technology appropriation with two novel technology relations: professional reserve and polite indifference. Based on these, we suggest integration into existing practices, to design for the show, and create positive experiences to incorporate interactive costumes in the performing arts and discuss relevance for other professional fields.

Activity in Human-Food Interaction (HFI) research is skyrocketing across a broad range of disciplinary interests and concerns. The dynamic and heterogeneous nature of this emerging field presents a challenge to scholars wishing to critically engage with prior work, identify gaps and ensure impact. It also challenges the formation of community. We present a Systematic Mapping Study of HFI research and an online data visualisation tool developed to respond to these issues. The tool allows researchers to engage in new ways with the HFI literature, propose modifications and additions to the review, and thereby actively engage in community-making. Our contribution is threefold: (1) we characterize the state of HFI, reporting trends, challenges and opportunities; (2) we provide a taxonomy and tool for diffractive reading of the literature; and (3) we offer our approach for adaptation by research fields facing similar challenges, positing value of the tool and approach beyond HFI.

The Quietude project uses making, participation and co-design to collectively imagine a more sustainable, aesthetically enriched future for deaf women, by developing wearables that respond to the women's needs and desires: those that are well known, and those that may be only dimly glimpsed. We present our motivation and process, and describe our first workshop that brought together deaf women, ethicists, makers, designers and technology experts. The workshop led to the design and development of an ecology of jewellery products: fashionable accessories that enhance the experience of deaf women by translating sounds into vibration, light patterns and shape change. We reflect on the opportunities and challenges of developing aesthetically rich wearables for deaf women, using experimental participatory design methods, and the value of considering disability as an opportunity for wearables design, rather than as an issue that needs to be addressed or solved.

Physical discomfort can be highly personal, difficult to discern from the outside, challenging to effectively communicate. Yet communicating discomfort can be of great value. We present a method for developing wearables that transfer one person's discomfort to another: a modified fashion ideation process that enables a person to bring their hidden embodied experiences into wearable form. Using five complementary foci, the method seeks to simulate rather than replicate; to support people to find abstracted expressions for their lived experiences of discomfort, with which to negotiate shared understanding. The resulting wearables support empathic engagement with how another person might feel. Physical discomfort can be highly personal, difficult to discern from the outside, challenging to effectively communicate. Yet communicating discomfort can be of great value. We present a method for developing wearables that transfer one person's discomfort to another: a modified fashion ideation process that enables a person to bring their hidden embodied experiences into wearable form. Using five complementary foci, the method seeks to simulate rather than replicate; to support people to find abstracted expressions for their lived experiences of discomfort, with which to negotiate shared understanding. The resulting wearables support empathic engagement with how another person might feel.

Embodied design ideation practices work with relationships between body, material and context to enliven design and research potential. Methods are often idiosyncratic and due to their physical nature not easily transferred. This presents challenges for designers wishing to develop and share techniques or contribute to research. We present a framework that enables designers to understand, describe and contextualise their embodied design ideation practices in ways that can be understood by peers, as well as those new to embodied ideation. Our framework developed over two conference workshops provides a frame for discussion of embodied design actions that leverage the power of estrangement. We apply our framework to eight embodied design ideation methods. Our contribution is thus twofold: (1) a framework to understand and leverage the power of estrangement in embodied design ideation, and (2) an inspirational catalogue demonstrating the diversity of ideas that embodied design ideation methods can foster.

The value of engaging sensory motor skills in the design and use of smart systems is increasingly recognized. Yet robust and reliable methods for development, reporting and transfer are not fully understood. This workshop investigates the role of embodied design research techniques in the context of soft wearables. Throughout, we will experiment with how embodied design research techniques might be shared, developed, and used as direct and unmediated vehicles for their own reporting. Rather than engage in oral presentations, participants will lead each other through a proven embodied method or approach. Then small groups will create mash-ups of techniques, exploring ways that the new approaches might be coherently reported. By applying such methods to the problem of their reporting, we hope to deepen understanding of how to move towards nuanced and repeatable methods for embodied design and knowledge transfer in the context of soft wearables.

In this paper we discuss the value of an open, responsive research structure in the context of a multi faceted, critical design project that has participation at its core. Problems with data delivery rendered our original design research structure unviable. Turning to the crafts that underpinned our research enabled the emergence of a new-open and responsive-structure. As a direct result, we arrived at a number of unexpected, highly valuable outcomes. The contributions of this paper are fourfold: 1) we provide a "live" story from research practice, within which, 2) we argue the usefulness of a core provocative question to ensure saliency of critical designs, 3) we demonstrate the value of unresolved prototypes in eliciting participant engagement, and 4) we discuss how craft can serve as method, technique and tool to scaffold an open, responsive research structure. A number of researchers have highlighted the need for documentation and reporting of design process [9, 20, 37, 42] including, specifically, in the context of critical design [6]. We respond to these calls.

People often engage in physical activity with others, yet wearable technologies like heart rate monitors typically focus on individual usage. In response, we discuss the potential of heart rate displays in a social context, by means of an augmented cycling helmet that displays heart rate data. We studied how pairs of cyclists engaged with this setup and found that access to another person's heart rate data can result in social interplay which in turn supports engagement with the exertion activity. Through our design process and study, we reveal key dimensions of designing for social uses of heart rate data and wearable displays: temporal and spatial accessibility of data, technology support for its interpretation, and influences on heart rate. We also articulate a set of insights for designers that aim to support social exertion activities with heart rate data. As such, our work expands our understanding of wearable technologies' unique interaction opportunities.

Swing That Thing... is a practice-based doctoral research project that examines how technology in on and around the body might be used to poeticise experience. Outcomes include a range of body-worn devices that encourage people to explore and move in playful ways. The works have evolved from a common design intent: 'to move the body through real and virtual extension'. By extending the body, mechanically, gesturally and sensorially we can encourage people to move in extra-normal ways, so view and experience their bodies from perhaps hitherto unknown perspectives. This affords insight into how our bodies can move and what this feels like; individual body-centric learning preferences; and the idiosyncratic nature of personal, corporeal expressiveness. The research is leading to a deeper understanding of how thoughtful applications of technology to the body might uncover our expressive and poetic potential, and why this might be of value.